Annual Review 2012–2013 The National Galleries of cares for, develops, researches and displays the national collection of Scottish

© Keith Hunter Photography © Andrew Lee © Keith Hunter Photography and international fine art and, Scottish National Gallery Scottish National Portrait Gallery Scottish National Gallery with a lively and innovative The Scottish National Gallery comprises The Scottish National Portrait Gallery of One three linked buildings at the foot of is about the people of Scotland – past Home to Scotland’s outstanding national programme of exhibitions, the Mound in . The Gallery and present, famous or forgotten. The collection of modern and contemporary education and publications, houses the national collection of fine portraits are windows into their lives art, the Scottish National Gallery of art from the early Renaissance to the and the displays throughout the beautiful Modern Art comprises two buildings, aims to engage, inform end of the nineteenth century, including Arts and Crafts building help explain Modern One and . The early the national collection of how the men and women of earlier times part of the collection features French and inspire the broadest from around 1600 to 1900. The Gallery made Scotland the country it is today. and Russian art from the beginning of possible public. is joined to the Royal Scottish Academy Photography and film also form part of the twentieth century, cubist paintings building via the underground Weston the collection and help to make Scotland’s and superb holdings of Expressionist and Link, which contains a restaurant, café, colourful history come alive. modern British art. The Gallery also has cloakroom, shop, IT gallery and infor- an outstanding collection of international mation desk. The Academy building, post-war work and the most important which was reopened in 2003 following and extensive collection of modern refurbishment, is a world-class venue for Scottish art. special temporary exhibitions. National Galleries of Scotland Annual Review 2012–2013

3 Foreword 5 A World-Class Programme

8 ARTIST ROOMS 11 A Sustainable Future 13 Publications and Research 17 Learning, Inspiration and © National Galleries of Scotland © National Galleries of Scotland © National Galleries of Scotland Opportunities for the Young Scottish National Gallery Paxton House 22 Partnership of Modern Art Two Duff House in Banff is one of our partner Paxton House in Berwickshire is another Modern Two is home to a changing galleries, and displays a number of objects partner gallery which displays works 25 Building Great Collections programme of world-class exhibitions, from the National Galleries of Scotland’s from the National Galleries of Scotland’s 30 ARTIST ROOMS Gifts and Loans and displays from the Gallery’s world- permanent collection. It is a treasure permanent collection. Built to the design 33 The First Year of the Portrait Gallery famous Surrealist collection. It also house and cultural arts centre with a of John Adam in 1758 by Patrick Home houses a fascinating re-creation of stunning permanent collection operated of Billie for his intended bride, Sophie de 35 Supporters ’s studio. On display by a unique partnership of the National Bandt, Paxton House is one of the finest 37 Facts and Figures is The Stairwell Project, a large-scale, Galleries of Scotland, Historic Scotland neo-Palladian country houses in Scotland. permanent work by 2009 Turner and Aberdeenshire Council. Prize winner Richard Wright. Modern Two is also home to the Gallery’s library and archive, open to the public by appointment. Front and back cover Detail from In the Orchard, 1886 by Sir James Guthrie Opposite Detail from Prague Easter, 1992 The National Galleries of Scotland by John Bellany. © Courtesy of the Estate of the Artist/Bridgeman Art Library looks after one of the world’s finest collections of Western art ranging from the Middle Ages to the present day. These holdings include the national collection of Scottish art which we are proud to display in an Foreword international context.

Welcome to this review of the National Galleries of Scotland Our major outreach initiative, The Nation//Live, has seen us (NGS) for the period from April 2012 to March 2013. With a working with communities all over Scotland addressing crucial record number of visitors (1,554,689 in 2012–13), we are pleased turning points in the nation’s history. to be able to report on another highly successful year, marked The ARTIST ROOMS touring programme celebrates its five- by a rich and varied programme of exhibitions, research and year anniversary in 2013. Established through the outstanding educational activities. generosity of Anthony d’Offay and jointly owned with Tate, There are many highlights to look back on. Two major this great collection is now central to our partnership activity. exhibitions, Picasso and Modern British Art and Van Gogh The collection continues to grow, thanks to the generosity of to Kandinsky: Symbolist Landscape in Europe 1880–1910, supporters, donors and the artists themselves.Partnership is a dominated our summer programme and both were successful key theme in the new national strategy for Scotland’s museums with the public and critics alike. In the autumn of 2012 we launched in 2012 and ARTIST ROOMS is a superb example of the were especially pleased to honour one of Scotland’s greatest benefits of a collaborative approach. painters, John Bellany, with a major retrospective to celebrate As we contemplate the future, the economic, political and his ­seventieth birthday. His death (on 28 August 2013) deprives social context for our activities will certainly be lively and chal- us of a massive talent but his art will remain an inspiration to lenging. We continue working to adapt to the difficult realities artists long into the future. of the present financial climate but we remain determined to The Scottish National Portrait Gallery has enjoyed a keep our ambitions high. In addition to our normal activities ­successful first year of operation since it reopened to the public we have bold plans for 2014, including a national programme, in December 2011. Our visitors have enjoyed rediscovering the GENERATION, celebrating the last twenty-five years of contem- extraordinary collections in imaginative new displays while porary art in Scotland. Looking further ahead, we are already the refurbishment has attracted numerous awards. A royal visit planning the next phase of investment in our estates, focusing by Her Majesty the Queen and His Royal Highness, the Duke on the Scottish National Gallery and a potential new facility for of Edinburgh in July 2012 formally launched this exciting new the care of our collections. phase in the history of the Portrait Gallery, which now takes its In all our work we are fortunate to enjoy tremendous rightful place as one of the country’s leading cultural attractions. backing from many sponsors, patrons and donors. We acknowl- Over the years, NGS has developed an international edge gratefully the support of our main sponsor, the Scottish ­reputation for its enterprising additions to the collections and Government, and the enthusiasm with which the Cabinet our staff are very successful in encouraging gifts, bequests and Secretary for Culture and External Affairs, Fiona Hyslop, and loans to enhance the displays. We have pioneered creative part- her team have helped us to deliver our strategy. nerships in acquisitions and this review highlights our first joint We would like to pay an enormous tribute to the hard work acquisition with Museums: a major work by one of the and dedication of our Trustees and staff. We are also thankful Glasgow Boys, Sir James Guthrie’s In the Orchard. We note with that we enjoy huge support from our volunteers, Friends, immense gratitude one of the most significant gifts in the recent Patrons and American Patrons. history of NGS, the Henry and Sula Walton Bequest. Henry The impact of the NGS can be measured in many ways, from and Sula are greatly missed but their flair and imagination our significant contribution to the Scottish economy through to will continue to enrich our lives, not just through the bequest the social and educational benefits that we offer. But as Fiona of their superb, wide-ranging collection but also through the Hyslop has observed in a recent speech, the true value of culture establishment of a fund that will be used to purchase works at is ‘profound and priceless’, enriching people’s lives in immeas- the Scottish National Gallery of Modern Art. urable ways. At NGS we will continue to encourage creativity, Education remains at the heart of what we do and we are innovation and artistic excellence, as well as providing a show- especially committed to reaching out to young people across case for the very best art in Scotland. all our activities. There was a record number of entries to our Ben Thomson Sir John Leighton annual Art Competition for Schools, sponsored by Tesco Bank. Chairman Director-General 3 Our public programme Opposite Nude Woman in a Red Armchair, 1932 by Pablo Picasso, Tate, . © combines the display of Succession Picasso/DACS, London 2013. the permanent collection Photo © Tate, London 2013 with a series of temporary exhibitions and displays, alongside a dynamic programme of education activities and events.

