Tom Shanks’ solo exhibitions have been a regular feature in the Cyril Gerber Fine Art programme for many, many years, which our audiences look forward to with much anticipation. We continue our long and friendly association with Tom, now in his 96th year, with this newest show which features new works, and includes a special selection of early paintings and drawings dating back to 1945. Having visited Tom in the studio recently to select the works, it is still clear that he has not lost that real sense of adventurous wonder and enthusiasm when showing and discussing his paintings. He recounts tales of his lifelong memories and adventures in the Scottish highlands and islands. Tom’s passion for travelling and hill walking, his vision and natural response and affinity for the landscape deeply resonates in his work. He has the powerful ability to transform and deeply understand the countryside, capturing its essence, the changing moods of the weather and the atmosphere that the landscape evokes within you. He does this by demonstrating his distinctive skill and knowledge which is deeply rooted in his understanding and interest in many of the important 20th Century artists whom he admires. This vision and ability are as strong as ever, also he has been looking back at his early drawings and sketches which have prompted memories and fresh new inspiration. We have always believed that Shanks is an artist who deserves much more recognition and public understanding of the importance of his position amongst today’s Scottish masters. We are delighted to announce that the Hunterian Museum and Art Gallery now has two very fine examples of his strong and beautiful watercolours in their collection.

Specially selected paintings, drawings & sculptures collected for this seasonal exhibition, including work by Scottish Masters, Glasgow School, Modern British, St. Ives, Cadell, Colquhoun & MacBryde, Eardley, Fergusson, Kay, Knox, McLauchlan Milne, Paterson, Reeves, Sandeman, Vaughan, Watt and a selection of Scottish Contemporaries.

Margot Sandeman 1922-2009, was born in Glasgow. The daughter of Archibald Sandeman 1887-1941, an accomplished artist and Muriel Boyd Sandeman 1887-1981 an internationally known embroiderer who trained with Jessie Newbery at Glasgow School of Art. She grew up in a home that reflected the influence of Edwin Lutyens, William Morris and the Arts and Crafts Movement. A student at Glasgow School of Art, Margot's talent was recognised early on by Hugh Adam Crawford, the Head of Drawing and Painting. She and Joan Eardley, who became a close friend, were amongst a very small number of outstanding students selected for special attention. She and Eardley made many painting trips to Corrie, Arran which was her family summer base. Sandeman had an individual style, quite different from most other contemporary Scottish artists. She was a ruminative, romantic painter of pastoral subjects which always have an atmosphere of quiet tranquillity. She painted what she loved, and for her, nature was central. "One feels that if Margot Sandeman were not a painter she would have been a poet. For her, the thought, the idea, the atmosphere of beautiful trees, shady lanes, sheep as part of the shape of the landscape, are rare, pure and magical things. For her too, the idea of young people, gentle, thoughtful, learning, is something very special - an idealistic vision of beauty, hope and knowledge being brought to the world. And so we get with her paintings a coalescence of the pure beauty of nature with its light and air and colour, and the young figures romantically symbolical of thought, philosophy and poetry, composed into a total visual idea or experience" Cyril Gerber. Although lyrically simple, Sandeman's work possesses a real rigor and power beneath their apparently gentle exterior. She gave vivid life to the simplest of still lifes, family portraits and landscapes. Her series of large canvases of Bathers, echoing Matisse and Seurat, or a Japanese Master, has austerity, tonal harmony and harnessed energy. She had a passionate love of words and poetry which is evident in her collaborative works with her contemporary Ian Hamilton Finlay, based on his texts and publications from the Wild Hawthorn Press. The late critic Cordelia Oliver wrote "Among Scottish painters of her time, there is no other whose work reveals such a combination of deep-rootedness in a given place, with an equally strong sense of mind set free to soar into a world of visual poetry." Winner of the Guthrie Award 1964; the Anne Redpath Award 1970; the Scottish Arts Council Award 1970 and the Laing Competition 1989. Her works are represented in numerous private and public collections in Scotland and further afield, including the BBC, The Scottish Arts Council, Contemporary Art Society and the City Art Centre, Edinburgh. She has had several solo shows in Edinburgh at the Talbot Rice Gallery, Demarco Gallery, The Open Eye Gallery and in Glasgow at Compass Gallery. Margot Sandeman's work was exhibited in a major exhibition at the Lillie Art Gallery 2011 and the 'Modern Scottish Women, Painters & Sculptors 1885-1965' exhibition at the National Galleries of Scotland 2015.

A selection of 19th-21st century British paintings, drawings and sculpture including works by the Modern British & Scottish Masters, Scottish Colourists, Glasgow School, Blackadder, Colquhoun & MacBryde, Cowie, Eardley, Herman, Kay, Lanyon, Paterson, Power, Vaughan and a selection of invited Contemporaries.

Tom Shanks first became acquainted with the grandeur and beauty of the Scottish Landscape as a boy of seven, on his first visit with his parents to the Isle of Skye. It was to have a profound effect upon him, that has remained fresh in his mind ever since. Initially, on leaving school, Tom worked in Templetons carpet factory as an apprentice carpet designer, and it was not long before he was exhibiting in the company art club. As his interest and skill developed, he applied to Glasgow School of Art to attend the evening classes. But, after seeing his folio of work, Sir Harry Barnes, the Deputy Director encouraged him to join the full Diploma course. In 1950, he successfully completed the course and graduated D.A. Since then Shank’s versatility has seen him work as a freelance mural painter, a stage designer with the Rutherglen Rep, a designer for 8 years with Edinburgh Tapestry Company, Dovecot Studios, and as a teacher of Art in various schools. But it has been Tom’s intuitive understanding of the Scottish Landscape and his inspired response to all its moods and atmospheres which have singled him out as one of the most impressive and authentic painters of the Scottish Scene. Tom is always very selective of his own work, carefully gathering inspiration and taking the time to develop the new paintings, he strives to bring a freshness, strength and excitement to each new exhibition. It is well worth waiting till he is ready. Working with a stronger palette and on dramatic monochromatic landscapes, he is showcasing his drawing skills, interest and understanding of many of the important 20th Century artists whom he admires. This new exhibition shows that Tom is going from strength to strength.

A selection of works by Lesley Banks, Robert Colquhoun, James Cowie, Joan Eardley, JD Fergusson, Millie Frood, Josef Herman, James Kay, Robert MacBryde, William McCance, Cyril Edward Power, William Pratt, Barbara Rae, Philip Reeves, Ian McKenzie Smith, Dennis Westwood and many others.

Belinda Rush Jansen studied sculpture at Edinburgh College of Art, graduating in 1983. Tutored by Vincent Butler, she learned to use stone, marble and bronze. A regular exhibitor at the RSA, she was awarded Best Female Sculptor in 1996. She has numerous works in Public and Private Collections. As a child Belinda moved to Scotland, spending most of her early years on the Black Isle, amidst the beautiful, natural surroundings. Her love for wild and domestic animals has been inherent and apparent from a young age, and using the traditional materials of the sculptor, she manages to convey a deep affection for these animals. Her love and affinity with the countryside and nature is evident, and her portrayal of the animals in her environment show a firm tenderness and lifelong knowledge of being around these creatures. Comforted and inspired by the natural world, her carvings explore the essence of animal and human spirit in primal symbolic and heartfelt ways. She returns to the Gallery with a new body of figurative works. Pivotal to Belinda's new stone carvings, the Seven Selves of Female, she says, "Wild landscape and the timeless female purpose of bearing forth, nurture and spiritual connections are the core of my work, alongside the equally mysterious intelligence of wild creatures". Her sculpture has many recognisable paths of experience for others to resonate with. They are very personal and tactile, and reflect her interest in cave art, Eskimo nomadic carvings, Egyptian and Chinese tomb animals and their spiritual symbolism.

A selection of paintings, drawing and sculpture with a focus on the figure. Throughout February 2016.

