Charles Simpson | Scale | February 2020 | The Scottish Gallery

C h a rles

Sim pson

S c a l e

1

2

S c a l e

Opposite and above:

1. Cloud oil on canvas board • 15 x 15 cm Front cover:

Strips (detail, cat.7) oil on canvas board • 15 x 15 cm 1

2

THE

SCOTTISH

GALLERY

Ch ar l e s

S i m p s o n

CONTEMPORARY ART SINCE 1842

Scale 5 – 29 February 2020

16 DUNDAS STREET EDINBURGH EH3 6HZ +44 (0) 131 558 1200 mail@scottish-gallery.co.uk scottish-gallery.co.uk

Opposite:

2. Eigg: Rum Obscured oil on canvas • 80 x 100 cm 3

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Foreword To be a Scottish landscape painter you must enjoy a challenge. The challenge of finding your subject, often hard won in all weathers, the patience to endure long hours toiling in the studio and the confidence to know that what you create is both individual and important. In this new body of work Charles Simpson has challenged himself, the results forming his third exhibition with The Scottish Gallery, Scale.

Charles has been visiting the north west of Scotland since the mid1970s. For this exhibition he and his wife Mary have travelled (in their smart touring caravan) to Gairloch and Wester Ross but also in particular to the wild and remote stretch of coastline between Mallaig and Arisaig. This quiet and remote corner of the country offers wide views west to the Small Isles and provides Charles with endless subject matter as the weather moves across the Sound. Charles captures the landscape with the skill of a painter who is deeply familiar with place and with the confidence of an artist who enjoys the process of putting brush to canvas to capture the moment.

Quite apart from the landscape, another challenge preoccupied Charles in the Summer of 2019. A run of ill health meant his usual trip to the west coast was interrupted and instead Charles was at

home in the Scottish Borders, with his eye focused on his forthcoming exhibition. Charles had conceived a plan in early 2018 which was now to be brought to bear. The idea was to invert his usual practice: that is, instead of his subject informing the scale of his painting, he wanted the scale to inform his subject. This self-imposed restriction focused Charles’ attention and for the first time in many years on still life painting. Charles is a well-read painter, and upon revisiting monographs on Euan Uglow and Avigdor Arikha (as well as looking at his Scottish contemporaries) he was able to respond and adopt a new approach to his still life painting. The works are skilfully balanced, and jewel-like in colour.

We are deeply grateful to Charles for his introductory text and insights into his practise and subjects. Charles can be included in a distinguished line of artists who have responded to the ever-changing beauty of Scotland’s west coast. For our considerable benefit the torch is safe in the hands of an artist working at the height of his powers.

Tommy Zyw Director, The Scottish Gallery

Opposite: Camping at Sunnyside Croft campsite, Bunacaimbe 5

Eigg: Rum Obscured, framed (cat.2) 6

White & Yellow, framed (cat.20)

Introduction Exhibitions are usually subject-driven. I gather potential material for paintings from my travels around Scotland as well as explorations in my home area in the Scottish Borders. As I build up a collection of subject matter an overall theme may gradually develop. I have based previous exhibitions on various subjects such as the Summer Isles, Orkney to Venice, islands, snow, light, or on occasion, a group unified only by the time they were made (Recent Paintings for example). Subject matter will determine the scale of the finished pictures, a fairly intuitive decision process based on the experience of knowing what is required for a successful large, or small, picture, as well as the various sizes in between. An exhibition will usually be made up of a range of sizes which will give a variety and change of pace within the exhibition.

It was around the time of my previous exhibition at The Scottish Gallery in 2018 that I started to consider producing a significant series of very small paintings, perhaps numbering up to forty. This led on to the possibility of altering my normal working process, almost reversing it in a fashion. To accompany these small paintings I decided on a limited number of larger canvases, as few as I considered possible to present a balanced display. The exhibition would consist of only four basic sizes of painting, and rather than the exhibition being shaped by subject it would be dictated by scale. I realised I would need to create a collection of images in quite a different manner than I would normally use when approaching a new exhibition.