A World-Class Programme

SCOTTISH NATIONAL GALLERY and a meticulous, almost photographic attention to detail. He was widely Van Gogh to Kandinsky: Symbolist acclaimed as one of the most accom- Landscape in Europe 1880–1910 plished landscape artists of his day, and 14 July to 14 October 2012 his works were eagerly sought by British Sponsored by BNY Mellon Grand Tourists. However, after his death he was soon forgotten, and only recently This major exhibition was the first have his exceptional gifts and historical dedicated to symbolist landscape and ­importance begun to be recognised once the movement that developed after again. His career took him from his native as artists across Europe Rome to Naples, then to Sicily and finally cultivated a more imaginative, subjective to the eastern Mediterranean, where he response to the world around them. spent twenty years working for the 7th The exhibition presented a wide Earl of Elgin as his resident artist and range of poetic and suggestive paintings agent in Athens. of nature from the period 1880 to 1910, focusing on major artists of the avant- garde such as Gauguin, Van Gogh and Munch, whilst also introducing a group of less well-known artists from Scandinavia and elsewhere in Europe. This exhibition was a ­collaboration ‘It is rare to find projects that between the National Galleries of Scot­ combine all the ingredients land, the Van Gogh Museum, Amsterdam, and the Ateneum Art Museum, Finnish that should create the ideal National Gallery, Helsinki. exhibition: striking works of Expanding Horizons: Giovanni art, intelligent scholarship, Battista Lusieri and the Panoramic Landscape a stimulating and balanced 30 June to 28 October 2012 choice of objects and a Supported by private donors stunning installation. But, This was the first exhibition ever devoted to the extraordinary work of this exhibition is, quite the Italian landscape watercolourist simply, perfect.’ Giovanni Battista Lusieri (1754–1821). Lusieri’s watercolours combine a broad, Xavier F. Salomon writing in panoramic vision, an uncanny ability to The Burlington Magazine on the capture brilliant Mediterranean light Lusieri exhibition, September 2012 5 Bellany: A Passion for Life 17 November 2012 to 27 January 2013 Supported by players of People’s Postcode Lottery · Supporting Year of Creative Scotland 2012 John Bellany was one of Scotland’s most outstanding contemporary painters. This comprehensive exhibition marked his seventieth birthday, capturing the emo- tional turbulence, the exhilarating highs and dark lows of Bellany’s life. Works in the show spanned his career, from the celebrated early paintings of fisherfolk and their boats, through his darker, even harrowing pictures of the early 1970s, and his wilder expressionist paintings of the early 1980s, to the poignant images inspired by his life-giving surgery in 1988 and the richly-coloured allegorical paintings reflecting a renewed vigour and optimism as he travelled the world. Sadly, as this review went to press, news came of John Bellany’s death on 28 August 2013. He will be celebrated as one of Scotland’s greatest artists of the modern era. His commitment to painting – he died in his studio with a paintbrush in his hand – was absolute and came at a time when the medium was perhaps no The Scream, 1895 by Edvard Munch, Courtesy the Gundersen Collection, Oslo longer fashionable. But Bellany showed © The Munch Museum/The Munch – Ellingsen Group, BONO, Oslo/DACS, London 2013 that painting is able to express personal emotions, as part of a commonly shared SCOTTISH NATIONAL Edvard Munch: Graphic Works The Scottish Colourist humanity, in such a way that we, the GALLERY OF MODERN ART from the Gundersen Collection Series: S.J. Peploe viewers, could not help but be moved. 7 April to 23 September 2012 3 November 2012 to 23 June 2013 Picasso and Modern British Art His impact on art in Scotland and beyond Supported by Patrons of the National Sponsored by Dickson Minto W.S. was profound and there is no doubt 4 August to 4 November 2012 Galleries of Scotland Supporting Year of Creative Scotland 2012 that his work will continue to inspire Supported by Dunard Fund future generations. Organised by Norwegian artist Edvard Munch is This retrospective of the work of S.J. renowned for his preoccupation with Peploe was the second in the Scottish SCOTTISH NATIONAL This pioneering exhibition was con- universal emotions such as melancholy, Colourist Series of exhibitions. Samuel PORTRAIT GALLERY ceived to explore Pablo Picasso’s lifelong anxiety and love. His graphic works John Peploe was the eldest and most connections with Britain. The show are among his most arresting, and are successful of the four artists popularly BP Portrait Award 2012 examined Picasso’s evolving critical rep- celebrated worldwide for their technical known as ‘The ’, along 3 November 2012 to 27 January 2013 utation and British artists’ responses to mastery and visual intensity. Showcasing with F.C.B. Cadell, J.D. Fergusson and Supported by BP · Organised by National his work. Originating at Tate Britain, this an outstanding group of fifty prints by G.L. Hunter. Peploe is most celebrated Portrait Gallery, London show marked the first time that NGS and Munch from a private Norwegian collec- for his beautiful still lifes, depicting a Tate have collaborated on a major exhi- tion, the exhibition explored the artist’s selection of props, including roses and The BP Portrait Award showcases the very From informal and personal studies of who travelled to the Peruvian Highlands to bition. Highlights included masterpieces innovation and experimentation and tulips, placed in an infinite variety of best in contemporary portrait painting friends and family, to revealing paintings record the women from the Quechua com- such as his great 1925 painting, The Three featured rare, hand-coloured versions of combinations and painted in the studio. from around the world. For thirty-three of famous faces, the 2012 exhibition munity engaged in traditional weaving. Dancers, and major cubist paintings from Munch’s most iconic works, including The care that Peploe lavished on his still years, of which the last twenty-three have featured fifty-five works selected from the Museum of Modern Art in New York. The Scream. lifes contrasts with the more spontaneous been sponsored by BP, the exhibition has over 2,000 international entries. The Above Prague Easter, 1992 by John Among the British artists for whom technique with which he created his presented outstanding and innovative first prize was awarded to Aleah Chapin’s Bellany, Scottish National Gallery of Picasso proved an important stimulus, stunning French and Scottish landscapes, new work in a variety of styles. It con- intense but affectionate portraitAuntie , Modern Art, Edinburgh. Presented by the and whose work were included in the painted en plein air from 1896. tinues to be a highlight of the annual art whilst the BP Young Artist Award went artist 2012. © Courtesy of the Estate of show, are Duncan Grant, Ben Nicholson, calendar at all its venues; this was the to Jamie Routley’s triptych Tony Lewis. the Artist/Bridgeman Art Library Henry Moore, Francis Bacon, Robert fourth time that the Scottish National The show also included the work of the Below The Weavers, 2011–12 by Jo Fraser. MacBryde and Robert Colquhoun. Portrait Gallery hosted the award. BP Travel Award 2011 winner Jo Fraser, © Jo Fraser 6 7 Below A young visitor at , Glasgow Through the ARTIST ROOMS touring enjoys work by Jannis Kounellis: Untitled, programme, supported by the Art Fund, 1969, ARTIST ROOMS National Galleries of we continued to work in 2012–13 with Scotland and Tate. Presented by the artist museums and galleries nationally to 2010. © Jannis Kounellis share this extraordinary collection with Opposite Learning activity for Jannis audiences in Scotland and across the Kounellis exhibition at Tramway, Glasgow, UK. In the period covered by this review, August 2012. Image courtesy Neil Thomas exhibitions were presented at fifteen ARTIST ROOMS Douglas Photography. © Jannis Kounellis Associate venues outside NGS and Tate, and were seen by 448,450 visitors. A total of 612 works were lent as part of the tour that ran during 2012–13. ARTIST ROOMS Among the highlights was the first major exhibition of the work of Andy is a collection of Warhol in Northern Ireland, at the MAC in Belfast, which attracted over international 20,000 visitors in its first month. Three contemporary unique Robert Mapplethorpe ARTIST ROOMS exhibitions toured to venues in art which was Scotland, beginning at Dunoon Burgh established through Hall in spring 2012, where half of the 2,000 visitors were local – evidence one of the largest and of the Burgh Hall Trust fulfilling its ambition to save the building for the most imaginative community. The exhibition travelled gifts of art ever made to Linlithgow Burgh Halls and on to Perth Museum and Art Gallery, with to museums in the additional Mapplethorpe works added UK. The gift was at each of these venues to reflect the scale of their galleries. Jannis Kounellis made by Anthony curated a striking exhibition of his d’Offay, with the works at Tramway in Glasgow, featuring large installations from the ARTIST assistance of the ROOMS collection and six new commis- sions made especially for the exhibition. National Heritage Through our partner, Tate, a major Memorial Fund, the grant of £1,065,000 was awarded by Arts Council England – the largest grant Art Fund and the they have ever awarded for visual arts Scottish and British touring – to enable a tour to be planned from 2013 to 2015. The Art Fund also Governments in confirmed that it would continue its partnership with ARTIST ROOMS 2008. The collection over the same period, specifically to continues to grow support Associate venues. Creative Scotland agreed to fund the 2013 tour in each year through Scotland. Together, this funding enables additional gifts the dedicated ARTIST ROOMS team and staff at bothNGS and Tate to plan with and loans. future partners, and provides the means to broaden the geographical reach of the project. We are grateful for the support of all our partners, without whom the collection would not be seen by so many people across the length and breadth of the country.

