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Modern Masters X Christina Jansen
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A Life in Line and Colour Lachlan Goudie
24 Victoria Crowe: The Venetian Collection 35 Modern Masters Recent Acquisitions 76
Collecting Post-War Prints Tommy Zyw
Robin Philipson, c.1957. Photograph by Paul Shillabeer
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M O DE R N MASTERS X
MODERN MASTERS X Christina Jansen
Welcome to the tenth edition of our Modern Masters series. We are delighted to include the artist, art historian and broadcaster Lachlan Goudie as a special guest writer. He has written a succinct essay on the work of his father, Alexander Goudie (1933–2004). This particular selection of paintings and drawings from the estate provides a taste of a spectacular artistic career. There are a number of post-war Glasgow trained artists whose work requires a new appraisal to enhance understanding of the era and the artists’ influence. Alexander Goudie will receive a major retrospective in 2021. Modern Masters X also brings together a group of paintings by Victoria Crowe which were painted when the artist first visited Italy, in particular Venice which became a vital part of her studio practice from the late 1990s. The collection are superlative examples which exemplify the excitement the artist felt immersed in the ancient city. Other recent acquisitions give insight into the spirit of place evoked by Edinburgh School painters Robert
Henderson Blyth, Adam Bruce Thomson and Willie Wilson. We also have fine early works by Dame Elizabeth Blackadder and Alberto Morrocco alongside a fabulous late Poppies painting by Sir Robin Philipson. Our final chapter sees Tommy Zyw discuss post-war prints which includes work by William Scott, Elizabeth Blackadder and a Harley Brothers collaboration with Edward Gage. Life in The Gallery is often surprising; we learn something new about our history every week. We were recently clearing out some ancient accounts papers from an inaccessible place and behind the dusty reams we uncovered two archive boxes of artist photographs. For us, the equivalent of finding gold. There were several rare images of women artists, and other archive prints which may lead to new projects and research. Some of the images feature in our tenth edition of Modern Masters, which we hope you will enjoy. We would like to thank Lachlan Goudie for contributing so generously to our publication.
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MODERN MASTER
ALEXANDER GOUDIE RP, RGI (1933–2004)
A LIFE IN LINE AND COLOUR Lachlan Goudie
In 1955 my father graduated from the Glasgow School of Art clutching a diploma in drawing and painting. He was 21 years old, a young student possessed of a clear and unflinching ambition; that the rest of his life should be spent as an artist.
Alexander Goudie, or ‘Sandy’ as he was known to his friends, was the son of a plumber. He had grown up in Paisley, a textile town just South of Glasgow where home was a one bedroom, ground floor flat. He shared a bed with his brother and his parents slept in the kitchen. There was little in his background to suggest that Sandy would become a renowned portrait artist but at the age of 17 he enrolled at the Glasgow School of Art and began developing his talent for drawing and painting. As a student Sandy Goudie was boisterous, opinionated and cheerfully confrontational. But he was not a rebel.
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Even from this early stage he had evolved an idea of what it meant to be an artist that was grounded upon tradition. He relished the lessons which were given to him by tutors, including David Donaldson, and his artistic heroes were figures like Manet, Velázquez and Van Dyke. The rest of his life would be a performance, channelling the spirit of these great masters, pushing himself creatively and technically, aspiring to reach the heights of their genius. Even at this early stage, art for young Goudie was a celebration, an opportunity to create a vision of the world that was rich in sensuousness and painterly beauty. It was the approach he brought to painting
M O DE R N MASTERS X
Alexander Goudie painting a portrait of the Lord Chancellor, Lord Mackay of Clashfern, 1988.
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Alexander Goudie at home in Arnewood House, Glasgow, reviewing work for his exhibition Goudie at 50, 1983.
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portraits, a genre he specialised in after graduating from art school. Working in a small studio in Paisley and then Johnstone, dad would transform his subjects. When confronted with a sober suited professor or provost, he would flamboyantly describe their ceremonial robes, enhancing their appearance with carefully placed highlights, endowing them with the appearance a royal courtier. He loved the dramatic possibilities of paint. In 1962, my father’s life was transformed when he met and married a young French girl from Brittany, Marie-Renée Dorval. From this point onwards he would spend part of each year in France, using the home of his in-laws as both a studio and as a kind of living theatre of inspiration. Brittany, in 1962, was a country preserved in aspic – a deeply religious culture, where traditional costume and head-dresses were still worn every day. It was a landscape and an agricultural economy that had hardly changed since the years when artists like Paul Gauguin first visited. This was just the kind of time-machine my father needed; a rural subject in-which he could embed himself, just as the 19th Century Glasgow Boys had done in Cockburnspath, on the East coast of Scotland. Each summer, dad sketched the ploughmen, the potato pickers, the fish gutters and trawlermen. And just as he elevated the dour dignitaries that came to sit for their portraits in Scotland, so he now ennobled the fieldworkers of Brittany – etching their dignified profiles into his sketchbooks, onto canvas and eventually modelling them in clay. For artists like Gauguin and Paul Serusier, the strong light, strong shadows and strong colours of Brittany had been transformative. They were inspired to experiment with compositions
incorporating areas of bold, flat pigment – to create images that seemed ever so slightly unhitched from reality. And in the 70s and 80s, as my father grew more familiar with his new Breton subject and with the work of the artists who had preceded him, so he began to indulge the colourist lurking inside of him. Increasingly his impressions of the land and the sea became vivid, joyous; a graphic patchwork of form and colour. Brittany was my father’s second artschool. It had a deep impact on the style of painting he pursued on returning to his studio in Glasgow every autumn. By the mid 1970s my parents had swapped a cottage in Johnstone for a building more suited to dad’s flamboyant artistic ambitions, and indeed his ego. The Victorian Palazzo where I grew up and where my father had his studio was a huge and fabulously ornamented stage set. Beneath the vaulted glass ceiling, gilded cornicing and cantilevered galleries, dad played the starring role. He was a tartan-suited virtuoso, painting Dukes and Duchesses one day and sumptuous still lives the next. In the hallway, a stereo poured out a constant soundtrack of classical music and in the kitchen my mother laboured to prepare platters of lobsters, pheasants and porcine cuts and carcasses. These were ferried into the studio where my dad would ignore the mouldering stench of decay that inevitably set in after a few days, and create painted representations of baroque abundance. Alexander Goudie, along with his peers and contemporaries, David Donaldson, Jimmy Robertson, John Cunningham, Duncan Shanks and John Byrne were trained at art school to understand the alchemy of paint. They studied the properties of pigments and mediums,
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Alexander Goudie at home in Arnewood House, Glasgow, reviewing work for his exhibition Goudie at 50, 1983.