By the beginning of 2019 I had designed a catalogue layout which seemed appropriate to the concept and had produced almost enough paintings to have an idea of the shape of the exhibition. The Gallery was able to supply me with a building floorplan so I could devise a hanging layout and calculate accurately the number of the artworks required. All that remained was to get some paintings done.

Charles Simpson 7

Landscapes & seascapes Apart from the self-imposed restriction on picture sizes in this exhibition, I had not intended for there to be a predominant landscape subject. However, circumstances led me to returning to a very familiar and favourite location during 2018. It will be obvious that many of the paintings involve Eigg and Rum in the Inner Hebrides viewed from the Arisaig coastline – particularly Bunacaimbe. It has become an important source of subject matter for me over the years.

Mary and I first went to Arisaig in September 1975. We took the train from Edinburgh to Glasgow, another to Fort William and then a small DMU on the Mallaig line to Arisaig across the Glenfinnan viaduct (well before Harry Potter). We really didn’t know where we were going. We stayed for a week in a basic cottage in the west of the bay (advertised in the Scotsman). The bed was in an alcove in the living room; the wallpaper moved when it was windy; no TV; an outside toilet – I can’t remember a shower; and I had to fix the noise from a leaking tap with a piece of string to lead the drip away quietly. We would make the short train journey up to Mallaig for a quick visit before the train left again. We were never asked for a ticket. There was at that time a super day trip route from Mallaig to Kyle of Lochalsh by Cal Mac, ferry to Kyleakin on Skye, bus transfer to Armadale and then the ferry back to Mallaig.

to display its many manifestations as the sun comes into the south over Ardnamurchan, and then gradually lowers behind Eigg, Rum or Skye, depending on the time of year. Cloud formations appear to gravitate naturally towards Eigg and Rum, while the sun dazzles behind or simply peeks through. Windy days are also a bonus as the weather can change so quickly and dramatically. When it is rainy or grey and overcast, it is common to not even see the islands. On sunny days with clear blue skies, it is opportune to just sit back and enjoy the beaches and the views.

It is always difficult, if not impossible, to predict how the light and weather will evolve as the day progresses. On what appears to be a beautiful day, full of expectant potential, the sun might simply disappear over the horizon with barely a flicker. Grey, dark days can sometimes end unexpectedly in a blaze of glory, however brief.

My paintings seem to be ever-more concerned with the effects of light on the sky, sea and land.

Charles Simpson

It is a very short stretch of coastline from Arisaig up to Mallaig, via Back of Keppoch, Bunacaimbe, Traigh Bay, Camusdarach and Morar.

We have returned many times staying in a log cabin, a couple of static caravans and a cottage directly on the beach at Camusdarach. We began to visit more regularly when we bought our old campervan in 2010, and now our small touring caravan.

Not only are the Small Isles – Muck, Eigg, Rum and Canna – such prominent features on the horizon, but I have found the Arisaig coastline to be the optimal location to witness Scotland’s everchanging weather and light. With its westerly aspect, the light begins Arisaig, 1975 8

3. Plockton oil on canvas • 40 x 60 cm 9

Still life In producing a series of forty small paintings, I realised it would be necessary to introduce more variety into my subject matter. My small paintings, measuring only 15 x 15 cm, could not suggest the same drama and grandeur that a large work might. Instead, I sought to capture an element of charm and quirky interest. I thought that small still lifes and flower studies would be suitable while also allowing me to introduce splashes of brighter colour. I knew that over the years I had painted some still lifes, but upon reviewing my back-catalogue, was surprised by how few I had actually made. Since the mid-1980s, when I first started to paint, I found fewer than twenty still lifes, most of which were very small. I had made none since 2013.

I spent quite some time thinking about how I would tackle this genre, looking at other artists, past and present, whom I admired. Archie Forrest is well known for his vibrant tabletop still life arrangements of assorted objects, but I felt that I should adopt a different approach.

This same “tabletop approach” can be seen in the work of Ayrshire artist Sandy Murphy, albeit with flat, stylised perspective and form.

