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National Collecting Scheme Scotland National
National Collecting Scheme Scotland National Collecting Scheme Scotland is an initiative that supports public collections across Scotland to acquire and present challenging contemporary visual art. The initiative also seeks to enable curators within those organisations to extend their knowledge and understanding of contemporary visual arts, and to develop their engagement with the visual arts sector in Scotland. Scotland is home to some very fine public collections, which are of local, national and international significance. It is the aim of the NCSS that those public collections are able to reflect the range and vibrancy of contemporary art created here and abroad, that they can help build new audiences for the contemporary visual arts, as well as engage and work with artists and visual arts organisations. Some facts : • NCSS is an initiative of the Scottish Arts Council. • Currently NCSS has seven museum partners. These are Aberdeen Art Gallery, McManus Galleries, Dundee, Edinburgh City Art Centre, Gallery of Modern Art, Glasgow, Hunterian Art Gallery, Paisley Museum and Art Gallery, and the Pier Arts Centre, Orkney. • In its first phase - 2003-2006 - NCSS enabled a total of 122 acquisitions by six public collections (including craft in its first phase). In 2007-2008 a further 18 works of visual art have been acquired. The Scottish Arts Council will support further acquisitions in 2008-2009. • NCSS member were also involved in an innovative joint commissioning project – the first of its kind in the UK. They collaborated to commission Joanne Tatham & Tom O’Sullivan to create a substantial and ambitious new work of art for Scotland • Aberdeen Art Gallery hosted the Scotland & Venice exhibition December 2007- January 2008. -
Newsletter 04-11
Newsletter No 36 Spring 2011 From the Chair Errata Many thanks to all those members who made it along Unfortunately due to an oversight some errors to our re-scheduled AGM (thanks to the snow) – it appeared in Louise Boreham’s essay in the last was great to see such a good turnout and thanks are Journal. The corrections are as follows: due to Simon Green for a fascinating talk and to the Architectural Heritage Society of Scotland for letting 1. page 49, line 10 of paragraph 2, the name should us use the magnificent Glasite Meeting Room. be Blyth, with no 'e' on the end. I would also like to thank all of you who have so generously answered our plea for support for the 2. page 53, no 6, should have a closing bracket after journal – it’s really heartening to know that so many Fig.5 of you value the journal and were willing to help us meet its rising production costs. We still have a long 3. page 53, no 7a, the dates should read 1898 – 1934 way to go in order to put the journal on a sustainable footing, however, so if there are still any members Apologies for these mistakes. who were thinking about making a contribution, do please get in touch! Last year sadly saw quite a dip in our Notices membership numbers as the recession really started to bite. Our priority therefore has to be to get our Helen Adelaide Lamb, Illuminated numbers back up again, and once again we’d be very Manuscripts – Request for information grateful for anything you can do to help – if you By Helen E Beale know anyone who you think might be interested in joining, start badgering them now! Further information would be warmly welcomed on Finally, we will soon be advertising some the Illuminated Manuscripts of Helen Adelaide Lamb, guided tours and other events for members, so keep 1893-1981, a native of Dunblane, admitted to the an eye out for those, and we hope you’ll be able to Glasgow School of Art at the unusually young age of come along. -
General Register House National Records of Scotland General Register House
GENERAL REGISTER HOUSE NATIONAL RECORDS OF SCOTLAND GENERAL REGISTER HOUSE ‘A PROPER REPOSITORY’ General Register House was begun in 1774 to the designs of Robert Adam (1728-1792), a Scot who was one of Britain’s greatest architects. It is not only one of his finest public buildings, but also the first purpose-built public record repository in the British Isles. In fact it may be the oldest archive building in the world that is still being used for its original function. A proper home for Scotland’s public records was first proposed in 1722, after the Treaty of Union of 1707 guaranteed that the national records would remain in Scotland. However, for much of the eighteenth century Scotland’s national archives were housed in unsuitable accommodation in Parliament House and other nearby buildings. Eventually, in 1765 a government grant of £12,000 was made available from the forfeited Jacobite estates for the building of ‘a proper repository’. The Register House Trustees only reached agreement on a site when the City gifted the necessary land at the north end of the new North Bridge in 1769. NATIONAL RECORDS OF SCOTLAND ADAM’S DESIGN Largely through the influence of Lord Frederick Campbell, the Lord Clerk Register, Robert Adam and his younger brother James, were appointed architects of Register House in 1772. The Adam brothers believed that you could judge a society by the quality and grandeur of its public buildings, and this commission provided an opportunity to put their beliefs into practice. While the building’s design went through several stages, the main elements of the principal façade and the centralised plan, consisting of a domed rotunda within a quadrangle, were present from the beginning. -
