Anne redpath exhibition catalogue july 2015 by The Scottish Gallery

ANNE REDPATH FIFTY

FIFTY

A c e l e b rato ry E x h i b i t i o n

3 July to 1 August 2015

16 Dundas Street · Edinburgh EH 3 6HZ Telephone +44 (0) 131 558 1200 Email mail@scottish-gallery.co.uk www.scottish-gallery.co.uk

FOREWORD

It is fifty years since the death of Anne Redpath at what seems today like the young age of sixty-nine. In her late-flowering success on the stage of the art-world she became enormously admired, even revered, amongst her peers and a wide circle of friends. L.S. Lowry sought her out and took tea in her elegant flat in London Street; Reid & Lefevre, that most patrician of London galleries, held her exhibitions in the south (always the occasion for a new hat) and in Edinburgh a younger generation of painters (often friends of her painter sons) flocked to her home and studio for good conversation in an atmosphere where art mattered. Redpath was kind and generous with her fellow artists not just from professional courtesy but from a genuine warmth and sympathy. She had achieved much but all of it was hard won and well earned. She sent work to all the Scottish exhibiting bodies as well as the Royal West of England Academy and Royal Academy summer show but most importantly she showed with The Scottish Gallery enjoying close relationships with Mrs Proudfoot and then Bill Macaulay exhibiting in 1950, 1953, 1957, 1960, 1963 and fittingly in a memorial show in 1965. She was included in all the major survey and group exhibitions of Scottish art and by the time of her death had an international reputation. Today that reputation is intact, although much else manages to shout louder, sometimes drowning out the quieter voices. Like the previous generation of colourists her practice embraced belle peinture and her subject was chiefly still life and landscape. There is also present an elegance or even restraint which perhaps derived from her love of the quattrocento. At the same time we can appreciate her enjoyment of her materials evident in her vigorous mark making with brush, knife and rags so evident in her oil painting. These qualities might never have been be reconciled in the hands of a lesser painter but endure in her work ensuring her artistic legacy is still vibrant fifty years since her passing.

GUY PEPLOE Opposite: Invitation cards from previous Anne Redpath exhibitions at The Scottish Gallery.

BLUE SKY ON A GREY DAY PAT RICK BO U RNE

Detail from Wild Flowers on a Bank, c.1962 [cat.29]

Anne Redpath’s death fifty years ago in an Edinburgh nursing home at the age of sixty-nine was a shock to her family, friends, fellow artists and the wider public. When I was researching my biography of her almost a quarter of a century later there was still a sense of loss felt by the people I interviewed. Although she had been unwell for the last decade of her life her work was still developing and she had earlier that year had an exhibition of Venetian subjects at Lefevre in London that had sold out by the second day. So it was felt that it was a career as well as a life cut short. And yet with the perspective that half a century gives, Redpath’s career as an artist now seems remarkably full and complete. From the time of her return from France with her young family in 1932, when she committed to full-time painting, her stylistic and technical development was relentless. There was a constant quest for a fresh vocabulary to describe new subject matter. She avoided that bane of the history of painting in Scotland, and admittedly of other Schools, of artists sitting back when they have developed a successful style and popular format. Her intellectual curiosity was never satisfied and she was always open to the ideas of other, often younger, artists – the Action Painting of Jackson Pollock and the Tachisme of Antoni Tapies were strong influences in her final years. Both artists had rejected subject for complete abstraction which Redpath never did. She used the subject matter of her painting as a departure point, often abstracted but always anchored by the seen object. Redpath was quite sure that her artistic sensitivity came from her father who was an innovative designer of tweed in the Border town of Hawick. However her ambition to go to art school was only acceded to by her parents if she also took a teacher training course. Riskily she decided to attend the two courses concurrently in Edinburgh. The level of her aptitude and determination can be gauged by her being the sole recipient of a travelling scholarship in 1919 from Edinburgh College of Art whilst also successfully completing the teaching course at Moray House. She made full use of her scholarship, visiting Brussels, Bruges and Paris before moving on to Italy where she E