8 9 The National Galleries of Scotland aims to be recognised locally and internationally as a world-class institution at the forefront of sustainable care of the collection, the historic buildings and the environment. We have been working hard over the last few years to develop environmental sustainability across all of our sites and to meet those aims. A Sustainable Future

Scottish National Portrait Gallery sustainability. Large flocks of seagulls The newly refurbished Scottish National have threatened to damage the ecology Portrait Gallery has now been operating of the pond at Modern One and its sur- for more than a year and the reductions rounding area. They are discouraged by in energy use have exceeded our expecta- the use of a hawk, which is flown in the tions. Compared with 2008, prior to the area of the pond on a regular basis. By refurbishment, electricity consumption associating the Landform at Modern One has gone down by 20% and gas consump- with the hawk, the gulls visit the area less tion by 40%. This has been delivered and thereby reduce any nuisance factor. despite greater use of the building with We have recently developed a kitchen more facilities, and in addition to better garden with the café staff and the gardener environmental conditions for collections at Modern One, which produces fruit, veg- care. This achievement has been recog- etables and herbs for use within the café. nised by the Portrait Gallery winning the Heritage Portfolio, which operates the Carbon Trust Scotland Award 2013 for a cafés at Modern One and Two, has been refurbished building. granted Gold Awards under the Green Tourism Business Scheme – the leading Scottish National Gallery sustainable tourism certification scheme Significant work has been carried out at in the UK. the Scottish National Gallery to improve the building’s energy efficiency. The Granton Centre for Art existing single glazed cupolas above the The Granton Centre for Art continues to galleries were losing substantial amounts provide sustainable storage for a signifi- of heat through the old glass and the cant part of our collection. The building air gaps. The plant therefore needed to was designed to include low energy solu- work very hard to maintain the correct tions that would deliver museum standard conditions within the gallery spaces. The conditions for collections care. It includes Opposite Produce from the kitchen garden at old cupolas are now being replaced with enhanced insulation values for stable Modern One. Photo: Wendy Mount airtight double glazed units, which should ­conditions and uses energy-efficient plant Above Restored cupola at the Scottish lead to substantial financial and energy and natural ventilation. National Gallery savings. The exhibition lighting will be Below Landform, 2001 by Charles Jencks at upgraded at the same time with new LED Across the Sites Modern One fittings, which will reduce energy use and Improved waste management has resulted heat gain. in a large increase in the quantity and types of waste which are now recycled, Scottish National Gallery of composted or sent to an anaerobic diges- Modern Art One and Two tion plant for energy generation. Only 6% The Scottish National Gallery of Modern of our waste now goes to landfill and our Art is situated in very attractive land- efforts have been recognised by achieving saped grounds, but these gardens offer a Gold Award in the National Recycling their own set of challenges in terms of Star Award Scheme. 10 11 The National Galleries of Scotland undertakes research of the highest academic quality on its collection, documentary archives and other specialist resources which we hold on the public’s behalf, as well as on works of art relating to our collection which are lent to our temporary exhibitions. Publications and Research

