Annual Review 2011-12 - National Galleries of Scotland

Annual Review
2011–2012 i

ii
© Keith Hunter Photography
Scottish National Gallery
The Scottish National Gallery comprises
three linked buildings at the foot of
the Mound in Edinburgh. The Gallery
houses the national collection of fine
art from the early Renaissance to the
end of the nineteenth century, including
the national collection of Scottish art
from around 1600 to 1900. The Gallery
is joined to the Royal Scottish Academy
building via the underground Weston
Link, which contains a restaurant, café,
cloakroom, shop, IT gallery and information
desk. The Academy building,
which was reopened in 2003 following
refurbishment, is a world-class venue for
special temporary exhibitions.
National Galleries of Scotland
© National Galleries of Scotland
Scottish National Gallery
of Modern Art Two
Modern Two is home to a changing
programme of world-class exhibitions
and displays drawn from the collection.
It also houses a fascinating re-creation
of Eduardo Paolozzi’s studio. Also on
display is The Stairwell Project, a largescale,
permanent work by 2009 Turner
Prize winner Richard Wright. Modern
Two is also home to the Gallery’s
library and archive, open to the public
by appointment.
© Chris Watt
Scottish National Portrait Gallery
The Scottish National Portrait Gallery
is about the people of Scotland – past
and present, famous or forgotten. The
portraits are windows into their lives
and the displays throughout the beautiful
Arts and Crafts building help explain
how the men and women of earlier times
made Scotland the country it is today.
Photography and film also form part of
the collection and help to make Scotland’s
colourful history come alive.
© Keith Hunter Photography
Scottish National Gallery
of Modern Art One
Home to Scotland’s outstanding national
collection of modern and contemporary
art, the Scottish National Gallery of
Modern Art comprises two buildings,
Modern One and Modern Two. The early
part of the collection at Modern One
features French and Russian art from
the beginning of the twentieth century,
cubist paintings and superb holdings of
Expressionist and modern British art.
The Gallery also has an outstanding
collection of international post-war work
and the most important and extensive
collection of modern Scottish art.
© National Galleries of Scotland © National Galleries of Scotland
Duff House
Duff House in Banff is one of our partner
galleries, and displays a number of objects
from the National Galleries of Scotland’s
permanent collection. It is a treasure
house and cultural arts centre with a
stunning permanent collection operated
by a unique partnership of the National
Galleries of Scotland, Historic Scotland
and Aberdeenshire Council.
Paxton House
Paxton House in Berwickshire is another
partner gallery which displays works
from the National Galleries of Scotland’s
permanent collection. Built to the design
of John Adam in 1758 by Patrick Home
of Billie for his intended bride, Sophie de
Bandt, Paxton House is one of the finest
neo-Palladian country houses in Scotland.
The National Galleries of
Scotland cares for, develops,
researches and displays the
national collection of Scottish
and international fine art and,
with a lively and innovative
programme of exhibitions,
education and publications,
aims to engage, inform
and inspire the broadest
possible public.
Annual Review 2011–2012
3 Foreword
5 A New Portrait Gallery for Scotland
11 A World-Class Programme
15 ARTIST ROOMS
16 Publications and Research
19 Learning, Inspiration and
Opportunities for the Young
24 Connecting Across the World
27 Building Great Collections,
ARTIST ROOMS Gifts
35 Supporters
37 Facts and Figures
Front and back cover Detail from Untitled, from the series
The Brave Ones, 2010 by Zwelethu Mthethwa. © Courtesy
of the artist and Jack Shainman Gallery, NY

The National Galleries of Scotland
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
international context.
Foreword
The great collection of the National Galleries of Scotland
(NGS) exists to be used and enjoyed by the broadest possible
public from this country and from across the world, whether
it is through visitors to our Galleries, working in partnership
or through our website. In this review we offer a glimpse of our
many activities during the past year and we hope that it offers
some impression of the impact of our work in different settings
across society.
We are especially delighted to report on the successful
reopening of the Scottish National Portrait Gallery after a major
refurbishment project. We can also record some stunning new
acquisitions for the national collection, especially the purchase,
with the National Gallery in London, of Titian’s Diana and
Callisto. This was the result of an extraordinary effort by the
two Galleries and their supporters, and now means that the loan
of the superlative Bridgewater Collection of old master paintings
to the NGS is secured for at least another generation.
Among the key activities that we cover in this review is
our ongoing collaboration with Tate on ARTIST ROOMS. This
major collection, established through the outstanding generosity
of Anthony d’Offay, now forms the central part of our
national touring programme. We have also continued to mount
a stunning public programme of exhibitions, publications and
educational activities. These have been enjoyed by an enthusiastic
public at our sites in Edinburgh, at our partner galleries
across Scotland and through our collaborations with museums
and galleries abroad. In the period covered by this review, a
total of 1,377,063 people visited NGS, an increase of 8% on the
previous year.
Looking ahead, the economic environment for culture and
the arts in Scotland presents many challenges. We have been
working hard for several years now to adapt to the new realities
of funding in the public sector and the effort to maintain
the quality and range of our services to the public is an
exceptionally challenging one. We are deeply grateful to all
our staff for their commitment to NGS and for ensuring that
we provide a friendly and accessible service to the public. We
are also immensely grateful to the many individuals, businesses,
trusts and foundations that continue to support our
work. We acknowledge gratefully the funding that we receive
from Scottish Government. We also enjoy huge support from
many volunteers, including our Trustees, our Friends and
Patrons organisations as well as the American Patrons of the
National Galleries and Library in the United States. We remain
extremely grateful to all of these for their commitment to
the Galleries.
Ben Thomson
Chairman
John Leighton
Director-General
Opposite Detail from Diana
and Callisto, 1556–9 by Titian.
Purchased jointly with the
National Gallery, London, with
generous support from the
Heritage Lottery Fund, the Art
Fund, The Monument Trust,
the Patrons of the National
Galleries of Scotland and
through private appeals and
bequests, 2012
3