The Winter Show opens on the 12th November 2015 and continues through till the end January 2016. It is an exciting opportunity to have a fresh look at some of the varied works we have in stock, many of which have not previously been shown. This year’s choice combines work from the late 20th Century, hanging alongside paintings, drawings, prints and sculpture specially selected from many of our regular Contemporaries and Modern Scottish Masters. Among the artists included are: FCB Cadell, Robert Colquhoun, James Cowie, Joan Eardley, JD Fergusson, Annie French, Henri Gaudier-Brzeska, William Gear, The Glasgow Boys & Girls, Josef Herman, Peter Howson, George Leslie Hunter, William Kennedy, Jack Knox, Bet Low, David Martin, William McCance, Ian McKenzie-Smith, J McLauchlan Milne, SJ Peploe, Philip Reeves, Tom Shanks, Graham Sutherland, Alison Watt, Scottie Wilson and many others. Exhibition page under construction. More images will be added soon.

Adrian Wiszniewski rose to prominence in 1984 after graduating from Glasgow School of Art, then presenting his first one-man show in Compass Gallery. He has continued to exhibit with Compass Gallery and Cyril Gerber Fine Art throughout his career. This exhibition of new paintings and works on paper celebrates the 30th anniversary of that first solo show. Wiszniewski has found his own style over the thirty years he has been painting. His bold, large figurative paintings demonstrate a unique and unmistakable style. His subjects are diverse and often allegorical. Adrian's work is strong, colourful, confident and daring. His continued adherence to his figurative subject matter could very well hail the oncoming of a new figurative revival. Numerous works in this new show, such as 'Russian Red 1913', relate to the period when Igor Stravinsky composed music fir the avant-garde Ballet Russes, 'The Rite of Spring'. Many of these new paintings explore the theme, and include his images for the artwork for a new recording of the Stravinsky composition by the David Patrick Octet. Adrian has numerous works in public collections in the UK and internationally, including the Museum of Modern Art, New York; The Scottish National Gallery of Modern Art, Edinburgh; Glasgow Museums; The Gulbenkian Foundation; Victoria & Albert Museum, London; Metropolitan Museum of Art, New York and many more.

A selection of 19th-21st century British Paintings, Drawings & Sculpture with a touch of Summer flavour. Including works by Blackadder, Colquhoun & MacBryde, Cowie, Eardley, Herman, Kay, Lanyon, Mellis, Modern British Masters, Paterson, Power, Scottish Colourists, Vaughan and many others. The exhibition also includes a selection of works by Jack Knox, who has had a long-standing relationship with the Gallery throughout his whole career, has had numerous solo exhibitions with us and shared his knowledge and experience of each new generation of artists graduating whilst heading both Duncan of Jordanstone College of Art Fine Art Department, and Glasgow School of Art Fine Art Department. He was a painter of international status (RSA RSW RGI HFRIAS D.Litt), and an influential tutor to numerous well-established Scottish painters of today.

New exhibition and launch of the new book about his life and work.

Tom H. Shanks, RSW, RGI, PAI is a master at capturing the grandeur and beauty of the Scottish landscape. He has been painting for over seventy years, mostly drawings and watercolour landscapes of the west highlands and islands. Visits to Skye had a profound effect on his work. He draws on his romantic memories and experiences of his many years enjoying the beauty of the lochs, mountains and seas, to create his atmospheric works. Over the long period of time we have worked with him, we have always been impressed by the freshness of his work and his powerful ability to convey the effect that the landscape can have on you. The reality of the scene before him and the calm and thoughtful mood Tom creates is impressive and wide in his vision. He has had numerous exhibitions at Cyril Gerber Fine Art in Glasgow, as well as at other places throughout Scotland. His work is collected and admired by many, both in Scotland and further afield, and is in the collections of the Scottish Arts Council; Glasgow, Greenock and Dumbarton Councils as well as the House of Lords in London.

A selected display of 20th & 21st century paintings, drawings and sculpture currently on show this month.

The Winter Collection 2014 is here. It will be on our walls from the 6th December until the end of January. A changing exhibition of paintings, drawings and sculpture from 1900's to present day.

Cyril Gerber Fine Art are delighted to invite you and your guests to join us at the opening of this exhibition by the artist David McClure RSA RSW on Thursday 11th September 2014 from 5.30-7.30pm. Robin McClure, the son of the artist will be with us in the gallery during the opening, and on the following Saturday 13th September from 2-5pm, when he will be happy to show you round the exhibition and talk about his father's work and the paintings on display. David McClure RSA RSW 1926-1998 As a recipient of an Andrew Grant Fellowship from Edinburgh College of Art in 1955, McClure took his young family to live and work on two islands, Millport on Great Cumbrae in the Clyde, and then after a period in Florence to Casteldaccia on the island of Sicily. Both islands were a source of inspiration for his urban and rural landscapes, and were coincidentally linked by wartime connections. Here, as a young dynamic artist, McClure was forging his own style, inspired by these new environments as much as by the influences of various artists and mentors from the current Scottish artistic milieu and further afield in the UK and Europe. Usually better known for his rich, painterly still life and figurative compositions, often inspired by the French Post-Impressionists, the majority of the works on paper in this exhibition focus on his gouache, watercolours and pen and ink drawings of landscapes, townscapes and still life subjects, from the mid 1950's painted both en plein air or in (and indeed sometimes from) the studio. Born in Lochwinnoch in 1926, David McClure studied English and History in Glasgow University, then following his war service, recommenced studying History of Fine Art and Painting in Edinburgh. Tutored by William Gillies, John Maxwell and Robert Henderson Blyth, major painters of the time, he was also influenced by Anne Redpath and William MacTaggart and younger artists such as Joan Eardley and Robin Philipson. His contemporaries included Elizabeth Blackadder, John Houston and David Michie. He taught firstly at Edinburgh College of Art, then at Duncan of Jordanstone College of Art, Dundee from 1957-85, retiring as Head of Painting, a post he took over from his great friend and painter Alberto Morrocco. Elected a member of the SSA, RSA RGI, RSW, McClure was a regular exhibitor with Compass Gallery, and has had numerous solo and mixed exhibitions in Scotland, London, and throughout the UK. His works are held in many private and public collections including the USA, Canada, Scandinavia and Europe.

James Kay RSA RSW Exhibition (1858 - 1942) runs from 7th August until 31st August 2014. Throughout the 1940’s the interest in the Glasgow Boys rose dramatically, and the demand for such artists as Henry, Lavery and Walton grew. One Glasgow painter of the period who was not so widely prominent was James Kay, active from the early 1880’s until 1942, yet he had a quality and range of consistency second to none. He was a genuine artistic traveller yet he drew inspiration very near to home – the bustling shipping on the River Clyde, where flourishing shipyards at the time were hailed as the workshops of the Western world. “In his river paintings, he strived to capture the atmosphere of industrialisation, the smoke and grime, rather than romanticising about the sea. Smoke, steam, water, light and the great silhouetted forms of ships captured this reality in a dramatic way.” Anne C. O’Neill. Born on the Firth of Clyde, where his father was stationed as a Royal Naval Officer, observing the river and its shipping was familiar to him as he grew up. Kay arrived in Glasgow at a most auspicious time, and studied at the Glasgow School of Art when the Glasgow Boys were coming to prominence. He developed his own style and subject matter, following The Hague School and Dutch 17th Century Marine painters, but also, having lived and worked in Paris, he absorbed the atmosphere and influence of the French Impressionists which is evident in his city and landscapes. The end of the war made travel easier, and Kay travelled regularly, absorbing the sunshine and light of the Mediterranean. Whether he was painting in Paris, Palma, Glasgow or Copenhagen, he had a special personal ability to reflect the life and atmosphere of these places. Kay exhibited regularly in the Royal Glasgow Institute, the RSA and the Paris Salon. He is a Scottish artist of international standing and his work is held in numerous public collections. Amongst his many studios in Glasgow, he had four in West Regent Street, where this gallery is situated and it is therefore fitting that his paintings return to this location today. We hope that you and your guests will join us to view the exhibition on the evening of Thursday 7th August from 5.30-7.30pm.

A selection of 19th-21st century British Drawings, Paintings and Sculpture with a touch of Summer flavour. Including works by Joan Eardley, Scottish Colourists, St. Ives School, Glasgow School and selected Contemporary Modern Masters.

