A STUDIO PRACTICE
Introduction 2 Elizabeth Blackadder
4
Wilhelmina Barns-Graham 24
Victoria Crowe 46
Frances Walker 76
A STUDIO PRACTICE 5-29 July 2017
16 Dundas Street, Edinburgh EH3 6HZ +44 (0) 131 558 1200 mail@scottish-gallery.co.uk www.scottish-gallery.co.uk Cover: Wilhelmina Barns-Graham, Scorpio Series 2, No.15, 1996, cat. 18 (detail) Inside front cover: Victoria Crowe, While in Venice, c.1999, cat. 32 (detail)
A STUDIO PRACTICE The artist must work in isolation, no guidance is available in the moment of creativity. This can be an examination of determination passed only by those with self-belief as well as talent; one without the other is either unfulfilled promise or a delusion of worth. However, the artist will often seek the encouragement of the like-minded in good conversation, the sharing of ideas and even insights into technique, fellowship available in an art club, academy or workshop. This can find expression in printmaking, a collaborative process usually involving experiment, the advice and technical involvement of a master printer and a sense of adventure engendered by the unknown, the revelation of the sheet as it emerges from the etching or litho bed. A novel palette will be available, imagination required to allow for the reversal of the image and in the collaboration the artist will experience letting-go of complete control through which something new will always be learned. Wilhelmina Barns-Graham and Victoria Crowe found this with Graal Press in Roslin with Robert Adam, Elizabeth Blackadder at the Glasgow Print Studio with John McKechnie and Stuart Duffin and Frances Walker at Peacock in Aberdeen with Arthur Watson.
For Blackadder the etched line proved the perfect medium to describe an exotic orchid, for Barns-Graham the late Scorpio Series of gouaches had their origin in the expressionist lithographs made with Carole Robertson at Graal. For Frances Walker lithography was the perfect process to depict her beloved Tiree and a sharp etched line could recall the clarity of South Georgia. Technical originality characterises the works on paper of Victoria Crowe from the etched starting point of her sketchbook leaves to the multi-layered images combining renaissance and contemporary reference. For these and many other artists the experience of printmaking will be taken back to the studio and will be put to use to invigorate the solitary process. McTaggart called painting ‘the good habit’ and we can add hard work to self-belief and talent in our list of attributes for the artist. Inspiration can come from experimentation with a variety of techniques (indeed many artists will employ ‘mixed media’); great art cannot be made in a vacuum and an open process will enrich a studio practice. Guy Peploe Director
Right: Frances Walker, Shore Pool, near Achmelvich, 2014, cat. 60 (detail) 2
ELIZABETH BLACKADDER DBE, RA, RSA, RSW, RGI (b.1931) In considering the last hundred and twenty or so years of Scottish art, the period broadly covering the modern and of course the contemporary (those artists who enjoy the distinction of still being with us), we can detect commonalities: those that spring from a consideration of the same landscapes for example, or those to do with the enjoyment of the medium of oil paint. This allows us to make comparison between Peploe, Redpath and Eardley or George Leslie Hunter, MacTaggart and John Houston. Creativity is as messy as nature and there is no unbroken line of development, indeed the notion of development has become invalid: modernism has provided the liberty to the artist to make work out of anything and depict anything and the art world has become atomised. For more than half of this period the images of Elizabeth Blackadder have surprised and beguiled us, a presence that has grown and achievements that can be considered as quite discrete from the usual fodder for the survey of our national school. She can perhaps best be considered as a national treasure, like Burns or Scott or Raeburn, her body of work a monument to quiet application, restraint, enlightenment and cultural variety. Each work has the simple poetry of a haiku but is presented with the perfect pitch of a tuning fork. We have celebrated a consistent relationship between the artist and Gallery, having held ten exhibitions, the last six coinciding with the Edinburgh Festival, put on with The Scottish Gallery. Of course she has shown
