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THE VIGOROUS IMAGINATION

THEN AND NOW

The Fine Art Society in Edinburgh


THEN AND NOW

THE VIGOROUS IMAGINATION 26 OCTOBER - 18 NOVEMBER 2017

The Fine Art Society in Edinburgh


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SAM AINSLEY PHILIP BRAHAM STEVEN CAMPBELL CALUM COLVIN STEPHEN CONROY KEN CURRIE GWEN HARDIE PETER HOWSON IAN HUGHES DAVID MACH KEITH MCINTYRE RON O’DONNELL JUNE REDFERN MARIO ROSSI JOSEPH URIE KATE WHITEFORD ADRIAN WISZNIEWSKI


This year marks the 30th anniversary of the ground-breaking exhibition The Vigorous Imagination: New Scottish Art presented at the Scottish National Gallery of Modern Art in 1987 as the lead Edinburgh International Festival art exhibition. The exhibition showcased the works of 17 young artists who were making waves on the international art scene, featuring the powerful new wave of figurative art then prevalent. These included the ‘New Glasgow Boys’: Steven Campbell, Peter Howson, Ken Currie, Adrian Wiszniewski; sculptor David Mach; photographerinstallation artists Calum Colvin and Ron O'Donnell, and painters Sam Ainsley, Philip Braham, Gwen Hardie, Ian Hughes, Keith McIntyre, June Redfern, Mario Rossi, Joseph Urie & Kate Whiteford. It was a proud pronouncement that visual art in Scotland was vibrant, intelligent and in touch with the zeitgeist which swept across Europe during the 1980s. Since then, many of the artists have become household names. This group came to influence the wider artistic landscape in Scotland and The Vigorous Imagination paved the way for the current crop of international artists whose fame attests to the vibrancy of Glasgow as a pivotal centre for contemporary art. Emily Walsh The Fine Art Society


SAM AINSLEY rsa (b.1950)

Sam Ainsley studied in Newcastle-upon-Tyne and at Edinburgh College of Art, graduating in 1978. She held the Andrew Grant Fellowship at Edinburgh College of Art, and has since been involved in arts education, curation and research. She co-founded the MFA Programme at the Glasgow School of Art and served as its head until 2006. Her work is in public collections including the National Galleries of Scotland, Leeds City Gallery, the Hunterian Museum and the Gallery of Modern Art in Glasgow. Ainsley is currently staging her first solo exhibition in Scotland in thirty years at An Tobar Gallery (Tobermory, Mull). A theme throughout her work is the representation of society through the body and microscopic descriptions of broader landscapes.

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Reaping the Whirlwind signed, titled and dated 1987 acrylic, oil pastel and ink | 23 Ÿ x 33 ½ inches (60 x 85 cm) Exhibited: Scottish National Gallery of Modern Art, The Vigorous Imagination, Edinburgh, 1987 Note: this work provided the idea for the banner of the exhibition The Vigorous Imagination which was hanging outside the Scottish National Gallery of Modern Art in 1987. 2


Passion, Imagination, Conscience 1987; signed and inscribed in pencil; signed and titled on board verso screenprint; AP, edition of 50 | 23 ž x 33 Ÿ inches (60.5 x 84.5 cm)

Alien Landscape signed, titled and dated 2017 acrylic on canvas | 24 inches diameter (60 cm diameter) 3


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PHILIP BRAHAM (b.1959)

Having graduated from Duncan of Jordanstone College of Art and Design in 1980, Philip Braham is now their course director of art, philosophy and contemporary practices. Braham works in both paint and photography. As is the case in Lightning Seizes the Forest, he often employs landscape imagery to embody the human condition. Braham’s works often reference one another, and his art captures experience rather than offering mere visual representation. His work is in several UK public collections including Aberdeen Art Gallery and McManus Art Gallery, Dundee.

Lightning Seizes the Forest 1987; initialled and dated 87 mixed media with collage on paper | 32 x 23 inches (82 x 57 cm) Provenance: Conservation Management, London, 1987; collection of Leah Gunn Barrett, Edinburgh 5

Artist’s note: The subject is the site of the Battle of Pinkie Cleugh, 1547, which is regarded as the first modern battle. The Scots vastly outnumbered the English armies, but in the confusion of the battle they mistakenly slaughtered their own men. The theme was chosen as a metaphor for the political scene in the 80s from the Scottish perspective.