The career of artist Jack Knox spans over 5 decades. He studied at Glasgow School of Art and the Andre L'hote Atelier, Paris, winning a string of prizes including the Carnegie Trust Travelling Scholarship, the Guthrie Award, several RSA awards, and the Scottish Arts Council Award. Knox, a 'Glasgow Boy' of the 1950s era, became a Senior Lecturer in Drawing and Painting at Duncan of Jordanstone College of Art, Dundee where he taught for 16 years. He became Head of Painting at Glasgow School of Art in 1981 till 1992. Knox is an excellent example of an accomplished and committed artist who has managed to bridge the proverbial 'generation gap' at each successful stage of his career. He has been able to do this through his continuing interest and enthusiastic involvement of the interests and affairs of his colleagues, teaching staff and contemporaries, both at home and in the wider field of the changing Art Movement in Europe and America. He has inspired and influenced generations of new artists graduating under his watch, many of whom now have successful careers with international status. Amongst them, to name a few, are Jenny Saville, Alison Watt, Steven Campbell, Adrian Wiszniewski, Ken Currie and Stephen Conroy. Knox has had numerous solo exhibitions throughout the UK and further afield. His group exhibitions include Chicago, Warsaw, Brussels, New York, Dusseldorf, Vienna, Sao Paolo and Sarajevo. A regular exhibitor in the New Charing Cross Gallery, Glasgow, he has continued to exhibit at Compass Gallery and Cyril Gerber Fine Art since their inception. Works in public collections include Aberdeen, Dundee, Edinburgh, Kirkcaldy, Glasgow, Manchester, Sao Paolo, Los Angeles and many others. This exhibition from the 1950's to present day celebrates our long association with Jack Knox and includes works from the 1950's to present day.

Born in 1931, Reeves studied at Cheltenham School of Art and the Royal College of Art, London, prior to moving to Glasgow in 1954, taking up his post at Glasgow School of Art. He has since become an important part of the Contemporary British Art Movement, leading the way in British printmaking today. In this exhibition we are privileged to include alongside the new collages, some of Philip's very early paintings and drawings from the 40's and 50's. Here we can see his fine draughtsmanship, attention to detail and the strong compositional elements, which are the essence of the abstract forms he creates today. Reeves talks of his fascination, when he first came to the city, with details such as tiling on the walls of Glasgow's public wash rooms. It is this ability to notice the composition, fine detail and construction of the 'everyday' that Philip has taken beyond the source of visual stimulus to hone and develop an eloquent and personal language of his own. The new works are as fresh and exciting in their apparent spontaneity as the mark making of the early works. When juxtaposed, we have a fascinating glimpse of Philip's method of selecting and distilling form into uncluttered abstractions in which he reconstructs fragments of moments in time and places. Philip Reeves is an important artist and craftsman continually creating, finding new subjects, and fresh ways of expressing long established idea's. Here we have a direct insight into the mind's eye of a Modern Master.

1931-2017. Born in Cheltenham, Reeves has lived and worked in Glasgow since 1954, becoming an important part of the Contemporary British Art movement, leading the way in British printmaking today. Coming from the Royal College of Art, London tutored by John Bratby, Reeves was influenced by and a great admirer of the work of Eric Ravilious, Paul Nash and Edward Bawden. He made an immediate important impact in Glasgow School of Art, by setting up the specialised Printmaking Department, separating it from commercial graphic art, bringing it into the Fine Art Department of Painting & Drawing. He invited many of the leading British artists and printmakers of the day to Scotland as external assessors, including Harvey Daniels, Michael Rothenstein and Kenneth Rowantree. Looking through his studio work, we soon recognised the important impact and influence he was to have on the Scottish art movement. Reeves, prominent in his field of contemporary printmaking, is better known today for his abstract prints and collages. His career as a printmaker began when he made his first etchings in 1949, whilst teaching in art schools where he had access to etching plates and printing presses - the necessary equipment. In the course of his active career, he recalls: 'Living in various areas of the UK, whether they be rural, town or city, has always attracted my visual curiosity. It might be the Wiltshire Downs; the Regency architecture in Gloucestershire; or the structure of the canals in the city of Glasgow. So with a sketchbook in my pocket or bicycle basket, I made many drawings and notes which ultimately turned into a suite of etchings. I am referring to the prints created in the years 1949-1959. In that period printmaking studios hardly existed in Britain. The creative and experimental work by artist Stanley Hayter in Paris and New York with the use of colour and scale had yet to come. However, during that time I was fortunate to work in several art schools, Cheltenham, the Royal College of Art, Glasgow School of Art, Aberdeen (by special invitation of Ian Fleming), where etching presses were available. Usually quite small so that the image was restricted.' Fortunately, in 1967, with help from the Scottish Arts Council, Reeves was instrumental in starting and setting up the Scottish Printmaking workshops and studios that exist today. Since the 1950s and 1960s he has built up an important reputation with numerous exhibitions, including two major retrospectives in the Talbot Rice, Edinburgh; the Hunterian Museum & Art Gallery, Glasgow. His solo shows include the Fine Art Society; New Charing Cross Gallery, Cyril Gerber Fine Art and Compass Gallery, Glasgow; Glasgow & Edinburgh Print Studios; the Crawford Art Centre, St Andrews; the Lillie Gallery, Glasgow and Kelvingrove Art Gallery, Glasgow. Between 1949-1959, he created the drawings, paintings, etchings and lithographs in this exhibition, over 45 rare artists proofs of exceptional quality, until now tucked away, forgotten for many years.

Cyril Gerber Fine Art is proud to present the first Scottish showing of one of the most notable English painters of his generation, Anthony Fry. The major sources of inspiration for Fry's work; the dreamlike landscapes of the Equatorial zones, the nude in all its permeations, and the shuttered spaces of meditative interiors, paintings and drawings from his travels in India, Morocco, Greece, Turkey and Spain, all show Fry's dexterity of form and mastery of colour: incandescent, powerful and full of life. The works are infused with vibrant colour, his enigmatic drawings reflect the tenderness of relationships and contemplative observation of characters who appear in his paintings. The sensuality of creating the surface on his canvases is of great importance. Fry describes his method of painting as involving layering and scraping back, often using the edge of his hand to sweep vibrant colour across the canvas and sometimes inspired by the texture of a tiny fragment of bark, is stimulated to emulate this crusty surface with vivid pigment. The importance of drawing is always present, and Fry uses the smallest of sable brushes to add fine detail. Over the many years, Fry has spent the winters in his studio in the old Portuguese port of Cochin, Kerala. Fry says that he needs heat to paint, and his work has been inspired by these annual trips. The dreamlike landscapes and figures are marked by incandescent hues and richly textured surfaces, capturing the sense of space and light of the exotic subcontinents. John Russell said of Fry that almost alone among the English painters of his generation, he reasserts the prestige of the dreamer. Born 1927, Anthony Fry attended Edinburgh College of Art, tutored by William Gillies and then Camberwell School of Art with Victor Pasmore. He has held tutorial positions in the Painting schools of Chelsea, Camberwell, Bath, Slade, Ruskin College and Cornell university, USA. Awarded the Rome Scholarship, winner of the John Moore's Prize (Liverpool), and a recipient of a Harkess Fellowship, and the Lorne Fellowship (USA). His work is held in several public collections including The Arts Council, UK; The Tate Gallery, London; The Saatchi Collection; The Government Art Collection; The Stuyvesant Collection; The National Gallery of Victoria, Australia and many others. He has had numerous solo exhibitions, and this is his first exhibition in Scotland.

Exhibition of new works by artist Adrian Wiszniewski, RSA. 'We should always look at our own space as a foreign land and one that we will rediscover. Every day is a holiday.' Adrian Wiszniewski, 2010.

Paintings from Russia and other Places. Travels with a portable paintbox following the evolution of plein air painting. This exhibition showcases the plein air paintings of a young Glasgow artist David Caldwell, giving him the opportunity to express his deeply personal response to the wonders of the landscape around him. He takes us on an insightful journey through Scotland, France and Russia. His paintings convey the magical quality of the constantly differing light and its effects on the landscape in which he works, reflecting the process of continual change. In a historical significance to this visual inquiry, Caldwell feels he is following literally in the foot steps of the great plein air painters to Collioure in the south of France where Matisse and Derain famously embarked on Fauvism, and to Russia, Plyos - a favourite spot of the great landscape painter Levitan. Caldwell cites the work of Corot, Constable and Cezanne but brings his own individual style and vision into his painting. He studied Drawing and Painting at Glasgow School of Art and The Prince's Drawing School, London. Caldwell is a winner of the 'Bulldog Bursary' awarded by The Royal Society of Portrait Painters.