Anne Redpath, c.1913

encountered her main influences. Tellingly her copy of the angel in Botticelli’s Madonna of the Magnificat in the Uffizi [cat.1] is less of a copy than her own interpretation of the study of the youthful figure – it is more Redpath than Botticelli. Unwavering independence is the constant characteristic of Redpath both as a painter and as a person. Her portrait of her husband the architect James ‘Jim’ Michie [cat.3], painted in 1920, the year of their marriage, is an impressively subtle and considered study of his character as well as his appearance. Redpath painted occasional portraits throughout her career but they are always of people close to her and she never appears to have considered portrait painting as a source of income. It is well known that Redpath put her career on hold whilst she was bringing up her three sons, initially in St F

Omer in Northern France where her husband was an architect for the War Graves Commission. It was close to what had been the Western Front only three years before and the landscape as well as the local people would still have shown the scars. When they moved to Cap d’Ail on the French Riviera in 1925 it must have been an uplifting experience for the whole family. Anne produced enough paintings to stage an exhibition in nearby St Raphael in 1928. The work was mainly in watercolour and has affinities both in handling and in the subject matter of harbours and buildings with what Charles Rennie Mackintosh was producing nearby in Port-Vendres. It is tantalising to imagine they met although there is no record of it. When Jim’s job as the in-house architect to an American businessman came to an end in 1934, Anne and the boys returned to the Borders and Jim moved to the south of England. Although contact was maintained until Jim’s death in 1959 they never again lived together as a family. Anne now needed to provide for her family and from this point on she devoted herself to painting. Much of her work at the outset was of Border villages such as Wilton Dean and Trow Mill and she painted trees in farmland (cat. 4 & 5) which have a new vigour and dynamism giving a sense of renewed purpose. But the Border landscape did not satisfy her for long. Through the rest of 1930s and into the 1940s Redpath produced a series of ever more ambitious and sophisticated still lifes and domestic interiors that culminated in The Indian Rug (or Red Slippers) of 1942 (SNGMA , Edinburgh). Matisse is the most obvious source of inspiration for these works but as in all stages of her career Redpath retains her own voice. She has by this stage become a painter who can orchestrate and balance complex compositions painted with an extreme sensitivity for surface texture. Only Sir William Gillies at that time comes anywhere near to matching her as a still life painter in Scotland. In 1940s Redpath started to travel further afield again, initially only to the Isle of Skye in 1942 and 1946. The gouache of Loch Snizort [cat.6] with its singing blues of the water and distant hills, and the informal composition, reflect the enjoyable, relaxed mood of the trip she made

to the island with her son David, his future wife Eileen and Anne’s friend Katie Horsman the potter. Paintings from her month-long stay on Skye formed the core of Redpath’s first solo show in Scotland at the Gordon Small gallery on Princes Street in March 1947. The pictures sold well and this enabled her to plan a trip abroad for the first time since her return from France in 1934. She travelled alone to Paris and then on to Menton on the Italian border, twenty miles from where she once lived. Street in Menton [cat.8] is a product of this trip and it gives a palpable sense of the artist’s familiarity with, and affinity for the place. When Redpath returned to Scotland her sketches and studies of Menton were used to create the large oil Window in Menton (Fleming-Wyfold Collection) with the figure of her daughter-in-law Eileen in the foreground. This painting is her chef-d’oeuvre of the late 1940s just as Red Slippers is of the beginning of that decade. The artistic stimulus that came from her stay in Menton encouraged her to make many more European trips in the following years, firstly to Spain and then to Brittany, Portugal, Corsica, The Canary Islands and finally to Amsterdam and then Venice. Each new landscape and culture that Redpath encountered changed and informed not only the landscapes and architectural subjects she produced but also everything she painted thereafter including her still lifes. In Corsica in 1954 and in Gran Canaria in 1959 she experienced harsh sun-bleached hillsides where in the resulting paintings the houses appear as though they grow out of the hills giving them a ‘buttress-like presence’. Simultaneously she suggests erosion, decay and permanence. The effect that the landscape of Gran Canaria had on her palette is illustrated by two paintings in this exhibition. The dark tar-like background of Still Life with Flowers [cat.30] with the rich colours of the flowers set against has parallels with the dark volcanic sand of Boats on the Shore, Canary Islands [cat.26] against which the colourful boats resonate. It seems unlikely that she could have painted the still life if she had not been to the Canary Islands two years before. Apart from painting coastal scenes and hillside villages in continental Europe, the other subject that