Alexander Fraser’s large and highly complex still lifes inspire me, as do the free interpretations of Christine McArthur. There are particular still lifes I have encountered over the years to which I continue to return: David Donaldson’s painting of a fish supper, for example, or Glasgowbased Helen Wilson’s image of scotch pies, as well as her beautiful paintings of shoes. During his ‘Berkeley years’ American abstract artist Richard Diebenkorn digressed from his habitual pure abstraction to make some highly painterly still lifes – one particular painting of a pair of scissors comes to mind.

Referring to a monograph by Duncan Thomson purchased some twenty years ago, I returned to the work of Avigdor Arikha. Originally a successful abstract painter, in his mid-thirties he completely rejected his former approach and began to work purely and directly from life, producing intensely observed portraits and figures as well as still lifes using found, informal everyday objects such as vegetables, umbrellas, books, furniture – whatever lay to hand.

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Another painter whose work has always been of great interest to me is Euan Uglow. While researching for my exhibition, I began to revisit his work in greater detail. Uglow had roots in the William Coldstream school of observation and measurement but, through a fastidious production process, he reached new levels of scrutiny and intensity.

Small studies of a single lemon or banana could involve months of work; his large nude paintings often took years.

I also re-examined American artist Wayne Thiebaud whom I had discovered many years ago. Sometimes linked tenuously with the pop art movement, his still lifes of candy machines, cream cakes, burgers and pies are created using thickly applied, luscious oil paint. They are still traditional in terms of draughtsmanship, realism and direct painting but are also idiosyncratic and modern. They could only be American.

After processing these various influences, I was still unsure how to tackle my small paintings. However, I found myself for health reasons stuck at home over the summer of 2019, instead of making my usual trips to the west coast. With no distractions, I was able to give my full attention to the still life studies, finding that one idea promptly led on to another. I based my process on simple, direct observation rather than creative interpretation. I wanted to paint a few larger still lifes, and although still relativey modest in size, these nevertheless seemed slightly intimidating. I had also painted two flower groups early on but was unsure now how to progress. When I could put it off no longer I decided simply to paint a group of oil paint tubes scattered on a plain background (cat.4: Tubes). This seemed to suit me as an approach, leading me directly onto other paintings.

Charles Simpson

4. Tubes oil on canvas • 30 x 40 cm 11

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5. Sea Loch

6. Beach

7. Strips

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm

8. Pansies

9. Trellis

10. Four Chrysanthemums

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm 13

11. Sunlight through the Clouds oil on canvas • 40 x 50 cm 14

12. Firth oil on canvas • 40 x 50 cm 15

Above:

13. Winter Sun oil on canvas • 30 x 40 cm Opposite:

14. Bunacaimbe, September oil on canvas • 80 x 100 cm 16

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15. Dark & Light oil on canvas • 40 x 50 cm 18

16. Camas an Daraich oil on canvas • 40 x 50 cm 19

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17. Another Pansy

18. Snow Crow

19. Daisies & Buttercups

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm

20. White & Yellow

21. Marguerites

22. Blue Cup

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm 21

23. Five a Day oil on canvas • 30 x 40 cm 22

24. Grey Clouds oil on canvas • 30 x 40 cm 23

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Above:

26. Yair Hill oil on canvas • 30 x 40 cm Opposite:

25. Evening oil on canvas • 80 x 100 cm 25

27. Sunset Wave oil on canvas • 40 x 50 cm 26

28. September Sun oil on canvas • 40 x 50 cm 27

29. Wave & Sleat oil on canvas • 30 x 40 cm 28

30. Morning oil on canvas • 30 x 40 cm 29

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31. Small Vase

32. Dark Eigg

33. Cup of Carnations

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm

34. 70s Coffee Cup

35. Rum & Surf

36. Blue Jug

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm 31

Above:

37. Dark Cloud Passing oil on canvas • 30 x 40 cm Opposite:

38. Sunset oil on canvas • 80 x 100 cm 32

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39. A May Day oil on canvas • 40 x 50 cm 34

40. Dunes & Skye oil on canvas • 40 x 50 cm 35

41. Four Pots oil on canvas • 30 x 40 cm 36

42. Crysanths Group oil on canvas • 30 x 40 cm 37

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43. Three Empires

44. Ghobhlach

45. Four Fancies

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm

46. Over the Sea...

47. Allsorts

48. West

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm 39

Above:

49. Rain over Eigg oil on canvas • 30 x 40 cm Opposite:

50. Small Island, Passing Gull oil on canvas • 80 x 100 cm 40

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51. Redpoint oil on canvas • 40 x 50 cm 42

52. Dazzling Light oil on canvas • 40 x 50 cm 43

53. South to Distant Skye oil on canvas • 30 x 40 cm 44

54. Cups & Tarts oil on canvas • 30 x 40 cm 45

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55. Evening Gull

56. Apples & Pear

57. North Erradale

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm

58. Four Slices

59. Pineapple Tarts

60. Small Flowers

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm 47

Above:

61. Windy Day, Big Sands oil on canvas • 30 x 40 cm Opposite:

62. Old Fishing Station, Redpoint oil on canvas • 80 x 100 cm 48

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63. Assortment oil on canvas • 40 x 50 cm 50

64. Clouds & Islands oil on canvas • 40 x 50 cm 51

65. July Grasses oil on canvas • 30 x 40 cm 52

66. Light from the West oil on canvas • 30 x 40 cm 53

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67. Apple Pie

68. Buttercups & Pheasant

69. Two Pears (after Uglow)

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm

70. Cup & Saucer

71. Some Dandelions

72. Six Small Empires

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm 55

73. Traigh Afternoon oil on canvas • 40 x 50 cm 56

74. Clouds over Rum oil on canvas • 40 x 50 cm 57

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Above:

76. Squall oil on canvas • 30 x 40 cm Opposite:

75. Achnahaird Bay oil on canvas • 80 x 100 cm 59

77. Path to the Beach oil on canvas • 30 x 40 cm 60

78. Wave & Rum oil on canvas • 30 x 40 cm 61

79. Loch Broom Morning oil on canvas • 30 x 40 cm 62

80. Mains Hill oil on canvas • 30 x 40 cm 63

81. Afternoon Light oil on canvas • 60 x 80 cm 64

82. Irises

83. Sheep by the Fence

84. Wild Flowers

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm

oil on canvas board • 15 x 15 cm 65

Seven big paintings

On the following pages are comments by the artist on the series of seven large paintings in the exhibition.

Eigg: Rum Obscured (cat.2) The islands of Eigg and Rum are important subjects within the exhibition. As explained earlier in the catalogue I have been going to the Arisaig-Mallaig coast over many years. This image is from the rocks at Bunacaimbe, a regular viewing point for me, often on fairly cold evenings I might add. It is only a short scramble over the rocks but is a remarkably hidden little spot, most people being drawn to the adjacent beach.

I liked the fact that Rum, usually seen to the right of Eigg, is obscured by cloud, as it often is (and in fact as both islands sometimes are), allowing Eigg to star on its own. The dark foreground rocks offer an interesting counterpoint to the dramatic light on the sea while also compositionally echoing the dark cloud above Eigg. I like the centring of the composition which I am often interested in doing in a landscape or seascape. I always take great consideration in the positioning of the horizon line, an important factor in the dynamics of a finished picture.

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Bunacaimbe, September (cat.14) A small winding stream, Allt Cam Carach, enters the sea at Bunacaimbe – “the mouth of the crooked stream”. The surrounding area is traditional croft land and due to lack of public parking on the single track coast road, access to the two small stretches of beach is limited. There are however three campsites directly on the shore and the beaches are therefore never particularly busy. I tend to visit in May, June, the end August or early September when there may be only a handful of people on the beaches at any time, plus a local dog walker perhaps. Unfortunately on hot sunny summer days the great attraction of nearby beaches at Traigh and Camusdarach can lead to chaotic off-road parking beside them on the narrow road clearly not designed for such.

There were major road improvements made some years ago on the western reaches of the main road from Fort William to Mallaig and the old coastal route from Arisaig to Morar is now bypassed. Many tourists may inadvertently miss this little gem of a coastline as they hurry past on the main road to and from the Skye ferry. It is difficult to remember how horrendous it could be in former times as lorries, tour buses, motorhomes and caravans had to navigate this narrow winding road.

In this painting the aspect is southerly towards the Ardnamurchan peninsula. Just out of sight further to the right on the horizon is the Sgurr of Eigg.