elsewhere, not least with the National Galleries of Scotland and her long association with the Royal Academy (she became an Associate in 1971 and was the first woman to be a member of both the RA and RSA) has added to her national profile. The list of honours and exhibitions runs to a book in itself and it is hard to grasp the breadth of her achievement across many media. For many she is best understood as a watercolourist, for many more her printmaking has allowed collectors to own her work, new editions of etchings, screenprints and lithographs appearing regularly. Blackadder, like several Edinburgh School painters, has maintained separate watercolour and oil studios. Her compositions in oil must be seen as her greatest contribution, brilliant fusions of real objects and imaginary space, limitless colour invention moderated by impeccable combination, the perfect balance of sharp focus and free drawing with the brush and an unerring sense of restraint and harmony, never overworked. Guy Peploe Public collections include: Aberdeen Art Gallery and Museums Glasgow Museum and Art Gallery National Portrait Gallery, London Scottish National Gallery of Modern Art, Edinburgh Scottish National Portrait Gallery, Edinburgh Tate Gallery, London Victoria & Albert Museum, London
Elizabeth Blackadder, 2003. Photo: Norman McBeath. Courtesy of National Portrait Gallery, London 5
This early sketchbook drawing dates from the artist’s time at Edinburgh College of Art. The high horizon may take influence from her tutor and friend William Gillies, but the nervous energy of line, and assured mark making are entirely Blackadder’s own.
1.
Fife Farm near Burntisland, c.1952 ink on paper, 33 x 45 cms signed lower right exhibited
Elizabeth Blackadder – Decades, The Scottish Gallery, Edinburgh, 2016, ex.cat; Modern Masters VI, The Scottish Gallery, Edinburgh, 2017, cat. 10; Portrait of a Gallery, The Scottish Gallery, Edinburgh, 2017, cat. 29 provenance
Private collection, Edinburgh 6
7
2.
Roman Wall I: Castle Nick, 1963
screenprint, 55 x 72 cms signed and dated lower right, edition of 50 exhibited
Elizabeth Blackadder – Decades, The Scottish Gallery, Edinburgh, 2016, cat. 5 illustrated
Elizabeth Blackadder Prints by Christopher Allen, Lund Humphries, 2003, pl.6 8
9
3.
Melon and Cloth, c.2010
oil on canvas, 30.5 x 40 cms 10
4.
Frango no Espeto no.2, 1966 oil on canvas, 91.5 x 91.5 cms signed and dated centre right
11
Flowers are often present in Elizabeth Blackadder’s still life compositions and increasingly they became a subject in themselves. She acquired her first garden with her move to Queens Crescent in 1963. There can be no other painter as prolific in the number of things included in her painting: toys, wrappers, ceramics, postcards, fabric, fruit (real and carved), boxes, bowls, parcels and so on. When she travelled she accumulated things and then, eventually, they might be put to use, often crumpled, upside down, rescaled, flattened or partial.
5.
White Still Life, 1967
oil on canvas, 102 x 152 cms signed and dated lower left 12
13
The jacket (a favourite garment, a gift from her husband John Houston) bears the colours of the rainbow but in glorious chaos, with the right side of the composition, glass shelves supporting delicate, enigmatic objects includes the rainbow, a perfect glowing arch.
6.
White Still Life with Rainbow and Embroidered Jacket, 1974 oil on canvas, 76 x 122 cms signed and dated lower right exhibited
Elizabeth Blackadder – Festival Exhibition, The Scottish Gallery, Edinburgh, 1974, cat. 9; Elizabeth Blackadder & John Houston – Journeys from Home and Journeys Together, The Park Gallery, Falkirk and the Pathfoot Building, University of Stirling, 2011; Elizabeth Blackadder – Decades, The Scottish Gallery, Edinburgh, 2016, cat. 10 14
15
7.
