Introduction 2 Elizabeth Blackadder 4 Wilhelmina Barns-Graham 24 A STUDIO Victoria Crowe 46 Frances Walker 72 PRACTICE 5-29 July 2017

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

Cover: Wilhelmina Barns-Graham, Scorpio Series 2, No.15, 1996, cat. 17 (detail) Inside front cover: Victoria Crowe, While in Venice, c.1999, cat. 31 (detail) A STUDIO PRACTICE

The artist must work in isolation, no guidance is Blackadder the etched line proved the perfect medium available in the moment of creativity. This can be an to describe an exotic orchid, for Barns-Graham the examination of determination passed only by those late Scorpio Series of gouaches had their origin in the with self-belief as well as talent; one without the other expressionist lithographs made with Carole Robertson is either unfulfilled promise or a delusion of worth. at Graal. For Frances Walker lithography was the However, the artist will often seek the encouragement perfect process to depict her beloved Tiree and a sharp of the like-minded in good conversation, the sharing etched line could recall the clarity of South Georgia. of ideas and even insights into technique, fellowship Technical originality characterises the works on paper available in an art club, academy or workshop. This of Victoria Crowe from the etched starting point of can find expression in printmaking, a collaborative her sketchbook leaves to the multi-layered images process usually involving experiment, the advice and combining renaissance and contemporary reference. technical involvement of a master printer and a sense of For these and many other artists the experience of adventure engendered by the unknown, the revelation printmaking will be taken back to the studio and will be of the sheet as it emerges from the etching or litho put to use to invigorate the solitary process. McTaggart bed. A novel palette will be available, imagination called painting ‘the good habit’ and we can add hard required to allow for the reversal of the image and in work to self-belief and talent in our list of attributes for the collaboration the artist will experience letting-go the artist. Inspiration can come from experimentation of complete control through which something new will with a variety of techniques (indeed many artists will always be learned. employ ‘mixed media’); great art cannot be made in Wilhelmina Barns-Graham and Victoria Crowe found a vacuum and an open process will enrich a studio this with Graal Press in Roslin with Robert Adam, practice. Elizabeth Blackadder at the Glasgow Print Studio with Guy Peploe John McKechnie and Stuart Duffin and Frances Walker Director at Peacock in Aberdeen with Arthur Watson. For

Right: Frances Walker, Shore Pool, 2014, cat. 59 (detail)

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ELIZABETH BLACKADDER DBE, RA, RSA, RSW, RGI (b.1931)

In considering the last hundred and twenty or so elsewhere, not least with the National Galleries of years of , the period broadly covering and her long association with the Royal the modern and of course the contemporary (those Academy (she became an Associate in 1971 and was artists who enjoy the distinction of still being with us), the first woman to be a member of both the RA and we can detect commonalities: those that spring from RSA) has added to her national profile. The list of a consideration of the same landscapes for example, honours and exhibitions runs to a book in itself and or those to do with the enjoyment of the medium of it is hard to grasp the breadth of her achievement oil paint. This allows us to make comparison between across many media. For many she is best understood Peploe, Redpath and Eardley or George Leslie Hunter, as a watercolourist, for many more her printmaking MacTaggart and . has allowed collectors to own her work, new editions Creativity is as messy as nature and there is no of etchings, screen prints and lithographs appearing unbroken line of development, indeed the notion regularly. Blackadder, like several Edinburgh School of development has become invalid: modernism has painters, has maintained separate watercolour and oil provided the liberty to the artist to make work out studios. Her compositions in oil must be seen as her of anything and depict anything and the art world greatest contribution, brilliant fusions of real objects and has become atomised. For more than half of this imaginary space, limitless colour invention moderated period the images of Elizabeth Blackadder have by impeccable combination, the perfect balance of sharp surprised and beguiled us, a presence that has grown focus and free drawing with the brush and an unerring and achievements that can be considered as quite sense of restraint and harmony, never overworked. discrete from the usual fodder for the survey of our Guy Peploe national school. She can perhaps best be considered as a national treasure, like Burns or Scott or Raeburn, Public collections include: her body of work a monument to quiet application, and Museums restraint, enlightenment and cultural variety. Each work Glasgow Museum and Art Gallery has the simple poetry of a haiku but is presented with National Portrait Gallery, London the perfect pitch of a tuning fork. Scottish National Gallery of Modern Art, Edinburgh We have celebrated a consistent relationship between Scottish National Portrait Gallery, Edinburgh the artist and Gallery, having held ten exhibitions, the Tate Gallery, London last six coinciding with the Edinburgh Festival, put on Victoria & Albert Museum, London with The Scottish Gallery. Of course she has shown

Elizabeth Blackadder, 2003. Photo: Norman McBeath. Courtesy of National Portrait Gallery, London

5 This early sketchbook drawing dates from the artist’s time at . The high horizon may take influence from her tutor and friend William Gillies, but the nervous energy of line, and assured mark making are entirely Blackadder’s own.