Evening (cat.25) The islands of Eigg and Rum could easily be mistaken to sit almost alongside one another but there are some four miles of sea between them. To the left of Eigg is the tiny, sometimes barely seen island of Muck, and hidden behind Rum is Canna. It can be disconcerting to view these “Small Isles” from the south on the north coast of Ardnamurchan where Eigg and Rum are seen apparently in reverse positions, with Eigg on the right and Rum on the left.

It is only a short walk down to the beach through a small gate from Sunnyside Croft where we have been taking our caravan these last few years. At low tide the beach area changes significantly with its small isolated “islands” of rocks, expanses of revealed sand and shallow tidal pools. It is possible to walk out quite a long way, but beware of the incoming tide! I can watch the changing sky and islands from the comfort of my van ready to get down to the beach or rocks, very often in the evenings. There might be only another two or three people on the beach just gazing mesmerised at the display.

This time the islands are viewed from Bunacaimbe beach. I was interested by the restricted tones of the sea while most of the light is in the sky. The modest dark wave brings interest and movement to the foreground. I always hope to see big waves here but without much success so far!

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Sunset (cat.38) Arisaig is famous for its sunsets, often said by many to be the best in Scotland.

I have seen many idealised paintings of this coastline with sunny blue skies and turquoise seas, perhaps even with a conveniently positioned nice white yacht. I find too many other good things here to paint, particularly cloud filled skies with light bursting through on to the sea. I will sometimes include a small boat or a figure in a painting but only if witnessed at the time. From my own experience the most likely vessel to be spotted on the horizon will be the Cal Mac Small Isles ferry, though I once saw an impressive line of large warships.

The first significant paintings I remember seeing of this area were by James Morrison in his show at The Scottish Gallery in 1984, from which I still have the exhibition card. I hadn’t even started painting at that time! I have also long been an admirer of Gordon Bryce’s depictions of these beaches and rocks.

This painting again is from my favourite rocks at Bunacaimbe and with a centred composition. It is also interesting that on this occasion the islands are a bit lighter in tone than the dark sea.

Small Island, Passing Gull (cat.50) Drive south from Gairloch in Wester Ross and round the bay via Badachro, Port Henderson and Opinan and on to the end of the road. Here there is a small parking area with access to the north and south beaches of Redpoint. I suspect most people head off on the westerly path to the more visible north beach. However, by taking the southerly track past Redpoint Farm, one can reach the machair above the south beach where there are spectacular open views to the Applecross peninsula and the Isle of Skye. When we were there the beach was totally deserted apart from a patrolling Skua, an unusual sight, I thought, away from large seabird colonies. The wind was fresh to say the least. It was a spectacular afternoon.

I first went to Redpoint about ten years ago but the weather was quite dull. I have gone out to camp at Gairloch a few times in the intervening years but weather conditions had not been opportune for making a return trip down to Redpoint. Here I was ten years later!

The small island seen in the painting is called Sgeir Ghlas which as far as I can establish means “grey reef”. I liked the central vertical alignment of the island, just visible passing gull and the large cloud. The scene is bathed throughout with bright light.

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Old Fishing Station, Redpoint (cat.62) The south beach at Redpoint featured in several scenes of the 2014 film What We Did on Our Holiday starring Rosamund Pike, David Tenant and Billy Connolly. I seem to remember an online video interview that during filming the actors were besieged by midges on the beach while pretending otherwise. Not enough wind I suspect!

At the east end of the beach there is an old deserted fishing station. Nets were used to catch salmon in the traditional manner and the fish processed in the bothy. Here is yet another centred composition apart from the solitary hiker, the only other person we saw.

Though we didn’t manage to get there this time the north beach is quite different in character. There are huge dunes behind the beach and the sand is quite different in colour. The beach looks west towards Skye.

Achnahaird Bay (cat.75) Any first time visitor to Achiltibuie and the Summer Isles must be surprised to discover Achnahaird. The bay and beautiful beach are hidden away down a small track on the north side of the Coigach peninsula. The views of Assynt are quite breathtaking with the mountains strung across the horizon – Cul Mor, Stack Polly, Cul Beag, Beinn an Eoin and Ben Mor Coigach while the dramatic Suilven is just out of view in this painting on the left. At one time there was a very basic campsite here above the dunes (a toilet block plus one cold tap for water) where we first stayed in a rented motorhome in 1993. It was a stunning place to wake up in the morning.