Curators' Colloquium on Knitted Textiles
Fleece to Fashion Economies and Cultures of Knitting in Modern Scotland Curators’ Colloquium on Knitted Textiles Friday 29 January 2021 1.30 - 4.00 pm on Zoom PROGRAMME 1.30 Welcome and Introduction (Lynn Abrams, Carol Christiansen) 1.40-2.30 Acquisition, Identity and Interpretation Chair: Roslyn Chapman The Challenges of a ‘Living’ Knitwear Collection (Carol Christiansen, Shetland Museum and Archives) Scottish and European Knitted Textiles at National Museums Scotland: collecting, interpretation and display' (Helen Wyld, National Museums of Scotland) 2.30-3.00 Care and Conservation Chair: Sally Tuckett The Care and conservation of Knit Collections (Frances Lennard, University of Glasgow) 3.00-3.05 Leg stretch 3.05-3.50 Interpretation and Display – Conventional and Digital Chair: Lin Gardner Colour Revolution: Bernat Klein and the post-war market for handknitting (Lisa Mason, National Museum of Scotland) Glorious Ganseys: a glance at the Scottish Fisheries Museum’s collection of fishermen’s jumpers with particular focus “Knitting the Herring” and the creation of a National Database (Jen Gordon and Federica Papiccio, Scottish Fisheries Museum) 3.50-4.00 Summing Up and Next Steps Chair: Marina Moskowitz Speaker Biographies Carol Christiansen is Curator and Community Museums Officer at Shetland Museum and Archives. As curator, her main responsibility is the Museum’s nationally recognised textiles collection, which has a large knitted textile component. She holds a PhD from the University of Manchester in Archaeology with a specialisation in Textiles and has worked and published in the specialism with colleagues in the UK and Nordic countries. She is the author of Taatit Rugs: the pile bedcovers of Shetland (2015) and numerous articles on Shetland’s textile heritage. -
Graeme Todd the View from Now Here
GRAEME TODD The View from Now Here 1 GRAEME TODD The View from Now Here EAGLE GALLERY EMH ARTS ‘But what enhanced for Kublai every event or piece of news reported by his inarticulate informer was the space that remained around it, a void not filled by words. The descriptions of cities Marco Polo visited had this virtue: you could wander through them in thought, become lost, stop and enjoy the cool air, or run off.’ 1 I enjoy paintings that you can wander through in thought. At home I have a small panel by Graeme Todd that resembles a Chinese lacquer box. In the distance of the image is the faint tracery of a fallen city, caught within a surface of deep, fiery red. The drawing shows only as an undercurrent, overlaid by thinned- down acrylic and layers of varnish that have been polished to a silky patina. Criss-crossing the topmost surface are a few horizontal streaks: white tinged with purple, and bright, lime green. I imagine they have been applied by pouring the paint from one side to the other – the flow controlled by the way that the panel is tipped – this way and that. I think of the artist in his studio, holding the painting in his hands, taking this act of risk. Graeme Todd’s images have the virtue that, while at one glance they appear concrete, at another, they are perpetually fluid. This is what draws you back to look again at them – what keeps them present. It is a pleasure to be able to host The View from Now Here at the Eagle Gallery, and to work in collaboration with Andrew Mummery, who is a curator and gallerist for whom I have a great deal of respect. -
Edinburgh Galleries Artist Training Programme
Copyright © Art, Design & Museology Department, 2005 Published by: Art, Design & Museology Department School of Arts & Humanities Institute of Education University of London 20 Bedford Way London WC1H 0AL UK All rights reserved. Except for the quotation of short passages for the purposes of criticism or review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. ISBN: 0-9546113-1-4 This project was generously supported by: The National Lottery, The City of Edinburgh Council and National Galleries of Scotland 1 The Edinburgh Galleries Artist Training Programme in collaboration with the Art, Design & Museology department, School of Arts & Humanities, Institute of Education, University of London A pilot programme supported by The National Lottery, The City of Edinburgh Council and National Galleries of Scotland Course Directors: Lesley Burgess, Institute of Education, University of London (IoE) Maureen Finn, National Galleries of Scotland Course Co-ordinator: Kirsty Lorenz Course Venues: Gallery of Modern Art, Edinburgh National Portrait Gallery, Edinburgh Participating Organisations: The Collective Gallery Edinburgh Printmakers Workshop Edinburgh Sculpture Workshop The Fruitmarket Gallery Stills Gallery Talbot Rice Gallery Course Leader: Lesley Burgess, IoE Session contributors: Nicholas Addison, IoE Lesley Burgess, IoE Anne Campbell, SAC Barbara Clayton Sucheta Dutt, SAC Fiona Marr Sue Pirnie, SAC Roy Prentice, IoE Helen Simons Rebecca Sinker, DARE and inIVA Sally Tallant, Serpentine Gallery, London Leanne Turvey, Chisenhale Gallery, London Research Report by: Lesley Burgess and Emily Pringle Photographs by: Lesley Burgess 2 EDINBURGH GALLERIES ARTIST TRAINING PROGRAMME RESEARCH EVALUATION REPORT OCTOBER 2003 1. -
