Perpetua Pope Painter and Collector
Perpetua Pope (1916-2013)
Painter and Collector 4 - 30 april 2014 www.scottish-gallery.co.uk/perpetuapope
16 Dundas Street, Edinburgh EH3 6HZ tel 0131 558 1200 email mail@scottish-gallery.co.uk www.scottish-gallery.co.uk Cover: Cottages in Skye, oil on board, 42 x 48.5 cms (cat. 3) Left: Pip Pope’s house, February 2014
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Foreword Perpetua Pope, (Pip) had three main passions in Life: gardens (of all types), friends (whom she valued enormously) and above all, painting, her raison d’être. She felt she was nothing without having the opportunity to paint. She often said it was what she did and how lucky she was to continue to paint. Her paintings, even latterly, were as fresh as the proverbial daisy. Not the work of a little old lady but that of a serious, committed artist – no slick tricks or flashy techniques – but rather like her they had real integrity. I knew Pip for over fifty years, first as my art teacher and as time passed, as a great friend and neighbour as she lived in Carlops at that time and I had just moved to Skirling. She was very excited about that mainly because of the garden and our shared love of the Border landscape. She was my mentor, a great encourager, not so much in the way she painted or in the subject matter but in her attitude to the craft of painting. Our frequent chats in her studio, in mine or on the telephone, ranged from what we were working on at present, if it was going well or otherwise, or what exhibitions we had seen recently. Was it a “must see” or a diplomatic “don’t bother”. We would exchange opinions on a new acrylic we had discovered or some pastels she had advised me to try.
Opposite: Pip in her Studio, Spring 2011
Her help and guidance to me and whatever I might have been able to suggest to her were really about the fundamentals of painting, almost in the abstract rather than what landscape, which vase of flowers or what colour the sky. Her relationship with her friends was the sheer pleasure she had in sharing the love of the countryside, gardens, plants with a meal or coffee, often in her studio. If all that could be combined together with a trip somewhere, that was her perfect day, often ending with her saying “thank you so much that was such fun, you’ve really cheered me up”. It was, of course, the other way round. This exhibition confirms Pip’s place in Edinburgh’s history of painting not only with her own work but with an eclectic collection most carefully chosen and enjoyed over many years. Her honest advice, encouragement, positive attitude and sense of humour all made a lasting impression on all who knew her, something I don’t think she realized or even thought about. It was a privilege to have her friendship for so long and equally a privilege to have the opportunity to contribute to this catalogue. Douglas Davies, RSW
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introduction “I have tried to paint the intense pleasure I get from being in the Highlands and Islands of Scotland. I don’t want to paint views particularly, its more the feeling of freedom – the changing light, the subtle colour of the countryside, the sand blown by the wind, the wild flowers, the machair and the sand dunes and always the feeling of space and air. My happiest times have been spent in the real, unspoilt countryside. My paintings are a celebration of the feelings it gives me. I have tried to get a feeling of air in my paintings and the huge skies and cloud patterns and the smell of peat and the scent of flowers. I feel that Gillies and Joan Eardley have captured that more than any other painters and I’m sure I have been influenced by them. I absolutely adore the countryside and although I enjoy Italy and before that Cyprus and the Middle East somehow Scotland is me.” Perpetua Pope, 2008 When someone attains a good age, and Pip had just celebrated her 97th birthday when she died in May 2013, there are perhaps few to mourn; peers have passed away and the world has contracted. Not so for Pip; she was a conscientious friend with a warmth and openness that attracted all, regardless of age or profession. She was a painter and many artists are numbered among her friends. To these she was generous, even deferential, and she admired and collected many others’ paintings, as this exhibition amply illustrates. About her own work she was full of doubt, not the kind of doubt floated out to garner a compliment, but expressed as a real interrogation of the value of what she was doing; she was self-critical to a fault. She never doubted the importance of art, however, and along with friendship it was at the core of her being. She was born in Solihull, Warwickshire, but to Aberdonian parents, and the family returned to Aberdeenshire for her to attend school and enjoy a rural upbringing which would feed her art for a lifetime. Her father was in business and was a perceptive and passionate art buyer, planting a seed for the future interests of his only daughter. A number of significant works,