1930-1997. William Sinclair studied Drawing and Painting at Glasgow School of Art 1954, a pupil of David Donaldson. His subject matter was predominantly observations of the rich and bustling harbours and docks of Greenock and Port Glasgow, where he lived, drawing and painting the busy scenes and capturing the grandeur and majesty of the huge cranes and hulls under construction. These docks, now dormant and built over with new housing, play a prominent part in the many studies of the docks, tugs, sailboats and working ships. Sinclair's paintings take on a historical importance, and record a scene that has now vanished. From his home high above Port Glasgow, looking over the townscape, he also painted the view across the river to the rich landscapes of the Inverclyde area and further afield in Scotland and Ireland. These paintings of trees and fields are reminiscent of the landscapes and style of William Gillies. He was an artist in the traditional sense of the word; painting purely to express his feelings and emotions rather than for the financial gains that he could have had, even buying back his own paintings when the opportunity arose. Continually drawing and painting but rarely exhibiting, like many artists he earned his living by teaching art. This exhibition is a selection from the body of work which has remained unseen since he died. It includes some fascinating observations and drawings, scenes of old Greenock and Port Glasgow whilst they were still lively and active ship building towns. A regular exhibitor at the Royal Scottish Academy and the Royal Glasgow Institute, where an acquisition by HRH Prince Philip Duke of Edinburgh caused a new surge of interest in his work. a principal art teacher in Greenock, he was well-known and respected in the teaching profession, one who had a genuine and sincere passion for art, which he endeavoured to pass onto his students.

If we were to single out some of the most notably creative artists of the 21st century, it would be difficult not to give special credit to the painter Craigie Aitchison. Our interest in his work dates back some 40 years or more, to when we had the privilege of exhibiting his first Scottish solo show in Compass Gallery in 1970. Charm belies the real strength of his works. A portrait study or a peaceful landscape seem to posses a compelling power of their own, never shouting, only whispering seductively. For Aitchison, the solitary flower or figure very successfully epitomises the strengths, delicacy and emotions he manages to convey. Looking at his work is like recognising an abbreviation of simplicity, beauty and strength. There are few artists who can so successfully combine these qualities in a single composition. This new exhibition of Craigie's is, in his own words 'an important event', which marks his return to Glasgow, where in 1970, he had his first Scottish solo show in Compass Gallery. Since then, Craigie has become one of Britain's most celebrated painters winning numerous prizes and awards, including a CBE for his contribution to British Art. His work is now held in many public and private collections, including the Scottish National Gallery of Modern Art; The Arts Council of Great Britain; The Tate Gallery; Glasgow, Nottingham and Liverpool Museums & Art Galleries. He also has work in collections overseas including Newcastle Region Art Gallery, New South Wales, Australia and the South African National Gallery, Cape Town.

"These new paintings focus on my former home, a tenement flat in Glasgow. I lived there during the 1990's, had my first child and produced many paintings inspired by my life there. After reading a book by Julie Myserson called 'Home' in which she researched everyone who had ever lived in her Victorian house in London, I decided to revisit West Princes Street and go in the opposite direction by painting everyone who had ever lived there since I left. Like layers of wallpaper, elements of my time there remain such as the green front door, the couch, the half painted fireplace, and the wonderful views with huge skies - a window to the weather. Each time a resident moves in they add another layer. The new owners' life adds inspiration to the new work. Some paintings depict Gill, a friend who bought the flat and lived there alone during a turbulent period in her life. She travelled a lot, including a trip to Delhi for an Indian wedding. Now she has moved on and moved out, and the new tenants are siblings Joseph and Rachel." It is important to Lesley to get to know people before she paints them. These latest paintings relate mysteriously both visually and narratively to Lesley's previous works. They are a new thread which will continue an ongoing theme - forward looking rather than backward because of its visual inspiration. They add a ghostly presence, a thin layer of time, and factual and fresh elements mixing her time and past into the present.

Exhibition of paintings and drawings of West of Highland Fishermen, Welsh Miners and Mexican Peasants in 2003. Herman helped to bring an international flavour to the Glasgow Art Scene. He designed and dressed the 'Ballet of the Palette' for Margaret Morris's Celtic Ballet and did an extensive series of drawings of West Highland fishermen. Herman moved to a south Wales mining village in 1943, where he was able to give full expression to his idealistic respect for physical toil. He became famous for his paintings of miners there. Herman's worldly approach to his art, his experience and integrity brought him international recognition and his work is in many private and public collections. Whether he was dealing with fishermen of Scotland, miners of Wales or Mexican peasants, the underlying theme was always his deep respect for the value of human labour. The works in the present exhibition are being shown for the first time. It will be an opportunity to see the many important aspects of Herman's art.

Looking at the drawings in this exhibition, it would be difficult not to be seduced by the flowing rhythmic line which emanates from the artist's hand. Born in Glasgow, William McCance (1894-1970) was only 6 years old at the start of the century. But during the next 70 years of his life he was to make a significant impact on the 20th century British Art Movement. His drawing skill was a fundamental part of McCance's work. Educated at Hamilton Academy and Glasgow School of Art in Fra Newbery's day, he married fellow student Agnes Miller Parker, later the well-known wood engraver. In 1920 both exhibited in the Glasgow Society of Painters and Sculptors along with artists like James Cowie, Robert Sivell and Archibald McGlashan. In London for the next 9 years, McCance produced some of his most adventurous works in the Vorticist and Cubist styles. He exhibited in several London galleries and became the art critic for Spectator magazine. In 1930 he moved to Montgomeryshire as controller of the Gregnog Press designing high quality limited edition books. He was Lecturer in Typography and Book Production at Reading University School of Art from 1943-1957. McCance returned to Scotland in 1960 having separated from his wife. Later he married Margaret McCance and lived and worked in Girvan until his death in 1970. Since then she has dedicated a large part of her time and thought to increasing the recognition and appreciation of his work. There have been various exhibitions of his work in Glasgow and Dundee and McCance's work was included in the 1989 'Scottish Art since 1900' exhibition at the Scottish National Gallery of Modern Art. A fully comprehensive exhibition was also held in Cyril Gerber Fine Art in 1989. This exhibition concentrates on an important aspect of McCance's work - his drawing skill. The cat drawings typify his energetic, lively approach to his subjects and sense of design.

Artist's Statement: "My recent work was made during a prolonged stay in Holland. I decided to live there for some time, as I have a strong interest in the 17th century Dutch school, particularly the still-life genre. I wished to study these paintings in depth, while developing a body of new work in response to fresh surroundings. In many ways, the themes in my previous work were firmly rooted within an awareness of Scottish landscape and history. These paintings depicted objects found on the coastline, and were concerned with man's presence in the environment, with its subliminal associations of transience and memory. Basing myself in Holland has enabled me to reassess my work in terms of the still-life tradition itself. To describe the genre, the 17th century Dutch used the term 'stilleven', meaning 'inanimate model', or 'things lying still'. This inherent quality of 'stillness' has become a focal point in my recent work. I have tried to accentuate it, in order to convey a sense of contemplation where the passage of time seems to be suspended. To this end, compositional balance has become more important, and the choice of objects quite restrained. These simple arrangements are lit by an intense, penetrating sidelight, creating a heightened sense of reality where the viewer's gaze is led into active concentration. I have also been drawn towards the essentially timeless subject matter that one finds in the tradition of the genre, such as shells, fruit, pottery and glassware. Experimentation with these archetypal elements has given me some fresh insights into the vision of the old masters, which will be a valuable foundation for future work." Donald Clark 2002.