Research allows us to understand Holy Mountain), Suli and Marathon, as Full public access to the set of water- the national art collection more fully, well as images of the islands of Corfu, colours is now possible and an exhibition unlocking information of relevance to our Crete, Zante, Ithaca, Cephalonia and of the watercolours is planned for the many different audiences. This research is Cythera. All thirty-two watercolours Scottish National Gallery in spring 2014. presented through publications, lectures, have recently undergone conservation symposia and education programmes. NGS treatment. Many had been exposed to Technological Advances in produces many publications each year very high light levels over the years, Conservation Research which both complement our exhibitions causing several of the papers to discolour Microfader technology came to NGS programme and promote the collection, badly. Furthermore, Lear typically used through funds made available from the making our research readily available to a standard ‘wove’ watercolour paper Heritage Lottery Fund, which sup- the public. Much of our research work, laid down on poor quality thick card, ported the conservation programme for however, is carried out behind the scenes. which accelerated the deterioration of Portrait of a Nation. Working closely Here we offer some examples which cover the paper. The card had to be removed a range of our research activities. completely from the paper to prevent further deterioration. Conservation of the Lear A process of gentle ultrasonic humid- Watercolours ification was employed in the controlled In 2002, NGS acquired thirty-two out- environment of a humidity chamber to Above A selection of NGS publications from 2012–13 standing Edward Lear watercolours from wash out the discolouration. Following Opposite top Edward Lear’s watercolours undergo the estate of Sir Steven Runciman. The this treatment, the artworks were win- conservation treatment. watercolours depict Lear’s topographical dow-mounted using board made from Opposite below Microfader technology is introduced work during his time in Greece and 100% cotton rag, safeguarding them for to NGS in 2012–13 include images of Mount Athos (the the foreseeable future. 13 with Bruce Ford, an external Microfader Researching Lusieri expert who joined us from Australia for A significant amount of research takes five weeks, the team built the Microfader place as part of the development of our for both NGS’s and other institutions’ temporary exhibitions and displays. use. This sophisticated new piece of Our exhibition Expanding Horizons: equipment will help us to manage the risk Giovanni Battista Lusieri and the to our collection associated with light Panoramic Landscape in 2012 included exposure. NGS is the first institution in a very large number of loans from Scotland to adopt this technology, and is Broomhall in Fife, the residence of the one of around only twenty microfading Earl of Elgin and Kincardine, whose institutions across the world. ancestor had employed Lusieri for the entire second half of his career (1800– 21). The objects borrowed were but a From Death to Death and Other Small tiny fraction of a huge mass of largely Tales: Installation of Neto Work unsorted and uncatalogued Lusieri Our Collections Care team is also respon- material in the family’s possession, sible for the installation of works across including many hundreds of drawings, a the Galleries. It Happens When the Body large bound volume of Lusieri’s letters, is Anatomy of Time by Ernesto Neto was a and his account book. Together these challenging artwork to install. It required offered unparalleled opportunities for a dedicated team of technicians and a primary research, which was carried conservator who worked alongside the out over several years. The result was artist’s assistant for five days, stretching that the exhibition and its accompa- tulle and Lycra netting across the gallery nying catalogue included dozens of ceiling and knitting to it thirteen netted hitherto unknown works by the artist, tubes filled with spices. The smell was as well as a great many new facts about, intense and soon permeated every room and insights into, his life and art. of Modern One, while the team them- One of the most exciting dis- selves went home each night smelling of coveries was the realisation that six clove, cumin and turmeric. The place- large but rather faint pencil drawings ment of the tubes in the space created the of architecture that were scattered kind of immersive, potent environment among three different portfolios, in central to this artist’s work, and the final fact joined together to form a single decision for each tube was made by Neto enormous drawing of an interior. himself who walked virtually through Further research established that this the space via Skype link-up on his assis- showed a remarkable bow-fronted tant’s laptop. room which Sir William Hamilton, the The work was part of the From Death long-serving British Minister to the to Death and Other Small Tales exhibition Neapolitan court, had recently added which took place at Modern One from to the top floor of his official residence, December 2012 to September 2013. the Palazzo Sessa. The room served as his vantage point for his single most spectacular work, the nine-foot wide panorama of the Bay of Naples, which was lent to the exhibition by the Getty Museum in Los Angeles.

Above A Greek Double Urn, 1804 by Giovanni Battista Lusieri, Scottish National Gallery, Edinburgh. Mary Hamilton Campbell, Lady Ruthven Bequest 1885 Left Installation at Modern One of Below The South-east Corner of the Ernesto Neto’s It Happens When Parthenon, Athens, c.1801–3 by Giovanni the Body is Anatomy of Time, 2000, Battista Lusieri, Scottish National Courtesy of the D. Daskalopoulos Gallery, Edinburgh. Mary Hamilton Collection. © The artist Campbell, Lady Ruthven Bequest 1885 14 15 Learning and access are key priorities and central Opposite School pupils’ artworks created during the Cells: The to our purpose as a leading cultural institution. Smallest of all Portraits project. Photo: Lisa Fleming Through our learning activities, interpretation Below Participants in one of the and resources we aim to entice, inspire and enable Tesco Bank Art Competition for Schools roadshow workshops our visitors to connect with our collection and proudly showing the printed dogs exhibitions in a meaningful and enjoyable way. they have created Learning, Inspiration and Opportunities for the Young