consistently attracted her was church architecture, usually the interiors. She herself was not a church-goer but she enjoyed the exoticism and richness of Baroque ornament in the churches of Catholic countries on the Mediterranean. They constituted a sharp contrast to her strict Presbyterian upbringing in the Borders. Her father’s obituary in the local newspaper The Hawick Express records rather tellingly that ‘logic was more native to him than feeling’; his daughter spent much of her life acting out the opposite. There were also practical reasons for painting the interiors of churches. Firstly they were cool, whereas outside Redpath was troubled by the heat as she got older, but also when she painted in the street she was constantly disturbed by inquisitive children and it was not in her nature to ignore them. It is fitting that this celebratory exhibition is at The Scottish Gallery with which she had such a happy and fruitful working relationship following her first exhibition there in 1950. And it was through this association that

Anne Redpath in her studio, c.1960

she was taken on two years later by Reid and Lefevre in London. There, and through her regularly showing at the Royal Academy in London, Redpath came to the attention of some of the most respected art critics of the day, most notably Eric Newton and Terence Mullaly. The former, reviewing the RA Summer Exhibition in 1948 in the Sunday Times, felt that in comparison with the rest of the paintings ‘… Anne Redpath’s still lifes stand out like patches of blue sky on a grey day’. In 1961 Terence Mullaly wrote in the Daily Telegraph, again in a review of the Summer Show, ‘There are many possible justifications for the RA ’s vast and unwieldy anthology. One of the most cogent is satisfied if it contains even one really exceptional work. This year there are eight of them, two by William MacTaggart and six by Anne Redpath.’ It is a nice co-incidence that this is the year that the Scottish National Gallery of Modern Art stage their exhibition of Modern Scottish Women Painters and Sculptors 1885–1965. The cut – off point was consciously chosen for the year of Anne Redpath’s death. She herself changed her position about women exhibiting collectively. In 1940s she was President of the Society of Scottish Women Artists but in later years she told Sidney Goodsir Smith the idea of womens’ exhibitions was as silly ‘as would be a special exhibition by men over six feet tall taking size fourteen shoes!’ This volte face was justifiable by how much easier it had got for women in the intervening years to be accepted in the male-dominated exhibitions. Joan Eardley and Anne Redpath in Scotland and Barbara Hepworth and Laura Knight were in the vanguard of this advance. Anne Redpath was the first woman painter to be elected to full membership of RSA and in 1960 the first since the war to be made an ARA . But for all her achievements her reputation fifty years after her death is not as substantial as it should be. Her paintings convey visual pleasure in her surroundings without political, social or ironic comment. That is not in tune with our times. But Anne Redpath’s vision, amply demonstrated in this exhibition, was original, innovative and life affirming. Those are lasting qualities. Anne Redpath in her London Street flat, Edinburgh, 1960 © The Scotsman Publications Ltd. Licensor www.scran.ac.uk

1 Study for Madonna of The Magnificat by Botticelli, 1919 watercolour and gouache on board · 41 x 35 cm Exhibited: Anne Redpath Memorial Exhibition, The Arts Council (Scottish Committee), Edinburgh and subsequent tour, 1965, cat.5; Centenary Exhibition, Scottish Gallery of Modern Art, Edinburgh, 1996 Provenance: The Artist’s Family