It has been 17 years since Lesley Banks graduated at Glasgow School of Art. Soon she was producing numerous small paintings and constructions. Before long we were climbing the steep stairs up to her attic studio in Glasgow's west end to select work for showing at Compass exhibitions. After a time she joined us to work part time at Compass Gallery and in due course decided to find a studio and become a full time painter. It seemed no time till she magically turned up with a collection of her new work that simply could not be disregarded. We fixed her first solo show at Compass Gallery and it was an immediate success. Her paintings had a character of their own - recognisable types of people in familiar domestic settings. But there was an element of mystery in them: a feeling of uncertainty, perhaps even danger, leaving the viewer with a sense of unease and the feeling of something going on beyond the edge of the canvas. Lesley had persuaded the management of Arlington Baths to allow her access to sketch and paint the swimmers and there followed her first series of works based on these visits. The success of her early shows led to a steady flow of exhibitions including solos in London, Bath, Edinburgh and Singapore. She made numerous trips to Italy and won various awards including the Britannia Life Lord Provost's Prize in Glasgow in 1997 and more recently was the artist in residence at Edinburgh Zoo. Now she has returned to the Arlington for a further taste of its special atmosphere and exhibits her latest series of paintings for the first time in this exhibition. "For me, the Arlington Baths have long been a continuing source of inspiration. The recent renovations have sparked off the idea to produce a second series of work, based on the many facets of the Baths. This time I have been drawn to the flickering play of sunlight both on the water and the walls. The Turkish room, a temple of relaxation, formerly a pale muddy green, is now a vibrant ultramarine with tiny coloured glass windows on the roof. On a sunny day, pools of red and turquoise light are dispersed around the room. In general what appeals to me is the timeless quality of the Arlington and the thought that for 150 years, men and women wrapped in white sheets have been relaxing there regardless of the reality of life beyond its walls." Lesley Banks.

A surprisingly limited amount of information is available about the life of the 19/20th century Scottish watercolourist, James Little. What is certainly known is that he lived in Edinburgh and between the years of 1875 and 1910 he was a regular exhibitor in the Royal Scottish Academy, Edinburgh and the Royal Glasgow Institute of the Fine Arts. Little clearly loved the old closes, lanes and market places of Edinburgh and painted them with delicacy and affection to the delight of large numbers of collectors. He is also represented in the collection of the City Art Centre in Edinburgh. Little's own search for suitable subjects in more distant places took him to London, Paris, Dieppe and the waterways of Holland and Belgium. It was during these travels that he produced many of his most sensitive and subtly toned watercolours of harbours and fishing boats around Dordrecht, Ghent, Bruges and Amsterdam. We are pleased to be able to include a selection of these in the exhibition.

The third exhibition held by the Gallery of Margaret Morris' work, including paintings, drawings, costume designs and sketches.

James Cowie often described as 'an artist's artist', produced what are generally regarded as his finest works during his years of teaching at Bellshill Academy. His drawing skills, perceptive sketches and portraits of school pupils and his distinctive still lifes remain memorable and are an important influence on the thinking and method of approach of many present-day artists. Yet little has been recorded of his immediate influence on his pupils of that time. One notable exception, however, is Robert Thompson, the son of a local iron worker, who attended Bellshill Academy and was taught by Cowie from 1930-33. From the start the connection between Cowie and Thompson was sympathetic and productive. In a catalogue note for a recent exhibition in Bellshill Academy of Thompson's work his daughter describes the 'wonderful example of a working relationship between a talented boy and an older artist beginning to find his own language. Cowie, on seeing the fifteen year old Thompson's pencil drawing "Head of a Bellshill Boy" must have felt the shock in recognising in another, however young, the same drive for the complete realisation of an idea'. Cowie, was using figure drawing and still life, combining his teaching with his own work to express his poetic feelings about life. The similarly complex arrangements he set up for his pupils incorporated classical casts and fragments, postcards and geometric forms, superimposed and merging landscapes with distant and foreshortened perspectives. These must have been extremely challenging for such young pupils, but as can be seen from the exhibition Robert Thompson coped with them with extraordinary skill and feeling and tonal control. Thompson used his understanding of such ideas of Cowie's to develop and enrich his own work. Duncan Comrie, an art historian and student who has done extensive research on Thompson's life and work and has helped to place him correctly within the context of Scottish Art of the period has said 'as well as gaining skill from Cowie, Thompson also appeared to be co-operating with him in a joint project. It is as if they were realising through intense visual study that drawing and composition heightened their own awareness of the world, according to their skill and vision as artists.' Cowie, recognising the ability of his pupil, gave him extra tuition and persuaded his parents to send him to Art College. He attended Glasgow and Edinburgh Colleges where he won the Andrew Grant Travelling Scholarship. Working in this new environment and travelling abroad, 'exposed' Thompson to many different artistic values. It was a time of exploration and intellectual expansion for him. Under Cowie's guidance, Thompson had produced many excellent drawings of still lifes, and composite subjects and numerous accomplished portraits, including at least one of Cowie, who also drew Thompson. However, now his drawing technique began to loosen, the work became more spontaneous and Cowie's influence gradually lessened. But, before his work could develop further it was interrupted by the outbreak of war in 1939 and Thompson spent the next 5 years in the RAF as a Radio Operator and tutor in Art History. He also managed to do some portraiture and stage set design and some acting which particularly helped to relieve his frustration. After the war ended, Thompson, now married with children, was teaching in schools in Glasgow. Cowie had gone north to Aberdeen to become Head of Painting at Grays School of Art, and later Warden at Hospitalfield Art College, where Joan Eardley was a post-graduate student. In 1953, Thompson became Head Art Teacher at Castle Douglas High School where he worked for the next few years. The family moved to Crossmichael and at that time the subject matter of his work changed. It has been suggested that he may have felt his art could now only progress in closer harmony with nature. But his development was again interrupted tragically. Thompson was stricken with cancer and died at the age of 41, coincidentally in the same year as Cowie's death in 1956. Fortunately due to the interest and affection of his daughters, Thompson's work has been preserved.

Patrick Hayman (1915-1988) was born in London. He started painting in New Zealand where he lived for 11 years from 1936 until 1947. On his return he lived and worked in London and Cornwall, mainly St Ives and pursued an extensive career of exhibitions both in group shows and solo exhibitions. As well as exhibitions in St Ives, he had shows in London and Canada. Hayman was also included in numerous important Group Shows in the Institute of Contemporary Art, The London Group, Camden Arts Centre, Crane Kalman, The Hanover, The Leicester, Redfern, Gimpel Fils, Roland Browse & Delbanco and the major exhibition St Ives 1939-1964 Paintings, Sculpture and Pottery curated by Dr David Brown, The Tate Gallery 1985. Many important public collections contain Hayman's work including The Tate, london; Gulbenkian Foundation, Lisbon; Scottish National Gallery of Modern Art; National Art Gallery of New Zealand; Auckland City Art Gallery; National Gallery of South Australia; Carleton University, Ottowa; Glasgow University; Nuffield Foundation Trust and many other museums and universities. From 1958 to 1963 he was founder editor of the Painter and Sculptor and in 1988, the year he died, a book of his Painted Poems was published. This exhibition is Patrick Hayman's first solo exhibition in Glasgow.

Lesley Banks was born in 1962 and studied at Glasgow School of Art, graduating with BA Hons in 1984. Since then she has won numerous awards including a Greenshields Travelling Scholarship, prizes in the Spectator Adam Three Cities Competition and An Artist's Life competition. In 1990 she won the Lady Artists Trust Award and also a Teachers Whisky travelling scholarship. In the same year she was awarded the Cargill Trust Prize. She followed this in 1991 with the Royal Overseas Scottish Award and the Scottish Amicable Award. Lesley Banks is well known for studies of recognisable types of people in familiar settings. Her pictures invariably have an edge of imminent danger or mystery about them. She did a successful series based on Arlington Baths in Glasgow, and some of her previous works reflected her reaction to her first visit to the dramatic coast of Cornwall. The birth of her first child also inspired a series of paintings on the subject of childbirth before and after the event. She has had two very successful shows at Compass Gallery in 1990 and 1991. Her latest work being shown in this exhibition deals with the theme of the Seven Deadly Sins, an ancient and often portrayed subject, which she successfully expresses in a contemporary context.

