Edinburgh became known as “the Athens of the North” in the eighteenth century for its contributions to literature, social thought, and the arts. With the establishment of the Royal Scottish Academy in 1826, native artists no longer found it necessary to leave for London in search of a living, since they had the Academy’s support and the opportunity to exhibit their work at home. Scottish painting began to take on a distinct and distinguished identity.
Landscape and genre painting were particular strengths of the emerging Scottish school, and they have remained so, with artists from Sir David Wilkie to Edward Atkinson Hornel celebrating their country and its folkways. The portrait and still life have also flourished, as witness the work of Andrew Geddes, Samuel John Peploe, and Charles Rennie Mackintosh.
This book of thirty postcards presents paintings from the eighteenth, nineteenth, and twentieth centuries—a golden age in Scottish art.
- Francis Henry Newbery (Scottish, 1855–1946), Charles Rennie Mackintosh, 1914
- David Gauld (Scottish, 1865–1936), Saint Agnes, 1889–1890
- Samuel John Peploe (Scottish, 1871–1935), Still Life, 1913
- Charles Lees (Scottish, 1800–1880), The Golfers, 1847
- James Barret (English, active 1785–1819), A View of Stornoway, 1798
- Charles Rennie Mackintosh (Scottish, 1868–1928), Mont Alba, 1924–1927
- Sir William George Gillies (Scottish, 1898–1973), The Harbour, 1934–1937
- Andrew Geddes (Scottish, 1783–1844), Sir David Wilkie, 1816
- Sir Joseph Noel Paton (Scottish, 1821–1901), The Reconciliation of Oberon and Titania, 1847
- Sir Daniel Macnee (Scottish, 1806–1882), A Lady in Grey, 1859
- Craigie Aitchison (Scottish, b. 1926), Lily—Still Life, 1974
- William York MacGregor (Scottish, 1855–1923), The Vegetable Stall, 1884
- William Dyce (Scottish, 1806–1864), Francesca da Rimini, 1837
- Sir James Guthrie (Scottish, 1859–1930), A Hind’s Daughter, 1883
- Joseph Crawhall (Scottish, 1861–1913), The White Drake, c. 1895
- George Henry (Scottish, 1858–1943), Geisha Girl, 1894
- Allan Ramsay (Scottish, 1713–1784), The Artist’s Wife: Margaret Lindsay of Evelick, c. 1758–1760
- Sir Henry Raeburn (Scottish, 1756–1823), The Reverend Dr. Robert Walker Skating on Duddingston Loch, c. 1795
- Edward Atkinson Hornel (Scottish, 1864–1933), A Girl and Goats, n.d.
- John Duncan (Scottish, 1866–1945), Saint Bride, 1913
- Joan Kathleen Harding Eardley (English/Scottish, 1921–1963), Children and Chalked Wall 3, 1962–1963
- James Cowie (Scottish, 1886–1956), A Portrait Group, 1933/c. 1940
- Sir David Wilkie (Scottish, 1785–1841), Pitlessie Fair, 1804
- David Roberts (Scottish, 1796–1864), Rome: Sunset from the Convent of Sant’ Onofrio on the Janiculum, 1856
- Sir William MacTaggart (Scottish, 1903–1981), Snow Near Lasswade, c. 1928
- David Scott (Scottish, 1806–1849), The Vintager, 1835
- Peter Graham (Scottish, 1836–1921), Wandering Shadows, 1878
- John Duncan Fergusson (Scottish, 1874–1961), Dieppe, 14 July 1905: Night, 1905
- George Henry (Scottish, 1858–1943), Barr, Ayrshire, n.d.
- George Leslie Hunter (Scottish, 1877–1931), Reflections, Balloch, c. 1929–1930
Pomegranate’s books of postcards contain up to thirty top-quality reproductions bound together in a handy, artful collection. Easy to remove and produced on heavy card stock, these stunning postcards are a delight to the sender and receiver. Postcards are oversized and may require additional postage.