like the Peploe of Iona were inherited from her parents. It was to Edinburgh College that she came for her further artistic education, and her diploma was interrupted by the war, during which she gave service in the Women’s Auxiliary Air Force (WAAF). Moray House and teaching came next and among several posts she was art mistress at Oxenfoord from where many girls became firm, long-term friends. She eventually lectured on art at Moray House before she retired in 1973, always feeling herself to be a painter who taught rather than a teacher who painted. Her time at the college and the exciting milieu in the capital in the preceding years were formative for her own practice. Gillies, Maxwell and Penelope Beaton and then Joan Eardley and Earl Haig were inspiring painters. Travel also became important: to Cyprus, Lebanon, the Peloponnese and Spain (where she once broke her ankle). Within Scotland she worked at her cottage in the Borders at Carlops but accepted invitations to look at many new landscapes and garden subjects from Islay to Barra and Fife to Kinloch Rannoch. She had exhibitions with the Scottish Gallery in 1956, 1963, 1975, 1978 and 1982,
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then showed regularly with the Open Eye and Macaulay Galleries before a triumphant return to The Scottish Gallery for a 90th birthday show in 2006 and more new work in 2008 and finally in 2011. The ‘new’ pictures in this exhibition were framed, wrapped and ready for exhibition and discussions for a Centenary show were already under way! At the time of her final show she gave an interview to Duncan Macmillan when she talked eloquently of how she immersed herself in front of the subject to try to catch the experience of feeling and looking in her painting. She had enjoyed the recent show organised by the National Galleries of Scotland, Van Gogh to Kandinsky; Symbolist Landscape in Europe, and felt a kindred spirit. The authors
of the catalogue saw how these painters were “using nature to prompt and form and colour to suggest the enduring values and profound emotions of human experience”, a method and ambition Pip shared. She worked in oil and watercolour, like many of the Edinburgh School, dividing her energies between the two media, never letting herself become stale or lapse into repetition. She often attended painting classes and residencies with younger tutors when she might have been giving the master class. She will be remembered as a very good painter, occasionally brilliant but also as one of the most enduring and warmest personalities in the Scottish art world. Guy Peploe
S.J. Peploe rsa (1871-1935), Iona, oil on canvas, 50 x 60 cms, signed lower left
PERPETUA POPE
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1 View of Eigg from the Mainland, 1953 oil on canvas board, 29 x 39 cms signed & dated lower right
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Clachtoll fishing nets, Stoer, 1953
2 Clachtoll Fishing Nets, Stoer, c.1953 oil on canvas, 46 x 61 cms signed lower left
Perched above Lochinver and looking out towards the Isle of Lewis, Stoer was a favourite destination for Pip during the 1950s. This photograph of the artist at her rented cottage shows a viewpoint almost identical to the one she has chosen to capture in her painting. In the same decade Joan Eardley captured similar scenes from her home in Catterline on the east coast. Whilst Eardley was more interested in a direct emotional engagement with the landscape, Pip is instead concerned with capturing the atmosphere and mood of a glorious summer’s day.
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Clachtoll Fishing nets, Stoer painting required
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3 Cottages in Skye, 1950 oil on board, 42 x 48.5 cms signed lower left, inscribed with title & artist’s name on label verso painting of figures verso
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4 Persian Village, c.1963 oil on canvas, 50.5 x 68.5 cms signed lower left, inscribed with artist’s name and title verso exhibited Society of Scottish Artists
This work was painted during a holiday Pip made to the Middle East in 1963.