Pavement Leaves, 2013
watercolour, 58 x 77 cms signed lower left exhibited
Elizabeth Blackadder – The Nature of Things, The Scottish Gallery, Edinburgh, 2013, cat. 18; Elizabeth Blackadder – Decades, The Scottish Gallery, Edinburgh, 2016, cat. 34 16
17
8.
Abyssinian Cat, 2003
coloured etching, 36 x 30 cms signed lower right, edition of 80 18
9.
Fred, 2003
coloured etching, 30 x 36 cms signed lower right, edition of 80 19
10.
Irises, Lilies, Tulips, 2013
coloured etching, 37 x 41 cms signed lower right, edition of 40 20
HIGH RES REQUIRED
11.
Irises, 2012
etching, 48 x 69 cms signed lower right, edition of 50 21
12.
Tulips, 2012
screenprint, 56 x 76 cms signed lower right, edition of 80 22
13.
Wild Flowers, 2013
screenprint, 72.5 x 89.5 cms signed lower right, edition of 65 23
WILHELMINA BARNS-GRAHAM CBE, HRSA, HRSW (1912-2004) Wilhelmina Barns-Graham, known as Willie, was born in St Andrews, Fife, on 8 June 1912. Determining while at school that she wanted to be an artist, she set her sights on Edinburgh College of Art, where she enrolled in 1932 and graduated with her diploma in 1937. At the suggestion of the College’s principal, Hubert Wellington, she moved to St Ives in 1940. Early on she met Borlase Smart, Alfred Wallis and Bernard Leach, as well as Ben Nicholson, Barbara Hepworth and Naum Gabo who were living locally at Carbis Bay. Her peers in St Ives include, among others, Patrick Heron, Terry Frost, Roger Hilton, and John Wells. Barns-Graham’s history is bound up with St Ives, where she lived throughout her life. In 1951 she won the Painting Prize in the Penwith Society of Arts in Cornwall Festival of Britain Exhibition and went on to have her first London solo exhibition at the Redfern Gallery in 1952. She was included in many of the important exhibitions on pioneering British abstract art that took place in the 1950s. In 1960, Barns-Graham inherited Balmungo House near St Andrews, which initiated a new phase in her life. From this moment she divided her time between the two coastal communities, establishing herself as a Scottish artist as much as a St Ives one. Important exhibitions of her work at the Tate St Ives in 1999/2000 and 2005, and the publication of the first monograph on her life and work, Lynne Green’s W. Barns-Graham: A Studio Life, 2001, confirmed her as one of the key contributors of the St Ives School, and as a significant British modernist. She died in St Andrews on 26 January 2004.
Public Collections include: Aberdeen Art Gallery and Museums Arts Council of Great Britain, London British Museum, London Dundee Museum and Art Gallery Edinburgh City Art Centre Ferens Art Gallery, Hull Government Art Collection Gracefield Arts Centre, Dumfries Hawick Museum Jerwood Gallery, Hastings Kelvingrove Art Gallery and Museums, Glasgow Kettle’s Yard, Cambridge Lillie Art Gallery, Milngavie Manchester City Art Gallery New South Wales Art Gallery, Sydney, Australia Pallant House, Chichester Pier Arts Centre, Stromness, Orkney Royal Scottish Academy, Edinburgh Scottish National Gallery of Modern Art, Edinburgh Tate Gallery, London The Fleming-Wyfold Art Foundation, London The Royal Collection Victoria and Albert Museum, London
Wilhelmina Barns-Graham at Art First 2000 Photo: Simon Norfolk 25
After studying at Edinburgh College of Art in the 1930s, Wilhelmina Barns-Graham with the help of a travelling scholarship moved to St Ives in Cornwall in 1940. There she met and became influenced by the work of Ben Nicholson and was introduced to Barbara Hepworth and Naum Gabo. These artists recognised the quality of her work, especially the power and rigour of her draughtsmanship; which is exemplified in this large pastel drawing of a Palinure Campagna (Red Canyon) in Sicily, which she made on a visit to Italy in 1955, sponsored by the Italian Government. In 1956 Barns-Graham exhibited at The Scottish Gallery with an exhibition entitled Drawings from Sicily, Italy and S. W. Cornwall.