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Tidal Swell, Firth of Forth signed, titled and dated 2017 on canvas verso oil on linen | 40 x 32 inches (100 x 81 cm)

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Artist’s note: Tidal Swell, Firth of Forth depicts a turbulent sea at dusk, and recalls the Romantic subjects in the works of Friedrich, Turner, The Hague School and 19th and early 20th century Scandinavian painting. The painting also refers to a photographic work of mine from the series Suicide Notes which recorded the site in Monifieth where a woman took her life by walking into the sea. The emptiness of this painting carries something of a sense of absence, without making the theme explicit.


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STEVEN CAMPBELL (1953-2007)

Steven Campbell worked as a steelworks engineer prior to attending Glasgow School of Art as a mature student. He was offered a Fulbright Scholarship which allowed further study at the Pratt Institute, New York. Campbell made his name in America in the early 1980s when art critic John Russell praised his enigmatic paintings in a New York Times review. Following his return to Scotland in 1986, his works were acquired by public collections including the Tate Gallery, London; National Galleries of Scotland; British Council and Arts Council.

The Chinese Clam c.1987 oil on canvas | 90 ½ x 53 Ÿ inches (230 x 135 cm) Provenance: Cyril Gerber Fine Art, Glasgow 9


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CALUM COLVIN obe rsa (b.1961)

Calum Colvin studied sculpture at Duncan of Jordanstone College of Art and Design, Dundee, followed by photography at the Royal College of Art in London. His work combines these practices alongside painting, culminating in constructed photographs of objects incorporated into a cohesive scene. His work is informed by his research on national identity, sexuality, and western pop-iconography. He is represented in public collections including the Tate Gallery in London, the Scottish National Gallery of Modern Art, and the Metropolitan Museum of Modern Art, New York. Colvin remained in London until 1993 when he returned to Dundee to lecture in Fine Art at the University of Dundee. He is now head of contemporary art practice at Duncan of Jordanstone College of Art and Design.

Venus 1988, signed and inscribed AP verso photographic print; AP, edition of 10 + 2 APs | 60 x 48 inches (152 x 122 cm) 11


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Vanitas 2007 digital photographic print; edition of 10 | 16 x 12 x 5 ½ inches (40.5 x 30.5 x 14 cm) Note: anaglyph stereo image, to be viewed stereoscopically with red/blue 3D glasses 13


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STEPHEN CONROY (b.1964)

Stephen Conroy was in his final year of studies at the Glasgow School of Art when The Vigorous Imagination was exhibited in 1987. Following the success of the exhibition, Conroy’s work was included in the exhibition New British Painting, which travelled to five venues in America between 1988 and 1990. Wireless Vision Accomplished is representative of his work in this period – dark, enigmatic portraits depicting figures in formal poses. In Conroy’s more recent work, his figures are more modern and relaxed, often confrontationally direct. He is represented in a number of public collections throughout the United Kingdom, as well as the Metropolitan Museum of Art, New York, and the Frissiras Museum, Athens.

Wireless Vision Accomplished 1987; monogrammed oil on canvas | 52 ½ x 46 ½ inches (133.5 x 118 cm) Provenance: Fleming-Wyfold Art Foundation 15


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Life Study III 1987; signed; signed, titled and dated on board verso pencil and sanguine | 17 ž x 28 ž inches (45 x 73 cm) 17


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KEN CURRIE (b.1960)

Ken Currie graduated from Glasgow School of Art in 1983, and his work from the period often refer to his surroundings in working-class Glasgow of the 1980s. His paintings document the human body and the effects of illness, ageing, and physical injury upon it to describe the human condition. In the same year as The Vigorous Imagination, Currie completed a memorial to the Calton weavers massacre of 1787, displayed on the ceiling of the People’s Palace in Glasgow. His work is in many public collections, including the Tate Gallery, London; the National Galleries of Scotland; The New York Public Library; and the Boston Museum of Fine Art. In 2013 Currie exhibited a solo show of new work at the Scottish National Portrait Gallery.