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5 Karakoumi, Cyprus, 1963 oil on canvas, 61 x 90.5 cms signed lower right exhibited Perpetua Pope Exhibition, The Scottish Gallery, Edinburgh, 1963, cat.31 provenance Private Collection, Edinburgh; Private Collection, Glasgow
On her trip to Cyprus in 1963 Pip stayed with her friends John and Vivien Guthrie (John was a composer and related to the Glasgow Boy of the same name and Vivien was the daughter of artist John Duncan). Karakoumi is a small town on the north coast of Cyprus. It seems Pip’s main inspiration whilst on the island were the olive groves and peasants, the silver leaves, dusty soil and black-clad farm workers providing interesting contrasts.
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6 Sunlit Courtyard, Cyprus, c.1963 oil on board, 41 x 55.5 cms signed lower right
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7 Old Woman, Karakoumi, Cyprus, 1963 oil on canvas, 46 x 40.5 cms signed lower right, inscribed with title & date verso
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8 Hoar Frost, Thriepmuir, 1963 oil on canvas, 62 x 76 cms signed lower left, inscribed with title & signed on label verso exhibited Scottish Society of Women Artists, RSA, 1963 provenance Private Collection, Glasgow
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9 Greek Landscape, 1975 oil on canvas, 63.5 x 91.5 cms signed lower right exhibited Perpetua Pope Exhibition, The Scottish Gallery, Edinburgh, 1975, cat. 14; Mixed Exhibition, The Scottish Gallery, Edinburgh, 2011 provenance Private Collection, Dunblane; Artist’s Estate
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10 Kritsa, Crete, 1975 oil on canvas board, 25 x 35 cms signed lower right, inscribed with title & date verso exhibited Perpetua Pope Exhibition, The Scottish Gallery, Edinburgh, 1975
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11 Winter, Speyside, c.1970s oil on canvas, 70 x 89 cms signed lower right, title inscribed on verso exhibited Society of Scottish Artists provenance Private Collection, Glasgow
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12 Dusk, Saligo, Islay, c.1975 oil on canvas, 35.5 x 45.5 cms signed lower left, inscribed with title on label verso exhibited Perpetua Pope Exhibition, The Scottish Gallery, Edinburgh, 1975, cat.56
Pip first started going to Islay in the early 1960s after bring invited by her pupil, and great friend, Heather Dewar. She found inspiration on the island, in the hedgerows, peat lands and beaches. However it was Isle of Barra, where Perpetua first ventured to in the early 1990s, that was to occupy much of her later trips to the West Coast.
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13 Jim’s Bunch, c.1970 oil on canvas, 56 x 41 cms signed lower right, inscribed with title on label verso exhibited The Macaulay Gallery, East Lothian, cat. 39
Jim was apparently a close friend of Pip’s at Moray House, where he taught comparative religions.
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14 Peat Moss II, 1970 oil on canvas, 40.5 x 55.5 cms signed lower right, inscribed with title on label verso provenance Private Collection, Glasgow
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15 Peat Bank, Islay, 1975 oil on canvas board, 35.5 x 61 cms, signed lower right, inscribed with title verso exhibited Perpetua Pope, New Paintings, The Scottish Gallery, Edinburgh, 2011, cat. 10
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16 Still Life, Flowers in Glass Vase, c.1990 oil on canvas, 40.5 x 50.5 cms signed lower right, inscribed with artist’s name on frame verso provenance Private Collection, Scottish Borders
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17 Curlew, Islay, 2008 oil on canvas, 41 x 51 cms signed lower right exhibited Perpetua Pope, New Paintings, The Scottish Gallery, Edinburgh, 2008, cat. 13
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18 East Lothian, 2011 oil on canvas, 30.5 x 40.5 cms signed lower right, inscribed with title verso exhibited Mixed Christmas Exhibition, The Scottish Gallery, Edinburgh, 2011
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19 Seascape, 2011 oil on canvas, 50 x 60 cms signed lower right, inscribed with title on label verso exhibited Perpetua Pope, New Paintings, The Scottish Gallery, Edinburgh, 2011, cat. 1
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20 Bank with Scabious, 2011 oil on canvas, 40.5 x 30.5 cms signed lower left & lower right exhibited Perpetua Pope, New Paintings, The Scottish Gallery, Edinburgh, 2011, cat. 8
This painting was exhibited in our last exhibition of Pip’s back in 2011. Once the exhibition was hung she decided to keep this painting for herself, so happy was she with the finished result.
