Portrait of a Gallery - The Scottish Gallery

a feature of the gallery up until the 1980s.
In more recent times when an artist, like
Elizabeth Blackadder or Victoria Crowe has
made printmaking a significant part of their
creative output, the gallery will recognise
this with exhibitions. In addition there have
been significant exhibitions of individual
major printmakers such as the first Howard
Hodgkin show in Scotland at the art fair held
at Edinburgh College of Art in 1985. At the
same event Robert Fraser, recently reopened
in Cork Street, brought the American graffiti
artist Jean-Michel Basquiat (who came into
the gallery and bought some pencils and
whose auction record from 2007 now stands
at $14.2m). The event, organised by Richard
Demarco (and titled Demarcations!), was
poorly attended and sadly within three years
both Fraser and Basquiat had died.
In the post-war decades the gallery
fostered the careers of the painters who
formed the Edinburgh School, and in
particular William Gillies. Gillies died in
1973 and by then the gallery had sold well
over 1,000 works for him, more than half to
the collector Robert Lillie the pick of whose
collection eventually went to The Scottish
National Gallery of Modern Art. In this sense
a significant portion of the modern collection
was acquired indirectly through The Scottish
Gallery and many other inspired purchases
of work by artists as diverse as William Gear,
Robin Philipson and Rory McEwan came into
the National Collection from the gallery.
As well as Gillies the career of Philipson, his
successor as Head of the Painting School,
blossomed under the guidance of Bill
Macaulay, the gentle academic who steered
the business through the confusions of the
60s and 70s. By the 80s Bill Jackson was
at the helm and had moved the gallery to
94 George Street; Guy Peploe joined him
in late 1983. It was an exciting decade for
painting that saw the emergence of the New
Glasgow group including the prodigious
talents of Stephen Conroy and Alison Watt
who had her first major solo show in the
gallery’s short lived London premises in 1990.
There were major shows of new work during
the Edinburgh Festival for John Bellany in
1985, Bruce McLean (including a performance
which took place at The Fruitmarket Gallery)
in 1986 and important survey exhibitions
exploring the theme of modernism in
Scottish painting.
The gallery finally moved from Castle
Street in 1981; a short move to 94 George
Street, premises with a narrow Victorian shop
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