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As dad stomped the corridors of our home, he became more invested in each successive project.
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the tension between line and colour, the methods of modelling form and transferring your lived experience onto canvas. In the second half of the 20th century, however, with the emergence of conceptual art, these principles of painterliness, craftsmanship and technique came to be viewed with suspicion. The simple act of painting landscapes, portraits or still lives was condemned by some critics as outmoded. My father was unrepentant – and in any case he didn’t know any other way to be an artist. So, in the 1980s his canvasses just got bigger, the subjects he tackled even more romantic and his ambitions increasingly grandiose. At the end of that decade in a series of over 300 works, which included vast murals and sculptures, he designed the sets and costumes for Richard Strauss’ opera Salome. A lifetime’s experience of painting Brittany and three years of dedicated and ferocious work generated the décor for a 25,000-tonne crosschannel ferry – ‘Le Bretagne’. And finally there was his most obsessive project. Scotland’s long, dark winters were a laboratory in which dad formulated his vision of ‘Tam o’Shanter’ – a cycle of vast paintings that threatened to overwhelm the walls of the mansion in which we all lived. The canvasses featured a gothic, gore-fest; witches, bogles, sacrificial babies and the travails of Burns’ hapless Ayrshire farmer, fleeing this nightmare. As dad stomped the corridors of our home, he became more invested in each successive project. On the rare occasions that he ventured outside it was, more often than not, in order to catch a flight to London, Madrid or Venice. Even in his midfifties, my father’s dedication to the great masters was apostolic. In his studio he surrounded himself with towers of books
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and monographs. When a major exhibition opened, or perhaps when the reserves of his own artistic endurance were running low, he swapped a painting smock for travel-wear (tailored suit, bowtie, Church’s brogues and a fedora) and headed to the National Gallery, the Prado or the Accademia. These trips were pilgrimages for my father and there was no destination more revitalising for him than Venice. Alexander Goudie’s career as a portrait painter was crowned in 1993 with a Royal commission to paint the Queen. For an artist who daydreamed of being Van Dyke there could be no greater accolade. In his last years the pace of work only seemed to accelerate. He turned his attention to Glasgow’s skyline and when painting the portrait of his adoptive city, dad refused to depict a vision of urban decay and squalor. In his eyes Glasgow was a Vienna of the North, a place of culture and architectural elegance. The Victorian splendour of Park Circus was no less ‘real’ than the sooty canyons and gutters of the Gorbals. It was the intellectual and aesthetic ambition of Glasgow that he chose to celebrate; a dear green place, Kelvingrove’s palace of art and the dreaming spires of the city’s medieval university. Alexander Goudie died in 2004. To his last breath he was an unreconstructed romantic, an egomaniac, an artist immersed in the tradition of painting. His was a life dedicated to colour and painterly flamboyance, an eye and a hand that documented his most valued experiences with unrivalled skill. I will always be his apprentice.
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Alexander Goudie RP, RGI (1933–2004) 1. Self Portrait in the Studio, c.1995 pencil drawing, 52 x 64 cm signed with studio stamp lower right provenance
The Alexander Goudie Trust
My father regularly painted his own self portrait. This is a drawing completed in his studio and was part of a series created for his project Goudie’s Glasgow. In the background we can see several of the artist’s easels. On the right-hand side is a sketch of the painting Masked Ball, which features in this exhibition, and on the left is one of the canvasses he was painting at the time for Tam o’Shanter, depicting a gaggle of dancing witches. Goudie shows himself in the mirror alongside a plaster cast head which he had inherited from his friend, the Glasgow painter Ernest Hood. Lachlan Goudie
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Alexander Goudie RP, RGI (1933–2004) 2. Park Circus, Dusk, 2000 oil on board, 122 x 122 cm signed with studio stamp lower left provenance
The Alexander Goudie Trust
Alexander Goudie lived in the West End of Glasgow for most of his career. He admired the sweeping panoramas of Kelvingrove Park and painted several canvasses concentrating on the elegant skyline of Park Circus. This economically executed image evokes the long evenings of a Scottish summer and the architectural ambition of those Victorians who built much of Glasgow. Lachlan Goudie
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Alexander Goudie RP, RGI (1933–2004) 3. Brace of Pheasants, c.1985 oil on canvas, 96 x 46 cm signed upper left provenance
The Alexander Goudie Trust
Around 1985, Alexander Goudie painted the portrait of his friend, John Thomson, dressed in shooting garb and sporting a shotgun. Never one to miss an opportunity, during the intervals between each sitting Goudie employed the sitter’s shotgun, cartridge bag and a brace of pheasants in order to paint this still life. The tradition of Dutch 17th Century still life paintings that feature dead game and hunting trophies appealed to Goudie. The painting touches on the parallels between pleasure and mortality that often featured in the background to those Dutch still lives. But the tight control exerted over palette and tone reveal the influence of the artist’s own Glasgow Boy predecessors. Lachlan Goudie
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Alexander Goudie RP, RGI (1933–2004) 4. After the Sermon, 1989 oil on canvas, 81 x 81 cm signed upper right provenance
The Alexander Goudie Trust