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21 Pink Path, c.2013 oil on canvas, 25.5 x 20.5 cms signed lower left
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22 Landscape, c.2013 oil on canvas board, 18.5 x 26 cms signed lower right
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23 Lilies in Long Grass, c.2013 oil on canvas, 46 x 61 cms signed lower right, inscribed with title on label verso
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24 Summer on the East Coast, c.2013 oil on canvas, 45.5 x 60.5 cms signed lower left
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25 Vase of Flowers on Grey, c.2013 oil on canvas, 40 x 40 cms signed lower right
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26 Evening, Seacliff, c.2013 oil on canvas, 46 x 61 cms signed lower right, inscribed with title on label verso
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27 Meadow, Loch Tummel, c.2013 oil on canvas, 40 x 60 cms signed lower right, inscribed with title on label verso
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28 Lilies, c.2013 oil on canvas, 30.5 x 40.5 cms signed lower right, inscribed with title on label verso
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29 Buckthorn, 2013 oil on canvas, 45.5 x 60.5 cms signed lower right
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Pip Pope in her Studio, Spring 2011
30 Vase of Flowers, c.2013 oil on canvas, 50.5 x 40 cms signed lower right
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the collection
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Elizabeth Blackadder dbe, ra, rsa, rsw (b.1931) 31 Easter Egg, Teazels and Grey Table, 1963 watercolour, 68 x 99 cms signed lower left provenance The Scottish Gallery, Edinburgh, 2001
This painting hung in the artist’s kitchen which looked out towards her well-kept back garden. The painting gave her much joy and echoed themes of domesticity apt for its place above the dining table. The art in her home gave her much enjoyment, but also inspiration for her own painting.
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Pierre Bonnard (1867-1947) 32 Étude de Nu, 1925 lithograph, 39 x 25 cms signed in pencil, second state of 2 in edition of 25 exhibited The Open Eye Gallery, Edinburgh
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Gordon Bryce rsa, rsw (b.1943) 33 Cove, Arisaig, 2008 oil on board, 23 x 25 cms signed lower middle, inscribed with title & artist’s name verso exhibited Gordon Bryce, New Paintings, The Scottish Gallery, Edinburgh, 2009, cat. 41
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Douglas Davies rsw (b.1946) 34 Low Cloud mixed media, 17 x 18 cms signed lower middle, inscribed with title on label verso
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Douglas Davies rsw (b.1946) 35 Heath, 2009 mixed media, 32 x 39 cms signed lower left, titled on verso
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George M. Donald rsa, rsw (b.1943) 36 Florida Dream II, 1985 chine-collÊ print (artist proof ), 24 x 17.5 cms signed lower left, inscribed with title & artist’s name on label verso provenance Gifted to Perpetua Pope at Christmas 1986 by The Open Eye Gallery, Edinburgh
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George M. Donald rsa, rsw (b.1943) 37 Mirror, c.1985 lithograph (artist proof ), 56 x 38 cms signed lower left, titled lower middle exhibited The Open Eye Gallery, Edinburgh
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Pat Douthwaite (1934-2002) 38 Kabuki Actor I, c.1993 lithograph (artist proof ), 75.5 x 57 cms signed upper left exhibited Pat Douthwaite, Pastels, Drawings & Prints, The Scottish Gallery, Edinburgh, 1993, cat. 21
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Pat Douthwaite (1934-2002) 39 Kabuki Actor II, c.1993 lithograph (artist proof ), 75.5 x 57 cms signed lower right
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Kate Downie rsa, ppssa (b.1958) 40 There, 2009 monotype on Japanese paper, 29 x 39 cms signed lower right, signed & titled verso exhibited Kate Downie, The Coast Road Diaries, The Scottish Gallery, Edinburgh, 2009, cat. 51
Pip was a great supporter of Scottish contemporary artists and a frequent visitor to The Scottish Gallery. She purchased this monotype at Kate Downie’s 2009 exhibition The Coast Road Diaries. She described fondly that the view from the train window crossing the Forth Bridge reminded her of the journey home to Aberdeenshire from Edinburgh College of Art.
