ANNE REDPATH FIFTY

I FIFTY A celebratory Exhibition

3 July to 1 August 2015

16 Dundas Street · EH3 6HZ Telephone +44 (0) 131 558 1200 Email [email protected] www.scottish-gallery.co.uk

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

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

C Anne Redpath’s death fifty years ago in an Edinburgh BLUE SKY ON nursing home at the age of sixty-nine was a shock to her family, friends, fellow artists and the wider public. When I was researching my biography of her almost a quarter A GREY DAY of a century later there was still a sense of loss felt by the people I interviewed. Although she had been unwell for PATRICK BOURNE the last decade of her life her work was still developing and she had earlier that year had an exhibition of Venetian subjects at Lefevre in London that had sold out by the second day. So it was felt that it was a career as well as a life cut short. And yet with the perspective that half a century gives, Redpath’s career as an artist now seems remarkably full and complete. From the time of her return from France with her young family in 1932, when she committed to full-time painting, her stylistic and technical development was relentless. There was a constant quest for a fresh vocabulary to describe new subject matter. She avoided that bane of the history of painting in Scotland, and admit- tedly of other Schools, of artists sitting back when they have developed a successful style and popular format. Her intellectual curiosity was never satisfied and she was always open to the ideas of other, often younger, artists – the Action Painting of Jackson Pollock and the Tachisme of Antoni Tapies were strong influences in her final years. Both artists had rejected subject for complete abstraction which Redpath never did. She used the subject matter of her painting as a departure point, often abstracted but always anchored by the seen object. Redpath was quite sure that her artistic sensitivity came from her father who was an innovative designer of tweed in the Border town of Hawick. However her ambition to go to art school was only acceded to by her parents if she also took a teacher training course. Riskily she decided to attend the two courses concurrently in Edinburgh. The level of her aptitude and determination can be gauged by her being the sole recipient of a travel- ling scholarship in 1919 from whilst also successfully completing the teaching course at Moray House. She made full use of her scholarship, visiting Brussels, Detail from Wild Flowers on a Bank, c.1962 [cat.29] Bruges and Paris before moving on to Italy where she