2 Study for The Childhood of St. Genevieve, by Pierre Puvis de Chavannes, c.1919 Watercolour and gouache · 53.5 x 26 cm · inscribed on verso: ‘Puvis de Chavanne, Pantheon by Anne Redpath’ Provenance: The Artist’s Family

3 James Michie, c.1920 Oil on board · 59 x 48 cm On loan from The Fleming Collection, London Image courtesy of Fleming – Wyfold Foundation

4 Spring Trees, c.1939 Gouache on board · 35 x 48 cm · signed lower right Exhibited: The Michie Family, The Scottish Gallery, Edinburgh, June 2012, illus. p.14 Provenance: The Artist’s Family

5 Distant Hill, c.1939 Gouache · 50.5 x 57.5 cm Exhibited: The Michie Family, The Scottish Gallery, Edinburgh, June 2012, ex.cat. Provenance: The Artist’s Family

6 Loch Snizort, Skye, 1946 Watercolour and gouache · 38.5 x 48 cm · signed lower right Provenance: The Mercury Gallery, London, 1982; The Reader’s Digest Art Collection; Ewan Mundy Fine Art, Glasgow.

7 Lindsay Michie, c.1947–48 Oil on panel · 76 x 55.5 cm · signed lower left On loan from The Fleming Collection, London Image courtesy of Fleming – Wyfold Foundation

8 Street in Menton, c.1949 Gouache · 37 x 45.5 cm · signed lower right Exhibited: The Edinburgh School – Works on Paper, The Scottish Gallery, Edinburgh, April 2010, illus. p.15; The Michie Family, The Scottish Gallery, Edinburgh, June 2012, illus. p.22; Modern British Heroines – Edinburgh Festival Exhibitions, The Scottish Gallery, Edinburgh, August 2014, illus. p.49, cat.13

9 Schoolgirl with a White Blouse, c.1950 Pastel · 40.5 x 34 cm Exhibited: Anne Redpath – Oils and Works on Paper, The Scottish Gallery, Edinburgh, 2003, ex. cat; Anne Redpath, The Scottish Gallery, Edinburgh, Aug–Sept 2008, illus. p.17; The Michie Family, The Scottish Gallery, Edinburgh, June 2012, ex. cat. Provenance: The Artist’s Family

10 Flowers in a French Jug, c.1950 Oil on board 路 61 x 51 cm 路 signed lower right Exhibited: Scottish Society of Artists, 1953 Provenance: Aitken Dott & Son, The Scottish Gallery, Edinburgh

11 Requena, 1951 Oil on board 路 51 x 61 cm 路 signed lower left, titled and dated on label verso Provenance: Grindley and Palmer, Liverpool; Private Collection, Aberdeen

12 Pittenweem, 1952 Watercolour · 51 x 61 cm · signed lower right Exhibited: Anne Redpath – Watercolours, Mercury Gallery, Edinburgh, 17 April – 17 May 1986; Anne Redpath Centenary Exhibition, The Scottish Gallery, Edinburgh, 9 September – 3 October 1995; Anne Redpath Exhibition, Portland Gallery, London, 22 July – 15 August 2008 Illustrated: Anne Redpath 1895 – 1965, Patrick Bourne, Bourne Fine Art, 1989, pl.47

Fishing Boats, Ireland, c.1952

St John The Baptist, Brittany, 1953

Watercolour · 24.5 x 36.5 cm

Watercolour · 24 x 33 cm · signed lower right

Exhibited: Anne Redpath Centenary Exhibition, The Scottish Gallery, Edinburgh, 9 September – 3 October 1995

Provenance: Private Collection, Edinburgh

15 Boats at Concarneau, c.1953 Oil on canvas · 51 x 76 cm · signed lower left Exhibited: Anne Redpath Centenary Exhibition, Portland Gallery, London, 1995, cat.20 Provenance: Private Collection, Liverpool Illustrated: Anne Redpath 1895–1965, Patrick Bourne, Bourne Fine Art, 1989, pl.49