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Kate Downie rsa, ppssa (b.1958) 41 Wave Form I, 2007 monotype, 30 x 50 cms exhibited Kate Downie, The Red Coast - New Work from Corsica, The Scottish Gallery, Edinburgh, 2007, cat. 17
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Joan Eardley rsa (1921-1963) 42 Blue Sea and Sky, 1962 oil on board, 57 x 119 cms exhibited Joan Eardley, Festival Exhibition, The Scottish Gallery, Edinburgh, 1964; Festival Exhibition, The Scottish Gallery, Edinburgh, 1981, cat. 35 provenance The artist’s inventory no. EE152
Pip was three years older than Joan Eardley. They met in The Scottish Gallery in the years before Eardley’s premature death in 1963. Pip was a very different character but was greatly inspired by Eardley’s approach: direct, spontaneous, expressionist painting which chimed perfectly with her own.
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Philip Eglin (b.1959) 43 Plate, Untitled, 1997 earthenware, 46 cms diameter
exhibited Philip Eglin, New Ceramics, The Scottish Gallery, Edinburgh, 1997
Pip had a small but significant collection of 18th century decorative ceramics which also included Staffordshire figures. In Phil Eglin’s work, she connected with the humour and humanity expressed in his work as well as the historical connection to her own collection. Popular Madonna and Reclining Nude sat happily in her upstairs drawing room.
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Philip Eglin (b.1959) 44 Popular Madonna, 2000 porcelain, 37 x 12 x 9 cms exhibited Philip Eglin, New Work, The Scottish Gallery, Edinburgh, 2000
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Philip Eglin (b.1959) 45 Reclining Nude, 2004 earthenware, 48.5 x 30 cms exhibited Philip Eglin, New Work, The Scottish Gallery, Edinburgh, 2004
Philip Eglin was born in Gibraltar in 1959 and he trained at Staffordshire Polytechnic and the Royal College of Art, London, during which time he was model and student of Eduardo Paolozzi. The full, dynamic range of artistic and expressive skill which flows from Eglin’s rich, eclectic and symbolic palette is apparent in all of his work. In 1996 he won the prestigious Jerwood Prize for ceramics. He has had several solo exhibitions at The Scottish Gallery spanning a 25 year period. public collections include Victoria & Albert Museum, London; Stedelijk Museum, Amsterdam; National Museums Scotland, Edinburgh; Potteries Museum, Stoke-on-Trent, Middlesborough Institute of Modern Art; British Council
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Sir Jacob Epstein (1880-1959) 46 My Model pencil drawing, 45 x 56 cms signed lower right provenance The Art Seller, Hanover Street
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William Gillies, 1952
Sir William Gillies cbe, rsa, ra, pprsw (1898-1973) 47 Flower Piece, mid 1930s oil on canvas, 82 x 70 cms signed lower left
Pip Pope attended Edinburgh College of Art between 1936 and 1946 (her studies were interrupted by WWII) when Gillies was a senior lecturer; he became Head of Drawing and Painting with the retirement of David Alison in 1945. He was an enlightened teacher, preferring a dialogue with the student rather than demonstration, whereby the tutor would paint over the student’s work by way of correction. She got to know Gillies as a sister artist in the fifties when both exhibited with The Scottish Gallery and regularly added his work to her collection. The photo above and on p.98 were both taken by Pip.