Throughout our learning programmes, we Cells: The Smallest of all Portraits out a scientific experiment whereby they use the national collection as a stimulus This collaborative visual art and science extracted DNA from a kiwi fruit. The to inform and inspire the public and to project involved forty S1 pupils from schools worked with two visual artists encourage artistic excellence, innovation James Gillespie’s and Penicuik High over a period of time, experimented with and creativity. With such an expansive Schools. Using the Pioneers of Science a range of media and created a variety of collection to draw upon, in addition to exhibition as the starting point, in artworks which reflected their individual our temporary exhibitions, we are able to particular Dolly the Sheep, the project responses to the debate around biomed- create inventive learning programmes for posed questions about the relevance, ical science. The outcome of the project all ages and abilities. Here are just some importance, potential and consequences resulted in an exhibition of the pupils’ of the highlights of another successful of cellular research in biomedical science work housed in a specially designed year, both on- and off-site. through creativity and the visual arts. laboratory at the Scottish National The pupils visited The Roslin Institute Portrait Gallery. (University of Edinburgh) and met real-life scientists, took part in a debate about the ethics of cloning and carried 16 17 Tesco Bank Art Competition at the Portrait Gallery. The focus was reminiscence sessions and tours, and spe- for Schools 2013 on sixteenth- and seventeenth-century cial events such as tea dances, concerts or The highly successful Tesco Bank Art dress, and over the course of an evening, workshops for older audiences, including Competition for Schools went out on the we had practical demonstrations on his- those residing in care homes and those road once again, visiting twelve schools torical embroidery, Renaissance beauty with dementia. As part of the programme, across Scotland in Angus, , recipes, talks and music, culminating in the Portrait Gallery also worked with Glasgow, Moray, North and South a spectacular historical catwalk show the Living Memory Association and Lanarkshire, South Ayrshire and West presented by Jenny Tiramani, costume consulted with community groups for the Dunbartonshire. Almost 600 children in and stage designer and dress historian. exhibition Tickling Jock: Comedy Greats primary and special education schools Four willing volunteers were dressed in from Sir Harry Lauder to . had fun creating artwork inspired by layer upon layer of clothing in front of the The memories that participants shared their national collection and 133 teachers audience’s eyes in costumes spanning were represented in the exhibition inter- attended Continuing Professional fifty years from the 1570s to the 1620s. pretation and used in the creation of a Development sessions promoting not only As well as highlighting how portraits can resource box of handling objects. the competition, but also the amazing reveal what items people wore together, resources available through the NGS web- it was also an opportunity for students at Left Demonstrating Renaissance beauty site. With very few art specialist teachers to work closely recipes in Dressed to Thrill. Photo: Lisa in primary schools, the workshops were with such a renowned dress historian. Fleming · Above Historical embroidery deemed to be not only great fun but also demonstration in Dressed to Thrill. Photo: very helpful and informative. Memories are Made of This Lisa Fleming · Below Memories are Made In November 2012, our community of This: Tea Dance. Photo: Andy McGregor The Portrait Gallery Salon: programme­ Memories are Made of This Opposite top Cells: The Smallest of all Dressed to Thrill won the Herald Society Award for ‘Older Portraits project. Photo: Lisa Fleming Our ability to create unique events people’s project of the year’. This Portrait Opposite below Primary school winners inspired by our diverse collections was Gallery-based programme comprises in the Tesco Bank Art Competition for superbly illustrated in Dressed to Thrill regular activities such as themed Schools 2012 18 19 Left Poster for The Nation// The Nation//Live: Work Portrait Gallery in August 2012. Inspired Left Sleeping under the watchful eye Sleepover under the Stars Gallery – presented the opportunity for Live: Work – A Reconstruction The NGS Outreach team launched this by two sports-­related displays, Playing of Rev. Thomas Chalmers, marble The first ever sleepover was held at the each gallery to develop extensive learning of Clydebank Voices, 7 May ambitious five-part initiative addressing for Scotland and In it to Win it, the fun bust by Sir John Steell at the Portrait Scottish National Portrait Gallery in programmes relating to the work of 2012. Poster by Andy McGregor. important transformations in Scottish and games kicked off with a fantastic Gallery. Photo: Andy McGregor March 2013. Children aged seven to the acclaimed American photographer. Featuring portrait bust of Jimmy history, with a unique community drama opening ceremony which brought to life a Right The ceiling of stars in the Great eleven and their guardians took part in Dunoon Burgh Hall, for example, estab- Reid, 1999 by Kenny Hunter, in Clydebank. Work was inspired by selection of sporting heroes of yesteryear. Hall at the Portrait Gallery, showing a hands-on art workshop to create glow- lished a group of young people called the Scottish National Portrait Gallery, sculptor Kenny Hunter’s bust of the To win a gold medal, families were invited the signs of the zodiac in-the dark constellation pictures. They Arts Ambassadors who worked with an Edinburgh. © Kenny Hunter. celebrated trade union leader Jimmy to try their hand at a range of sports-­ then went on a ‘gallery star trek’ where artist to devise workshops over a six- Right Portrait Gallery Olympians Reid and coincided with the fortieth inspired art events. Plucky Olympic they came face-to-face with famous week period for their peers and younger anniversary of the 1971–2 work-in at hopefuls had a choice of team captains Scottish scientists, spotted constellations ­children. The resulting artwork was dis- the Upper Clyde Shipbuilders, which from a line-up of popular characters from in William Hole’s ceiling mural, did some played in the gallery and resulted in the attempted to prevent the de-industrial- the Portrait Gallery collection. It was a experimental drawing to galactic music publication ‘Inspired by Mapplethorpe’. isation of Clydeside. It also addressed close run battle, but Mary’s Marvels were inspired by Lucinda L. Mackay’s portrait the meaning of work in contemporary the eventual team winners, with Rabbie’s of Peter Higgs, and – courtesy of the Royal Scotland, specifically in relation to young Rebels, Charlie’s Champions and Flora’s Observatory Edinburgh – handled real people, and culminated in a drama for Firebrands close behind. Portrait Gallery shooting stars. As night fell, it was time voices which was performed at the site Olympics was supported by players of to snuggle down and hear bedtime stories of the former John Brown’s Shipyard in Peoples’s Postcode Lottery. beneath our magnificent ceiling of stars. Clydebank. Work was highly commended at the national 2013 Museums + Heritage ARTIST ROOMS Awards for Excellence under the ‘Project ARTIST ROOMS aims to engage and on a Limited Budget’ category. inspire young people with world-class contemporary art. The Scottish tour Portrait Gallery Olympics of works by Robert Mapplethorpe in Over 1,750 children and families took 2012 – to Dunoon Burgh Hall, Linlithgow part in our very own Olympics at the Burgh Halls and Perth Museum and Art