1. Farm near Burntisland, c.1952 ink on paper, 33 x 45 cms signed lower right exhibited Elizabeth Blackadder – Decades, The Scottish Gallery, Edinburgh, 2016, ex.cat; Modern Masters VI, The Scottish Gallery, Edinburgh, 2017, cat. 10; Portrait of a Gallery, The Scottish Gallery, Edinburgh, 2017, cat. 29 provenance Private collection, Edinburgh

6 7 2. Roman Wall I: Castle Nick, 1963 screenprint, 55 x 72 cms signed and dated lower right, edition of 50 exhibited Elizabeth Blackadder – Decades, The Scottish Gallery, Edinburgh, 2016, cat. 5 illustrated Elizabeth Blackadder Prints by Christopher Allen, Lund Humphries, 2003, pl.6

8 9 3. Frango no Espeto no.2, 1966 oil on canvas, 91.5 x 91.5 cms signed and dated centre right

10 11 Flowers are often present in Elizabeth Blackadder’s still life compositions and increasingly they became a subject in themselves. She acquired her first garden with her move to Queens Crescent in 1963. There can be no other painter as prolific in the number of things included in her painting: toys, wrappers, ceramics, postcards, fabric, fruit (real and carved), boxes, bowls, parcels and so on. When she travelled she accumulated things and then, eventually, they might be put to use, often crumpled, upside down, rescaled, flattened or partial.

4. White Still Life, 1967 oil on canvas, 102 x 152 cms signed and dated lower left

12 13 The jacket (a favourite garment, a gift from her husband John Houston) bears the colours of the rainbow but in glorious chaos, with the right side of the composition, glass shelves supporting delicate, enigmatic objects includes the rainbow, a perfect glowing arch.

5. White Still Life with Rainbow and Embroidered Jacket, 1974 oil on canvas, 76 x 122 cms signed and dated lower right exhibited Elizabeth Blackadder – Festival Exhibition, The Scottish Gallery, Edinburgh, 1974, cat. 9; Elizabeth Blackadder & John Houston – Journeys from Home and Journeys Together, The Park Gallery, Falkirk and the Pathfoot Building, University of Stirling, 2011; Elizabeth Blackadder – Decades, The Scottish Gallery, Edinburgh, 2016, cat. 10

14 15 6. Pavement Leaves, 2013 watercolour, 58 x 77 cms signed lower left exhibited Elizabeth Blackadder – The Nature of Things, The Scottish Gallery, Edinburgh, 2013, cat. 18; Elizabeth Blackadder – Decades, The Scottish Gallery, Edinburgh, 2016, cat. 34

16 17 7. Abyssinian Cat, 2003 coloured etching, 36 x 30 cms signed lower right, edition of 80

18 8. Fred, 2003 coloured etching, 30 x 36 cms signed lower right, edition of 80

19 9. Irises, Lilies, Tulips, 2013 coloured etching, 36 x 30 cms signed lower right, edition of 40

20 HIGH RES REQUIRED

10. Irises, 2012 etching, 48 x 69 cms signed lower right, edition of 50

21 11. Tulips, 2012 screenprint, 56 x 76 cms signed lower right, edition of 80

22 12. Wild Flowers, 2013 screenprint, 72.5 x 89.5 cms signed lower right, edition of 65

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WILHELMINA BARNS-GRAHAM CBE, HRSA, HRSW (1912-2004)