A painted homage to Paul Gauguin’s Vision after the Sermon. Alexander Goudie’s experience of living in Brittany made him appreciate even more intensely the power of Gauguin’s work. The Vision after the Sermon was the painting he most admired as a student in the National Gallery of Scotland. Here it features as an image pinned to the background. Goudie employs Gauguin’s technique of simplifying his composition with blocks of colour. He uses the paint sparely, producing a still life inspired by the stark religious fervour of the farmers and fishermen he came to know in Brittany. Lachlan Goudie
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Alexander Goudie RP, RGI (1933–2004) 5. Masked Ball, c.1990 oil on canvas, 81 x 81 cm signed lower left provenance
The Alexander Goudie Trust
Alexander Goudie was a virtuoso of still life painting and these works are some of his most sought after. Masked Ball was inspired by the Carnival in Venice. Goudie visited the city on numerous occasions. He was an admirer and a kindred spirit of those Renaissance artists Titian, Veronese and Tiepolo whose work was distinguished by a rich use of colour and sense of theatricality. He distilled his love of Venice, its mysterious atmosphere and extraordinary artistic heritage into this painting. Lachlan Goudie
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Alexander Goudie RP, RGI (1933–2004) 6. Summer Fruits, c.1989 watercolour, 35 x 48 cm signed upper left provenance
The Alexander Goudie Trust
One of the many still lifes which Goudie created for the décor of the cross-channel ferry Le Bretagne. Painted en plein air, on a table-top in Brittany, it’s an image which conveys the strength of sunlight and the refreshing pleasures of summer fruits purchased from the local market. Lachlan Goudie
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Alexander Goudie RP, RGI (1933–2004) 7. Salome’s Last Veil, 1990 gouache on board, 76 x 106 cm stamped on reverse provenance
The Alexander Goudie Trust
This work is one of the signature paintings created by Goudie to illustrate Richard Strauss’ opera, Salome. The artist was commissioned by Scottish Opera to create the décor and costumes for their 1990 production. The project eventually fell through, but Goudie continued creating a series of sensuous and exotic images that brought the story to life on canvas. The artist designed and hand painted many of the frames, including this one. It was his intention that the eventual exhibition should be as total and immersive as an evening at the opera itself! Lachlan Goudie
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Alexander Goudie RP, RGI (1933–2004) 8. Gondolas Beneath the Salute, 1987 pen on paper, 29 x 20 cm signed lower left provenance
The Alexander Goudie Trust
Alexander Goudie RP, RGI (1933–2004) 9. The Grand Canal, 1987 pen on paper, 20 x 29 cm signed upper right provenance
The Alexander Goudie Trust
Whilst in Venice, Alexander Goudie would always take the opportunity to frequent the most salubrious addresses. The Danieli and the Gritti Palace were not only exquisite places in which to stay or enjoy a cocktail – they also allowed for long hours spent at a balcony or on the hotel terrace sketching the Grand Canal. These studies of the Salute and Venetian Gondolas are the results of just such experiences – possibly enabled by a Bellini or two… Lachlan Goudie
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Alexander Goudie RP, RGI (1933–2004) 10. Breton Fishing Boat on Beach, c.1985 pastel and chalk on paper, 59 x 42 cm signed with studio stamp lower left provenance
The Alexander Goudie Trust
Alexander Goudie spent each summer in the Breton fishing port of Loctudy, where his in-laws lived. The house was situated next to a beach where every Saturday, fishermen would ground their boats and carry out the necessary repairs and upkeep. Goudie had the perfect vantage point from which to study the crews at work. He became a familiar sight both on the beach and at the harbour side and produced numerous drawings and paintings of Loctudy’s picturesque fishing fleet. Lachlan Goudie
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MODERN MASTER
VICTORIA CROWE OBE, DHC, FRSE, MA (RCA), RSA, RSW (b.1945)
THE VENETIAN COLLECTION Chantal de Prez
We are delighted to showcase five exceptional Victoria Crowe paintings produced between 2003 and 2010. Each work is a meditation on Venice, infusing personal experience with visions of the city’s history and heritage. Victoria first visited Italy in 1992, beginning a lifelong fascination with the country. In 2003, she acquired a studio on the Guidecca, enabling an engagement more profound than allowed to even the most avid tourist. Her Venetian paintings are imbued with fragility and transience, each a reflective essay on the unknowable nature of the past, and indeed, the present. They are also odes to the early Masters, to Giotto, Pierro della Francesca and Raphael in whose forms, palette and rich symbolic vocabulary Victoria converses fluently. Nevertheless, in order to understand Victoria’s Venetian paintings, it is important to look first to the influence of Russian art. Victoria first visited Moscow and Leningrad in 1964, admiring the bold, monumental forms and spirituality of early Russian icon paintings. She observed a tradition that used symbolism to externalise inner worlds. It was spiritual introspection, rather than representation, that these painters
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strove to achieve, their work a lens through which the viewer could better understand themselves, the world around them, and – most importantly – the divine. The effect this had upon Victoria was revelatory. Her fascination with early painting endured, but her gaze moved southwards to Italy. In her Venetian paintings, glimpses of numinous objects, words and figures can be discerned, at times fragmented or partly-obscured, as though emanating through a layer of patina, decaying with time. This layering, achieved through texture and collage, creates within each painting an archaeology of significance: it invites you to explore, to excavate, to look deeper. The effect this produces is beautiful, but its value is not just aesthetic: Victoria uses her symbolic vocabulary deliberately and selectively to charge her paintings with meaning that is at once universal and deeply personal. While Victoria and her husband Michael Walton have relinquished their permanent studio, she intends to return and work again in a new space: her relationship with Venice is now integral to her personality as a painter.