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This still life hung in Pip’s hallway and was a bold welcome to any visitors of her home. The painting, including the hand carved frame, was a gift from William Gillies to Pip.
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Sir William Gillies cbe, rsa, ra, pprsw (1898-1973) 48 Anstruther, Fife, 1945 oil on canvas, 55 x 74 cms signed & dated lower right
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Sir William Gillies cbe, rsa, ra, pprsw (1898-1973) 49 Yellow Hillside, 1951 watercolour, 38 x 50 cms signed & dated lower right exhibited William Gillies Exhibition, The Scottish Gallery, Edinburgh, 1952
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Sir William Gillies cbe, rsa, ra, pprsw (1898-1973) 50 Outside Broughton, 1951 watercolour, 26 x 56 cms signed & dated lower left exhibited William Gillies Exhibition, The Scottish Gallery, Edinburgh, 1952, cat. 43 illustrated W. Gordon Smith, W. G. Gillies, A Very Still Life, (Atelier Books, Edinburgh), p.52
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Sir William Gillies cbe, rsa, ra, pprsw (1898-1973) 51 Trees and Moon, c.1950s watercolour, 28 x 37 cms signed lower right
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Sir William Gillies cbe, rsa, ra, pprsw (1898-1973) 52 Hillside, Evening, c.1950s watercolour, 25 x 35 cms signed lower right
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Sir William Gillies cbe, rsa, ra, pprsw (1898-1973) 53 Anstruther Harbour, c.1948 oil on canvas, 75 x 99 cms signed lower left exhibited British Section, Unesco International Exhibition, 1946; Scottish National Gallery of Modern Art, L.243; William G. Gillies Retrospective, The Scottish Arts Council, Edinburgh, 1970, cat. 50 illustrated W. Gordon Smith, W. G. Gillies, A Very Still Life, (Atelier Books, Edinburgh), p.135
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William Gillies teaching the artist, c.1936
Sir William Gillies cbe, rsa, ra, pprsw (1898-1973) 54 Speyside, 1939 watercolour, 55 x 79 cms signed & dated lower right exhibited William G. Gillies Retrospective, The Scottish Arts Council, Edinburgh, 1970, cat. 177
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Earl Haig obe, rsa (1918-2009) 55 Tweed River Banks, 1993 oil on board, 33 x 38 cms signed lower left exhibited Haig at Ninety, The Scottish Gallery, Edinburgh, 2008, cat. 24
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Earl Haig obe, rsa (1918-2009) 56 Study for Trees, Skiathos, 1973/74 watercolour, 26 x 32.5 cms signed lower right, dated on label verso
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Earl Haig obe, rsa (1918-2009) 57 Fish Market, c.1998 watercolour & pen & ink, 23 x 36 cms signed lower right, titled lower left exhibited The Earl Haig 80th Birthday Exhibition, The Scottish Gallery, Edinburgh, 1998, cat. 19
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Earl Haig obe, rsa (1918-2009) 58 Vase of Flowers, c.2004 watercolour, 54 x 35 cms signed lower right, inscribed with title in pencil verso exhibited Festival Exhibition, Mainhill Gallery, Ancrum, 2004
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Sir Howard Hodgkin (b.1932) 59 Turkish Delight (Red and Green), 2004 etching with hand colouring, 24 x 38 cms, edition 65/80 signed with initials and dated exhibited Howard Hodgkin Prints, The Scottish Gallery, Edinburgh, 2004
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Jack Knox, rsa, rgi, rsw, hfrias dlitt (b.1936) 60 Squall, c.1990 pastel, 20.5 x 29.5 cms exhibited The Open Eye Gallery, Edinburgh
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Jack Knox, rsa, rgi, rsw, hfrias dlitt (b.1936) 61 Gannets and Squall, 1990 pastel, 25 x 33 cms signed lower right, inscribed with title, date & signature on label verso exhibited The Open Eye Gallery, Edinburgh
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Jack Knox, rsa, rgi, rsw, hfrias dlitt (b.1936) 62 Seafood and Colander mixed media, 23 x 33 cms signed lower right
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Leon Morrocco arsa, rgi (b.1942) 63 Harbour Wall with Seagull, 1993 oil on board, 29.5 x 30 cms signed & dated upper left exhibited The Open Eye Gallery, Edinburgh
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Mary Newcomb (1922-2008) 64 Lighthouse silkscreen print, 58 x 57 cms