Wilhelmina Barns-Graham, known as Willie, was born Public Collections include: in St Andrews, Fife, on 8 June 1912. Determining while Aberdeen Art Gallery and Museums at school that she wanted to be an artist, she set her Arts Council of Great Britain, London sights on Edinburgh College of Art, where she enrolled British Museum, London in 1932 and graduated with her diploma in 1937. At the Dundee Museum and Art Gallery suggestion of the College’s principal, Hubert Wellington, Edinburgh she moved to St Ives in 1940. Early on she met Borlase Ferens Art Gallery, Hull Smart, Alfred Wallis and Bernard Leach, as well as Ben Government Art Collection Nicholson, Barbara Hepworth and Naum Gabo who , were living locally at Carbis Bay. Her peers in St Ives Hawick Museum include, among others, Patrick Heron, Terry Frost, Roger Jerwood Gallery, Hastings Hilton, and John Wells. Barns-Graham’s history is bound Kelvingrove Art Gallery and Museums, Glasgow up with St Ives, where she lived throughout her life. In Kettle’s Yard, Cambridge 1951 she won the Painting Prize in the Penwith Society Lillie Art Gallery, Milngavie of Arts in Cornwall Festival of Britain Exhibition and Manchester City Art Gallery went on to have her first London solo exhibition at the New South Wales Art Gallery, Sydney, Australia Redfern Gallery in 1952. She was included in many of Pallant House, Chichester the important exhibitions on pioneering British abstract , Stromness, Orkney art that took place in the 1950s. In 1960, Barns-Graham Royal Scottish Academy, Edinburgh inherited Balmungo House near St Andrews, which Scottish National Gallery of Modern Art, Edinburgh initiated a new phase in her life. From this moment she Tate Gallery, London divided her time between the two coastal communities, The Fleming-Wyfold Art Foundation, London establishing herself as a Scottish artist as much as a St The Royal Collection Ives one. Important exhibitions of her work at the Tate Victoria and Albert Museum, London St Ives in 1999/2000 and 2005, and the publication of the first monograph on her life and work, Lynne Green’s W. Barns-Graham: A Studio Life, 2001, confirmed her as one of the key contributors of the St Ives School, and as a significant British modernist. She died in St Andrews on 26 January 2004.

Wilhelmina Barns-Graham at Art First 2000 Photo: Simon Norfolk

25 After studying at Edinburgh College of Art in the 1930s, Wilhelmina Barns-Graham with the help of a travelling scholarship moved to St Ives in Cornwall in 1940. There she met and became influenced by the work of Ben Nicholson and was introduced to Barbara Hepworth and Naum Gabo. These artists recognised the quality of her work, especially the power and rigour of her draughtsmanship; which is exemplified in this large pastel drawing of a Palinure Campagna (Red Canyon) in Sicily, which she made on a visit to Italy in 1955, sponsored by the Italian Government. In 1956 Barns-Graham exhibited at The Scottish Gallery with an exhibition entitled Drawings from Sicily, Italy and S. W. Cornwall.

13. Palinure Campagna, 1955 pencil with pastel, 47 x 59 cms signed and dated lower left

26 27 14. Movement on Brown, 1960 gouache, 53.5 x 42 cms signed and dated on verso exhibited W. Barns-Graham Exhibition, The Scottish Gallery, Edinburgh, 1960, cat. 20; Portrait of a Gallery, The Scottish Gallery, Edinburgh, 2017, cat. 56 provenance Private collection, Midlothian

28 29 15. Movement into Space (Into Brown), 1980 16. gouache on card, 24.8 x 24.8 cms Movement in Space Days Nights, 1980 signed and dated lower left oil on canvas, 101.5 x 102.2 cms exhibited exhibited Portrait of a Gallery, The Scottish Gallery, Edinburgh, Portrait of a Gallery, The Scottish Gallery, Edinburgh, 2017, cat. 57 2017, cat. 54. provenance provenance The Wilhelmina Barns-Graham Trust The Wilhelmina Barns-Graham Trust Inventory no. BGT1059 Inventory no. BGT431

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Scorpio Series 2 is recognised as being one of the most important series of her career. This is a vibrant painting – an explosion of colour and form which confronts the senses and is painted with absolute certainty. In 1996, the Scottish National Gallery of Modern Art held a retrospective of her work and this picture is a reflection of the artistic confidence in her own abilities and position.