D E Omer in Northern France where her husband was an to the island with her son David, his future wife Eileen and consistently attracted her was church architecture, architect for the War Graves Commission. It was close to Anne’s friend Katie Horsman the potter. usually the interiors. She herself was not a church-goer what had been the Western Front only three years before Paintings from her month-long stay on Skye formed the but she enjoyed the exoticism and richness of Baroque and the landscape as well as the local people would still core of Redpath’s first solo show in Scotland at the Gordon ornament in the churches of Catholic countries on the have shown the scars. When they moved to Cap d’Ail on Small gallery on Princes Street in March 1947. The pictures Mediterranean. They constituted a sharp contrast to her the French Riviera in 1925 it must have been an uplifting sold well and this enabled her to plan a trip abroad for the strict Presbyterian upbringing in the Borders. Her father’s experience for the whole family. Anne produced enough first time since her return from France in 1934. She trav- obituary in the local newspaper The Hawick Express paintings to stage an exhibition in nearby St Raphael elled alone to Paris and then on to Menton on the Italian records rather tellingly that ‘logic was more native to him in 1928. The work was mainly in watercolour and has border, twenty miles from where she once lived. Street in than feeling’; his daughter spent much of her life acting affinities both in handling and in the subject matter Menton [cat.8] is a product of this trip and it gives a palpa- out the opposite. There were also practical reasons for of harbours and buildings with what Charles Rennie ble sense of the artist’s familiarity with, and affinity for the painting the interiors of churches. Firstly they were cool, Mackintosh was producing nearby in Port-Vendres. It place. When Redpath returned to Scotland her sketches whereas outside Redpath was troubled by the heat as she is tantalising to imagine they met although there is no and studies of Menton were used to create the large oil got older, but also when she painted in the street she was record of it. Window in Menton (Fleming-Wyfold Collection) with the constantly disturbed by inquisitive children and it was not When Jim’s job as the in-house architect to an figure of her daughter-in-law Eileen in the foreground. This in her nature to ignore them. American businessman came to an end in 1934, Anne painting is her chef-d’oeuvre of the late 1940s just as Red It is fitting that this celebratory exhibition is at The and the boys returned to the Borders and Jim moved to Slippers is of the beginning of that decade. Scottish Gallery with which she had such a happy and the south of England. Although contact was maintained The artistic stimulus that came from her stay in fruitful working relationship following her first exhibition until Jim’s death in 1959 they never again lived together Menton encouraged her to make many more European there in 1950. And it was through this association that as a family. Anne now needed to provide for her family trips in the following years, firstly to Spain and then to and from this point on she devoted herself to painting. Brittany, Portugal, Corsica, The Canary Islands and finally Much of her work at the outset was of Border villages to Amsterdam and then Venice. Each new landscape and such as Wilton Dean and Trow Mill and she painted trees culture that Redpath encountered changed and informed in farmland (cat. 4 & 5) which have a new vigour and not only the landscapes and architectural subjects she dynamism giving a sense of renewed purpose. But the produced but also everything she painted thereafter Anne Redpath, c.1913 Border landscape did not satisfy her for long. Through including her still lifes. In Corsica in 1954 and in Gran the rest of 1930s and into the 1940s Redpath produced a Canaria in 1959 she experienced harsh sun-bleached encountered her main influences. Tellingly her copy of series of ever more ambitious and sophisticated still lifes hillsides where in the resulting paintings the houses the angel in Botticelli’sMadonna of the Magnificat in the and domestic interiors that culminated in The Indian Rug appear as though they grow out of the hills giving them Uffizi [cat.1] is less of a copy than her own interpretation (or Red Slippers) of 1942 (SNGMA, Edinburgh). Matisse a ‘buttress-like presence’. Simultaneously she suggests of the study of the youthful figure – it is more Redpath is the most obvious source of inspiration for these works erosion, decay and permanence. than Botticelli. Unwavering independence is the constant but as in all stages of her career Redpath retains her own The effect that the landscape of Gran Canaria had on characteristic of Redpath both as a painter and as a voice. She has by this stage become a painter who can her palette is illustrated by two paintings in this exhibition. person. Her portrait of her husband the architect James orchestrate and balance complex compositions painted The dark tar-like background of Still Life with Flowers ‘Jim’ Michie [cat.3], painted in 1920, the year of their with an extreme sensitivity for surface texture. Only [cat.30] with the rich colours of the flowers set against has marriage, is an impressively subtle and considered study Sir William Gillies at that time comes anywhere near to parallels with the dark volcanic sand of Boats on the Shore, of his character as well as his appearance. Redpath painted matching her as a still life painter in Scotland. Canary Islands [cat.26] against which the colourful boats occasional portraits throughout her career but they are In 1940s Redpath started to travel further afield again, resonate. It seems unlikely that she could have painted always of people close to her and she never appears to initially only to the Isle of Skye in 1942 and 1946. The the still life if she had not been to the Canary Islands two have considered portrait painting as a source of income. gouache of Loch Snizort [cat.6] with its singing blues of years before. It is well known that Redpath put her career on hold the water and distant hills, and the informal composition, Apart from painting coastal scenes and hillside whilst she was bringing up her three sons, initially in St reflect the enjoyable, relaxed mood of the trip she made villages in continental Europe, the other subject that Anne Redpath in her studio, c.1960

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

Anne Redpath in her London Street flat, Edinburgh, 1960 © The Scotsman Publications Ltd. Licensor www.scran.ac.uk

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

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

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

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

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

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

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

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

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

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

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

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

AF AG 13 14 Fishing Boats, Ireland, c.1952 St John The Baptist, Brittany, 1953 Watercolour · 24.5 x 36.5 cm Watercolour · 24 x 33 cm · signed lower right Exhibited: Anne Redpath Centenary Exhibition, The Scottish Exhibited: Anne Redpath Centenary Exhibition, The Scottish Gallery, Edinburgh, 9 September – 3 October 1995 Gallery, Edinburgh, 9 September – 3 October 1995 Provenance: Private Collection, Edinburgh Provenance: Private Collection, Edinburgh