The technique of linocut printmaking was first developed by Professor Franz Cizik of Vienna in the 1880s, but because it was mainly used as a simple and inexpensive way of teaching children to make prints it was largely disregarded by established professional artists. It was not until many years later that the full potential of the linocut was recognised and some of the great modern artists of the day began to produce them. Artists such as Munter, Heckel and Rohlfs, Kandinsky and Rodchencko as well as Matisse and Picasso made linocuts. However, the real surge of interest in linocuts in Britain came from the teaching and enthusiasm of the artist Claude Flight who had attended the progressive Heatherley's Art School together with CR Nevinson. They were both impressed by the mechanical age imagery and energy of the Italian Futurists who had exhibited in London in 1912. Later, in the twenties, Flight was inspired by an exhibition by Cizik's pupils, although his own work did not reflect this influence until many years later. But it sparked off an enthusiasm for the medium and eventually a long period of dedicated teaching of the subject. In 1925 Flight helped Iain McNab to set up the Grosvenor Art School in London. They were joined by Cyril Edward Power and his close colleague and collaborator Sybil Andrews. Power was an established architect who had worked in private practice and lectured on Architectural Design and History at University College, London; author and illustrator of a 3-volume work History of English Medieval Architecture. He was a fellow of the Royal Historical Society and had also produced and exhibited watercolours and drypoints. At the Grosvenor School he taught a range of architectural subjects. Frank Rutter taught Modern Painters and Claude Flight influenced a whole generation of artists through his classes on linocut printmaking. Power and Andrews attended these classes together alongside international students. Very soon they became deeply engrossed in the potential and development of the technique and they played a prominent part in the subsequent annual exhibitions of the Grosvenor Art School. One result of these exhibitions was an important commission by the London Underground Electric Railway for a series of posters linking the sporting events with nearby tube stations, and later buses and coach hires - Southfield Station for Wimbledon Tennis, St. John's Wood and The Oval for cricket, skating at Wembley and racing at Epsom. The strong clean-cut design and clear colours were Art Deco in style but also echoed the positive modernist approach of the Italian Futurists earlier imagery. Gradually themes were expanded to boating, dancing, music, and of course the tube station was an enduring subject among others appropriate to the artist's rhythmic, flowing style and sense of movement. During recent years there has been a revival of interest in linocut printmaking and it is a popular medium amongst artists young and old. But the early works of Cyril Edward Power which have survived still stand as major examples, as alive and vibrant as they were in the twenties and thirties when they were first created. This exhibition includes a good cross section of these.

Exhibition of paintings, drawings and etchings by Charles Murray (1894-1954).

Benjamin Creme was born in Glasgow in 1922. He left school at 16 because he wanted to paint. He attended life classes but found them too 'academic' and left within the year. At a two-man show in 1940 Creme's work attracted the attention of the Polish painters Josef Herman and Jankel Adler who had recently arrived in Glasgow, and of JD Fergusson, just returned from France. These three prominent artists were at the heart of a new European modernist influence which soon developed in the city. It brought into focus the work of such painters as Donald Bain, Andrew Taylor Elder, Robert Frame, Tom Macdonald, William Crosbie, Helen Biggar, Marie de Banzie and other younger artists. Creme became part of the lively circle and met David Archer, publisher of modern poetry by Dylan Thomas, David Gascoyne and WS Graham, who had founded 'The Centre' in Scott Street. In its short lifetime it became a rendezvous for those interested in poetry readings, music recitals, exhibitions and discussions. Creme latterly was closely associated with it. Encouraged by Adler, and thus indirectly influenced by Picasso, Creme continued to develop his painting. In 1946 he moved to London, as Adler had done a few years earlier, and joined a wider circle of artists including Colquhoun, MacBryde, Minton and Vaughan. He designed the sets for Tyrone Guthrie's production of Carmen and exhibited at the AIA Gallery, Roland Browse & Delbanco, Redfern, Gimpel, Leger and Reid and Lefevre. His work gradually became less figurative and more landscape-orientated and after his visit to the south of France in 1950 his colours became more vibrant than previously. In recent years his style, never static, has moved closer to abstraction. Creme has shown in various exhibitions in the USA and London and was included in the ICA exhibition 'The Invisible in Art', and had numerous solo shows in London and Los Angeles. He died in 2016.

This exhibition is timed to celebrate the centenary of an unusually gifted and dedicated artist. Born in 1891, Margaret Morris was the daughter of the artist William Bright Morris. Her connection with the stage began when she was only three and she was regarded in London as an infant prodigy, Sarah Bernhardt offered to train her in Paris but instead she did ballet training at the Theatre Royal, Drury Lane, and later studied classical Greek positions with Raymond Duncan, the brother of dancer Isidora Duncan. But she wanted to expand the scope and expressive powers of ballet and she invented her own technique for dance and movement. By 1910, when she was only 19, her innovative choreography and dancing in Gluck's Orfeo at the Savoy were receiving rave notices and with help, she had opened her own Margaret Morris Movement school in St Martin's Lane. In the next two years she was touring her own company, had opened the first small theatre in London, was the first woman actor-manager and the youngest to have a Royal Court Season. in 1913 during a tour in Paris she met the Scottish artist JD Fergusson. He became her husband in a creative partnership which lasted till his death in 1961. He helped her with costume and stage design and encouraged her to develop her own painting and drawing and to use other artists' work in her dance productions. Between the wars, Margaret Morris Movement schools promoting the unique form of recreative movement opened in Paris, Cannes, London, Manchester, Edinburgh, Glasgow and Aberdeen. Meg and JD's lives in the south of France and London brought them into close contact with a circle of creative people like Jacob Epstein, Augustus John, Peploe, Wyndham Lewis and Charles Rennie Mackintosh who designed a theatre for her which, however, was never built. On the outbreak of war in 1939 they returned to the UK and settled in Glasgow. Together they played a major part in forming the New Art Club and the New Scottish Group of independant painters. Morris founded the Celtic Ballet which toured Scotland and France and attracted the collaboration of indigenous painters like Crosbie, Herman, Macdonald, Bain and Taylor Elder as well as composers Erik Chisholm and Ian Whyte. In 1960 the company developed into the Scottish National Ballet. Morris was renowned as author of several books, biographer of Fergusson, choreographer, dancer, designer, physiotherapist, adviser to sports organisations and creator of the International Association of Margaret Morris Movements. It now has centres in 15 countries including France, Germany, Switzerland, Canada, Japan, Australia, New Zealand and the USA. At 81 she trained dancers for the musical 'Hair' in Glasgow. Margaret Morris was also a very talented painter and made many good drawings. The first attempt at a comprehensive exhibition of this aspect of her work did not take place until our exhibition in 1984. The present exhibition brings a further selection of paintings, drawings and costume designs to light for the first time.

For some reason the term 'Modern British' has more generally been applied to paintings and drawings than to sculpture, although this century has been a notably creative period for British sculpture. There have been relatively few opportunities to see sculpture exhibitions, especially of small scale works. And, indeed, it is only a few months ago that Sothebys successfully held their first Modern British Sculpture sale in London. Our own interest in presenting such a show goes back to at least the early seventies when we had planned an exhibition of maquettes in Compass Gallery to complement a large Arts Council Tour of British Sculpture. Unfortunately the Glasgow venue did not materialise and feeling that the maquettes on their own would be less relevant, we dropped our own show. The present exhibition is therefore the result of a long held ambition to show small sculpture. It contains over 60 works acquired during the past 6 years by prominent artists such as Ayrton, Frink, Armitage, JD Fergusson, William McCance, Gaudier-Brzeska, and younger artists like Kenneth Hunter and Shona Kinloch. The exhibition will highlight a range of ideas and styles in bronze, wood, stone, steel and other materials on an easily accommodated domestic scale.

Six years ago in our exhibition 'The Forties' many people were able for the first time to see drawings by Bet Low of the early period of her career. These underlined the shift in style that had developed in her work over the years. Yet, the difference is perhaps not so great as may at first have appeared. For, central to her work at all times is Bet Low's intention and ability to express not merely what she sees but, more importantly, what she feels. The subjects may have mellowed in some cases. But whether we are looking at her children and adults in bleak urban surroundings, or her families on a Clyde Coast caravan holiday, her ruminative abstracts of the sixties or the alternating drama and tranquility of her West Coast paintings of today, we find a quality which is common to them all. It is a clear sense of the strong subjective involvement of the artist herself. Much of that approach to painting derives from the central European influence of the Polish painters Josef Herman and Jankel Adler who worked in Glasgow at the beginning of the war. And from the spirited philosophise of the recently returned JD Fergusson who also lived in Glasgow at the time. Like many painters, Bet Low has kept her sketchbooks which accompanied the successive stages of changing responsibilities, freedoms and predicaments of ordinary family life which confront almost every serious woman artist. The present exhibition shows drawings and watercolours of the late forties and fifties - a period when most of her activities took place in central Glasgow, with brief spells with friends on the Clyde Coast or in Perthshire. Few have been shown before. Hopefully they will be helpful, especially to her more recent admirers, in filling in gaps in the interesting career of one of Scotland's most active and respected artists.

