#FORTNUMSXFRANK 4 EWAN VENTERS CONTENTS Welcome to Fortnum’s X Frank 5 JOAN BAKEWELL On Bellany, the man and the painter

6 ROBERT UPSTONE A new essay on John Bellany, by our curator

10 FAÇADE 12 Windows

20 LOWER GROUND 22 The Wine Bar

26 GROUND 28 Shop Floor - Till Point 32 Duke Street Staircase

34 FIRST FLOOR 36 First Floor - Till Point 37 First Floor - Toilet 38 Duke Street Staircase

40 SECOND FLOOR 42 Fragrance 43 Beauty Staircase 44 Duke Street Staircase 46 Speaking Staircase

48 THIRD FLOOR 50 Accessories & Gifts 53 3’6 Bar 58 Duke Street Staircase

60 FOURTH FLOOR 62 Duke Street Staircase

Bonjour Monsieur Bowie (1988) 64 FIFTH FLOOR 66 The Boardroom 67 Fourth / Fifth Floor Mezzanine 68 Duke Street Staircase

4 FORTNUM’S X FRANK FORTNUM’S X FRANK 5 EWAN JOAN VENTERS BAKEWELL WELCOME TO FORTNUM’S X FRANK ON BELLANY, THE MAN AND THE PAINTER

How time flies. This time last his death in 2013. We’re delighted that, once John Bellany’s paintings are instantly recognisable. Above all else, he simply loved painting. year, we were eagerly awaiting again, former Head of Modern British Art at They’re full of the same haunting figures. And John painted exactly what he wished. Tate, Robert Upstone, will be our curator. They use a similar palette. But what I see when He followed his own star. He painted every the very first Fortnum’s X Frank I look at John’s paintings is the sheer freedom day, or near enough, and on the days when John’s work was endlessly inspired by the exhibition. Now, in what seems with which he painted. he did not paint he was unhappy about it. lives and culture of the people working in the At his funeral, I remember his coffin entering the merest blink of an eye, we local fishing and boat building industries of I spent time with John during the making of the church - not with flowers on top, but stand on the cusp of unveiling his native Port Seton. While his contemporaries a BBC programme about his work. He was with a bunch of his dirty brushes lying there. Fortnum’s X Frank 2017. were making abstracts and Pop art, John was warm, he loved company, he was jovial, musical, That was the man he was. creating tough, raw and emotive work to passionate and opinionated; we got on famously. Last year, collector Frank Cohen - the man canvas, and engaging with the grand themes During the time John and I spent together, I got I remember on one occasion, being at a gallery whose name forms half of our exhibition’s of life and death, good and evil. the chance to see him work. What stays with exhibition - I think it was Van Dyck - and title - brought more than 80 pieces of British me today is his sheer mastery of the brush, he looked at each painting with care, before Needless to say, we are delighted to be playing Modern art from his world class collection his dazzling dexterity. declaring ‘you know, there must be some 25 host to John’s wonderful paintings - and thrilled to our Piccadilly home. Across all six floors different shades of black in this work.’ I recall to be working once again with Frank Cohen In front of a canvas, he was supremely confident. and in our storefront windows, we played thinking how incredible it was that John could and with the wonderful Bellany Estate for the I remember asking him what he did when he host to the likes of Frank Auerbach, Tracey so acutely distinguish the intricacies of this first time. made an error. Did he stop? Did he start again? Emin, Howard Hodgkin, Leon Kossoff and painting, and the subtleties of colour within it. Oh no, he said. He simply continued to work, Bridget Riley. I am absolutely certain that every person who adding paint, defying the very idea of an ‘error’, And in a way, that is a neat summation of John walks through the doors at Piccadilly during This year, we’re taking a slightly different certain that the work would progress. Bellany, the painter. approach and focusing on a single artist, this year’s exhibition will find something truly a giant of British art: the inimitable John Bellany, extraordinary, moving and beautiful in the work An umbilical cord forever linked John with his He was an artist superbly attuned to the who numbered among his many admirers the on display. childhood in Scotland; in his work, and in his subtleties of the human condition, to joy, pain, life. I returned to his hometown of Eyemouth loss, celebration, friendship – the essentials of likes of and David Bowie. As a fellow Scot, an art lover, and - last but with him and he seemed to know everyone, and life – and he was determined to capture it all. not least - as CEO of Fortnum & Mason, John enjoyed a long, successful, hugely everyone him. But he didn’t like to talk about I am tremendously excited to welcome you influential career and with more than 50 his work; he did not enjoy deconstructing all to the shop, and to the show. pieces from every period of his working life - it. Perhaps that is why some painters paint; selected from Frank’s personal collection it is a better way for them to talk about things. Joan Bakewell and from the Bellany Estate - this will be the Ewan Venters I felt that very much with John. Acclaimed broadcaster, journalist and novelist first exhibition of John’s work in since CEO Fortnum & Mason, September 2017