20 21 Partnership Connecting Across the World across the USA from Atlanta to Oklahoma who readily appreciate the monumental our UK touring programme, acting as a The groundbreaking exhibition Van Gogh City Museum of Art (19 July to 7 October sensuality of the work: the tender driver for sharing our collection with to Kandinsky: Symbolist Landscape in 2012), the Museum of Fine Arts, St embrace of two doomed lovers, Paola the broadest audience. We also manage Europe 1880–1910 represented a truly Petersburg, Florida (3 November 2012 Malatesta and Francesca da Rimini, from an extensive loans programme, lending international collaboration. Shown in to 17 February 2013) and finally to the Dante’s early fourteenth-century literary works to museums, galleries and cultural Amsterdam, Edinburgh and Helsinki, Philadelphia Museum of Art (16 March to classic, his Inferno. and heritage bodies across Scotland and it was created by a curatorial team of 7 July 2013). the UK. The National Galleries UK Programme experts from Holland, Scotland, Finland Distinguished Visitor of Scotland is very and France. It examined how Symbolism The main driver for our domestic touring Left The Golfers, 1847 by Charles Lees, was taken up in the later nineteenth One of the world’s most famous sculp- programme is the collection. We place Scottish National Gallery, Edinburgh. successful at extending century and how it manifested itself in tures, Auguste Rodin’s The Kiss, has great emphasis on the effort to provide Purchased with the assistance of the its reach across the the genre of landscape. Familiar figures funded by the Leverhulme Trust. generously been lent by Tate for one nationwide access to our collection and Heritage Lottery Fund, the Art Fund and such as Gauguin, Monet and Van Gogh The Art of Golf exhibition continued year to the Scottish National Gallery. activities, achieving this through our the Royal Ancient Golf Club 2002 world, giving the were shown alongside a host of other less its tour of the USA in 2012–13 following Carved from white marble and weighing work with partner galleries. We have two Right The Kiss (Le Baiser), 1901–4 opportunity to promote well-known artists from across Europe. its successful opening exhibition at the in at just over three tons, its installation main partner galleries: Duff House in by Auguste Rodin, on loan from Tate, Well-reviewed and attended at all three High Museum of Art in Atlanta. The proved an intriguing challenge for the Banff and Paxton House in Berwickshire. London. Photo © The Art Fund and share some of the venues, the exhibition was also the centrepiece of the show was The Golfers Galleries’ specialist Art Handling Team. Both house works from the NGS collection Below Van Gogh to Kandinsky: nation’s collection with subject of an international conference (1847), an iconic work by Scottish painter Since its successful arrival in February and occasional temporary displays from Symbolist Landscape in Europe in Edinburgh, supported by a European Charles Lees which was purchased by 2013, Rodin’s masterpiece has attracted our touring exhibitions programme. 1890–1910 exhibition at the Ateneum a global audience. Symbolism Research Network generously NGS in 2002. The exhibition travelled glowing comments from Gallery visitors, ARTIST ROOMS remains at the heart of Art Museum, Helsinki 22 23 The National Galleries of Scotland strives to enhance the nation’s collection of fine art through its acquisitions programme. It is funded by an annual grant from the Scottish Government which is supplemented from other sources including private benefactors, trust funds and the Art Fund. Building Great Collections

Interior of an Inn, c.1640 This is a relatively early work and belongs by Sébastien Bourdon (1616–1671) to a small group of this type produced Oil on copper, 24.5 x 31.2cm by Bourdon in Paris around 1637–43 Purchased 2012 with the assistance after his return from Rome. In their of the Art Fund everyday subjects these works were very much influenced by the Roman works Opposite Detail from Portrait Bourdon was one of the most gifted of Pieter van Laer and his followers, of a Young Girl, after Cranach French artists of the seventeenth century, the Bamboccianti. They also parallel the Younger, 1958, by Pablo a period which is still under-represented the moving peasant scenes painted in Picasso. © Succession in the Gallery’s collection, masterpieces France at that time by the Le Nain family Picasso/DACS, London 2013 by Claude and Poussin notwithstanding. of painters. 25 In the Orchard, 1885–6 Sleep, c.1908–11 by Sir James Guthrie (1859–1930) by Frances Macdonald MacNair (1874–1921) Oil on canvas, 152 x 178cm Watercolour and pencil on vellum, 33 x 21cm Purchased jointly by the National Purchased 2012 Galleries of Scotland and Glasgow Frances Macdonald MacNair was a key Museums with assistance from the figure in the Glasgow Style movement National Heritage Memorial Fund and around 1890 to 1910, alongside her sister the Art Fund 2012 Margaret Macdonald, Margaret’s husband Guthrie was a major figure in the Charles Rennie Mackintosh, and Frances’s group of artists known as the Glasgow own husband, James Herbert MacNair. By Boys, an epithet coined in 1890 to the mid-1890s they were working collab- denote their reaction against the oratively on furniture and decorative art. Edinburgh establishment’s perceived They soon became known as ‘The Four’ control of artistic matters in Scotland. – and also as the ‘Mac group’ and, more Painted 1885–6 at Cockburnspath in sardonically, as ‘The Spook School’, owing Berwickshire, In the Orchard achieved to the ghostly, spectral appearance of the European fame, being exhibited at figures in many of their works.Sleep – the the 1889 Paris Salon and in a major first work by MacNair to enter the national exhibition at the Glaspalast in Munich collection – is one of no more than a dozen in 1890. One of the last major Glasgow independent watercolours that survive Boy paintings still in private hands, its from the artist’s oeuvre. A haunting, successful acquisition at auction in enigmatic picture, it shows how Scottish November 2012 was the first ever joint artists were at the forefront of European purchase by the authorities in Glasgow symbolist art. and Edinburgh, where it will be exhib- ited on a rotating basis.