List of Scottish Museums and Libraries with Strong Victorian Collections
Scottish museums and libraries with strong Victorian collections National Institutions National Library of Scotland National Gallery of Scotland National Museums Scotland National War Museum of Scotland National Museum of Costume Scottish Poetry Library Central Libraries The Mitchell Library, Glasgow Edinburgh Central Library Aberdeen Central Library Carnegie Library, Ayr Dick Institute, Kilmarnock Central Library, Dundee Paisley Central Library Ewart Library, Dumfries Inverness Library University Libraries Glasgow University Library University of Strathclyde Library Edinburgh University Library Sir Duncan Rice Library, Aberdeen University of Dundee Library University of St Andrews Library Municipal Art Galleries and Museums Kelvingrove Art Gallery, Glasgow Burrell Collection, Glasgow Aberdeen Art Gallery McManus Galleries, Dundee Perth Museum and Art Gallery Paisley Museum & Art Galleries Stirling Smith Art Gallery & Museum Stewartry Museum, Kirkcudbright V & A Dundee Shetland Museum Clydebank Museum Mclean Museum and Art Gallery, Greenock Hunterian Art Gallery & Museum Piers Art Centre, Orkney City Art Centre, Edinburgh Campbeltown Heritage Centre Montrose Museum Inverness Museum and Art Gallery Kirkcaldy Galleries Literary Institutions Moat Brae: National Centre for Children’s Literature Writers’ Museum, Edinburgh J. M. Barrie Birthplace Museum Industrial Heritage Summerlee: Museum of Scottish Industrial Life, North Lanarkshire Riverside Museum, Glasgow Scottish Maritime Museum Prestongrange Industrial Heritage Museum, Prestonpans Scottish -
Alan Riach and Alexander Moffat on the Work of Joan Eardley: Part Two
Riach, A. and Moffat, A. (2017) At one with being at odds with nature: Alan Riach and Alexander Moffat on the work of Joan Eardley: Part two. National, 2017, 10 Feb. This is the author’s final accepted version. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/161560/ Deposited on: 01 May 2018 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Joan Eardley: Part 2 Alan Riach and Alexander Moffat Joan Eardley’s Romantic vision comes straight from Turner and William MacTaggart, something both intrinsic to the energy of matter and the dynamics of life, exalted yet destructive, heroic yet costly. It will take your life indifferently. Your response to this is crucial: both accepting, and defying it, is essential. The catalogue to the current exhibition “Joan Eardley: A Sense of Place” at the Scottish National Gallery of Art in Edinburgh (running till May 21 2017) tells us that, when asked, in 1961, she said she didn’t much like Turner and didn’t know much about MacTaggart, and that regarding her immediate interests in the art world, she named Jackson Pollock and the Tachistes. It isn’t surprising. The artist’s job isn’t to create a tradition in which she or he might comfortably settle, but to do the work. Certainly, the energy and painterly abandon of Pollock’s American abstract expressionism and its European counterpart is related to what we see in the Catterline paintings, but how much more comforting, warmly settled, patterned to give pleasure, Pollock and his contemporary abstract expressionists are nowadays, when we return to them, compared to the still troubling, still imposing power of the real sea Eardley is delivering to us. -
Big City: Civic Symbolism and Scottish Nationalism’
Edinburgh Research Explorer ‘Big City: Civic Symbolism and Scottish Nationalism’ Citation for published version: Hearn, J 2003, '‘Big City: Civic Symbolism and Scottish Nationalism’', Scottish Affairs, vol. 42, pp. 57-82. Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Scottish Affairs Publisher Rights Statement: © Hearn, J. (2003). ‘Big City: Civic Symbolism and Scottish Nationalism’. Scottish Affairs, 42, 57-82. General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 30. Sep. 2021 1 BIG CITY: CIVIC SYMBOLISM AND SCOTTISH NATIONALISMi Jonathan Hearn, University of Edinburgh Published in: Scottish Affairs 42: 57-82, 2003 INTRODUCTION The stock symbols of Scotland and Scottishness are all too familiar. Living in Scotland one becomes almost numb to the drone of bagpipes and kilts, heather and kailyards, Nessie and Braveheart--the low hum of ‘cultural sub-nationalism’ that has so perturbed Tom Nairn (1977) and others over the years. As an American with an academic interest in Scotland and nationalismii I have often found myself straining to draw peoples’ attention away from these symbols and towards others I have found more telling for understanding contemporary nationalist demands in Scotland, such as Covenants and Claims of Right (Hearn 1998; 2000). -