16 The Angel Gabriel from The Chapel of St Jean, Treboul, 1953 Gouache · 36.5 x 27.5 cm · signed lower right Exhibited: The Edinburgh School, The Scottish Gallery, Edinburgh, August 1993, cat.56; Anne Redpath – Centenary Exhibition, The Scottish Gallery, Edinburgh, 1995, cat.48; Anne Redpath – Oils and Works on Paper, The Scottish Gallery, Edinburgh, 2003, illus. p.17; Anne Redpath, The Scottish Gallery, Edinburgh, August–September 2008, illus. p.23; The Michie Family, The Scottish Gallery, Edinburgh, June 2012, illus. p.23 Provenance: The Artist’s Family

17 Still Life with White Rhododendrons, c.1955 Oil on panel 路 46 x 33.5 cm 路 signed lower right, inscribed with signature verso Exhibited: The Stone Gallery, Newcastle-upon-Tyne Provenance: Private Collection, Canada

18 Church Interior with Font, c.1955 Oil on board 路 61 x 51 cm 路 signed lower left

19 Jug of Flowers, c.1956 Oil on board · 47 x 38 cm Exhibited: Anne Redpath Centenary Exhibition, The Scottish Gallery, Edinburgh, 9 September – 3 October 1995 Provenance: The Artist’s Family

Corsican Village, 1957

Blue Lithograph, 1957

Lithograph · 24 x 32.5 cm · edition of 70 · signed lower right Printed with Harley Brothers Ltd, lithographic printers in Edinburgh

Lithograph, 42.5 x 64.5 cm · edition of 50 · signed lower right Printed with Harley Brothers Ltd, lithographic printers in Edinburgh

Provenance: The Artist’s Family

Illustrated: Artists at Harleys – Pioneering Printmaking in The 1950s, Hunterian Art Gallery, Glasgow, 2000, p.26, cat.95 Provenance: The Artist’s Family

Dish of Fruit, 1958

Still Life with Jug, c.1958

Lithograph · 46 x 43.5 cm · edition of 75 Printed with Harley Brothers Ltd, lithographic printers in Edinburgh in The late 1950s

Gouache· 30 x 40 cm · signed lower left

Provenance: The Artist’s Family

Provenance: Bought by Ellen Kemp, friend of Anne Redpath, in 1958. Gifted to current owner as wedding present.

24 Canaries, c.1960 Oil on board · 36 x 45 cm · signed lower right Provenance: The Artist’s Family

25 Canaries Hillside with Palm Trees and Houses, c.1960 Gouache · 24 x 34 cm · signed lower right Provenance: The Artist’s Family

26 Boats on the Shore, Canary Islands, c.1960 Oil on board 路 51 x 61 cm 路 signed lower right Exhibited: Festival Exhibition, The Scottish Gallery, Edinburgh, 1960, cat.2

27 Anemones, c.1962 Oil on board 路 38 x 51 cm 路 signed lower left Exhibited: Modern Masters I, The Scottish Gallery, Edinburgh, July 2013, illus. p. 55 Provenance: Dr Robert Lillie Collection, cat.165; Private collection, Toronto

28 White Geraniums, 1962 Oil on board · 51 x 61 cm · signed lower left Exhibited: Anne Redpath – Oils and Works on Paper, The Scottish Gallery, Edinburgh, Aug–Sept 2008, illus. p.37; Portrait of a Gallery, The Scottish Gallery, Edinburgh, July 2010, illus. p.25; The Michie Family, The Scottish Gallery, Edinburgh, June 2012, illus. p.21

29 Wild Flowers on a Bank, c.1962 Oil on canvas · 71 x 91.5 cm Exhibited: Anne Redpath, Worthing Art Gallery, Sussex, 1969, cat.36 Provenance: The Artist’s Family

30 Still Life with Flowers, c.1962 Oil on board · 61 x 91 cm · signed lower left Exhibited: Royal Academy, London, 1963, under the title White Flowers on a Dark Ground