McCance studied at Glasgow School of Art and was awarded a Travelling Scholarship. After a spell in London where he produced some of his most adventurous and successful drawings and paintings in the Vorticist and Cubist style, he moved to Montgomeryshire where he became controller of the Gregnog Press, designing and illustrating high quality limited edition books. During the 1930s, he lived in the Midlands and Berkshire, producing terracotta and fireclay sculptures that were closely related to his drawings. He later became Lecturer in Typography and Book Production at Reading University School of Art in 1943, a post he held for 14 years. He visited the Lascaux caves in France soon after the war, and this inspired a series of rather sombre wax resist watercolours and lino cuts. About this time he also developed a monotype technique for a series of overlay drawings in printers inks. McCance returned to Scotland in 1960, where he settled in Girvan, and continued to work in the various media that interested him until his death in 1970. This exhibition features a number of his paintings, drawings and watercolours.

Millie Frood was born in Motherwell in 1900. She was the oldest surviving member of a movement which did much to revitalise the arts in Glasgow in the 1940s and 50s and had a continuing influence in the period following .She studied at Glasgow School of Art, taught at Bellshill Academy and had a number of solo exhibitions in Lanarkshire and Glasgow. Latterly her work was shown in the USA and Japan. She was one of a whole circle of artists who were affected by the arrival in Glasgow of JD Fergusson and Margaret Morris from France in 1939. The painters Josef Herman and Jankel Adler also came after escaping from Poland. Many refugees from Europe had already made their way to Glasgow in the years immediately prior to the war - philosophers, scientists, poets and writers. Glasgow was now therefore more cosmopolitan than in the past. The art scene was that there was a very well-established and respected Art Club. But membership was selective and quite expensive for young or non-established artists. There was no regular gallery where they could show their work except at the annual exhibitions of the Royal Glasgow Institute of Fine Arts. JD Fergusson, a champion of the 'independent' artist, initiated the idea of a new art club at a meeting held at Glasgow School of Art - 'very appropriate' as he said, 'since the architect of the School, Charles Rennie Mackintosh, was one of the most independent artists Scotland has produced.' The New Art Club started in 1940 and met twice weekly in Jean's Tea Rooms in Sauchiehall Street to discuss a wide range of subjects. Artist-members held an exhibition of their work each month. There was no selection committee. 'Qualified' and self-taught artists, young and old, hung side by side and members freely discussed each other's work. Fergusson and Margaret Morris, being older than the other members, tended to show their earlier works for fairer comparison. After a time the club found a more permanent space at the already established Margaret Morris Movement premises at 299 West George Street and the exhibitions continued there. Three years later in 1943 a number of the most active members decided to hold their first public exhibition. It took place in McClure's Gallery, Wellington Street and became the first exhibition of the New Scottish Group. The artists included Andrew Taylor Elder, Marie de Banzie, Donald Bain, Louise Annand, Millie Frood, Isabel Babianska, Anne Cornock Taylor, John Morrison, Betty Simpson, Sheila McArthur, Leslie Nurse, George Hannah, sculptors Helen Biggar, George B Innes, TS Halliday and of course works by Fergusson and Morris. The styles were varied and free, some with influences of Picasso, others of European expressionism. Successful exhibitions continued for the next six years. The arts publisher William McLellan produced an illustrated book about the Group in which Fergusson wrote 'The most useful things the New Art Club has done is to have proved that independent Art can exist in Glasgow...What was wrong with Glasgow was not that there was academic Art (that is true of every town and every country) but that in Glasgow there was only academic art.' Later in 1951 and 1956 combined exhibitions of the New Scottish Group and Independents took place and included many contemporary artists such as Bet Low, Tom Macdonald, Maurice McChlery, Carlo Rossi, Alfred Avella and Alan Fletcher. Parallel with these developments were the foundation of Margaret Morris' Celtic Ballet Club in 1940, and the Celtic Ballet of Scotland in 1947, later named the Scottish National Ballet. These served as a focus for numerous Scotland-based musicians, composers, dancers and painters. Designs and costumes were commissioned for the productions from such artists as William Crosbie, Josef Herman and numerous Group artists. Millie Frood later did the costumes and design for a ballet in 1961. The achievement of the Group was the great encouragement it gave to serious artists of varied backgrounds, providing them with a reason to paint and an opportunity for free exchange of opinions on art. For the public it provided a new kind of introduction to the art of the period. Millie Frood took part in all the Group's exhibitions and was an artist who both responded to and benefited from the inspiration and vigour of the Group. We have used this occasion of this exhibition of her work to show as many examples as possible of the other members and associated Independents. The exhibition also includes examples of works by members of the New Scottish Group and associated artists: JD Fergusson, Margaret Morris, Marie de Banzie, Louise Annand, Donald Bain, Helen Biggar, Betty Simpson, George Hannah, Maurice McChlery, Carlo Rossi, Alfred Avella, Nathaniel Smith, Josef Herman, Jankel Adler, Bet Low and Tom Macdonald.

Joan Eardley is now generally recognised as one of the most significant Scottish, and indeed major British artists of this century. She came from Blackheath to Glasgow with her family in 1939 and studied at Glasgow School of Art under Hugh Adam Crawford, who quickly observed her exceptional talent. After completing her diploma course her work was shown in Glasgow's Cosmo Cinema. She worked as a joiner's labourer and for several years she visited Arran with her friend and fellow artist Margot Sandeman, and did many drawings there. She attended Hospitalfield Post Graduate Art School in Arbroath under the artist James Cowie, and there met Angus Neil, who later appeared in a number of important paintings. In 1947 Eardley returned to Glasgow School of Art to do the Post Diploma course awarded to her 4 years previously. Two Travelling Scholarships then took her to France and Italy for 8 months, where many powerful studies of peasants were done. On her return to Glasgow her scholarship work was shown in the Art School. She set up a studio in Cochrane Street, in central Glasgow, and later in Townhead district. From there she did the pastels and paintings of local children and street life for which she became noted. Around 1950 Eardley discovered the tiny fishing village of Catterline, near Stonehaven on the north east coast. She created a studio in a cottage perched above the North Sea, and began painting what are regarded as her finest works - the wild seascapes and clifftop landscapes of the North East. Frequently painting in the open air in the face of fierce winds and driving rain added great power and realism to these works. Her time was then divided between Catterline and Glasgow, where she continued to paint the children, including her favourite Samson family, and tenements, docksides and shipyards in Clydebank and Greenock. She had several solo exhibitions in Edinburgh and London and took part in important group shows such as 6 Young Painters at Parson's, London (1954), Aspects of Contemporary Scottish Painting, South London Art Gallery (1955), Gillies and Eardley, Edinburgh Festival, Scottish Gallery (1958), and Contemporary British Landscapes Arts Council Tour (1961). But her health had begun to decline in 1962, and in 1963, the year she was elected RSA, she died aged 42. After her death the Scottish Arts Council mounted a large Memorial Exhibition in Kelvingrove Gallery, Glasgow and the RSA, Edinburgh. Her work has steadily gained ever wider recognition. It has been featured in articles, books, films and radio, and is represented in many of the most important private and public art collections. Cyril Gerber

Born in 1907 in Edinburgh, McCall studied at Edinburgh College of Art under David Foggie, DM Sutherland and SJ Peploe, and at the Academie Colarossi, Paris. In 1936-37 he was awarded Travelling Scholarships and visited France, Italy, Holland, Germany and Spain. From 1940-46 he was commissioned in the Royal Engineers, working mainly on camouflage. Since the war he lived in London exhibiting in the Royal Academy, Royal Scottish Academy and Glasgow Institute. He was a member of the New English Art Club and Royal Institute of Oil Painters. McCall had numerous solo exhibitions in places such as Leicester Galleries, London; Waddington Gallery, Dublin; Duveen Graham Gallery, New York; Crane Gallery, Manchester; Walter Klinkhoff Gallery, Montreal; Alexander Fraser Galleries, Vancouver and Cyril Gerber Fine Art, Glasgow. Peploe's influence has remained strong throughout his career. But even more noticeably McCall is one of a quite small number of less insular Scottish artists who sought and absorbed the influence of such masters as Bonnard, Vuillard and Degas in developing their own style. His work has not been widely seen in Scotland, and we hope that this exhibition of his 1950's period will provide a better opportunity of seeing and appreciating his paintings.