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Ann Oram rsw (b.1956) 65 Chair and Table in the Kitchen, 1991 oil on board, 20.5 x 14.5 cms signed & dated lower right, inscribed with title on label verso
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Ann Oram rsw (b.1956) 66 Lemons in a Bowl, 1992 oil on board, 22 x 27 cms signed and dated lower right
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Ann Oram rsw (b.1956) 67 Tarifa, 1990 oil on canvas, 50.5 x 40.5 cms signed & dated lower right, inscribed with title on label verso
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Ann Oram rsw (b.1956) 68 Hill Village, Vejer de la Frontera, 1994 oil on canvas, 56 x 76 cms signed & dated lower right provenance Duncan Miller Fine Arts, London
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Ann Oram rsw (b.1956) 69 Still Life with Fruit and Wine, 1992 watercolour & ink, 94 x 50 cms signed & dated lower right, inscribed with title verso
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Sir Robin Philipson pprsa, ra (1916-1992) 70 Reclining Figure, 1983 watercolour, 16.5 x 16.5 cms signed verso, inscribed with title & artist’s name verso exhibited Sir Robin Philipson, Edinburgh Festival Exhibition, The Scottish Gallery, Edinburgh, 1983, cat. 56
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Sir Robin Philipson pprsa, ra (1916-1992) 71 Untitled, c.1970 watercolour, 18.5 x 18.5 cms signed lower right
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Barbara Rae cbe, rsa, ra, rsw, rgi (b.1943) 72 Terraces above the Sea, 1995 mixed media on board, 21 x 24.5 cms signed & dated lower left, inscribed with title verso
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Barbara Rae cbe, rsa, ra, rsw, rgi (b.1943) 73 San Stefano, c.1995 monotype, 42 x 45 cms signed lower right and titled lower middle
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Barbara Rae cbe, rsa, ra, rsw, rgi (b.1943) 74 Seafield, c.1995 screenprint, 39.5 x 45 cms, edition 10/15 signed lower right and titled lower middle
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Barbara Rae cbe, rsa, ra, rsw, rgi (b.1943) 75 Venus Path, Longformacus, c.2004 monotype, 89 x 101 cms signed lower right exhibited Barbara Rae, Monotypes, The Scottish Gallery, Edinburgh, 2005, cat. 2
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James D Robertson mbe, rsa, rsw, pai (1931-2010) 76 Landscape, 1983 oil on canvas, 50 x 75 cms signed lower right exhibited Glasgow School of Art, 2000 provenance Dr George Fraser Collection
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William Scott cbe, ra (1913-1989) 77 Iona, 1961 lithograph, 50 x 62 cms, edition 12/300 signed & dated lower right exhibited The Open Eye Gallery, Edinburgh
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Glen Scouller rsw, rgi (b.1950) 78 Winter Still Life mixed media on paper, 15 x 21 cms signed lower right exhibited The Open Eye Gallery, Edinburgh
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Glen Scouller rsw, rgi (b.1950) 79 Still Life on a Round Table watercolour, 18.5 x 18.5 cms signed lower left, inscribed with title & artist’s name on label verso exhibited Macaulay Gallery, East Lothian
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Duncan Shanks rsa, rsw, rgi (b.1937) 80 Untitled Landscape Study mixed media on paper, 22 x 16.5 cms signed lower right exhibited Broughton Gallery, Scottish Borders
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Dorothy Stirling (b.1939) 81 Night Flight II mixed media & wood collage, 18 x 34.5 cms exhibited The Open Eye Gallery, Edinburgh provenance Postcard from artist to Pip Pope verso
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Perpetua Pope 1916 Born in Solihull, Warwickshire. 1917 Family move to Aberdeenshire. Educated Albyn School, Aberdeen. 1936 Starts at Edinburgh College of Art. 1940 Women’s Auxiliary Air Force (WAAF) in Newcastle and Kenton. 1946 Rejoins Edinburgh College of Art. Trained Moray House College of Education. 1951 Became art mistress at Oxenfoord School, Midlothian. 1965 Moved to Weaver’s Cottage in Carlops. Taught in further primary and private schools, including Lansdowne House, Edinburgh. Lecturer of Visual Arts, Moray House College of Education. 1973 Resigned post to become full time painter. 2013 Died in Edinburgh.