Venice has become a second home for Victoria Crowe. Nowhere better is found the living balance between history and the present, where civilisation is least airbrushed and culture rich and layered. it is a place of the possible, at once fragile and robust, immutable and shifting. Victoria Crowe’s Guardians are directly related to the wonderful carved façade by the Lombardi brothers, where two angels preside over the entrance to the Scuola Grande di San Giovanni Evangelista in Venice. And next a Raphaelite head gazes serenely towards the viewer alongside sketched busts crackling from the pages of an illuminated manuscript. These are suspended above spindly dried flowers, tokens of transient beauty. Crowe’s Venice is a cultural crucible, its ancient walls witness to centuries of accretions. For the final picture in the group her Sottoportego is a route to somewhere else, a new vista in this enigmatic city. Guy Peploe
Victoria Crowe in Venice, 2018. Photograph by Kenneth Gray
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Victoria Crowe OBE, DHC, FRSE, MA (RCA), RSA, RSW (b.1945) 11. Guardians of the Real World, 2003 oil and mixed media on linen, 76.5 x 102 cm signed lower right exhibited
Victoria Crowe, Thackeray Gallery, London, 2003, cat. 16 provenance
Private collection, Cambridge
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Victoria Crowe OBE, DHC, FRSE, MA (RCA), RSA, RSW (b.1945) 12. Trade Routes and Messages, 2010 mixed media, 67 x 81 cm signed lower right exhibited
Reflection – New Work, The Scottish Gallery, Edinburgh, 2010, cat. 30 provenance
Private collection, Glasgow
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Victoria Crowe OBE, DHC, FRSE, MA (RCA), RSA, RSW (b.1945) 13. Venetian Wall Graffiti with Raphael, 2008 mixed media, 30.5 x 30.5 cm signed lower right exhibited
Recent Work, The Scottish Gallery, Edinburgh, 2008, cat. 37 provenance
Private collection, Glasgow
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Victoria Crowe OBE, DHC, FRSE, MA (RCA), RSA, RSW (b.1945) 14. Venice Streets, Sottoportego, 2010 mixed media, 23 x 30 cm signed lower right exhibited
Reflection – New Work, The Scottish Gallery, Edinburgh, 2010, cat. 24 provenance
Private collection, Glasgow
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VIEW FROM THE LAGOON Victoria Crowe, January 2020
We have lived in Venice for part of each year since 2003. The City seemed to me to be an amalgam of extreme fragility and with a quality of timelessness and survival. It was a privilege to be part of that unique place with its gothic and renaissance facades, silent calli and tranquil lagoon, juxtaposed with the contrasts of graffiti, busy water transport, glitz and commercialism. The balance is now changing. An unsupportable number of tourists, more and more hotels, mask shops, souvenirs made in China – less and less housing which Venetians can afford, with fewer opportunities for young people. Living on the Giudecca looking across at the Zattere, and the sweep of the Bacino and St Mark’s beyond, we were sheltered from the excesses of the exploitation of the city. We watched the boats on the Giudecca canal getting bigger and bigger until vast 13 storey monster ships became a regular event, obliterating the Campanile, the Salute, the skyline of the Zattere as they towered above them, reducing the scale and grace of the city to a kind of miniature stage set. These vast cruise ships, coming past the Ducal Palace and St Mark’s, the Dogana and on to the Giudecca, displace huge amounts of water, damaging the
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underwater structures of the canals and wharves. Despite so many protests (No Grandi Navi) by residents and environmental groups, things continue, each promise of change being thwarted by committees all in thrall to the money excessive tourism brings… the real cost is ignored. And so the city contends with this, the oil refinery of Marghera at the edge of the lagoon, the destruction of sustainable clam fishing, and the worse betrayal of all, the failure of the MOSE project. The scheme to protect the city from flooding by raising barriers built in the natural gaps between the lido islands which form a barrier between Venice and the Adriatic was fiercely debated for many years. Construction began in 2003, but due to misplanning, corruption, profiteering and delays, 17 years later it remains unfinished. Much of the completed sections are rusting and there is a fear that the whole system, costing to date €1.3 billion, may be obsolete. It was heart-breaking to see the recent flooding of the city; many of our friends’ houses were flooded for the first time in family memory. It is even more heart-breaking to see the paralysis and short-term, profit-driven thinking of the Italian authorities, while the future of this unique city is in their hands.
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Victoria Crowe OBE, DHC, FRSE, MA (RCA), RSA, RSW (b.1945) 15. Painted Wall with Gilded Head, c.2009 watercolour and mixed media, 18 x 14 cm signed lower right provenance
Thackeray Gallery, London; Private collection, Cumbria
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Alberto Morrocco, c.1980. Photograph by Robert Mabon
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MODERN MASTERS RECENT ACQUISITIONS
Barbara BALMER
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Dame Elizabeth BLACKADDER
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Robert Henderson BLYTH
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Richard DEMARCO
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David MICHIE
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Alberto MORROCCO
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Sir Robert PHILIPSON
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Adam Bruce THOMSON
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Frances WALKER
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William WILSON
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Aleksander ZYW
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Barbara Balmer painting, c.1980
Barbara Balmer RSA, RSW, RGI (1929–2017) 16. Distribution of Poppies, c.1988 watercolour, 57 x 71 cm signed lower left exhibited
Drawings and Watercolours, The Scottish Gallery, Edinburgh, 1988, cat. 8
Barbara Balmer was born in Birmingham and studied art in Coventry before continuing her education at Edinburgh College of Art. Barbara was a regular exhibitor at The Scottish Gallery from the 1960s – 1990. This still life painting of poppies is a style which is immediately recognisable: pastel shades, precise drawing and a flattened sense of perspective create an ethereal atmosphere. Her work can be found in many private and public collections including The Royal Collection, The Scottish National Portrait Gallery and Leicester City Museum. Between 1970 and 1980, Barbara taught at Gray’s School of Art in Aberdeen. She was honoured with a major retrospective at Aberdeen Art Gallery in 1995.
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MODERN MASTER
DAME ELIZABETH BLACKADDER RA, RSA, RSW, RGI (b.1931) Guy Peploe
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 a 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
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cultural variety. Each work has the simple poetry of a haiku but is presented with the perfect pitch of a tuning fork. Elizabeth Blackadder has a huge profile in the UK art market; 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 booklet 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, screen prints and lithographs appearing regularly. Her oil painting practice never went away, even when she had to work predominantly on paper and she always maintained separate studios for each. This diversity of approach she shared with her husband John Houston, to whom she was married sixty years ago this year and whom she sadly lost when he died in 2008. Today her working life is severely restricted by illhealth and it is our pleasure and duty to remember her extraordinary variety and genius.