14.
Palinure Campagna, 1955
pencil with pastel, 47 x 59 cms signed and dated lower left 26
27
15.
Movement on Brown, 1960 gouache, 53.5 x 42 cms signed and dated on verso exhibited
W. Barns-Graham Exhibition, The Scottish Gallery, Edinburgh, 1960, cat. 20; Portrait of a Gallery, The Scottish Gallery, Edinburgh, 2017, cat. 56 provenance
Private collection, Midlothian 28
29
16.
Movement into Space (Into Brown), 1980 gouache on card, 24.8 x 24.8 cms signed and dated lower left
17.
Movement in Space Days Nights, 1980 oil on canvas, 101.5 x 102.2 cms
exhibited
exhibited
Portrait of a Gallery, The Scottish Gallery, Edinburgh, 2017, cat. 57
Portrait of a Gallery, The Scottish Gallery, Edinburgh, 2017, cat. 54.
provenance
provenance
The Wilhelmina Barns-Graham Trust Inventory no. BGT1059
The Wilhelmina Barns-Graham Trust Inventory no. BGT431
30
Scorpio Series 2 is recognised as being one of the most important series of her career. This is a vibrant painting – an explosion of colour and form which confronts the senses and is painted with absolute certainty. In 1996, the Scottish National Gallery of Modern Art held a retrospective of her work and this picture is a reflection of the artistic confidence in her own abilities and position.
18.
Scorpio Series 2, No.15, 1996
acrylic on paper, 56.5 x 76 cms signed and dated lower left exhibited
Modern Masters III, The Scottish Gallery, Edinburgh, 2014, cat. 2; Last Light, The Scottish Gallery, Edinburgh, 2016, cat. 7; Portrait of a Gallery, The Scottish Gallery, Edinburgh, 2017, cat. 55 provenance
The Wilhelmina Barns-Graham Trust Inventory no. BGT944 32
33
19.
Orange and Blue, 2003
acrylic on paper, 20.5 x 20.4 cms signed and dated top left exhibited
Portrait of a Gallery, The Scottish Gallery, Edinburgh, 2017, ex cat. provenance
The Wilhelmina Barns-Graham Trust Inventory no. BGT3317 34
35
20.
Beach, 1999
screenprint, 29 x 40 cms signed and dated lower left, edition of 75 illustrated
The Prints of W. Barns-Graham by Ann Gunn, Lund Humphries, 2007, cat. 42 36
21.
Millenium Series Green, 2000
screenprint, 24 x 30.5 cms signed and dated lower right, edition of 75 illustrated
The Prints of W. Barns-Graham by Ann Gunn, Lund Humphries, 2007, cat. 65 37
22.
Millenium Series Pink, 2000
screenprint, 24 x 30.5 cms signed and dated lower right, edition of 75 illustrated
The Prints of W. Barns-Graham by Ann Gunn, Lund Humphries, 2007, cat. 66 38
23.
Homage to Johnny, 2002
screenprint, 26.5 x 35 cms signed and dated lower right, edition of 75 illustrated
The Prints of W. Barns-Graham by Ann Gunn, Lund Humphries, 2007, cat. 46 This print relates to three paintings entitled Goodbye to Johnny, made after the death of artist John Wells in 2000. 39
24.
Sunghrie III, 2002
screenprint, 58 x 76 cms signed and dated lower right, edition of 75 illustrated
The Prints of W. Barns-Graham by Ann Gunn, Lund Humphries, 2007, cat. 77 40
25.
Earth Series V, 2002
screenprint, 58 x 76 cms signed and dated lower right, edition of 65 illustrated
The Prints of W. Barns-Graham by Ann Gunn, Lund Humphries, 2007, cat. 60 41
26.