Selected Exhibitions 1942 RSA annual exhibition (subsequently exhibited a further 28 times) 1949 Exhibition of Women Artists, Church of Scotland Art Centre, Edinburgh 1956 The Scottish Gallery, Edinburgh 1965 The Scottish Gallery, Edinburgh 1971 25th Anniversary Exhibition, Edinburgh College of Art 1975 The Scottish Gallery, Edinburgh 1978 The Scottish Gallery, Edinburgh 1979 The Loomshop Gallery, Lower Largo 1980 Peter Potter Gallery, Haddington 1982 The Scottish Gallery, Edinburgh 1983 Macaulay Gallery, East Lothian 1984 Broughton Gallery, Scottish Borders 1986 The Open Eye Gallery, Edinburgh 1990 Macaulay Gallery, East Lothian 1992 Macaulay Gallery, East Lothian 1993 The Open Eye Gallery, Edinburgh 1994 Macaulay Gallery, East Lothian 1996 The Open Eye Gallery, Edinburgh 1998 Stenton Gallery, East Lothian 2001 The Open Eye Gallery, Edinburgh 2006 The Scottish Gallery, Edinburgh 2011 The Scottish Gallery, Edinburgh Mixed exhibitions in many of the above galleries as well as in Royal Academy, Royal Scottish Academy, Scottish Society of Artists, Scottish Society of Women Artists, ABDS Artists Annual Exhibitions.
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Works in Public Collections Scottish Arts Council City of Edinburgh Art Collection Nuffield Foundation Marks & Spencer Argyll and Bute Council Royal Bank of Scotland Morton Fraser The Fleming Collection Edinburgh College of Art Admin Staff College, Henley on Thames
Works in Private Collections HRH The Duke of Edinburgh and in Britain, USA and France.
Pip in her garden, Spring 2011
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Art College, 1936
Pip Pope with her father, 1917
Pip Pope, 1930
Diploma, June 1947
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Invermearan, Glen Lyon, 1936
Scruffy and Pip Pope, Haylodge, Trinity, c.1945
C. Watch, Kenton, 1940
Pip Pope in WAAF uniform, 1940
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Published by The Scottish Gallery to coincide with the exhibition Perpetua Pope Painter and Collector 4 - 30 April 2014 Exhibition can be viewed online at www.scottish-gallery.co.uk/perpetuapope ISBN: 978-1-905146-92-5 Designed by www.kennethgray.co.uk Photography by William Van Esland Printed by Barr Colour Printers All rights reserved. No part of this catalogue may be reproduced in any form by print, photocopy or by any other means, without the permission of the copyright holders and of the publishers.
16 Dundas Street, Edinburgh EH3 6HZ tel 0131 558 1200 email mail@scottish-gallery.co.uk www.scottish-gallery.co.uk
Right: Pip Pope’s garden, Spring 2011
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