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Universelle in Paris in a tent to bring his art to UPSTONE At Bellany had the people. Bellany and his friend and fellow rejected the prevailing student Sandy Moffatt were inspired by this A NEW ESSAY ON JOHN BELLANY, to hang their own pictures on the railings fashion of following American of Castle Terrace in Edinburgh during the BY OUR CURATOR prototypes, either of gestural Festival in 1963; in 1964 and 1965 they did abstract expressionism or the it again, this time outside the Royal Scottish Academy, explicitly claiming their own work advertising-derived imagery as being more relevant for ordinary people ‘Good and evil, love and death, of Pop art and instead stayed than that shown inside. ‘It seemed wrong that true to his own language and painting should be cut off from large sections sin and redemption.’ of the public’, Moffatt later wrote, ‘we enjoyed poetry in which to embrace discussing art with all sorts of people, making the great issues of existence. new friends and above all bringing a sense of fun, coupled with seriousness, to the Edinburgh John Bellany (1942-2013) grew up in the ‘They were like portraits’, Bellany recalled, He also rejected the backward-looking tendency Festival’. In 1966 Bellany set out his commitment small, tight-knit fishing communities of Port ‘except they were of boats rather than people.’ then still prevalent in Scotland to continue the to what they had been doing with the outdoor Seton and Eyemouth on the South East coast His destiny to become an artist was set. Aged still life and landscape subjects of the Scottish exhibitions -‘The belief that we are the only of Scotland. That experience, that point of eighteen Bellany enrolled at Edinburgh College Colourists, painting that in the 1960s Bellany two painters not caught up in the fashionable reference, never left him. Both his grandfathers of Art where he was a student from 1960-65. considered fit only for the drawing room. rat-race… Our belief in the revitalising of a and his father were fishermen, and the Although not much further along the coast from Bellany devoted himself instead to figurative dead tradition to the world.’ lives of the villagers were dominated by Port Seton Bellany remembered it as like going painting, then being written off as being in its the precarious fortunes of fishing and the to another country altogether, but it was death throes. And it was a figurative painting At Edinburgh, Bellany started to look at the ever present dangers of the sea. The rituals a community in which he immediately settled that was truly heroic in its scale and ambition. artists of the Northern European tradition - and superstitions of the seafarers were and thrived. In 1965 he started his post- These were tough, gritty paintings based on the nightmarish scenes of Hieronymus Bosch ingrained, and so too was the strict Calvinist graduate studies at the the characters and experiences of Bellany’s and the rough, imperfect humanity of Peter upbringing of his childhood. All these elements in London, where he lived for most of his life upbringing - fish gutters and fishermen, the Brueghel and Lucas Cranach; later he would found expression in paintings that brilliantly while at the same time returning often and toughness and resilience they epitomised and look to the Expressionist painters Otto combine the personal with the epic, containing regularly to Scotland where his heart lay. At the stark contrast of the sacred and the profane Dix, Max Beckmann, Oskar Kokoschka and archetypal, timeless themes of good and evil, the Royal College his tutors were the painters within the life of the fishing community. All this Edvard Munch, artists who depicted and love and death, sin and redemption. Carel Weight, who nurtured in his students a was a metaphor for the inevitable corporeality communicated raw emotional states. This confidence in their own style and originality, of human existence. Bellany’s great hero was was a rejection of the classicising impetus of Bellany began to draw at an early and and Peter de Francia, a politically committed the French painter Gustave Courbet (1819-77) Southern Europe. Instead human form and precocious age, and by the age of four he artist who supported Bellany’s commitment to who believed in using ordinary people as the human life was depicted in all its roughness could make minutely detailed, accurate making art that was immediate and vital. subject for his art. In 1855 Courbet exhibited and ugliness, a more truthful rendering of the drawings of the fishing boats in the harbour. his paintings unofficially outside the Exposition human experience. This dichotomy between