Man with Tattoos 1987; signed; signed, inscribed and dated 1987 verso pencil, contĂŠ and pastel on paper | 31 x 21 inches (79 x 53 cm) Provenance: collection of Stan Bethwaite, Renfrewshire Exhibited: Scottish National Gallery of Modern Art, The Vigorous Imagination, Edinburgh, 1987 19


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Mandible signed, titled and dated 2010 verso oil on paper | 19 ž x 13 ½ inches (50 x 34.5 cm) 21


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Mandible, 2010 Š Ken Currie


GWEN HARDIE (b.1962)

Gwen Hardie studied at Edinburgh College of Art, receiving a DAAD scholarship to work in Berlin after her postgraduate diploma. Early paintings such as Waiting Figure focus on the female form, emphasising its mass and gravitas. More recently, Hardie’s works have taken the form of monumental yet intimate magnifications of skin in oil on round canvases. She now lives and works in New York and exhibits regularly in both the UK and the US. Her work was recently in, REALITY; Modern and Contemporary British Painting at The Walker Art Gallery and she has had solo shows at the Fruitmarket Gallery, The Talbot Rice Gallery and the Scottish National Gallery of Modern Art in Edinburgh. Hardie’s work is in public collections that include the National Galleries of Scotland, British Council, Metropolitan Museum of Art, New York, Aberdeen Art Gallery, Manchester Museum of Modern Art, and the Gulbenkian Collection, Lisbon.

Waiting Figure signed, titled and dated Summer 1985 verso oil on canvas | 86 ¾ x 63 inches (220.5 x 160 cm) 23


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Body 08.18.17 2017; signed and titled on canvas verso oil on canvas | 42 inches diameter (106.5 cm diameter) 25


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PETER HOWSON obe (b.1958)

Peter Howson studied at Glasgow School of Art from 1975 and returned to complete a Masters degree from 1979 to 1981 following service in the army. In 1985 he was Artist in Residence at the University of St Andrews. Howson’s work from the 1980s, including The Noble Dosser, examine masculinity and aggression, primarily through his depictions of Glasgow and local characters. Howson served as the British official war artist in the 1993 Bosnian Civil War, and recent works often reflect on faith and Christianity. His work is in several public collections, including the National Galleries of Scotland, the Tate Gallery in London, the Museum of Modern Art, New York, and the Gallery of Modern Art in Glasgow.

The Noble Dosser

Note: Peter Howson’s oil painting on which this print is 1987 woodcut; edition 22 of 30 | 72 x 48 inches (183 x 122 cm) based was exhibited in The Vigorous Imagination at the Scottish National Gallery of Modern Art, Edinburgh, 1987. Provenance: Glasgow Print Studio 27


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Bar 67 (Study)

Bairds

1987; signed and dated 87 1987; signed and dated 87 pastel on card | 24 x 18 inches (61 x 45.5 cm) pastel on card | 24 x 18 inches (61 x 45.5 cm) Provenance: collection of Tom and Janet Howson, Prestwick Provenance: collection of Tom and Janet Howson, Prestwick

Note: the titles of these two early works are taken from pubs and bars that the artist frequented in the Gallowgate area of Glasgow, where his studio was located in the late 1980s. 29


Griffin 2017; signed oil on canvas | 18 x 14 inches (45.5 x 35.5 cm) 30


IAN HUGHES (1958-2014)

Ian Hughes studied painting at Duncan of Jordanstone College of Art in Dundee, graduating in 1980. Having worked as a psychiatric nurse, Hughes’ work possesses a sympathetic understanding of mental health issues that was present, though never gratuitous, in his art. This is evident in his Kierling I, the portrait of Franz Kafka exhibited in The Vigorous Imagination in 1987, which takes its title from the town in Austria in which Kafka died in 1924. Hughes’ paintings focussed on the human figure, through which he aimed to expose the underlying realities of life. Following the success of The Vigorous Imagination in 1987, Hughes received the Scottish Arts Council Award in 1986 and the Guthrie Award in 1993. He exhibited extensively throughout Scotland and Europe, and his works are in the collection of the National Galleries of Scotland; the Whitworth Museum, Manchester; the Tate Gallery, London; the Fleming Collection, London; among other national and international collections. Kierling I 1986; signed and dated 86; signed and dated 85 verso oil on canvas | 60 x 60 inches (152.5 x 152.5 cm) Provenance: private collection, Edinburgh Exhibited: Scottish National Gallery of Modern Art, The Vigorous Imagination, Edinburgh, 1987 31


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Portrait of Michael McVeigh 2010; signed oil on canvas board | 21 x 15 ž inches (53.5 x 40 cm) Provenance: collection of Jacob and Anna Hughes, Edinburgh 33


