turned her attention towards collages rather than painting. The last retrospective of her work was held at the Newlyn Orion Gallery in 1976, which showed a large number of collages, many of which were according to Ratcliffe inspired by the collages of Kurt Schwitters. Although initially acclaimed, art historians have noted that Colquhoun's reputation suffered during the war, a period when British surrealists such as E.L.T Mesens pamphleted against her former husband, Toni del Renzio. Literary works Colquhoun was also a writer. Between 1942 and 1944, she gave a number of poetry readings at the International Arts Centre in London, at events organised by Toni del Renzio. In 1955 she published The Crying of the Wind, a travelogue containing some stylistically surreal passages about her journeys in Ireland and interest in Celtic history. In 1961, her book The Goose of Hermogenes was published. In the 1980s, the art historian Dawn Ades described her early literary works as "like accounts of dreams in which a stream of narrative fantasy replaces the striking juxtapositions of images in Surrealist automatic texts". She published poetry (Grimoire of the Entangled Thicket [1973], Osmazone [1983]) and tales of her travels in Ireland and Cornwall. Colquhoun also published a variety of critical writing and automatic prose on the London Bulletin, as well as essays on automatism such as "The Mantic Stain". The article discussed automatism in the British context, leading her to give a series of lectures in institutions in the early 1950s, such as at the Oxford Art Society, Cambridge Art Society and the Working Men's Institute. In 1953, she appeared on the BBC television show Fantastic Art. Reception and legacy Colquhoun gained an early reputation within the British Surrealist movement, though in later years she became better known as an occultist. Upon her death, Colquhoun left her occult work to Tate, and her other artistic belongings to the National Trust. In 2019 it was announced that more than 5,000 drawings, sketches, and commercial artworks by her had been transferred to Tate by the National Trust. Although her work has largely been discussed in terms of its connection to Surrealism, Colquhoun sometimes stated her independence from the movement. In 1939, the same year she joined the English Surrealist group, she described herself as an 'independent artist' in a review for the London Bulletin. In 2012, the scholar Amy Hale noted that Colquhoun "is becoming recognized as