Elizabeth Blackadder painting in her Edinburgh studio, c.1985
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Dame Elizabeth Blackadder RA, RSA, RSW, RGI (b.1931) 17. Near Peebles, 1973 charcoal and ink wash, 44 x 68 cm signed and dated lower right provenance
Private collection, Edinburgh
We can see Blackadder today as Gillies’ most gifted student. His quiet, romantic vision of landscape is imbued in this work: the high horizon, dark copses and receding field structures chime with Gillies’ best wash drawings which Blackadder admired and collected. 40
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Dame Elizabeth Blackadder RA, RSA, RSW, RGI (b.1931) 18. Still Life with Pineapple, 1973 oil on canvas, 61 x 92 cm signed lower left exhibited
Touring Scottish Artists Exhibition, Arts Council – Scottish Committee, c.1975, cat. 6 provenance
Abbot and Holder, London; Private collection, London
Any painting is required to work on an abstract level, to succeed as a work of art without requiring to be read, or deconstructed. Here Blackadder has painted a series of freely drawn blocks, the paint freely swept in, chromatically harmonious and tonally vibrant. Only the pineapple, incongruous on a tall candlestick, is a real object allowing us to rationalise a table-top still life in an interior space.
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Robert Henderson Blyth RSW RSA (1919–1970) 19. Figures in a Snow-covered Street, c.1946–7 oil on board, 35 x 46 cm signed upper and lower left
He was Bobby Blyth to his friends and colleagues at Glasgow, Edinburgh and finally Gray’s School of Art in Aberdeen, and he was a painter’s painter. He was a brilliant, original draughtsman, beautifully exemplified in the wash drawing made in Perth in the early fifties: a strong, raking moonlight makes shadow; wet rendering, patched tiles, dirty astragal windows, a couple gossiping at a close door and a tiny, stationary dog are effortlessly observed. It is tempting to place this street scene in the harsh winter of 1946–7. It could be Glasgow or Edinburgh, to where Blyth came to teach after War service: the same soot blackened stone, front greens and gas lamps in either, tired city. The snow is not pure but beginning to melt; it will freeze again in the night; the tyre marks and footprints show the dirt below. Was it the little figure in the yellow sou’wester that caught the artist’s attention, that suggested a painting?
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Richard Demarco, 1964. Photograph by Moira Leggat
Richard Demarco CBE (b.1930) 20. Lobster Pots – Perros-Guirec, Brittany, 1963 watercolour, 38 x 51 cm signed and dated lower right exhibited
Henry Décor Art Exhibition, Douglas and Foulis Art Gallery, Edinburgh, 1964, cat. 1 provenance
Private collection, Scottish Borders
This accomplished watercolour borrows from the modernist conceptions of multiple viewpoint, movement and memory notable in Cubism and Futurism. Demarco is in a charming little resort on the Côtes-d’Armor describing lobster-pots, flags and poles, blowing in the wind, his painting recalling in its colour and brightness the happiness and freedom of the moment as much as the place.
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David Michie, c.1980. Photograph by Jessie Ann Matthew
David Michie OBE, RSA, PSSA, FRSA, RGI (1928–2015) 21. Some Cottages, Banff, c.1960 oil on board, 45 x 61 cm signed lower right, signed and titled on label verso provenance
The Artist’s estate
Michie shared with his mother Anne Redpath a joy in the application of oil paint, in the choice of pigment to mix with flake white, the weight and direction of the mark, the complementarity of colours. What is his entirely is what he chose to paint: the natural world, its surprises, the comical happenstance of human behaviour observed, or here the noon observation of a diagonal row of cottages, their blank gables facing what could sometimes be a harsh sea; blank all but the first, with its little window: a concession to a holidaymaker’s need for a view.
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Alberto Morrocco in his studio, 1987. Photograph by William Brady
Alberto Morrocco OBE, FRSA, FRSE, RSW, RP, RGI, LLD (1917–1998) 22. Lisa in the Kitchen, 1991 oil on board, 28 x 35 cm signed and dated lower left, titled on label verso provenance
Private collection, Edinburgh
Lisa is Morrocco’s daughter who in 1991 (the date of this work) was around thirty. So, like much of what the artist painted in the last decade of his life, the work is imaginative, painted directly without reference to drawings or the rigour he applied to earlier compositions. Instead he used memory and strong colour to make poetic, emotional work reprising a long, fruitful life, personal, intimiste and poignant.
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MODERN MASTER
SIR ROBIN PHILIPSON PPRSA, RA, HRA, RSW (1916–1992) Dr Elizabeth Cumming To meet Sir Robin Philipson was to encounter a man of charm and distinction, dressed slightly self-consciously in a bowtie and either a dapper, sometimes striped, jacket or else one splattered in paint. Conversation could range widely, revealing his interest in poetry as much as the visual arts to which he was making such a vital contribution. He can be considered to have been the most successful figure in Edinburgh’s art establishment in the third quarter of the twentieth century. Early on he had been elected a member of the Society of Scottish Artists and the Royal Scottish Society of Painters in Watercolour and in later life many honours would be bestowed on him. But it was as President of the Royal Scottish Academy for a full decade from 1973 that he made a deep mark in art officialdom, opening up new avenues and introducing its student exhibitions which continue to this day. As Head of the School of Drawing and Painting at the art college he maintained the ideals of the post-war Edinburgh School so concerned with expressive colour to which in temperament he was ideally suited: as an Edinburgh student in the late 1930s, his teachers had included William MacTaggart, Anne Redpath and John Maxwell. After the war Philipson became fascinated by the uncompromising expressionism of European painters, most famously Oskar Kokoschka. Although attracted to British abstraction and the inherent value of paint, he soon began to explore raw personal experience through developing specific themes which could combine aggression and violence with lyricism. This formed the bedrock of his
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career. Several paintings from these series from the 1950s to the 1980s (cockfights, cathedral interiors, the Crucifixion, war imagery, women and animals, poppies) are included in this exhibition, and they demonstrate a mature commitment to the pictorial: abstraction, where present, never dislodges representation of the world about us. He explores the human condition in many of his key academic paintings, and in the most ambitious he tackled brutalism head on. Philipson was one of the most lyrical painters of his generation, producing canvases which can convey the purest forms of beauty via traditional subjects and at times extraordinary colour choices. With his sensitive, serious temperament Philipson was a romantic but his work is essentially academic: apart from a commitment to subject matter, the potential and values of materials were important to him as to generations before him. However we see his art, its free handling, its meaningful decorative values and its sometimes dark subjects, it remains a serious investigation of life. For him the production of art was essential but brave. He once spoke of the dread of starting a studio day, of the waiting easel – but then good art is never an easy business. Quoted from ‘The Academic & The Romantic’, Sir Robin Philipson: 100 – Centenary Exhibition, The Scottish Gallery, Edinburgh, 2016 Elizabeth Cumming’s monograph Robin Philipson was published in 2018 by Sansom & Co.