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

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

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

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

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

AR AS 20 21 Corsican Village, 1957 Blue Lithograph, 1957 Lithograph · 24 x 32.5 cm · edition of 70 · signed lower right Lithograph, 42.5 x 64.5 cm · edition of 50 · signed lower right Printed with Harley Brothers Ltd, lithographic printers in Printed with Harley Brothers Ltd, lithographic printers in Edinburgh Edinburgh Provenance: The Artist’s Family Illustrated: Artists at Harleys – Pioneering Printmaking in The 1950s, Hunterian Art Gallery, Glasgow, 2000, p.26, cat.95 Provenance: The Artist’s Family

AT AU 22 23 Dish of Fruit, 1958 Still Life with Jug, c.1958 Lithograph · 46 x 43.5 cm · edition of 75 Gouache· 30 x 40 cm · signed lower left Printed with Harley Brothers Ltd, lithographic printers in Provenance: Bought by Ellen Kemp, friend of Anne Redpath, Edinburgh in The late 1950s in 1958. Gifted to current owner as wedding present. Provenance: The Artist’s Family

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

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

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

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

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

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

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

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

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

BN BO ANNE REDPATH A LIFE IN BRIEF

Anne Redpath (1865–1965) 1925 1944 OBE RSA ARA RWA Moved with family to Cap Ferrat when her Elected President of The Scottish Society of husband offered job as private architect to Women Artists an American millionaire 1947–1950 1895 1928 Member of the Hanover Street Group set Born in Galasheils, the daughter of a Birth of third son David. up by painter Derek Clarke and including Thomas Redpath and Agnes Milne. Thomas Exhibition at the Casino in St Raphael. Leonard Rosoman and James Cowie among was a tweed designer with Robert Noble During her years in France she returned its members and Company periodically with her sons to her parent’s 1946 1913 home in Hawick and brought back paintings Visit to Skye with her friend the potter Enrols in Edinburgh College of Art which were shown variously at the annual Katie Horsman. Works produced formed exhibitions of the Hawick Arts Club, the RGI 1919 basis of her first solo exhibition in Scotland and the SSA Exhibited with the Edinburgh Group at the Gordon Small Gallery in Edinburgh 1934 the following year. From now on she began Travelling scholarship to Bruges, Paris, The Michies returned to Scotland following to exhibit regularly in London at the Royal Florence and Siena the bankruptcy of Jim’s employer Academy and the Royal Society of British 1920 Artists Living in her parental home with her Married James Michie a young architect children. Elected a Professional Member of 1949 and moved to St-Omer in the Pas de the SSA Moved to Mayfield Gardens, Edinburgh Calais region of France where she held an exhibition the following year. Her sons 1939 1950 Alistair and Lindsay were both born in Moved to Beaconsfield Terrace following First solo exhibition with The Scottish St-Omer death of her father Gallery, Edinburgh

Anne at Edinburgh College of Art, c.1915 Anne in St Omer 1921 James Michie, c.1921