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DAVID MACH ra hrsa (b.1956)

David Mach studied at Duncan of Jordanstone in Dundee and the Royal College of Art in London. His art centres around the assemblage of mass-produced objects, both as a medium and a narrative contribution to the work. Mach was nominated for the Turner Prize in 1988 and in 1992 won the Lord Provost’s Award in Glasgow. In 1990 he represented Great Britain at the Venice Biennale alongside Kate Whiteford and Arthur Watson. Mach has exhibited and lectured internationally, and is Professor of sculpture at the Royal Academy Schools and visiting Professor at the sculpture department at Edinburgh College of Art.

Local Hero 1992 matchhead sculpture | 24 ½ x 20 x 10 inches (62 x 50 x 26 cm) Provenance: City Art Centre, Edinburgh Note: David Mach’s sculpture depicts Richard Demarco cbe hrsa, artist and promoter of visual and performing arts in Scotland 35


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Vessel 2017 wood and clout nails | 27 x 25 ½ x 27 inches (68 x 65 x 68 inches) Exhibited: Chester Cathedral, Ark, Chester, 7 July - 15 October 2017 37


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KEITH McINTYRE (b.1959)

Keith McIntyre studied at Duncan of Jordanstone College of Art and Design, Dundee, receiving the Carnegie Award and Royal Scottish Academy’s Gillies Award to study in Barcelona. McIntyre’s work, both recent and for The Vigorous Imagination in 1987, is multidisciplinary, utilising the interplay between graphic and performing arts. He has been visual arts director in a number of collaborative projects with the Scottish Chamber Orchestra, BALTIC Centre for Contemporary Art and the National Theatre of Scotland, among others. He is a Professor of fine art and was head of the department of arts at Northumbria University. Venues for McIntyre’s solo exhibitions have included Tramway and Kelvingrove Art Gallery in Glasgow. His work is represented in public collections in Scotland including the National Galleries of Scotland, Aberdeen Art Gallery, Dundee Art Gallery, and abroad in the Jyvaskyla City Museum, Finland and Campbeltown City Bicentennial Art Gallery, Australia.

Un Rôtisseur 1987 ; signed and dated 87 charcoal on paper | 78 ½ x 42 ¼ inches (199.5 x 107.5 cm) 39


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Thistle I (from The Disturbed Ground portfolio) signed ink on paper | 39 ½ x 38 inches (100.5 x 96.5 cm) 41


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RON O’DONNELL (b.1952) After studying photography at Napier Polytechnic in Edinburgh, Ron O’Donnell began his career as a trainee photographer at Stirling University from 1970-1976. Rather than documentary photography, O’Donnell stages scenes with objects of symbolic or personal significance, leading to his Constructed Narratives series of which The Antechamber of Rameses V in the Valley of Kings is a part. His work centres on the hopes, quirks, and blemishes of human nature and comments upon identity, politics, and mortality. O’Donnell’s photographs are represented in public collections such as the National Galleries of Scotland; the Barbican, London; the Atlanta Museum of Photography; the Centro de la Imagen, Mexico and the Musée National d’Art Moderne, Paris. A recipient of the Scottish Arts Council Award for Photography, the Fox Talbot Award for Photography, and a Leverhume Scholarship for Photography, O’Donnell is currently a lecturer in Photography at Edinburgh Napier University.

The Antechamber of Rameses V in the Valley of Kings from the series Constructed Narratives, No. 8 1985 original c-type print | 29 x 26 ¾ inches (73.5 x 68 cm) 43


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Wild Flowers series (Daisies) 2012-2014 giclée print; edition of 10 | 60 x 24 inches (152.5 x 61 cm) Exhibited: National Museum of Singapore, Singapore International Photography Festival Showcase, Singapore, 2014 Note: the images in the ‘Wild Flowers’ series depict wild flowers accompanied by the layers of earth beneath them. Objects O’Donnell has found in the vicinity of the flowers are incorporated into the earth, alongside pieces from his studio. The works highlight political and sociological statements about life, death, history, and the personal connotations of individual objects. 45


Wild Flowers series (The Dinosaur) 2012-2014 giclĂŠe print; edition of 10 | 60 x 24 inches (152.5 x 61 cm) Exhibited: National Museum of Singapore, Singapore International Photography Festival Showcase, Singapore, 2014

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JUNE REDFERN (b.1951)

June Redfern studied at Edinburgh College of Art, and upon graduating in 1972 received first prize at the annual Scottish Young Contemporaries exhibition. Redfern was a recipient of the Scottish Arts Council Award in 1982. While Running Figure from 1987 focuses on body and motion, her recent works, such as Holding Back the Tide, depict landscapes that encompass the emotive and sublime. Her works are held in public collections including the National Galleries of Scotland, the National Gallery, London, the Scottish Arts Council, Aberdeen Art Gallery, Glasgow Museums and Dundee Art Gallery.