31 Still Life with Chrysanthemums, Venice, c.1963 Oil on canvas · 76 x 76 cm Provenance: The Artist’s Family

32 The White Azalea, c.1963 Oil on canvas · 51 x 61 cm · titled on label verso Provenance: The Artist’s Family

ANNE REDPATH A LIFE IN BRIEF

Anne Redpath (1865–1965) OBE RSA ARA RWA 18 9 5 Born in Galasheils, the daughter of a Thomas Redpath and Agnes Milne. Thomas was a tweed designer with Robert Noble and Company 1913 Enrols in Edinburgh College of Art 1919 Exhibited with the Edinburgh Group Travelling scholarship to Bruges, Paris, Florence and Siena

1920 Married James Michie a young architect and moved to St-Omer in the Pas de Calais region of France where she held an exhibition the following year. Her sons Alistair and Lindsay were both born in St-Omer

Anne at Edinburgh College of Art, c.1915 Opposite: Anne Redpath, c.1960

19 2 5 Moved with family to Cap Ferrat when her husband offered job as private architect to an American millionaire 19 2 8 Birth of third son David. Exhibition at the Casino in St Raphael. During her years in France she returned periodically with her sons to her parent’s home in Hawick and brought back paintings which were shown variously at the annual exhibitions of the Hawick Arts Club, the RGI and the SSA 19 3 4 The Michies returned to Scotland following the bankruptcy of Jim’s employer Living in her parental home with her children. Elected a Professional Member of the SSA

19 3 9 Moved to Beaconsfield Terrace following death of her father

Anne in St Omer 1921

19 4 4 Elected President of The Scottish Society of Women Artists 19 4 7 –19 5 0 Member of the Hanover Street Group set up by painter Derek Clarke and including Leonard Rosoman and James Cowie among its members 19 4 6 Visit to Skye with her friend the potter Katie Horsman. Works produced formed basis of her first solo exhibition in Scotland at the Gordon Small Gallery in Edinburgh the following year. From now on she began to exhibit regularly in London at the Royal Academy and the Royal Society of British Artists 19 4 9 Moved to Mayfield Gardens, Edinburgh 19 5 0 First solo exhibition with The Scottish Gallery, Edinburgh

James Michie, c.1921

1951 Painting in Spain 1952 First woman painter elected to the Royal Scottish Academy

Selected Exhibitions in the Artist’s Lifetime 1921 St. Omer, France

Throughout her career the artist was an enthusiastic exhibitor at a wide variety of important annual exhibitions including those listed below.

RSA Royal Scottish Academy

1928 The Casino, St. Raphael, France

(from 1919)

Moved to London Road, Edinburgh

1947 Gordon Small Gallery, Edinburgh

(from 1920)

1953 Painting in Brittany, France (Concarneau and Treboul)

1950 The Scottish Gallery, Edinburgh

(from 1923)

1952 Lefevre Gallery, London

Watercolour (from 1935)

1957 The Scottish Gallery, Edinburgh

(from 1940)

1958 The Danish Institute, Edinburgh

(from 1946)

1959 Painting in the Canary Islands

1959 Lefevre Gallery, London

(also from 1946)

1960 Elected an Associate of the Royal Academy in London

1960 The Scottish Gallery, Edinburgh

(from 1959)

1961 Stone Gallery, Newcastle upon Tyne

(from 1962)

First exhibition with Reid and Lefevre, London

1954 Painting in Corsica 1955 Awarded an OBE Awarded Doctor of Law by Edinburgh University

1961 Painting in Portugal 1963 Painting in Venice 1965 Died in Edinburgh

1962 Lefevre Gallery, London 1963 The Scottish Gallery, Edinburgh 1964 Lefevre Gallery, London

SSA Society of Scottish Artists RGI Royal Glasgow Institute RSW Royal Scottish Society of Painters in SS WA Society of Scottish Women Artists RA Royal Academy, London RBA Royal Society of British Artists RWA Royal West of England Academy M AFA Manchester Academy of Fine Arts Memorial Groups were hung at the annual exhibitions of the RSA , RA and MAFA following her death in 1965.

