Join Victoria Crowe and Christina Jansen as they discuss Crowe's life and incredible career, having shown with The Scottish Gallery for over 50 years!

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It has been eight years since the passing of the remarkable Dutch jeweller Nel Linssen, yet her innovative paper jewellery remains one of the greatest legacies in the world of modern jewellery. Originally trained as a textile designer, her intuitive approach to materials led to a lifelong dedication to her paper jewellery practice.

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Colin Reid is as an international pioneer in the field of kilncast glass. We are delighted and honoured to have three outstanding examples of his sculpture this October, which have been inspired by a recent residency in the west coast of Scotland.

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During his lifetime as a painter, printmaker, and professor, Alistair Grant was an integral part of the artistic and printmaking scene in London. Grant held a solo exhibition with The Scottish Gallery in London in 1990. We are delighted to reevaluate Alistair Grant’s life and work with a selection of prints, lithographs and paintings from throughout his career.

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The F.C.F. Valentine Post-War Print Collection features an impressive line up of iconic artists from both the UK and abroad, reflecting the radical shift that occurred in the arts after the Second World War. 

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Naoko Shibuya was born and raised in Tokyo, Japan. She studied fine art at the Tama Art University, Tokyo before continuing her studies at Edinburgh College of Art. She now divides her time between Japan and Scotland.

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Buddha, c.1920

oil on canvas

54 x 49 cm

Buddha is a painting with a distinct, enigmatic presence unlike anything else he painted. Its tonality and relatively cool palette: soft grey, black and white with notes of blue and green led to a previous dating to the late twenties when Peploe eschewed the strong palette of the previous decade, linking the painting to still lives including Still life with Chops (Aberdeen Art Gallery). However, it seems as or more likely that the painting belongs with several works, also limited in colour, from 1919-1921, for example Boy Reading (RSA Diploma Collection) and Old Duff (Glasgow Museums). It has in common with these works a broad but smooth application of paint which is in contrast with the more impastoed works of the late twenties.

The subject of the Buddha would have appealed to a painter with a strong spiritual side, the object a subject for contemplation, the cool setting an entirely appropriate rendition of inner peace and contentment. An alabaster Buddha (acquired from Whytock & Reid in Edinburgh) is still in the possession of the artist’s family and was painted by both Cadell and Denis Peploe. A smaller sculpture with a coloured Pandit hat is in the same collection and is depicted here, over ‘life’ size.

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The Harbour, Cassis, 1913

oil on canvas

31.5 x 40 cm

Cassis Harbour is likely to have been exhibited in Peploe's 1914 exhibition at The Baillie Gallery in London. It is framed in its original Bourlet frame, but was retained subsequently in the family from whom it has descended to the present owner. The painting is thoroughly modernist, a complex abstract composition using the diagonals of masts, the curves of the harbour architecture and uprights of the buildings beyond. He has eliminated the horizon so that his scene, wholly real and directly observed, allows both real and abstract interpretations to coexist. The palette, like many of his Cassis panels, uses the range of umber and orange, a central note of brilliant orange drawing the eye. The emphasis on structure sets the direction for his studio work of the proceeding years as Peploe seeks to analyse his subject in an intellectual process which derives from Cézanne and Cubism while colour is pushed for resolution between belle peinture and expressionism.

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The Mouth of the Harbour, 1910

oil on board

26.2 x 35 cm

The Mouth of the Harbour comes from the collection of Ion Harrison, a Glasgow shipping magnate and the preeminent collector of the Colourists. He had several Royan pictures, recognising their significance in the artist’s oeuvre and British painting. These panels were some of the works Peploe brought back to Edinburgh in 1911, home to try to raise the funds to support the family in Paris. Writing to Margaret after he had unpacked he ‘felt like a millionaire’ and went on to say, I am awfully satisfied with these Royan sketches. My old stuff was getting loose and chaotic. I really think I am getting somewhere better… I have no further interest in my old things – beautiful but limited. I must make others feel the same. The inner harbour at Royan is tidal; dry at low tide. In this picture the artist sits on the promenade looking across to the lighthouse at the end of the breakwater. The sun is setting, suffusing the sky, sea and sand with soft rainbow colours. The light from the lighthouse is reflected in five yellow marks across the low water. Three boats offer visual interest and colour in the sails, real and reflected.

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Self Portrait, c.1895

oil on canvas

32 x 23 cm

Peploe made several self-portraits before the First War. Subsequently there are only a few drawings. This is the earliest known and is likely painted around 1893-4. The class photograph from the RSA Life Class session 1892-3 features an image of the artist with some similarities to the painting. The suit, bow tie and pince-nez, high forehead and unruly hair are shared. While not ambitious in scale nor scope the painting has a direct power, perhaps dashed off before he started a more formal studio subject, it has a truth and immediacy and the honesty that is associated with all the best self-portraits. The few other very early works that have survived are painted with the same controlled flourish using an oily vehicle for the pigment and limited colour. The painting was retained by the artist and eventually gifted to his son Willy when his widow Margaret divided the family pictures in 1944. It has thence come to the present owners by descent.

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Music by William King - Ambient Classical Guitar via Pixabay

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