Running Figure signed, titled and dated 1987 on canvas verso oil on canvas | 54 x 36 inches (137 x 91.5 cm) Exhibited: Scottish National Gallery of Modern Art, The Vigorous Imagination, Edinburgh, 1987 47


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Holding Back the Tide signed, titled and dated 2017 on canvas verso oil on linen | 36 x 38 inches (91.5 x 96.5 cm) 49


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MARIO ROSSI (b.1958)

Mario Rossi studied at Glasgow School of Art before attending the Royal College of Art, London, graduating in 1981. His contributions to The Vigorous Imagination in 1987 involved drawing, painting and sculpture, and he continues to employ a variety of media in his art. Rossi’s recent paintings deal with themes of geopolitics, identity, and territory. From 1985-1990 he was a visiting tutor at Goldsmiths College, University of London. He was the recipient of a Fulbright Award for Visual Art in New York, 19931994. Rossi is a senior lecturer in Fine Art at Central Saint Martins College of Art and Design, London. His works are held by the Arts Council of Edinburgh; the Victoria and Albert Museum, London; the National Galleries of Scotland and the City Art Centre, Edinburgh, among others.

Untitled drawings from the ‘Constellation’ series 1987 ink on handmade Japanese paper | 23 x 17 inches each (58.5 x 43 cm) Exhibited: Scottish National Gallery of Modern Art, The Vigorous Imagination, Edinburgh, 1987 51


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Note: Mario Rossi’s sculpture incorporates a cast of assembled twigs from a tree planted by Victor Hugo at his residence in Guernsey in support of ‘The United States of Europe’. Hugo noted that by the time the tree had matured Europe would be united as a single state. The tree is still growing at Hugo’s Maison de Hauteville.

Phenomenon: 1870-1986 1987 bronze | 20 ¾ x 15 x 13 ½ inches (52.5 x 38 x 34 cm) Exhibited: Scottish National Gallery of Modern Art, The Vigorous Imagination, Edinburgh, 1987 53


Annex no. 1 signed, titled and dated 2011 verso ink and paper mounted on canvas | 36 ž x 48 ž inches (93.5 x 124 cm) 54


JOSEPH URIE (b.1947)

Joseph Urie trained at the Duncan of Jordanstone College of Art, Dundee and the Royal Academy Schools, London. His expressionist paintings are often autobiographical in content, raising the personal to the universal through the use of symbols. As in Beauty and the Beast, many of his works depict animals as a representation of the primal nature of humanity. He was the recipient of the Chalmers Jervis Prize and British Institute Prize in 1980, the Farquhar Reid travelling scholarship in 1981, and the J van Beuren Wittman prize in 1984. His work is held by Glasgow Museums, Dundee Art Gallery, Edinburgh City Council, and university collections across Scotland.

Beauty and the Beast 1988; signed and dated ‘88 on canvas verso oil on canvas | 59 ½ x 59 ½ inches (151 x 151 cm) 55

Note: the work is part of the series Beauty and the Beast on which Joseph Urie worked in the 1980s. Another work from the same series was exhibited in The Vigorous Imagination at the Scottish National Gallery of Modern Art, Edinburgh, 1987.


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Images from the Past signed, titled and dated 2017 on canvas verso oil on canvas | 40 x 30 inches (101.5 x 76 cm) 57


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KATE WHITEFORD obe rsa (b.1952)

Kate Whiteford graduated from Glasgow School of Art in 1973, then studied History of Art at Glasgow University until 1976. In 1977 she was a British Council Scholar in Painting in Rome. Her work explores the universal intelligibility of signs, and spans several artistic disciplines. She has created large-scale land drawings, including her Sculpture for Calton Hill, 1987. Her recent works are generally large in scale, often tailored to specific gallery spaces, and feature a bright and reduced palette. Her work is in the permanent collection of the Tate Gallery, National Galleries of Scotland, and Glasgow Museums, among others. In 1990 Whiteford represented Great Britain at the Venice Biennale alongside David Mach and Arthur Watson.