Robin Philipson, c.1957. Photograph by Paul Shillabeer
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Sir Robin Philipson PPRSA, RA, HRA, RSW (1916–1992) 23. The Gladiator, c.1960 oil on board, 31 x 18 cm signed upper left, titled on verso provenance
Private collection, Edinburgh
In this painting we are invited to question whether the subject is the gladiator or the joust. The horse tosses his head, his forefeet pawing the ground, the warrior has fallen, his head is bowed, his strong arm supporting his armoured weight, but he holds his lance straight: he will rise again. Philipson drew on the chivalric era in the late fifties for much subject matter, a cast of kings, queens, thrones and destriers, always painted with an impasto found elsewhere in British painting only in Auerbach and Kossoff.
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Sir Robin Philipson PPRSA, RA, HRA, RSW (1916–1992) 24. Lovers, c.1970 watercolour, 11.5 x 11.5 cm signed lower right provenance
Private collection, Kelso; The Scottish Gallery, Edinburgh; 1998; Private collection, Edinburgh
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Sir Robin Philipson PPRSA, RA, HRA, RSW (1916–1992) 25. Still Life with Fennel, c.1980 pastel, 23 x 37 cm signed and dated on label verso provenance
Private collection, Edinburgh
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Sir Robin Philipson PPRSA, RA, HRA, RSW (1916–1992) 26. Fruit, 1980 oil on canvas board, 40.5 x 35.5 cm signed on verso provenance
Private collection, Edinburgh
Robin Philipson’s fruit still lives, of which there are a precious handful, are always strong in orange and yellow, jewel-like colour as rich as Byzantine mosaic. His skill with and enjoyment of oil paint (whatever it represents) is the most Scottish aspect of an artist of immense sophistication and complexity. Fruit is beautifully constructed, but like his late sumptuous flower paintings, foregoes the arcane iconography so often present in his subject pictures.
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Sir Robin Philipson PPRSA, RA, HRA, RSW (1916–1992) 27. Secret Night Garden, 1988 oil pastel, 22.5 x 38 cm signed on verso, inscribed on label verso ‘ To Jan and Hector, with love and many good wishes, Robin’ exhibited
Robin Philipson Retrospective, Edinburgh College of Art, 1989, cat. 89, under the title Humankind provenance
Private collection, Edinburgh; The Scottish Gallery, Edinburgh, 1998; Private collection, Castle Douglas
Secret Night Garden is an example of a late work which seems to reprise earlier subjects. Vignettes recall the successful Woman Observed series of the earlier Eighties, while an expulsion is suggested in the two figures in the top left quadrant; opposite, the profile of a cockerel is set against the night sky. Zebra and oxen recall his depiction of African beasts, surely symbolic of man’s bestial origin and all are presented in a tenebrous setting, the twilight setting for Man’s fall.
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Sir Robin Philipson PPRSA, RA, HRA, RSW (1916–1992) 28. Poppies, 1988/89 oil on board, 75 x 75 cm signed and dated on verso provenance
Private collection, London
The late flower paintings of Robin Philipson are amongst the most popular and successful of his long, distinguished career. The poppies and tulips are painted with a rich impasto, in pure oil paint, depicting delicate and brilliant blooms, overscale and overwhelmingly present. He painted the subject through the scales, from heroic to domestic, though not in miniature. They convey delicacy and decadence, are memento mori while affirming life and, not surprisingly, command the highest prices paid for Philipson paintings. “What attracted me to poppies was their splendour – the sheer power and yet the delicacy of their colour – the cold and warm reds and very subtle translucent lights. I began modelling their form in whites and a range of neutral colours. When this ‘white’ stage was quite dry, the strong colours were created by laying thin glazes of pale translucent paint over the top, sometimes up to ten or more on top of the other. Some of the blacks are built up in the same way over a bed of very rich blue or crimson.” Robin Philipson by Elizabeth Cumming, Sansom & Company, 2018, p. 134
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Adam Bruce Thomson OBE, RSA, PPRSW (1885–1976) 29. Sheep Shearers, Skye, c.1923 pastel, 26 x 36 cm signed lower left provenance
Studio inventory number P65
Adam Bruce Thomson was a diligent artist. Despite his long vocation as a teacher at the Edinburgh College of Art and devotion to family he worked at every opportunity. This would come in abundance on the long summer holidays where in the wilds of Argyll or the islands, subjects like the shearing would present a challenge, readily taken up. But in Edinburgh, he would walk most days in the green spaces on the South side: the Braids, Arthur’s Seat, Blackford Hill and Colinton. In the studio at home he would paint the family and still life in both oil and watercolour, his gift of having survived the Great War repaid in diligence and creativity.
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Adam Bruce Thomson OBE, RSA, PPRSW (1885–1976) 30. Colinton, c.1950 pen and ink wash, 37 x 47 cm signed lower right provenance
Studio inventory number D42
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Adam Bruce Thomson OBE, RSA, PPRSW (1885–1976) 31. Tiger Lilies, c.1960 oil on canvas, 61 x 51 cm signed lower left, titled on stretcher verso provenance
Studio inventory number O68
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Frances Walker in Aberdeen, c.1981. Photograph by Robert Mabon
Frances Walker RSA, RSW, DLitt (b.1930) 32. Wester Tillyshogle Croft, 1970s oil on board, 30.5 x 40 cm signed lower left, signed and titled with another painting verso provenance
Private collection, Blairgowrie
The literal meaning of the place name for this Aberdeenshire croft, near Ericht in Aberdeenshire, is ‘wet hill’, a name surely done full justice in Frances Walker’s painting! The high horizon and structure of the landscape recall Gillies, her tutor at ECA but also Henderson Blyth, a new colleague in Aberdeen where Walker came to Gray’s School of Art in the late 1950s. He made the landscape of Aberdeenshire his principal, later subject, in an impasto equally richly applied. Walker moved on, partly through her commitment to printmaking, to a finer drawn line but continued to utilise a high horizon in much of her landscape practice.