8 FORTNUM’S X FRANK FORTNUM’S X FRANK 9 Northern and Southern European aesthetics not necessarily signify acceptance - death is also held fairly explicitly nationalistic still terrifying, unrelenting in its extinguishing dimensions and whilst studying, Bellany and power and reach. Moffatt discussed the potential for forging a renewed Scottish school of art. In this they Death had been a familiar ghost in his childhood. were encouraged by their contact with the Until the age of five, Bellany and his mother Nationalist poet and writer Hugh MacDiarmid. lived in Eyemouth with his grandparents while his father was away in the War and to be further Around this time Bellany also discovered a cache away from the German bombing runs attacking of reproductions of Old Master drawings the dockyards at Leith. His grandfather was He consumed them hungrily, inspiring him to born in 1881, the year of the Eyemouth Disaster, experiment with and extend his draughtsmanship when 189 of its fishermen perished in a storm - deeds of the fishing boats in Church but then not disappear altogether, changed from and throughout his career he was able to draw Bellany’s great grandfather being one of the in the evening the Fishermen’s Ball, which being threatening to being companions in the with unmatched brilliance. Indeed, there is a very few survivors. As a child one of Bellany’s continued riotously late into the night. Next journey through life. sense that the primacy of drawing sits at the schoolmates drowned, an experience which morning the men would set off fishing as usual. very heart of his art - his oil paintings demonstrate he said had a great effect upon him. At night The human figure was always at the epicentre the significance of outline, and their highly in Eyemouth his grandfather read to him from Bellany’s life reached a crisis in 1988 when, of Bellany’s art, and the moral drama of human complex composition rest upon the strength of the Bible rather than children’s stories and after years of hard drinking he became life its subject matter. Bellany himself was the his draughtsmanship. Many of Bellany’s drawings he recalled how his bedtime prayer as a child desperately ill. Dramatically his life was main character of that drama, based on human - and especially his etchings - resonate with the ‘If I die before I wake, I pray oh Lord my saved by a liver transplant. It was then still experience, almost like the character in a evidence of his absorption with Rembrandt. soul to take’ terrified him. But Bellany also a pioneering and dangerous process but the Biblical story. Whether in his early paintings Like the Dutch master, Bellany frequently emphasised the great, instinctive warmth and operation was a success. He began drawing of fishermen or later allegories Bellany placed himself at the centre of his own art encouraging humanity of his grandparents and painting again in his hospital bed almost drew upon his own life and experience for and painted a sequence of probing self- that stood as a guiding example to him all his immediately and the operation marked the the subject, one that wasn’t a conventional portraits. Self-portraiture is a thread that life. Port Seton in the 1940s and ‘50s was a beginning of a new life and a new optimism narrative but instead the visualisation of an runs through his painting from his time as a strict, God-fearing community, and Bellany’s in his work. This was personified by a new, internal state, a direct rendering of feeling student. At a certain point he started painting a family diligently observed the Sabbath, wide-eyed female figure who began to recur and emotion using a lexicon of personal self-portrait every birthday, a marking off attending Church both morning and night in his canvases - beautiful, enigmatic, she references. Such an approach established of his progression through the years. It with John attending Sunday School in between, seemed to pose the same unanswerable a very direct, open, trusting relationship with demonstrated a strong consciousness of the where games of any sort were forbidden. At questions of life and fate that are constant the viewer. The epic ambition of Bellany’s art process of ageing and the passage of time, home there was a mood of sombre contemplation throughout his career but is a calming and and the unflinching courage to make his own as well as an inevitable sense of mortality making, he said, Sundays seem to stretch reassuring presence. Bellany’s remarriage emotions its focus indicate the profundity and the unavoidability of death. This was a endlessly. But Port Seton was also in those of his first wife Helen in 1986 had brought of his vision. ‘We’re not messing about’, Helen refrain all too familiar to Bellany - as a boy days a community driven by ancient ritual harmony back into his life, and together with recalls him saying regularly, ‘We’re taking on from the hellfire sermons, he heard preaches - at the Autumn equinox, Halloween, they the renewed energy of his transplant his work the world.’ from the pulpits of the Plymouth Brethren and would burn the oldest boat in the village, took on a new vigour. His palette lightened the Church of Scotland, an experience he a sacrificial ritual of death and renewal that and brightened and the terrifying creatures described in later life as terrifying. And such an must have had its origins in ancient pagan that haunted his earlier paintings - emblems of Robert Upstone awareness of mortality in his paintings does practice. The next day saw the blessing of the anxieties, traumas and fears - while they did Curator of Fortnum’s X Frank