Miss Perpetua Pope, Mrs F. Lauglin and Miss Anne Redpath at the opening of Scottish Society of Women Artists Exhibition at the Royal Scottish Academy, Edinburgh © The Scotsman Publications Ltd. Licensor www.scran.ac.uk

Posthumous Exhibitions 19 6 5 Memorial Exhibition, The Scottish Gallery, Edinburgh 19 6 5 Memorial Exhibition, The Arts Council (Scottish Committee), Edinburgh and subsequent Tour 19 6 9 City Art Gallery, Worthing 19 7 2 City Art Centre, Edinburgh A series of exhibitions were organised jointly by the Mercury Gallery, London and The Scottish Gallery in Edinburgh in 1975, 1979, 1981, 1983 and 1986. All were held at the Mercury Gallery with the last also being exhibited at The Scottish Gallery in Edinburgh

Jim, Anne, Lindsay and Alastair Michie, St Omer, c.1921

Lindsay, David and Alastair in Eyemouth, c.1940

19 8 9 Exhibition jointly organised by Bourne Fine Art, Edinburgh, and the Portland Gallery, London and shown at both venues

19 9 5 Centenary Exhibition, The Scottish Gallery, Edinburgh Centenary Exhibition, Scottish Gallery of Modern Art, Edinburgh

2003 Anne Redpath, Oils and Works on Paper, The Scottish Gallery. Edinburgh

Scottish Field, September 1957, by Dr T.J. Honeyman Studio, March 1960, by Dr. T Elder Dickson

BBC ten-minute film, broadcast January 1961 Stone Gallery catalogue, October 1961, introduction by Terence Mullaly

2 012 The Michie Family, The Scottish Gallery, Edinburgh

Arts Council of Great Britain, Scottish Committee, Anne Redpath Memorial Exhibition, November 1965, Catalogue introduction by Terence Mullaly

2015 Anne Redpath, Fifty, The Scottish Gallery, Edinburgh

Anne Redpath (the first book in the series Modern Scottish Painters), George Bruce, 1973, Edinburgh University Press

Bibliography and Broadcasts

Anne Redpath, Patrick Bourne, 1989, Atelier

The Scots Review, April 1947, by Alick Sturrock

Duncan R. Miller Fine Art catalogue, introduction by Jill Mackenzie and Jane B. Henderson

SMT Magazine, April 1952, by N. Melville Shepherd

Anne Redpath 1996–1965, Catalogue introduction by Philip Long, 1996–97

Scottish Art Review, Volume V, 3, 1955, by R.H. Westwater

BBC Scotland, Anne Redpath, thirty-minute film with Michael Palin, 1997

Acknowledgments: The Scottish Gallery would like to express their thanks to the Michie family. Our thanks also to Patrick Bourne and the Fleming-Wyfold Foundation. Published by The Scottish Gallery for the exhibition Anne Redpath: Fifty held at 16 Dundas Street, 3 July to 1 August 2015 The exhibition can be view online at www.scottishgallery.co.uk/anneredpath Catalogue © The Scottish Gallery 2015 All rights reserved

ISBN 978 1 905146 84 0 Photography by John McKenzie Designed and typeset in Solitaire and Besley by Dalrymple Printed by Barr Printers Front cover: detail from Flowers in a French Jug, c.1950 [cat.10] Inside front cover : Anne Redpath in her London Street flat, Edinburgh, 1960 © The Scotsman Publications Ltd. Licensor www.scran.ac.uk Inside back cover: detail from Canaries, c.1960 [cat.24] Back cover: Paintings by Anne Redpath, Invitation Card, The Scottish Gallery, Edinburgh, 1957

16 Dundas Street · Edinburgh EH3 6HZ Telephone +44 (0) 131 558 1200 Email mail@scottish-gallery.co.uk www.scottish-gallery.co.uk III