Six Butterflies and a Moth Tidal Series, 1969 on a Rose Branch, c.1690 Boyle Family (Mark Boyle 1934–2005, by William Gouw Ferguson (1632/3–after Joan Hills b.1931, Sebastian Boyle b.1962, 1695) Georgia Boyle b.1963) Oil on panel, 20.5 x 26cm Fourteen panels in painted resin, fibreglass Purchased with a contribution from and mixed media, each 150 x 150cm the Patrons of the National Galleries of Presented by the Peter Moores Foundation Scotland, 2013 2012. © The Boyle Family This is a small and beautiful signed This legendary work from the late 1960s work by one of the very few native-born counts as one of the most important gifts seventeenth-century Scottish artists of that the Scottish National Gallery of note, albeit one who spent much of his Modern Art has received in recent years. In career working abroad. Early in his career the 1960s Mark Boyle and Joan Hills began Gouw Ferguson travelled to the northern a project – still underway – in which they Netherlands and became a master of the tried to represent the world exactly as they Guild of St Luke in Utrecht in 1648, where found it, with as little intervention as pos- he established a reputation as a painter sible. Their motifs were chosen at random, of still lifes, many of which featured dead and they aimed to be as faithful and exact game. This example is highly unusual as possible in recording what they found. in his oeuvre and belongs within the This series of fourteen works was made at European Wunderkammer (cabinet of Camber Sands in Kent. They were created curiosities) tradition. over a period of seven days, and represent the same section of beach, following the morning tide and evening tide. In a sense, the works were made by the moon, whose gravitational pull creates the tides. The exact techniques used by Boyle Family remain a mystery. 26 27 Rock Form (Porthcurno), 1964 Portrait of a Young Girl, after Patie Birnie, the Fiddler of The Meet of the Keith Hall Aberdeenshire. Keith Hall, depicted in Untitled: Study of a Boy from by Dame Barbara Hepworth (1903–1975) Cranach the Younger, 1958 Kinghorn (died in or before 1721) Foxhounds, 1824 the right background, is the seat of the the ‘Glasgow 1968’ Series Bronze, 243.8cm tall by Pablo Picasso (1881–1973) by William Aikman (1682–1731) by John Ferneley (1782–1860) Earls of Kintore: it is a mile to the east by David Peat (1947–2012) Accepted by H.M. Government in lieu Colour linocut, 64.3 x 52.8cm (paper size: Oil on canvas, 76.2 x 63.5cm Oil on canvas, 144.8 x 236.2cm of Inverurie. Ferneley specialised in Modern silver gelatine print printed by of Inheritance Tax and allocated to the 77.8 x 57cm) Purchased 2013 Accepted by H.M. Government in lieu sporting and hunting scenes and this is Scottish National Gallery of Modern The Henry and Sula Walton collection: a particularly ambitious example of his Gifted in memory of the photographer by This is a very rare early portrait of an of Inheritance Tax and allocated to the Art 2013. © Bowness, Hepworth Estate bequeathed 2012. © Succession Picasso/ work, which combines, group, eques- the Peat family 2013. © The Peat Family identified Scottish musician. It probably National Galleries of Scotland 2013 DACS, London 2013 trian and estate portraiture. It has Rock Form (Porthcurno) and another dates from 1715–20 and the sitter is the Painted in 1824, Ferneley’s picture entered the Portrait Gallery collection David Peat, who died in 2012 at the Hepworth bronze, Ascending Form This celebrated linocut is one of the celebrated fiddler, Patie (or Peter) Birnie elegantly documents the leisure pursuits through the AIL (Acceptance in Lieu of age of sixty-five, was a distinguished (Gloria), 1958, were placed on loan to the highlights of the Walton collection. from Kinghorn in Fife. The inscription of the landed gentry and aristocracy of Tax) system. Scottish documentary film-maker and Royal Botanic Garden Edinburgh – the Henry and Sula Walton, both eminent describing him as ‘Facetious’ is appro- photographer. He worked in a shipping former location of the Scottish National psychiatrists who lived and worked priate given the highly unusual manner office before deciding he wanted to be Gallery of Modern Art – in 1976. The loan in Edinburgh, left their extraordinary in which he is depicted laughing, for a cameraman, and this poignant and was made by the artist’s estate, following collection of more than 200 prints, although today it is usually a derogatory striking work comes from his earliest Hepworth’s death the previous year. drawings and paintings to the National description, in the eighteenth century it portfolio of images, which records the These two major bronzes have now been Galleries of Scotland. There are meant merry and witty. street life of children in Glasgow, set gifted to the Gallery in lieu of Inheritance fifteen linocuts by Picasso, prints by Birnie is known to have been present before crumbling tenements. They Tax and will remain in situ in the gardens. Rembrandt, Goya, Cézanne, Hockney at the Battle of Bothwell Bridge in 1679 complement the contemporary studies Hepworth lived for many years in St Ives, and Hodgkin, magnificent paintings and is renowned as one of the earliest of other Scottish photographers who Cornwall. The hamlet of Porthcurno by Eardley – to name just a few. The composers of strathspeys. addressed similar themes, such as is very close to Land’s End. Hepworth Waltons also established a charitable Oscar Marzaroli. likened­ Rock Form (Porthcurno) to the trust, designed specifically to help the place, ‘with its queer caves pierced by Gallery of Modern Art acquire new the sea’. works. The sum exceeds £3million and counts as the largest endowment fund ever left to the Galleries.

28 29 From its inception, ARTIST ROOMS was intended to grow. Many artists and individuals have generously donated works, which are enabling this exciting collection to develop and benefit audiences throughout Scotland and the UK. In addition, Anthony d’Offay has kindy placed a number of works on long term loan to the collection.

A RT I ST R O O M S Gifts and Loans VIJA CELMINS (b.1938) Alliance, 1983 Twenty-one works entered the ARTIST allows the artist to exploit the distinct Aquatint, mezzotint and drypoint on ROOMS collection in 2012–13. Once again, characteristics of the varied media she paper, sheet: 69.1 x 58.5cm the tireless efforts of Anthony d’Offay uses, from pencil and charcoal to a range ARTIST ROOMS National Galleries and Marie-Louise Laband have resulted of printmaking methods. Meticulously of Scotland and Tate. Presented by in major acquisitions. The ARTIST observed webs are typical of her fragile, the artist 2010 ROOMS Foundation was established as an ephemeral images and echo the web-like independent charity set up by d’Offay to construction of the universe, a further Black and White Diptych, 2010 support and promote the ARTIST ROOMS preoccupation of the artist. Celmins has Mezzotint with aquatint on paper, collection for the benefit of the public. explained: ‘Maybe I identify with the sheet: 51 x 59cm; image 30 x 42cm A group of works on paper by the spider. I’m the kind of person who works Latvian-American artist Vija Celmins on something forever and then works on ARTIST ROOMS National Galleries entered the collection, including seven the same image again the next day.’ Since of Scotland and Tate. Lent by works generously given by the artist. the 1970s, Celmins has made images Anthony d’Offay 2011 Celmins is known for her intense mono­ of the night sky in which fields of stars chromatic drawings and prints based emerge from blackness. The artist has Web #5, 2009 on photographs. These works focus on explored this theme in different ways, Etching on paper, sheet: 53 x 44.5cm; the details of natural phenomena in most notably producing negative versions image: 25.3 x 30.4cm the context of vastness. They record a in which the stars appear as black marks ARTIST ROOMS National Galleries specific frame caught through a camera on a white background, which invites the of Scotland and Tate. Lent by lens, frozen in time. Celmins’s serial viewer to consider the formal, abstract Anthony d’Offay 2011 exploration of her subjects, including properties of the image as well as the spider webs, seascapes and night skies, process of its making. © Vija Celmins 30 Opposite The official royal opening of the Scottish National Portrait Gallery, July 2012. Photos © Ivon Bartholomew The First Year of the Above Gallery 13 in the Portrait Gallery featuring the Pioneers of Portrait Gallery Science exhibition