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Tea

Tea Accessories F.1 GROUND FLOOR WINDOWS

The Gallery 1. The Artist in his Studio Restaurant 2. Elegy 3. Eyemouth Roadstead No. 1 - 8 No. Coffee 4. The Pianist 5. Intrepid

Till Point 6. Danae Shower of Gold ‘Homage to Titian’ 7. Bonjour Monsieur Bowie 8. Bonjour Mr Tuxedo Piccadilly

Chocolates & Street Jermyn

Ground Floor Windows Floor Ground Confectionery Biscuits Hampers F.1

Pâtisserie Preserves & Cake & Honey

Staircase

Duke Street

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2. Elegy (1993) Oil on canvas, 183 x 244 cm

1. The Artist in his Studio (2001) Oil on canvas, 200 x 300 cm

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3. Eyemouth Roadstead (2002) Oil on canvas, 172.7 x 152.4 cm

4. The Pianist (1987) Oil on canvas, 213.3 x 172.2 cm

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6. Danae Shower of Gold ‘Homage to Titian’ (1991) Oil on canvas, 152.5 x 172.7 cm

5. Intrepid (2007) Oil on canvas, 172.2 x 152.4 cm

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7. Bonjour Monsieur Bowie (1988) Oil on canvas, 172.7 x 152.4 cm

8. Bonjour Mr Tuxedo (1997) Oil on canvas, 152 x 152.4 cm

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Bakery, Spirits Delicatessen & Ready-to-go Floristry

LG.1 THE WINE BAR Savoury Fresh Food Groceries Ordering 9. Death series 1 of 6 10. Death series 2 of 6

Charcuterie 11. Death series 3 of 6 12. Death series 4 of 6 LG.1 13. Death series 5 of 6 The Wine Bar 14. Death series 6 of 6 No. 9 - 15 15. Celtic Serendipity Piccadilly Jermyn Street Jermyn

Cheese & Fruit Vegetables Wine & Champagne

Butchery & Smoked Fish

Staircase

Duke Street

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9. Death series 1 of 6 (1997) Ink wash, 25.4 x 22.8 cm

10. Death series 2 of 6 (1997) Ink wash, 25.4 x 22.8 cm

11. Death series 3 of 6 (1997) Ink wash, 25.4 x 22.8 cm

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12. Death series 4 of 6 (1997) Ink wash, 25.4 x 22.8 cm

15. Celtic Serendipity (1998) Drawing, 38.1 x 55.8 cm

13. Death series 5 of 6 (1997) Ink wash, 25.4 x 22.8 cm

14. Death series 6 of 6 (1997) Ink wash, 25.4 x 22.8 cm

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Tea

Tea Accessories G.1 SHOP FLOOR - TILL POINT

The 16. Prospero Gallery Restaurant 17. The Old Man and the Sea 18. Port Seton Dog Man

Coffee 19. The Long Wait 20. Bass Rock Till Point 16 - 20 No.