On the south side of the peninsula, Achiltibuie and its views of the Summer Isles became an important painting location for me for several years and I based an exhibition on the area in 2011. I have only had the occasional day trip since then but I hope to get back there in the near future to create some new work.

James Morrison of course has been painting here since the late 1980s. Will Maclean and his wife Marian Leven have very close connections with the area.

There is an excellent community hall in Achiltibuie village. The Achiltibuie Artists group have a very good craft shop here from April to October showing their work. Through a long-term connection there it has strangely become a good sales source for my book A Painter’s Scotland and my giclée prints.

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Charles Simpson 1952 Born Clackmannanshire 1964-70 Educated at Alloa Academy, Alloa 1970-75 Studied at Glasgow School of Art

Graduated with BA(Hons).

1975-90 Graphic Designer in Edinburgh 1990 1999

Moved to the Scottish Borders to work as an artist and freelance designer Became full-time artist

Solo exhibitions 1991 — Macaulay Gallery, Stenton 1992 — Macaulay Gallery, Stenton 1996 — Open Eye Gallery, Edinburgh 1998 — 1998 — 1999 — 2000 — 2000 — 2001 — 2002 — 2002 —

Open Eye Gallery, Edinburgh Ainscough Contemporary Art, London Tolquhon Gallery, Ellon, Aberdeenshire Dundas Street Gallery, Edinburgh Ainscough Contemporary Art, London Dundas Street Gallery, Edinburgh ArtLondon (Ainscough Contemporary Art) Dundas Street Gallery, Edinburgh

2003 — Panter & Hall, London 2004 — Dundas Street Gallery, Edinburgh 2004 — Panter & Hall, London

2005 — 2005 — 2006 — 2007 — 2008 — 2009 — 2010 — 2011 — 2011 — 2012 —

Olympia Antiques Fair, London (Panter & Hall) Bourne Fine Art, Edinburgh Panter & Hall, London Bourne Fine Art, Edinburgh Panter & Hall, London Bourne Fine Art, Edinburgh Bourne Fine Art, Cork Street Gallery, London John Davies Gallery, Moreton-in-Marsh Bourne Fine Art, Edinburgh Panter & Hall, London

2012 — 2013 — 2013 — 2013 — 2014 — 2014 — 2015 — 2015 — 2016 — 2017 — 2018 — 2018 — 2019 — 2019 —

Six@Sixty, Bourne Fine Art, Edinburgh Walker Gallery, Harrogate John Davies Gallery, Moreton-in-Marsh Flying Colours Gallery, London Bourne Fine Art, Edinburgh Panter & Hall, London Flying Colours Gallery, London The Scottish Gallery, Edinburgh John Davies Gallery, Moreton-in-Marsh Panter & Hall, London The Scottish Gallery, Edinburgh John Davies Gallery, Moreton-in-Marsh Panter & Hall, London Resipole Studios, Argyll

2020 — The Scottish Gallery, Edinburgh

Opposite: The artist’s studio, Scottish Borders / Glen Nevis campsite / studio interior Fortrose campsite / studio interior studio interior / Traigh beach / studio interior 71

Published by The Scottish Gallery to coincide with the exhibition: Charles Simpson: Scale 5 to 29 February 2020 Exhibition can be viewed online at www.scottish-gallery.co.uk/charlessimpson ISBN 978-1-912900-16-9 Catalogue designed by Charles Simpson Paintings photographed by Gordon Bell Printed by J Thomson 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.

Opposite: Eriba Triton caravan, Ullapool

THE

SCOTTISH

GALLERY

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CONTEMPORARY ART SINCE 1842 �6 DUNDAS STREET � EDINBURGH EH3 6HZ 0�3� 558 �200 • mail@scottish-gallery.co.uk � scottish-gallery.co.uk

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THE

SCOTTISH

GALLERY

CONTEMPORARY ART SINCE 1842

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