'Josef Herman, among the best known artists working in Britain today, was born in Warsaw in 1911, the son of a cobbler. He left Poland in 1938 to live in Belgium, where he met the Belgian painter Permeke, who was to have an influence on his work. One exhibition was held in Belgium but, following the outbreak of the war, he again had to move, this time to France. With the Nazis, however, on the outskirts of Paris, he made for Britain and arrived in Glasgow in June, 1940, where he settled for the next 3 years. He was soon involved in the cosmopolitan Art life of the city at the time, associating with such personalities as Benno Schotz, JD Fergusson, the Polish painter Jankel Adler who had arrived a few months earlier, and Helen Biggar the sculptress. He exhibited at Connell's gallery, decorated one of the areas of the New Art Centre in Scott Street, designed the 'Ballet of the Palette' for Margaret Morris' Celtic Ballet, and generally exerted a considerable influence on a number of young Scottish painters, as did Adler. When, in 1944, Herman moved to a small mining village in South Wales, where he was to remain for 9 years, the image of the Miner became the focus for his instinctive respect for the act of physical toil and survival. He depicted the Welsh Miners with a sense of drama and idealism, giving them a heroic and monumental quality. He has ever since been identified with these powerfully emotional studies, which he later extended with similar strength to the Mexican and Spanish peasants and fishermen. Wide recognition took his works into public collections throughout the world such as the Tate, the V&A Museum, and the National Galleries in Cardiff, Johannesburg, Jerusalem, Melbourne, Ottawa and Wellington. And recently the Scottish National Gallery of Modern Art have acquired an important example from a new series of paintings. But the popularly held opinion that Herman's mature style did not develop until his South Wales period might reasonably be qualified. There are in existence, for example, a number of Drawings of working people done whilst he was still in Glasgow and in similar style, and it was during this period also that he met and married Catriona McLeod from Skye. There followed numerous visits during the next few years to Skye and other West Highland islands and villages. Many drawings were made of the Outer Isles fishermen, who aroused in Herman the same admiration and respect as did the Welsh miners. Until now none of these drawings have been shown. And so, the present exhibition of some 42 of these works should have a special interest for people in Scotland, reflecting as they do, Herman's concern with a universally familiar subject, expressed in a Scottish context and in the artist's mature and individually robust style.' Cyril Gerber 'In the early autumn of 1942 I went for the first time to the Outer Isles of Scotland. The first stop had to be the Isle of Skye. Catriona, my wife then, like all Highlanders was strongly attached to her birthplace and se wanted me to see the Cuillins. All the way she enthused about the Cuillins: "Wait till you will see them, just wait..." When we arrived the whole of Skye was covered was a stark, green mist. No Cuillins in sight. In fact nothing could be seen beyond the arms stretch. For the next few days I was continuously assured: "It will lift soon...It never lasts long..." It lasted long, long days...For me it seemed an eternity...Catriona felt like an impresario when the show goes wrong...one afternoon, indeed, the mist began thinning out and soon lifted. The range of mountains emerged with the suddenness of a diver coming out of the depths of the sea... At first the Cuillins looked soft, as though sagging and the edges were not very clear. Then the outlines, too, hardened and the whole splendid mass stood there before my eyes against a soft yellow light...To such memories one remains indebted forever... But my still greater debt is to the Scottish fishing places which we often, since that autumn, visited, even long after we have left Scotland: Mallaig, then other places, Stornoway, and more places whose names I can no longer remember. But the recurrent images are still with me...A group of fishermen in yellow or black oilskins standing on shore, sitting in the boat or moving about their tasks. A dream-like tranquillity. A planet all its own. In the atmosphere of this planet one forgets the distant hustle and one is reminded of more durable rhythms. Each figure self-contained in grand form...Each group telling the simple tale of the human bondage...And all this is happening in slightly moist, soft Highland light. Such were my feelings on these travels... In time the Scottish fishermen alongside the Welsh miners and continental peasants were, at least to one man, a source of joy.' Josef Herman

James Little, 2000; Lesley Banks, 'Arlington Revisited' 2001, 'Alexander's Dark Band' 2006; Frances MacDonald, 'Argyl & The Isles' 2001; Modern British Art: 100 Years of Paintings and Drawings, 2002; Donald Clark, 'Things Lying Still' 2002, 'Inanimata' 2005; Tom Shanks RSW RGI PAI, 'New Watercolours of the West Coast' 2002, 'West Highland Landscapes' 2004, 'New Watercolours' 2007, 'In the Country Places' 2009, 'Land of the Mountain and the Flood' 2010, 'Scottish Landscapes: Highlands & Islands' 2011, 'A Scottish Master - Landscapes & Other Works' 2012, 'The Road to The Isles' 2013; William McCance, 'Cat Drawings of the Forties' 2003; Josef Herman, 'Paintings & Drawings; Scottish Farmers, Welsh Miners & Mexican Peasants' 2003; Massimo Franco, 'A Look Up Close' 2006; Philip Reeves RSA PPPSW RGI RE, 2007, 'Early Prints, Drawings & Paintings' 2011, 'Recent Works' 2012, 2013; Adrian Wiszniewski, 'The Girl, The Boy & The Hag' 2007, 'This Foreign Land' 2010; Craigie Aitchison RA, 'Paintings' 2008; James Watt RGI, 'Recent Paintings' 2008; Ian McKenzie-Smith CBE PPRSA PPRSW HRA RGI LLD, 'A World Elsewhere' 2009; William Sinclair, 'Aspects of the Clyde' 2009; David Caldwell, 'Russia, Travels with a Portable Paintbox' 2009; Anthony Fry, 'Recent & New Works' 2010; Painters in Bronze, 2010; Peter Joyce, 2010; Jack Knox RSA RSW RGI HFRIAS D.Litt 'Paintings & Drawings' 2014.

Charles McCall, 1984; Bet Low & Tom Macdonald, 'The Forties' 1984; Josef Herman, 'Drawings in the Highlands' 1984 & 1996; Joan Eardley, 1985; Henryk Gotlib, 'Paintings, Drawings & Watercolours' 1986; Brenda Lenaghan, 1986; The Innocent Eye: British & Polish Naive Paintings & Sculptures, 1986; Sholto Johnstone Douglas, 1986; Modern British Paintings & Drawings, 1988; James Cowie, 1988; William McCance, 'Paintings, Drawings & Watercolours' 1989; Paintings of the Forties, 'Members of the New Scottish Group & Millie Frood Studio 1900-1988' 1989; Elyse Lord, 1990; Bet Low, 'From a Sketchbook of the Fifties' 1990; Living with Sculpture, 1990; Margaret Morris, 'Centenary Exhibition of drawings, paintings & designs' 1991, 'The Art of Margaret Morris' 1999; Merlyn Evans, 1992; Benjamin Creme, 'Paintings & Drawings of the 40's and 50's' 1992; Lesley Banks, 1992 & 'Seven Deadly Sins and Other Recent Paintings' 1994; Gertrude Hermes, 1993; Charles Murray, 'Paintings, Drawings & Etchings' 1993; Cyril Edward Power, 'Linocuts and Monotypes of the 1920's and 30's' 1994; Tom Shanks RSW RGI PAI, 'Scottish Horizons' 1994, 'West Highland Landscapes' 1997, 'Travelling in Scotland' 1999; Cordelia Patrick (Oliver), 1995; Heather Nevay, 1995 & 1999; Alexander Fraser RSA RSW, 1995; Agnes Miller Parker, 1996; Patrick Hayman, 'Painter, Poet, Visionary' 1996; Robert Thompson, 'Text Drawings, Pastels & Watercolours' 1997; Frances MacDonald, 'Making Waves' 1998; Jack Knox RSA RSW RGI HFRIAS D.Litt, 'Drawings 1956-1998' 1998; Scottie Wilson, 1998; Henri Gaudier-Brzeska, 1999; Marine Exhibition; Ronald Rae; Philip Reeves RSA PPPSW RGI RE; Carlo Rossi; Alisdair Wallace.