G.1

G.2 DUKE STREET STAIRCASE Piccadilly Jermyn Street Jermyn Chocolates & 21. You’re 50 Today John Confectionery Biscuits Hampers 22. David Brown

Pâtisserie Preserves & Cake & Honey

G.2 Staircase No. 21 - 22

Duke Street

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17. The Old Man and the Sea (1987) Oil on canvas, 121.9 x 91.4 cm

16. Prospero (1987) Oil on canvas, 91.4 x 60.9 cm

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19. The Long Wait (c. 1990s) Oil on canvas, 91.4 x 91.4 cm

20. Bass Rock (c. 1990s) Oil on canvas, 121.9 x 91.4 cm

18. Port Seton Dog Man (1993) Oil on canvas, 91.4 x 91.4 cm

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22. David Brown (1987) Oil on canvas, 152.5 x 122 cm

21. You’re 50 Today John (1992) Oil on canvas, 152.4 x 121.9 cm

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Christmas Cookshop Shop Events Kitchen 1.1 FIRST FLOOR - STATIONERY

Cookshop 1.2 23. Self Portrait with Sad Monkey Toilets No. 24

1.2 FIRST FLOOR - TOILET Candles Bespoke Hamper 24. Shanghai The Ordering Parlour Restaurant DUKE STREET STAIRCASE Teaware & Dining 1.3 Piccadilly Jermyn Street Jermyn 25. By The Sea 26. Fate

1.1

Stationery No. 23 Customer Services Customer

1.3 Staircase No. 25 - 26

Duke Street

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24. Shanghai (2004) Oil on canvas, 121.9 x 152.4 cm

23. Self Portrait with Sad Monkey (1984) Watercolour, 76.2 x 55.8 cm

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25. By The Sea (c. 1990s) Oil on canvas, 121.9 x 91.4 cm

26. Fate (c. 1990s) Oil on canvas, 121.9 x 91.4 cm

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2.1 FRAGRANCE 2.4 Speaking Staircase No. 32 - 34 27. Across the Firth

Accessories 2.2 BEAUTY STAIRCASE

Jewellery 28. Requiem for my Father 29. Lost Soul

2.3 DUKE STREET STAIRCASE 2.2 Beauty Staircase 30. Amelia No. 28 - 29 31. Fish Gutters

Piccadilly Fragrance Beauty, Bath 2.4 SPEAKING STAIRCASE

No. 27 & Body Street Jermyn 2.1 32. Salubrious Soiree

Loungewear 33. Scottish Fish Gutters 34. Odyssey

2.3 Staircase No. 30 - 31

Duke Street

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28. Requiem for my Father (1985) Oil on canvas, 218.4 x 177.4 cm 27. Across the Firth (c. 1990s) Watercolour, 55.8 x 76.2 cm

29. Lost Soul (1967) Oil on board, 187 x 156 cm

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30. Amelia (c. 1990s) Oil on canvas, 152.4 x 152.4 cm

31. Fish Gutters (c. 1980s) Oil on canvas, 152.4 x 152.4 cm

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33. Scottish Fish Gutter (1965) 32. Salubrious Soiree (1987) Oil on board, 244 x 183 cm Oil on canvas, 213.3 x 172.7 cm

34. Odyssey (1998) Oil on canvas, 203.2 x 330.2 cm

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3.1 ACCESSORIES & GIFTS

3.2 35. Mother and Child 3’6 Bar No. 39 - 46 36. Italian Girl 37. Listening 38. Lovers The Barber

3.2 3’6 BAR 3.1 Accessories & Gifts Grooming No. 35 - 38 & Fragrance 39. Celtic Maiden Piccadilly

Jermyn Street Jermyn 40. Untitled Shoeshine Service 41. Flowers I 42. Cannes 43. Italian Landscape 3.3 Staircase 44. Landscape No. 47 - 48 45. Homage to Rossetti

Duke Street 46. Age

3.3 DUKE STREET STAIRCASE

47. By the Habour 48. Lover by the Bay

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35. Mother and Child (2010) Conte Drawing, 50.8 x 40.6 cm

37. Listening (1993) Watercolour, 76.2 x 55.8 cm

36. Italian Girl (2003) Oil on canvas, 60.9 x 55.8 cm

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39. Celtic Maiden (1998) 38. Lovers (c. 1990s) Oil on canvas, 76 x 60 cm Oil on canvas, 121.9 x 91.4 cm

40. Untitled (2002) Oil on canvas, 70 x 60 cm

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42. Cannes (1986) Ink wash, 71.1 x 91.4 cm