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Frances Walker RSA, RSW, DLitt (b.1930) 33. In from the Sea, c.1975 watercolour, 56 x 39 cm signed lower left provenance
Private collection, Blairgowrie
The storm has passed and the artist, taking her usual walk above the cliffs and channels near her home on Tiree, observes the detritus thrown even beyond the beach: an oil drum and heavy tree-trunks tossed like jetsam from the angry ocean, resting at random, incongruous on the soft dunes.
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William Wilson OBE, RSA, RSW (1905–1972) 34. Harbour Douarnenez, Brittany, 1950 watercolour and ink, 42 x 48.2 cm signed and dated lower right provenance
Louise Kosman, East Lothian; Private collection, Edinburgh
Douarnanez in Finisterre is a vibrant fishing port fronted with handsome four- and fivestorey houses. Wilson’s brilliant watercolour is made on a wild, stormy day, the boats snug against the harbour walls as a squall blows in, seagulls on the wing. The artist works quickly, the energy in his pen and brush characteristic of his works on paper, so different from the incisive precision of his etched line.
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MODERN MASTER
ALEKSANDER ZYW (1905–1995) Tommy Zyw Aleksander Zyw was born in Lida in 1905, a small town then in north-east Poland, before moving to Warsaw at a young age. He trained at the Academy of Fine Arts in Warsaw before embarking on a travel scholarship which took him across Europe, often on foot, with extended periods on the sunny shores of the Mediterranean. Like many young artists of that time he gravitated towards Paris, and set up a studio there in 1934 but continued to travel during the summer months. Zyw sustained his seasonal lifestyle up until 1939 when it stopped abruptly with the outbreak of war. His early work was impressionist in style, with a focus on capturing the effect of light on the landscape, often featuring subjects from travels to Italy and the South of France. In 1939 he joined the Polish army in France and, after the French armistice, escaped through Spain to Britain. After service as a war artist with the Polish forces in Britain he married and settled in Edinburgh’s Dean Village in 1946. The War acted as catalyst for Zyw, and in the immediate post-war period his art turned inward, away from naturalism in favour of an individual form of expressionism. The painting featured in our exhibition, The Dance (cat. 35), was unearthed recently
Opposite: Aleksander Zyw at his studio in Desenzano, Italy, 1954. Photograph by Ugo Mulas
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from a private collection and embodies the best aspects of his direct post-war period, featuring a nervous energy of brushwork and decorative quality. Zyw first exhibited with The Scottish Gallery in 1945 and was the subject of an Edinburgh Festival exhibition at The Gallery in 1957. He exhibited across Europe as well as in the UK including a large retrospective held by the Polish National Union of Artists in Warsaw in 1967. In Scotland, public exhibitions included a retrospective with The Scottish Arts Council in 1972, the Talbot Rice in 1975 and the Scottish National Gallery of Modern Art titled The Nature of Painting in 1986. The last thirty years of his life were spent largely in Tuscany, Italy, where he and his wife had set up an olive farm. From the 1960s his art turned in another direction and he developed a new relationship with the natural world, creating seemingly abstract images based on minute studies of nature. He died at his home in Castagneto Carducci in 1995. In recent years Aleksander Zyw has been represented in exhibitions in Parma and Volterra and in the Borders Museum in Hawick. He will be the subject of a solo exhibition at The Scottish Gallery in November 2020, the first at The Gallery for eight years.
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Aleksander Zyw (1905–1995) 35. The Dance, c.1948 oil on canvas, 62 x 75 cm signed lower right provenance
Private collection, East Lothian
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COLLECTING POST-WAR PRINTS Tommy Zyw
Visitors to The Gallery will be familiar with our upstairs plan chest, a piece of furniture we use every day to display flowers (supplied each month by Thomas Maxwell), current exhibition catalogues, price lists and invitation cards. What they may not realise is the wealth of material stored within which includes seven drawers of unframed prints, layered carefully between sheets of acid free tissue paper. The variety of work can span the entirety of the ‘modern’ period, with Edwardian etchings underneath more recent screenprints by Wilhelmina BarnsGraham or coloured wood engravings by Angie Lewin. The Scottish Gallery has a long history of exhibiting printmaking, in part due to the great revival in editioned prints at the turn of the 20th century. This surge in the public’s interest was spearheaded partly by James McNeill Whistler’s etchings of Paris but was carried forward by the skilled artists working in the United Kingdom. Three Scots were at the forefront of this new wave: D.Y. Cameron, James McBey and Muirhead Bone. The Scottish Gallery exhibited all three. Many other printmakers flourished in this new climate, including Adam Bruce Thomson, William Wilson and Ian Fleming. In the post-war period, a growing number of artists and galleries saw printmaking as an attractive way of offering original art at an affordable price.
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Edinburgh printers Harley Brothers were a family firm based in the now demolished St James’s Square, renowned for printing whisky labels. From the 1940s a growing enthusiasm for lithography inspired Harley Brothers to commission a suite of lithographs from contemporary painters. Many of the most important artists of the day worked at the Harley Brothers workshop including Elizabeth Blackadder, Anne Redpath, William MacTaggart, Robin Philipson, Earl Haig and Aleksander Zyw. The workshop also invited English artists Terry Frost and John Piper to produce prints during the late 1950s. One Harley Brothers print features in our exhibition: Edward Gage’s ethereal image Queen of Birds, from 1958 (cat. 39). The edition had to be cut short at 38, due to the lithographic stone cracking during the printing process. In England there was also a swell of interest in printmaking during the post-war period, leading to the creation of several independent print workshops. Elizabeth Blackadder’s lithograph Roman Wall I: Castle Nick (cat. 36) was published in 1963 by Curwen Studio near Plaistow. Blackadder had first worked with Curwen Studio in 1962, after being commissioned to create a poster to brighten the interiors of Post Offices across the country. The painterly image is a view of Castle Nick on Hadrian’s Wall, looking east towards
M O DE R N MASTERS X
Elizabeth Blackadder working with Jimmy McFarlane at Harley Brothers workshop, Edinburgh, 1958. Harley Archive, Hunterian Art Gallery.