Following a two-and-a- In its first year over 358,000 people visited • Building Conservation Award, RICS the Gallery, enjoying the new displays Scotland Awards 2013 half-year refurbishment of paintings, sculpture and photography. • Scotland Project of the Year Award, Such has been the success of the RICS Scotland Awards 2013 programme, the Scottish ­project, the Gallery has attracted a number • Highly Commended in Public Buildings National Portrait of awards, mostly for its design and envi- category, Lighting Design Awards 2013 ronmental credentials: • Institute of Fundraising Scotland Gallery reopened on Marketing & Communications • Civic Trust Award 2013 Award 2012 1 December 2011 to great • Scottish Design Award 2012 celebration. The Gallery • Royal Incorporation of Architects in The Portrait Gallery was also shortlisted Scotland Award 2012 for the prestigious Art Fund Museum of was beautifully restored • Royal Institute of British Architects the Year Award 2012. Award 2012 The highlight of 2012 was undoubtedly to its former glory and • Glasgow Institute of Architects the official royal opening of the Gallery. has proved immensely Conservation Award 2012 On 2 July 2012, Her Majesty the Queen • Special Mention for the Andrew Doolan and His Royal Highness, the Duke of popular with the public. Award 2012 Edinburgh attended the Gallery, visiting • Carbon Trust Low Carbon Building the new displays and meeting some of the Award 2012 key donors and supporters of the project. 32 33 Opposite Friends visit to Genoa 2012 The staff and Trustees would like to thank Below Friends Christmas Party 2012. Photo © AMJ Photography all those who have given their support, donations and works of art, or who have left legacies or in memoriam gifts to the National Galleries of Scotland in 2012–13. In addition we would like to thank the Friends, Patrons and American Patrons of the National Galleries of Scotland for their continued interest in, and support for, our work. Supporters

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BNY Mellon Caorunn Colnaghi Daniel Katz Ltd Dickson Minto W.S. Doughty Hanson & Co. The Edinburgh Residence Edmondo di Robilant Lycetts Moretti Fine Art Progress Sponsorship & Communications Rathbones Sotheby’s Fine Art Tesco Bank

Donors Dr Angus Findlay Family Maccoll The Scottish Government Michael and Bevs Gates Fleming Donald and Louise MacDonald Heritage Lottery Fund Scotland Gordon Fraser Charitable Trust The R S Macdonald Charitable Trust National Heritage Memorial Fund The Hugh Fraser Foundation The Robert Mapplethorpe The Art Fund Michael Gibson Foundation, Inc Creative Scotland Marjory Glenn and Bob Rooney Jemima McMorran Arts Council England The Glynn Family Iain More James and Anna Buxton Tilda Kuklinska Hetrick, a star for a star Mount Stuart Trust The Clothworkers’ Foundation The Imlay Foundation NESTA Dr Roger Collins and Dr Judith Walter and Norma Nimmo McClure CBE International Music and Art Foundation Players of People’s Postcode Lottery Herbert Coutts MBE KM Liliana Jamieson Alexander Porteous Dunard Fund Brian and Lesley Knox Edinburgh Decorative and Fine Dugald Lang, Ishbel Lang, Angus The Robertson Trust Arts Society Robinson and Matthew Robinson Alan Saville 34 35 National Galleries of Scotland Facts and Figures Board of Trustees Ben Thomson Chairman Visitor Numbers Ian Barr (to 28 February 2013) Tricia Bey (from 1 November 2012) Richard Burns Professor Ian Howard James Knox Lesley Knox Ray MacFarlane Alasdair Morton Catherine Muirden (from 1 November 2012) Nicola Wilson Senior Management Team Sir John Leighton 979,425 Scottish National Gallery Director-General Michael Clarke 298,315 Scottish National Gallery of Director, Scottish National Gallery Modern Art Nicola Catterall Chief Operating Officer 276,949 Scottish National Portrait Gallery Dr Simon Groom (reopened 1 December 2011) Director, Scottish National Gallery of Modern Art Nicola Kalinsky Interim Director, Scottish National Portrait Total visitors to Edinburgh Galleries 1,554,689 Gallery (to 31 July 2012) Christopher Baker Director, Scottish National Portrait Gallery

Virtual Visitors (from 1 August 2012) Jacqueline Ridge 1,225,049 Sessions on the NGS website Keeper of Conservation Catrin Tilley Director of External Affairs(to 31 August 2012) To celebrate the birthday of Joe on 5 The Hird Family, Blackwood, to celebrate Above Van Gogh to Kandinsky: Symbolist Elaine Anderson September 2012, son of Adam & Louise the life of June Ann Hird Landscape in Europe 1880–1910 private Educational Visits Head of Planning and Performance view, featuring Vision of the Sermon and brother to Harrison & Sadie To celebrate the life of Gael Norton and Finance ShareGift her love of art. Keep shining Auntie Gael, (Jacob Wrestling with the Angel), 1888 by 30,730 Total number of participants from schools, Paul Gauguin, Scottish National Gallery, higher and further education Full Annual Accounts for 2012–13 Sara Stevenson love Eilidh, Ewan & James. Edinburgh. Photo © AMJ Photography are available on the NGS website Sir Jackie and Lady Stewart Cherished Memories of J. Greig and Mrs www.nationalgalleries.org. Betty Sibbald of from their sons 27,665 Total number of adult participants at talks, Sir Jack and Lady Stewart-Clark Published by the Trustees of the David, John and Iain, their families and lectures and practical workshops National Galleries of Scotland 2013 Ben and Lucy Thomson many friends The Tulip Charitable Trust Total number of community and ISBN 978–1–906270–68–1 Bill Stephenson, in memory of 3,630 outreach participants © Trustees of the National Galleries of Scotland 2013 Maureen (Tulloch) Logie (1940–2008), Unless stated otherwise, all works © the Artists In Memoriam a dear friend who provided so many For Simon, Oscar and Ava to celebrate the Total number of families with children Designed by Dalrymple beautiful memories 7,286 Printed by Nicholson and Bass Ltd lives of Eileen, Peter and Margaret Barrett at drop-in events Bill Stephenson, in memory of Marigold Photographic Credits: Unless stated otherwise, all images In loving memory of Group Captain (Watson) Stephenson (1922–2005). have been photographed by John McKenzie, Antonia Reeve, William and Mrs Patricia Farquharson Thank you for many years of great joy Partner Galleries NGS Education, NGS Curatorial Team, NGS Development and from their son Jonathan and daughters and happiness. NGS Conservation and are © National Galleries of Scotland. All other images are © the photographers. Tina Hutchinson and Carol Sibbald Paxton House 13,020 For further information on all our activities please visit our To celebrate the life of Daphne Foskett Legacies website: www.nationalgalleries.org. National Galleries of To celebrate the life of Elsie Hayward In memory of Miss Marion Dickson 23,481 Duff House Scotland is a charity registered in Scotland (no.SC003728) 36 www.nationalgalleries.org