Tango, 2003
screenprint, 58 x 58 cms signed and dated lower right, edition of 70 illustrated
The Prints of W. Barns-Graham by Ann Gunn, Lund Humphries, 2007, cat. 48 42
27.
White Circle Series 1, 2003
screenprint, 56 x 56 cms signed and dated lower right, edition of 70 illustrated
The Prints of W. Barns-Graham by Ann Gunn, Lund Humphries, 2007, cat. 99 43
28.
Water Dance (Porthmeor) 1, 2004 screenprint, 56 x 56 cms edition of 70 illustrated
The Prints of W. Barns-Graham by Ann Gunn, Lund Humphries, 2007, cat. 93 44
29.
Wind Dance Series No.1, 2004 screenprint, 56 x 56 cms edition of 70 illustrated
The Prints of W. Barns-Graham by Ann Gunn, Lund Humphries, 2007, cat. 102 45
46
VICTORIA CROWE
OBE, DHC, FRSE, MA(RCA), RSA, RSW (b.1945) Victoria Crowe has been described as ‘one of the most vital and original figurative painters currently at work in Scotland’ with works in global public and private collections, including the National Portrait Gallery, London; National Galleries of Scotland; the Royal Academy, London; and Frederiksborg Castle, Denmark. Over the last 40 years she has established herself as a painter whose work is instantly recognisable and while the full range of her painting covers landscape, still lifes, portraits, self-portraits and interiors, much of her work defies such precise categorisation. Today she divides her time between Venice, Edinburgh and West Linton. The location of her studios providing thematic richness to her practice. Victoria studied at Kingston School of Art (1961-65) and at the Royal College of Art, London (1965-68). For 30 years she worked as a part-time lecturer in the School of Drawing and Painting at Edinburgh College of Art, while developing her own artistic practice. Her first one person exhibition, after leaving the Royal College of Art, was in London and she has subsequently gone on to have over 50 solo shows worldwide. Victoria is a member of the Royal Scottish Academy (RSA) and
the Royal Scottish Society of Painters in Watercolours (RSW). She has exhibited nationally and internationally and undertaken many important portrait commissions, including RD Laing, Peter Higgs and Jocelyn Bell Burnell. In 2018, the Scottish National Portrait Gallery is holding a retrospective exhibition of Crowe’s portrait work, which will coincide with an Edinburgh Festival Exhibition of new paintings at The Scottish Gallery. Public Collections include: Fleming-Wyfold Art Foundation Glasgow Museums and Art Galleries Houses of Parliament, London National Museums of Scotland National Portrait Gallery, London National Trust for Scotland Reading Museum and Art Gallery Royal Academy, London Royal College of Art, London Royal Scottish Academy, Edinburgh Scottish Arts Council Scottish National Gallery of Modern Art, Edinburgh Scottish National Portrait Gallery, Edinburgh
Victoria Crowe in Venice, 2017. Photo: Andy Phillipson / livewireimage.com 47
Advent Assembly is a complex still life composition. The assemblage of objects acts as memento mori but more a paradigm for memory: a life lived, recalled by the ephemera and trophies of its passage. The advent calendar doors are neither open nor closed; there is a small picture to the far right which might be Kittleyknowe in Winter and another picture on the left is possibly Monk’s Cottage, usually painted from the inside looking out. The flowers represent the various life cycles and the scattered objects are mysterious and familiar in equal measure. The little mirror, which casts out a blue light, gives us a glimpse into another, unknown world.
30.
Advent Assembly, c.1991
mixed media, 80 x 99 cms signed lower left provenance
Private collection, Perthshire exhibited
Royal Scottish Academy Annual Exhibition, Edinburgh, 1992; Modern Masters, The Scottish Gallery, Edinburgh, 2013 48
49
31.