17. Scorpio Series 2, No.15, 1996 acrylic on paper, 56.5 x 76 cms signed and dated lower left exhibited Modern Masters III, The Scottish Gallery, Edinburgh, 2014, cat. 2; Last Light, The Scottish Gallery, Edinburgh, 2016, cat. 7; Portrait of a Gallery, The Scottish Gallery, Edinburgh, 2017, cat. 55 provenance The Wilhelmina Barns-Graham Trust Inventory no. BGT944

32 33 18. Orange and Blue, 2003 acrylic on paper, 20.5 x 20.4 cms signed and dated top left exhibited Portrait of a Gallery, The Scottish Gallery, Edinburgh, 2017, ex cat. provenance The Wilhelmina Barns-Graham Trust Inventory no. BGT3317

34 35 19. Beach, 1999 screenprint, 29 x 40 cms signed and dated lower left, edition of 75 illustrated The Prints of W. Barns-Graham by Ann Gunn, Lund Humphries, 2007, cat. 42

36 20. Millenium Series Green, 2000 screenprint, 24 x 30.5 cms signed and dated lower right, edition of 75 illustrated The Prints of W. Barns-Graham by Ann Gunn, Lund Humphries, 2007, cat. 65

37 21. Millenium Series Pink, 2000 screenprint, 24 x 30.5 cms signed and dated lower right, edition of 75 illustrated The Prints of W. Barns-Graham by Ann Gunn, Lund Humphries, 2007, cat. 66

38 22. Homage to Johnny, 2002 screenprint, 26.5 x 35 cms signed and dated lower right, edition of 75 illustrated The Prints of W. Barns-Graham by Ann Gunn, Lund Humphries, 2007, cat. 46 This print relates to three paintings entitled Goodbye to Johnny, made after the death of artist John Wells in 2000.

39 23. Sunghrie III, 2002 screenprint, 58 x 76 cms signed and dated lower right, edition of 75 illustrated The Prints of W. Barns-Graham by Ann Gunn, Lund Humphries, 2007, cat. 77

40 24. Earth Series V, 2002 screenprint, 58 x 76 cms signed and dated lower right, edition of 65 illustrated The Prints of W. Barns-Graham by Ann Gunn, Lund Humphries, 2007, cat. 60

41 25. Tango, 2003 screenprint, 58 x 58 cms signed and dated lower right, edition of 70 illustrated The Prints of W. Barns-Graham by Ann Gunn, Lund Humphries, 2007, cat. 48

42 26. White Circle Series 1, 2003 screenprint, 56 x 56 cms signed and dated lower right, edition of 70 illustrated The Prints of W. Barns-Graham by Ann Gunn, Lund Humphries, 2007, cat. 99

43 27. Water Dance (Porthmeor) 1, 2004 screenprint, 56 x 56 cms edition of 70 illustrated The Prints of W. Barns-Graham by Ann Gunn, Lund Humphries, 2007, cat. 93

44 28. Wind Dance Series No.1, 2004 screenprint, 56 x 56 cms edition of 70 illustrated The Prints of W. Barns-Graham by Ann Gunn, Lund Humphries, 2007, cat. 102

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VICTORIA CROWE OBE, DHC, FRSE, MA(RCA), RSA, RSW (b.1945)

Victoria Crowe has been described as ‘one of the most the Royal Scottish Society of Painters in Watercolours vital and original figurative painters currently at work (RSW). She has exhibited nationally and internationally in Scotland’ with works in global public and private and undertaken many important portrait commissions, collections, including the National Portrait Gallery, including RD Laing, and Jocelyn Bell Burnell. London; National Galleries of Scotland; the Royal In 2018, the Scottish National Portrait Gallery is holding Academy, London; and Frederiksborg Castle, Denmark. a retrospective exhibition of Crowe’s portrait work, Over the last 40 years she has established herself as a which will coincide with an Edinburgh Festival Exhibition painter whose work is instantly recognisable and while of new paintings at The Scottish Gallery. the full range of her painting covers landscape, still lifes, portraits, self-portraits and interiors, much of her work Public Collections include: defies such precise categorisation. Today she divides her Fleming-Wyfold Art Foundation time between Venice, Edinburgh and West Linton. The Glasgow Museums and Art Galleries location of her studios providing thematic richness to Houses of Parliament, London her practice. National Museums of Scotland Victoria studied at Kingston School of Art (1961-65) National Portrait Gallery, London and at the Royal College of Art, London (1965-68). National Trust for Scotland For 30 years she worked as a part-time lecturer in the Reading Museum and Art Gallery School of Drawing and Painting at Edinburgh College of Royal Academy, London Art, while developing her own artistic practice. Her first Royal College of Art, London one person exhibition, after leaving the Royal College Royal Scottish Academy, Edinburgh of Art, was in London and she has subsequently gone Scottish Arts Council on to have over 50 solo shows worldwide. Victoria is Scottish National Gallery of Modern Art, Edinburgh a member of the Royal Scottish Academy (RSA) and Scottish National Portrait Gallery, Edinburgh