43. Italian Landscape (2009) Ink wash, 55.8 x 76.2 cm

41. Flowers I (1991) Drawing, 76.2 x 55.8 cm

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44. Landscape (2009) Ink wash, 55.8 x 76.2 cm

46. Age (1989) Conte Drawing, 55.8 x 76.2 cm

45. Homage to Rossetti (1991) Drawing, 55.8 x 38.1 cm

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48. Lover by the Bay (c. 1990s) Oil on canvas, 121.9 x 91.4 cm

47. By the Harbour (c. 1990s) Oil on canvas, 121.9 x 91.4 cm

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The Drawing Room

The Tasting Room 4.1 DUKE STREET STAIRCASE

49. Conversation The Diamond Jubilee Tea Salon 50. The Encounter Piccadilly Jermyn Street Jermyn

4.1 Staircase No. 49 - 50

Duke Street

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50. The Encounter (1988) Oil on canvas, 152.4 x 152.4cm

49. Conversation (2003) Oil on canvas, 91.4 x 91.4 cm

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5.1 THE BOARDROOM (by appointment only, telephone +44 (0) 20 7734 8040)

51. Volambrosa I 5.1 The Boardroom No. 51 5.2 FOURTH / FIFTH FLOOR MEZZANINE Piccadilly Jermyn Street Jermyn 5th Floor Staff Area | Private 52. Budapest Foyer

5.3 DUKE STREET STAIRCASE

5.3 Staircase 5.2 4th & 5th No. 53 - 54 Mezzanine 53. Storm over Jerusalem No. 52 54. Port Seton Harbour Duke Street

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52. Budapest (1990) Oil on canvas, 172.7 x 152.4 cm

51. Volambrosa I (1991) Conte Drawing, 76.2 x 55.8 cm

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53. Storm over Jerusalem (2004) Oil on canvas, 91.4 x 121.9 cm