Proposal for NGMA Installation 1987; signed and dated 87 pencil, ink, wax crayon, tracing paper and graph paper | 23 Ÿ x 33 inches (59 x 84 cm) Note: this drawing is one of the preparatory sketches for Kate Whiteford’s installation Echo 1987, specially commissioned for The Vigorous Imagination, Scottish National Gallery of Modern Art, Edinburgh, 1987. 59


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Optic Tondo 2016 acrylic on canvas | 47 Âź inches diameter (120 cm diameter) 61


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ADRIAN WISZNIEWSKI rsa hrsw (b.1958)

Adrian Wiszniewski trained at the Mackintosh School of Architecture and Glasgow School of Art, graduating in 1983. The following year he held his first solo exhibitions in Glasgow and London, and works from these exhibitions were acquired by the Tate Gallery. Wiszniewski is known for his large scale narrative and pensive paintings, and has worked in print, sculpture, design, and neon tubing. While he has chosen to work in and around Glasgow for the past thirty years, Wiszniewski’s work is included in major collections worldwide, including Gallery of Modern Art and Metropolitan Museum, New York; Scottish National Gallery of Modern Art, Edinburgh, Tate Britain, London and the Victoria and Albert Museum, London. He has been the recipient of the Mark Rothko Memorial Award, and the Lord Provost’s Gold Medal of Glasgow.

Islander 1984; signed and titled oil on canvas | 46 x 33 inches (116 x 84 cm) 63


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Illuminati signed and dated 2010 gouache on paper | 58 Ÿ x 46 ž inches (148 x 119 cm) 65


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PHOTOGRAPHIC CREDITS Pages 2, 3, 4: photography by Hugh Watt and John McCann; pp. 6, 8: images courtesy of the artist/Philip Braham; pp. 10, 30, 32: photography by John McKenzie/The Fine Art Society in Edinburgh; pp. 12, 14: ©Calum Colvin; p. 16: ©Fleming-Wyfold Art Foundation; p.20: ©Lighthouse photographic: Glasgow; p. 22: Mandible, 2010 ©Ken Currie. Image courtesy Flowers Gallery, London / New York; pp. 24, 26: images courtesy of the artist/Gwen Hardie; p. 28: ©Glasgow Print Studio, Glasgow; pp. 29, 30: ©Peter Howson Studio: peterhowson.co.uk; p. 36: image courtesy of City Art Centre, Edinburgh; p. 38: ©David Mach; pp. 40; 42: image courtesy of the artist/Keith McIntyre; pp. 44, 45, 46: ©ronodonnell/the artist; pp. 48, 50: photography by Nigel Francis; pp. 52, 53, 54: images courtesy of the artist/Mario Rossi; pp. 56, 58: ©Fidra Fine Art, North Berwick; pp. 60, 62: images courtesy of the artist/Kate Whiteford; pp. 64, 66: images courtesy of Adrian Wiszniewski We are grateful to the following lenders: Fleming-Wyfold Art Foundation, London City Art Centre, Edinburgh Flowers Gallery, London/New York Glasgow Print Studio, Glasgow Jill Gerber/Cyril Gerber Fine Art, Glasgow Leah Gunn Barrett, Edinburgh Stan Bethwaite, Renfrewshire Tom & Janet Howson, Prestwick Jacob and Anna Hughes, Edinburgh Private collections and The Artists

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Published by The Fine Art Society in Edinburgh for the exhibition

THEN AND NOW THE VIGOROUS IMAGINATION

held at 6 Dundas Street, Edinburgh from 26 October to 18 November 2017 Catalogue Š The Fine Art Society in Edinburgh Image rights remain with their respective holders, credited opposite Front cover: Ian Hughes, Kierling I Back cover: Mario Rossi, Annex no. 1

The Fine Art Society in Edinburgh

6 Dundas Street, Edinburgh EH3 6HZ +44 (0)131 557 4050 www.fasedinburgh.com ¡ art@fasedinburgh.com Works are available for sale on receipt of this catalogue


The Vigorous Imagination: Then and Now  

26 October - 18 November 2017