Victoria Crowe in Venice, 2017. Photo: Andy Phillipson / livewireimage.com

47 Advent Assembly is a complex still life composition. The assemblage of objects acts as memento mori but more a paradigm for memory: a life lived, recalled by the ephemera and trophies of its passage. The advent calendar doors are neither open nor closed; there is a small picture to the far right which might be Kittleyknowe in Winter and another picture on the left is possibly Monk’s Cottage, usually painted from the inside looking out. The flowers represent the various life cycles and the scattered objects are mysterious and familiar in equal measure. The little mirror, which casts out a blue light, gives us a glimpse into another, unknown world.

29. Advent Assembly, c.1991 mixed media, 80 x 99 cms signed lower left provenance Private collection, Perthshire exhibited Royal Scottish Academy Annual Exhibition, Edinburgh, 1992; Modern Masters, The Scottish Gallery, Edinburgh, 2013

48 49 30. Interior with Passing Figure, c.1995 silkscreen print, 56 x 103.5 cms signed lower right, edition of 32

50 31. While in Venice, c.1999 variation screenprint, 58 x 50 cms signed lower right, edition 1 of 1 illustrated Victoria Crowe by Duncan Macmillan, Antique Collectors Club, 2012, p.85

51 32. Painted Room with a View, 1993 mixed media, 24 x 42 cms signed lower right

52 33. Italian Offerings, c.1995 lithograph, 57 x 70.5 cms signed lower right, edition of 20

53 34. Drawn from Italy, 2001 silkscreen, intaglio and chine collé, 38 x 89 cms signed lower right, edition of 35 illustrated Victoria Crowe by Duncan Macmillan, Antique Collectors Club, 2012, p.83

54 55 35. Bellini Wall, Venice, c.2005 collograph, 23.75 x 41.75 cms signed lower right, edition of 18

56 36. Bellini Wall, Venice, c.2005 intaglio on fibrous paper, 24 x 42 cms signed lower right, edition 1 of 1

57 37. Studio Interior with Mask, c.2009 oil on linen, 71 x 76 cms signed lower right exhibited Portrait of a Gallery, The Scottish Gallery, Edinburgh, 2017, cat. 65

58 59 38. Sentinel Guardian I, 2010-2011 oil on linen, 112 x 56 cms signed lower right exhibited Four , The Scottish Gallery, Edinburgh, 2015, cat. 24 provenance Private collection, Scottish Borders

60 61 39. Dog and Crumbling Walls, 2010 mixed media with intaglio, 26.5 x 35 cms signed exhibited Reflection, The Scottish Gallery, Edinburgh, 2010, ex. cat.

62 40. Real and Imagined World, 2010 intaglio and screenprint, 29 x 34 cms signed lower right, edition of 100

63 41. Little Saint, Rialto, c.2012 mixed media and intaglio, 18.5 x 25 cms signed lower right

64 42. The City Reflected,2012 etching, collograph, silkscreen, 40.6 x 51 cms signed lower right, edition of 30

65 43. Large Tree Group, Winter, 2014 etching and screenprint, 50.5 x 71 cms signed lower right, edition of 250

66 44. Solstice, Trees and Ice, 2012 etching collograph, 50 x 40 cms signed lower right, edition of 30

67 45. Evening, Salute, 2017 mixed media on handmade paper, 19 x 39 cms signed lower right

68 46. Enigmatic Venice, 2016 mixed media on canvas laid on board, 29 x 66 cms signed lower right

69 47. The Zattere, Evening, 2016 mixed media on board, 33 x 107 cms signed lower right

70 71 48. The City and Dramatic Sky, 2017 oil on board, 61 x 76 cms signed lower right

72 73 49. Reflected Skyline, Tramonto,2017 oil and mixed media on handmade paper, 38 x 58.5 cms signed lower right

74 75

FRANCES WALKER RSA, RSW (b.1930)