Interior with Passing Figure, c.1995 silkscreen print, 56 x 103.5 cms signed lower right, edition of 32 50
32.
While in Venice, c.1999
variation screenprint, 58 x 50 cms signed lower right, edition 1 of 1 illustrated
Victoria Crowe by Duncan Macmillan, Antique Collectors Club, 2012, p.85 51
33.
Painted Room with a View, 1993 mixed media, 24 x 42 cms signed lower right provenance:
Thackeray Gallery, London; Private collection, Perthshire 52
34.
Italian Offerings, c.1995
lithograph, 57 x 70.5 cms signed lower right, edition of 20 53
35.
Drawn from Italy, 2001
silkscreen, intaglio and chine collĂŠ, 38 x 89 cms signed lower right, edition of 35 illustrated
Victoria Crowe by Duncan Macmillan, Antique Collectors Club, 2012, p.83 54
55
36.
Bellini Wall, Venice, c.2005
collograph, 23.75 x 41.75 cms signed lower right, edition of 18 56
37.
Bellini Wall, Venice, c.2005
intaglio on fibrous paper, 24 x 42 cms signed lower right, edition 1 of 1 57
38.
Studio Interior with Mask, c.2009 oil on linen, 71 x 76 cms signed lower right exhibited
Portrait of a Gallery, The Scottish Gallery, Edinburgh, 2017, cat. 65 58
59
39.
Sentinel Guardian I, 2010-2011 oil on linen, 112 x 56 cms signed lower right exhibited
Four Women Artists, The Scottish Gallery, Edinburgh, 2015, cat. 24 provenance
Private collection, Scottish Borders 60
61
40.
Dog and Crumbling Walls, 2010
mixed media with intaglio, 26.5 x 35 cms signed exhibited
Reflection, The Scottish Gallery, Edinburgh, 2010, ex. cat. 62
41.
Real and Imagined World, 2010
intaglio and screenprint, 29 x 34 cms signed lower right, edition of 100 63
42.
Little Saint, Rialto, c.2012
mixed media and intaglio, 18.5 x 25 cms signed lower right 64
43.
The City Reflected, 2012
etching, collograph, silkscreen, 40.6 x 51 cms signed lower right, edition of 30 The City Reflected and Solstice, Trees and Ice (cat. 45) were made in collaboration with Stuart Duffin at Glasgow Print Studio. 65
44.
Large Tree Group, Winter, 2014
etching and screenprint, 50.5 x 71 cms signed lower right, edition of 250 66
45.
Solstice, Trees and Ice, 2012
etching collograph, 50 x 40 cms signed lower right, edition of 30 67
46.
Evening, Salute, 2017
mixed media on handmade paper, 19 x 39 cms signed lower right 68
47.
Enigmatic Venice, 2016
mixed media on canvas laid on board, 29 x 66 cms signed lower right 69
48.
The Zattere, Evening, 2016
mixed media on board, 33 x 107 cms signed lower right 70
71
49.
The City and Dramatic Sky, 2017 oil on board, 61 x 76 cms signed lower right 72
73
50.
Reflected Skyline, Tramonto, 2017
oil and mixed media on handmade paper, 38 x 58.5 cms signed lower right 74
75
FRANCES WALKER RSA, RSW (b.1930) Frances Walker is one of Scotland’s most highly regarded living artists. Born in 1930 in Kirkcaldy Frances studied at Edinburgh College of Art and later taught in the Hebrides before taking up a position at Grays School of Art in Aberdeen. Since her retirement from Grays she has travelled extensively taking inspiration from wild and isolated terrain, in particular that of the Western Isles and Antarctica. She was honoured with a major retrospective at Aberdeen Art Gallery in 2010 entitled A Place Observed in Solitude. This coincided with an exhibition at The Scottish Gallery, Antarctic Convergence which presented Frances’ recent work from a trip to Antarctica. A collection of her Antarctic paintings are now in the collection of the McManus Gallery in Dundee. Frances was a founding member of Peacock Printmakers in Aberdeen where she has been producing prints for over four decades.