Opposite: Anne Redpath, c.1960 BQ 1951 Selected Exhibitions Throughout her career the artist was an Painting in Spain in the Artist’s Lifetime enthusiastic exhibitor at a wide variety of important annual exhibitions including 1952 1921 those listed below. First woman painter elected to the Royal St. Omer, France Scottish Academy RSA Royal Scottish Academy 1928 (from 1919) First exhibition with Reid and Lefevre, The Casino, St. Raphael, France London SSA Society of Scottish Artists 1947 (from 1920) Moved to London Road, Edinburgh Gordon Small Gallery, Edinburgh RGI Royal Glasgow Institute 1953 1950 (from 1923) Painting in Brittany, France (Concarneau and The Scottish Gallery, Edinburgh Treboul) RSW Royal Scottish Society of Painters in 1952 Watercolour (from 1935) 1954 Lefevre Gallery, London Painting in Corsica SSWA Society of Scottish Women Artists 1957 (from 1940) 1955 The Scottish Gallery, Edinburgh Awarded an OBE RA Royal Academy, London Awarded Doctor of Law by Edinburgh 1958 (from 1946) University The Danish Institute, Edinburgh RBA Royal Society of British Artists 1959 1959 (also from 1946) Painting in the Canary Islands Lefevre Gallery, London RWA Royal West of England Academy 1960 1960 (from 1959) Elected an Associate of the Royal Academy The Scottish Gallery, Edinburgh MAFA Manchester Academy of Fine Arts in London 1961 (from 1962) 1961 Stone Gallery, Newcastle upon Tyne Memorial Groups were hung at the annual Painting in Portugal 1962 exhibitions of the RSA, RA and MAFA 1963 Lefevre Gallery, London following her death in 1965. Painting in Venice 1963 1965 The Scottish Gallery, Edinburgh Miss Perpetua Pope, Mrs F. Lauglin and Miss Anne Redpath at the opening of Scottish Society of Women Artists Exhibition at the Died in Edinburgh 1964 Royal Scottish Academy, Edinburgh© The Scotsman Publications Ltd. Licensor www.scran.ac.uk Lefevre Gallery, London Posthumous Exhibitions 1995 Scottish Field, September 1957, Centenary Exhibition, The Scottish by Dr T.J. Honeyman 1965 Gallery, Edinburgh Memorial Exhibition, The Scottish Gallery, Studio, March 1960, by Dr. T Elder Dickson Centenary Exhibition, Scottish Gallery of Edinburgh BBC ten-minute film, broadcast January Modern Art, Edinburgh 1965 1961 2003 Memorial Exhibition, The Arts Council Stone Gallery catalogue, October 1961, Anne Redpath, Oils and Works on Paper, (Scottish Committee), Edinburgh and introduction by Terence Mullaly subsequent Tour The Scottish Gallery. Edinburgh Arts Council of Great Britain, Scottish 1969 2012 Committee, Anne Redpath Memorial City Art Gallery, Worthing The Michie Family, The Scottish Gallery, Exhibition, November 1965, Catalogue Edinburgh 1972 introduction by Terence Mullaly City Art Centre, Edinburgh 2015 Anne Redpath (the first book in the series Anne Redpath, Fifty, The Scottish Gallery, A series of exhibitions were organised Modern Scottish Painters), George Bruce, Edinburgh 1973, Edinburgh University Press jointly by the Mercury Gallery, London and The Scottish Gallery in Edinburgh in 1975, Anne Redpath, Patrick Bourne, 1989, Atelier 1979, 1981, 1983 and 1986. All were held Bibliography and Broadcasts Duncan R. Miller Fine Art catalogue, at the Mercury Gallery with the last also The Scots Review, April 1947, introduction by Jill Mackenzie and Jane B. being exhibited at The Scottish Gallery in by Alick Sturrock Henderson Edinburgh SMT Magazine, April 1952, by N. Melville Anne Redpath 1996–1965, Catalogue 1989 Shepherd introduction by Philip Long, 1996–97 Exhibition jointly organised by Bourne Fine Jim, Anne, Lindsay and Alastair Michie, Lindsay, David and Alastair in Eyemouth, Art, Edinburgh, and the Portland Gallery, Scottish Art Review, Volume V, 3, 1955, BBC Scotland, Anne Redpath, thirty-minute St Omer, c.1921 c.1940 London and shown at both venues by R.H. Westwater film with Michael Palin, 1997

BR BS Acknowledgments: The Scottish Gallery would like to express their thanks to the Michie family. Our thanks also to Patrick Bourne and the Fleming-Wyfold Foundation.

Published by The Scottish Gallery for the exhibition Anne Redpath: Fifty held at 16 Dundas Street, 3 July to 1 August 2015

The exhibition can be view online at www.scottishgallery.co.uk/anneredpath

Catalogue © The Scottish Gallery 2015 All rights reserved

ISBN 978 1 905146 84 0

Photography by John McKenzie Designed and typeset in Solitaire and Besley by Dalrymple Printed by Barr Printers

Front cover: detail from Flowers in a French Jug, c.1950 [cat.10]

Inside front cover : Anne Redpath in her London Street flat, Edinburgh, 1960 © The Scotsman Publications Ltd. Licensor www.scran.ac.uk

Inside back cover: detail from Canaries, c.1960 [cat.24]

Back cover: Paintings by Anne Redpath, Invitation Card, The Scottish Gallery, Edinburgh, 1957

16 Dundas Street · Edinburgh EH3 6HZ Telephone +44 (0) 131 558 1200 Email [email protected] www.scottish-gallery.co.uk

III 4