Thundering Hooves Report [2006]
THUNDERING HOOVES MAINTAINING THE GLOBAL COMPETITIVE EDGE OF EDINBURGH’S FESTIVALS 4 MAY 2006 11-29 Fashion Street 285 West Broadway London E1 6PX New York, NY 10013 T 0 20 7377 6559 T 1 212 226 5820 F 0 20 7377 5992 F 1 212 226 5821 TABLE OF CONTENTS 1 Background, Methodology and Recommendations...........................................................................3 2 Why festivals matter.............................................................................................................................. 16 3 Global Trends ......................................................................................................................................... 22 4 Edinburgh in Context: The Experience of Benchmark Cities...................................................... 27 5 The Festivals and the City.................................................................................................................... 39 6 Recommendations.................................................................................................................................. 44 7 Appendix 1: List of Interviewees........................................................................................................ 51 8 Appendix 2: Scenario Planning Participants ..................................................................................... 52 9 Appendix 3: City Case Studies............................................................................................................ 53 10 Appendix 4: Scenarios.......................................................................................................................... -
The Daniel Wilson Scrapbook
The Daniel Wilson Scrapbook Illustrations of Edinburgh and other material collected by Sir Daniel Wilson, some of which he used in his Memorials of Edinburgh in the olden time (Edin., 1847). The following list gives possible sources for the items; some prints were published individually as well as appearing as part of larger works. References are also given to their use in Memorials. Quick-links within this list: Box I Box II Box III Abbreviations and notes Arnot: Hugo Arnot, The History of Edinburgh (1788). Bann. Club: Bannatyne Club. Beattie, Caledonia illustrated: W. Beattie, Caledonia illustrated in a series of views [ca. 1840]. Beauties of Scotland: R. Forsyth, The Beauties of Scotland (1805-8). Billings: R.W. Billings, The Baronial and ecclesiastical Antiquities of Scotland (1845-52). Black (1843): Black’s Picturesque tourist of Scotland (1843). Black (1859): Black’s Picturesque tourist of Scotland (1859). Edinburgh and Mid-Lothian (1838). Drawings by W.B. Scott, engraved by R. Scott. Some of the engravings are dated 1839. Edinburgh delineated (1832). Engravings by W.H. Lizars, mostly after drawings by J. Ewbank. They are in two series, each containing 25 numbered prints. See also Picturesque Views. Geikie, Etchings: Walter Geikie, Etchings illustrative of Scottish character and scenery, new edn [1842?]. Gibson, Select Views: Patrick Gibson, Select Views in Edinburgh (1818). Grose, Antiquities: Francis Grose, The Antiquities of Scotland (1797). Hearne, Antiquities: T. Hearne, Antiquities of Great Britain illustrated in views of monasteries, castles and churches now existing (1807). Heriot’s Hospital: Historical and descriptive account of George Heriot’s Hospital. With engravings by J. -
Scottish Record Society. [Publications]
00 HANDBOUND AT THE L'.VU'ERSITY OF TORONTO PRESS (SCOTTISH RECORD SOCIETY, ^5^ THE Commissariot IRecorb of EMnbutGb. REGISTER OF TESTAMENTS. PART III. VOLUMES 81 TO iji—iyoi-iSoo. EDITED BY FRANCIS J. GRANT, W.S., ROTHESAY HERALD AND LYON CLEKK. EDINBURGH : PRINTED FOR THE SOCIETY BY JAMES SKINNER & COMPANY. 1899. EDINBURGH '. PRINTED BY JAMES SKINNER AND COMPANY. PREFATORY NOTE. This volume completes the Index to this Commissariot, so far as it is proposed by the Society to print the same. It includes all Testaments recorded before 31st December 1800. The remainder of the Record down to 31st December 1829 is in the General Register House, but from that date to the present day it will be found at the Commissary Office. The Register for the Eighteenth Century shows a considerable falling away in the number of Testaments recorded, due to some extent to the Local Registers being more taken advantage of On the other hand, a number of Testaments of Scotsmen dying in England, the Colonies, and abroad are to be found. The Register for the years following on the Union of the Parliaments is one of melancholy interest, containing as it does, to a certain extent, the death-roll of the ill-fated Darien Expedition. The ships of the Scottish Indian and African Company mentioned in " " " " the Record are the Caledonia," Rising Sun," Unicorn," Speedy " " " Return," Olive Branch," Duke of Hamilton (Walter Duncan, Skipper), " " " " Dolphin," St. Andrew," Hope," and Endeavour." ®Ij^ C0mmtssari0t ^ttoxi oi ®5tnburglj. REGISTER OF TESTAMENTS. THIRD SECTION—1701-180O. ••' Abdy, Sir Anthony Thomas, of Albyns, in Essex, Bart.