Public Collections include: Aberdeen Art Gallery and Museums ANGUSalive, Arbroath The Argyll Collection, Oban Edinburgh College of Art Inverness Museum and Art Gallery Kirkcaldy Galleries Royal Scottish Academy, Edinburgh Robert Gordon University, Aberdeen Sabhal Mòr Ostaig, Skye Scottish National Gallery of Modern Art, Edinburgh University of Edinburgh University of Aberdeen University of St Andrews
Frances Walker, Tiree, c.1990 Photo: Donald Addison 77
51.
Green Geo, c.1985
screenprint, 107 x 58.5 cms signed lower right, edition of 50 78
79
Towards the end of 1978 I made my first visit to Finland with the aid of a Gillies award from the Royal Scottish Academy. I made the return journey by cargo ship from Hull to Helsinki. From the drawings and studies I brought back from those six weeks in Finland I created a body of prints the Finnish Suite which were all printed at the then named Peacock Printmakers. Frances Walker, May 2017
52.
The Deserted House, 1979
lithograph and screenprint, 32 x 53 cms signed lower right, edition of 30 80
53.
In a Hailuoto House, 1979
lithograph (2 stone), 44 x 58 cms signed lower right, edition of 30 81
54.
Rock Pool Cleft, 1996
steel plate etching and watercolour hand tint, 127 x 90 cms signed lower right, edition of 40 82
83
In 2007 presented with the James McBey Travel Award I realised my ambition to visit Antarctica when I joined an international group of fellow passengers in a ship at Ushuaia at the southern tip of South America sailing and making shore visits over an 18-day voyage to the Antarctic Peninsula, South Shetlands, South Georgia and the Falkland Islands. These prints are a small part of the work I made after that very inspirational experience. Frances Walker, May 2017
55.
Petrel, South Georgia, 2010
etching and aquatint, 40 x 71 cms signed lower right, edition of 12 84
85
56.
Wordie Hut, Antarctic Peninsula, 2010
lithograph and screenprint, 50 x 92 cms signed lower right, edition of 16 86
57.
Grytviken, South Georgia, 2010
etching and aquatint, 22.5 x 55 cms signed lower right, edition of 12 87
Frances Walker was one of six UK artists commissioned to make a print by the House of Commons to mark the Queen’s Diamond Jubilee and capture images of Portcullis House for their Works of Art Collection: the image shows two vast bronze air duct chimneys with the London Eye beyond, plus a glimpse of a nearby old red brick chimney against a grey January sky.
58.
Portcullis House Rooftops, 2012 screenprint, 36.5 x 50 cms signed lower right, edition of 50 88
89
59.
60.
etching and chine colle, 79 x 56 cms signed lower right, edition of 20
etching (2 plate), 86 x 58 cms signed lower right, edition of 22
Achmelvich Landscape, 2012
90
Shore Pool, near Achmelvich, 2014
61.
Wild Shore, Tiree, 2015
etching with screenprint, 62 x 91.5 cms signed lower right, edition of 22 92
93
62.
On the Way to Cruden Bay, 2016 screenprint, 29.5 x 100 cms signed lower right, edition of 28
This print was based on the memory of a coastal walk that Frances enjoyed with several fellow artists. 94
95
Published by The Scottish Gallery to coincide with the exhibition A STUDIO PRACTICE 5 – 29 July 2017 Exhibition can be viewed online at www.scottish-gallery/studiopractice ISBN 978 1 910267 62 2 Printed by Allander 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 +44 (0) 131 558 1200 mail@scottish-gallery.co.uk www.scottish-gallery.co.uk Right: Elizabeth Blackadder, Frango no Espeto no.2, c.1990, oil on canvas, 91.5 x 91.5 cms, cat. 4 (detail) 96