Hotbank Crags. Robert Colquhoun and MacBryde had first met Jankel Adler in Glasgow in 1940 and it is thought that it was Adler who taught Colquhoun and MacBryde the technique of monotype. Pat Douthwaite also experimented with monotype, and we have a striking example from c.1959 (cat. 38). We also include a fine impression of William Scott’s lithograph Cornish Harbour, Mousehole (cat. 40) discovered recently in a private collection in Edinburgh. An earlier version of the same image is in the Tate Collection. The Scottish Gallery has longchampioned printmaking and it was only on our relocation to Dundas Street in
1993 that our separate print department closed, being amalgamated within the fine art. Many of our major contemporary artists use printmaking as an important arm of their practice including Victoria Crowe, Kate Downie and Calum McClure. In July 2019 our exhibition Vintage and Contemporary Prints featured prominent figures in Scottish and British printmaking including a John Duncan lithograph, later acquired by the National Galleries for the permanent collection.
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Dame Elizabeth Blackadder RA, RSA, RSW, RGI (b.1931) 36. Roman Wall I: Castle Nick, 1963 lithograph, 55 x 72 cm, edition of 50 signed and dated lower right exhibited
Elizabeth Blackadder – Decades, The Scottish Gallery, Edinburgh, 2016, cat. 5; Vintage and Contemporary Prints, The Scottish Gallery, 2019 illustrated
Elizabeth Blackadder Prints by Christopher Allen, Lund Humphires, 2003, pl. 6
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Robert MacBryde and Robert Colquhoun, 1949. Photograph by Felix Man. Hulton Archive Getty Images. 77 Bedford Gardens Studio, London.
Robert Colquhoun (1914–1962) 37. Cornish Woman with Goat, 1948–1951 lithograph, 41 x 32 cm signed and dated 51 lower right provenance
Goldmark, Rutland; Private collection, Dumfries and Galloway version illustrated
The Last Bohemians by Roger Bristow, Casom and Co, 2010, p. 208
Colquhoun produced many works on the subject of women and goats in 1948, deriving from studies made of Nessie Graham and her pet goats when he and MacBryde visited her and husband Sydney Graham in Cornwall in the summer of 1944. Two versions of Cornish Woman and Goat were editioned, both in small numbers of eight and 22. One copy, from the larger edition, is in the collection of the British Museum. This rare version, dated 1951, is not editioned but will also have been made at Miller Press in Lewes. One other is known to have been given to Colquhoun’s local patron Sir Colin Anderson.
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Pat Douthwaite (1934–2004) 38. Man with Bared Teeth, c.1959 monotype, 40.5 x 50.5 cm provenance
Corrymella Scott, Northumberland
This unique work belongs to a group made in Suffolk in the winter of 1959, some exhibited with The Redfern Gallery in February 1960. The influence of Dubuffet is evident both in the primitive human representation and the combination of pattern and gesture in the paint application. She moved forward from collage and engaged with the human form which was the dominant subject for the next thirty years.
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Edward Gage, c.1980. Photograph by Robert Mabon
Edward Gage RSW, PSSA (1925–2000) 39. Queen of Birds, 1958 lithograph, 60 x 45 cm, edition of 38 signed lower right exhibited
Edinburgh School and Wider Circle, The Scottish Gallery, Edinburgh, 2019, cat. 17; Vintage and Contemporary Prints, The Scottish Gallery, 2019 provenance
David McClure and thence by descent
Teddy Gage was a polymath artist, writer and teacher, for many years the art master at Fettes College and subsequently the influential, erudite critic for The Scotsman newspaper. His imagery is drawn from the natural world but like David McClure and Johnny Maxwell is enriched with personal, enigmatic references.
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William Scott CBE, RSA (1913–1989) 40. Cornish Harbour, Mousehole, 1955 lithograph, 33 x 40 cm, artist proof signed and dated lower right provenance
Private collection, Edinburgh
William Scott was born in Greenock in 1913 but moved to Enniskillen in Northern Ireland at the age of 9. He trained at Belfast School of Art before moving to London to enrol with the Royal Academy School. During the War Scott enlisted, and for a time was a lithographic draughtsman with the Royal Engineers. Once the War ended he took up a position at Bath Academy but made regular trips to Cornwall and associated with St Ives Group of artists. The artist summered in Mousehole, 10 miles south from St Ives from 1946, and in this image has depicted the harbour scene in flat areas of colour and descriptive lines. Although born in Scotland, Scott is now known as the most celebrated of the 20th century Ulster painters. His paintings are well represented in public collections in the UK and around the globe including the Metropolitan Museum of Art in New York, The Musée National d’Art Moderne in Paris and the Art Gallery of New South Wales, Sydney.
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Published by The Scottish Gallery to coincide with the exhibition MODERN MASTERS X 5–29 February 2020 Exhibition can be viewed online at www.scottish-gallery.co.uk/modernmasters ISBN: 978 1 912900 15 2 Publication edited by Guy Peploe Designed by Kenneth Gray Photography by John McKenzie 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.
Cover: David Michie, Some Cottages, Banff, c.1960, oil on board, 45 x 61 cm (detail) (cat. 21) Inside front cover: Barbara Balmer, Distribution of Poppies, c.1988, watercolour, 57 x 71 cm (detail) (cat. 16) Inside back cover: Victoria Crowe, Trade Routes and Messages, 2010, mixed media, 67 x 81 cm (detail) (cat. 12)
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