Frances Walker is one of Scotland’s most highly Public Collections include: regarded living artists. Born in 1930 in Frances Aberdeen Art Gallery and Museums studied at Edinburgh College of Art and later taught ANGUSalive, Arbroath in the Hebrides before taking up a position at Grays The Argyll Collection, Oban School of Art in Aberdeen. Since her retirement from Edinburgh College of Art Grays she has travelled extensively taking inspiration Inverness Museum and Art Gallery from wild and isolated terrain, in particular that of the Western Isles and Antarctica. She was honoured with Royal Scottish Academy, Edinburgh a major retrospective at Aberdeen Art Gallery in 2010 Robert Gordon University, Aberdeen entitled A Place Observed in Solitude. This coincided Sabhal Mòr Ostaig, Skye with an exhibition at The Scottish Gallery, Antarctic Scottish National Gallery of Modern Art, Edinburgh Convergence which presented Frances’ recent work University of Edinburgh from a trip to Antarctica. A collection of her Antarctic University of Aberdeen paintings are now in the collection of the McManus University of St Andrews Gallery in Dundee. Frances was a founding member of Peacock Printmakers in Aberdeen where she has been producing prints for over four decades.

Frances Walker, Tiree, c.1990 Photo: Donald Addison

77 50. Green Geo, c.1985 screenprint, 107 x 58.5 cms signed lower right, edition of 50

78 79 Towards the end of 1978 I made my first visit to Finland with the aid of a Gillies award from the Royal Scottish Academy. I made the return journey by cargo ship from Hull to Helsinki. From the drawings and studies I brought back from those six weeks in Finland I created a body of prints the Finnish Suite which were all printed at the then named Peacock Printmakers. Frances Walker, May 2017

51. The Deserted House, 1979 lithograph and screenprint, 32 x 53 cms signed lower right, edition of 30

80 52. In a Hailuoto House, 1979 lithograph (2 stone), 44 x 58 cms signed lower right, edition of 30

81 53. Rock Pool Cleft, 1996 steel plate etching and watercolour hand tint, 127 x 90 cms signed lower right, edition of 40

82 83 In 2007 presented with the James McBey Travel Award I realised my ambition to visit Antarctica when I joined an international group of fellow passengers in a ship at Ushuaia at the southern tip of South America sailing and making shore visits over an 18-day voyage to the Antarctic Peninsula, South Shetlands, South Georgia and the Falkland Islands. These prints are a small part of the work I made after that very inspirational experience. Frances Walker, May 2017

54. Petrel, South Georgia, 2010 etching and aquatint, 40 x 71 cms signed lower right, edition of 12

84 85 55. Wordie Hut, Antarctic Peninsula, 2010 lithograph and screenprint, 50 x 92 cms signed lower right, edition of 16

86 56. Grytviken, South Georgia, 2010 etching and aquatint, 22.5 x 55 cms signed lower right, edition of 12

87 Frances Walker was one of six UK artists commissioned to make a print by the House of Commons to mark the Queen’s Diamond Jubilee and capture images of Portcullis House for their Works of Art Collection: the image shows two vast bronze air duct chimneys with the London Eye beyond, plus a glimpse of a nearby old red brick chimney against a grey January sky.

57. Portcullis House Rooftops, 2012 screenprint, 36.5 x 50 cms signed lower right, edition of 50

88 89 58. 59. Achmelvich Landscape, 2012 Shore Pool, near Achmelvich, 2014 etching and chine colle, 79 x 56 cms etching (2 plate), 86 x 58 cms signed lower right, edition of 20 signed lower right, edition of 22

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60. Wild Shore, Tiree, 2015 etching with screenprint, 62 x 91.5 cms signed lower right, edition of 22

92 93 61. On the Way to Cruden Bay, 2016 screenprint, 29.5 x 100 cms signed lower right, edition of 28 This print was based on the memory of a coastal walk that Frances enjoyed with several fellow artists.

94 95 Published by The Scottish Gallery to coincide with the exhibition A STUDIO PRACTICE 5 – 29 July 2017

Exhibition can be viewed online at www.scottish-gallery/studiopractice

ISBN 978 1 910267 62 2

Printed by Allander

All rights reserved. No part of this catalogue may be reproduced in any form by print, photocopy or by any other means, without the permission of the copyright holders and of the publishers.

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

Right: Elizabeth Blackadder, Frango no Espeto no.2, c.1990, oil on canvas, 91.5 x 91.5 cms, cat. 3 (detail)

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