54. Port Seton Harbour (c. 1990s) Oil on canvas, 91.4 x 121.9 cm

70 FORTNUM’S X FRANK FORTNUM’S X FRANK 71 1984 – Düsseldorf Gallery, Perth; Pier Arts 1996 – Flowers East, London; MacGeary Gallery, Centre, Stromness, Orkney; Mercury Gallery, Brussels; Galeria Kin, Mexico Edinburgh; Roslyn Oxley Gallery, Sydney; Rosa JOHN BELLANY Esman Gallery, New York 1997 – Beaux Arts, London 1998 – Beaux Arts, London; Elaine Baker Gallery, 1986 – Scottish National Gallery of Modern Art, SELECTED LANDMARKS SOLO EXHIBITIONS Boca Raton, Florida Edinburgh; Seprentine Gallery, London; National 1942 – Born Port Seton, Scotland 1965 – Dromidaris Gallery, Holland Portrait Gallery, London; Galerie Krikhaar, 1999 – Elaine Baker Gallery, Boca Raton, Florida Amsterdam; Inaugural Exhibition in the Henry 1960-65 – Attended 1968 – Edinburgh College of Art Moore Gallery, Royal College of Art, London; 2000 – Beaux Arts, London; Solomon Gallery, Assembly Rooms, Edinburgh and touring Dublin 1965-68 – Attended Royal College of Art, London 1969 – Winchester School of Art Scotland; Fischer Fine Art, London 1968 – Lecturer in Painting, Brighton College 1970 – Hendricks Gallery, Dublin; Drian Gallery, 2001 – University of Northumbria; Beaux Arts, of Art London 1987 – Nigel Greenwood Gallery, London; London Compass Gallery, Glasgow; Greenhill Galleries, 1969-73 – Lecturer in Painting, Winchester 1971 – New 57 Gallery, Edinburgh; Printmakers Perth; Butler Gallery, Kilkenny Castle, Ireland; 2002 – Beaux Arts, London; Scottish National College of Art; Visiting Lecturer at Royal College Workshop, Edinburgh; Drian Gallery, London Hendricks Gallery, Dublin; MacLaurin Gallery, Gallery of Modern Art; Solomon Gallery, Dublin; of Art and Goldsmith’s College of Art Ayr; Third Eye Centre, Glasgow; Printmakers Open Eye Gallery, Edinburgh; Commune Galeria, 1972 – Royal College of Art, London Workshop, Edinburgh; Aberdeen Art Gallery; Braga 1978-84 – Lecturer in Painting at Royal Beau Arts, Bath; National Portrait Gallery, College of Art and Goldsmith’s College of Art 1973 – Triad Arts Centre, Bishop’s Stortford; London; The Peacock Gallery, Aberdeen; 2003 – Piazza Angelio, Barga, Italy; Beaux Arts, Royal College of Art; Edinburgh City Art Centre; Roslyn Oxley Gallery, Sydney Bath; Open Eye Gallery, Edinburgh 1983 – Artist in Residence, Victoria College of Drian Gallery, London 2004 – Solomon Gallery, Dublin; Beaux Arts the Arts, Melbourne, Australia 1988 – Printmakers Workshop, Edinburgh; 1974 – Drian Gallery, London Gallery, London; Open Eye Gallery, Edinburgh Aberdeen Art Gallery; Beaux Arts Gallery, Bath; 1987 – Wollaston Award, Royal Academy, London Hamburger Kuntshalle; Museum am Ostwall, 1975 – Aberdeen City Art Gallery 2005 – exhibitions; National Gallery Dortmund; Ruth Siegel Gallery, New York 1988 – Elected Fellow of Trinity Hall, Cambridge of China, Beijing; National Gallery Shanghai, 1977 – Acme Gallery, London China; Mitchell Library, Glasgow 1989 – Scottish National Gallery of Modern Art, 1991 – Elected Royal Academician 1978 – Scottish Arts Council, Edinburgh; Edinburgh; Aberdeen Art Gallery; Beaux Arts, 2006 – Solomon Gallery, Dublin; Beaux Arts, 1993 – Korn/Ferry Picture of the Year, Royal Printmakers Workshop, Edinburgh; Crawford Bath; Fischer Fine Art, London London; Kunsthalle Jesuitenkirche, Academy, London Arts Centre, St Andrews; Glasgow Print Studio Aschaffenburg, Germany 1990 – Raab Gallery, Berlin; Compass Gallery, 1994 – Awarded CBE by Her Majesty, The Queen 1979 – Third Eye Centre, Glasgow; Glasgow; Ruth Siegel Gallery, New York 2007 – Roger Billcliffe Gallery, Glasgow; Open City Art Gallery; Newcastle Polytechnic; Eye Gallery, Edinburgh; Lemon Street Gallery, 1996 – Awarded Honorary Doctorate, University Glasgow Print Studio 1991 – Fitzwilliam Museum, Cambridge; Fischer Truro; Spandau Zitadelle, Berlin of Edinburgh Fine Art, London 1980 – Moira Kelly Fine Art, London; Acme 2008 – Beaux Arts, London; Solomon Gallery, 1998 – Awarded Honorary Doctorate, Herriot Gallery, London 1992 – Kelvingrove Art Gallery & Museum, Dublin; Harbour Gallery, Port Seton; Watt University; becomes Honorary Senior Glasgow; Beaux Arts, Bath; Flowers East Gallery, Gainsborough’s House, Sudbury; Fellow at Royal College of Art, London 1981 – Goldsmiths College of Art, London London Lemon Street Gallery, Truro

2002 – Awarded the Chevalier Medal, Florence 1982 – Rosa Esman Gallery, New York 1993 – Berkeley Square Gallery, London 2009 – Beaux Arts, London; Open Eye Gallery, Edinburgh 2005 – Awarded Freedom of East Lothian 1983 – Ikon Gallery, Birmingham; Graves Art 1994 – Flowers East, London Gallery; Hatton Gallery, Newcastle-upon-Tyne; 2010 – Beaux Arts, London 2013 - Died Walker Art Gallery, Liverpool; MacLaurin Art 1995 – Terry Dintenfass Gallery, New York; Gallery, Ayr; Rosa Esman Gallery, New York; Talbot Rice Gallery, Edinburgh; Edinburgh Festival 2012 – Beaux Arts, London; Open Eye Gallery, Christine Abrahams Gallery, New York Exhibition; Strathclyde University Gallery, Glasgow Edinburgh

72 FORTNUM’S X FRANK FORTNUM’S X FRANK 73 The Bellany Family

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