A New Portrait Gallery for Scotland
Opposite New display at the
Portrait Gallery, Blazing with
Crimson: Tartan Portraits.
Photo: Chris Watt
Above The refurbished Gallery.
Photo: Duke Studios
Following a two-and-a-half-year
refurbishment programme, the
Scottish National Portrait Gallery
reopened on 1 December 2011,
becoming a true Portrait of the
Nation: a unique, responsive and
essential portrayal of Scotland.
Our vision was to redefine the Gallery for
the twenty-first century and to fascinate,
stimulate and engage our audience. The
Gallery was gradually transformed, beautifully
restored to its former glory and
now includes first-class visitor facilities,
a larger café and magnificent galleries to
house the collection. We have also delivered
all the services to the Gallery, using
the very fabric of the building and its
huge internal space to manage environmental
conditions and reduce our carbon
footprint in our care of the collection.
The restoration, the first in its 120-year
history, has increased public space by
60% and has resulted in the rediscovery of
one of the finest buildings in Scotland.
New Displays
The new displays of paintings, sculpture
and photography cover themes from
sport and science to friendship and
philosophy, creating a modern portrait
gallery, relevant to much wider audiences
4 5

than before. The underlying ethic of the
original Victorian gallery was a nineteenth-century
notion of good citizenship
and belief in the power of portraits of the
great to inspire. Our twenty-first-century
concept broadens the range of people
presented, finding greatness in ‘ordinary’
lives and offering visitors a vivid and
dynamic portrait of Scotland – its history,
its culture and contemporary society. The
richness of Scottish history and culture is
presented in a way which tells the story of
the people of Scotland through the lens of
the visual arts.
Scotland’s pioneering role in the
development of photography is celebrated
by the establishment of a permanent
photography gallery in the building, the
first such gallery in a public institution in
Scotland. The opening display, Romantic
Camera, highlighted some of the greatest
works in the photography collection. The
gallery, named the Robert Mapplethorpe
Photography Gallery, will show regular,
changing photography displays which will
demonstrate the breadth of the collection,
made possible by the generous support of
the Mapplethorpe Foundation.
Touch Screens
As part of our developing digital strategy, we
created a multimedia touch screen system
for the Portrait Gallery. Faces & Places
uses extensive multimedia material to give
additional context to the great Scots in our
portraits, including archive video and audio,
specially commissioned films and pageturning
features for important texts.
There is also an online component of
Faces & Places on nationalgalleries.org
where Gallery visitors can extend their experience,
and users can access some of the
content and do online-only activities, such
as ‘My Face, My Place’.
Above Cleaning the mural
scheme by William Hole
in the Great Hall. Photos:
Antonia Reeve
Above left Transporting back
into the Gallery and installing
Agostino Masucci’s The
Solemnisation of the Marriage
of James III and Maria
Clementina Sobieska. Photos:
NGS Conservation
Above right Faces & Places touch
screen gallery
Completing the Project
It took an enormous amount of planning
and effort to complete the project
and to create the new displays. In the
months leading up to the grand opening
on 1 December, the finishing touches
were made to the interior of the building,
including cleaning the murals in the Great
Hall and reinstating the artworks.
Over the summer of 2011 the
Conservation Department undertook
an intensive six-week project to clean
the lavish mural scheme by William
Hole which decorates the Great Hall.
These extraordinary paintings, which
include detailed sculptural and applied
elements, are a key feature of the spectacular
Arts and Crafts building. The
project brought together a team of eleven
people, including two Edinburgh-based
wall painting conservators and an international
team of students from training
courses in the USA, Finland, Canada and
UK. Not only are the results breath-taking
after the removal of thick layers of grime,
but the project provided a means by which
the Galleries could contribute to the development
of conservation training around
the world. This project was generously
supported by WREN (Waste Recycling
Environmental Ltd).
Many of the objects were easily transported
back into the Portrait Gallery,
but some of the larger objects were not
so straightforward. The movement from
storage back into the Gallery of two
outsized paintings by the eighteenthcentury
Italian artist Agostino Masucci
presented a logistical conundrum to
the team, with each measuring around
3.5 metres. To simply carry them up the
stairs was not an option. Our conservation
technicians built a customised former
or ‘horse’ around which the works could
6 7

Opposite Opening event at the
Portrait Gallery. Photo: Chris Watt
Right, top to bottom First Minister,
Alex Salmond, speaking at the
reopening of the Gallery.
Photo: Chris Watt
John Byrne at the Gallery reopening,
standing in front of his portrait by
David Eustace. Photo: Chris Watt
© www.DavidEustace.com
Craigentinny Primary School choir
singing at a Family Christmas
Concert. Photo: Andy McGregor
be carefully wrapped. Moving one at a
time, the works were easily manoeuvred
into position using the building’s new
lift. This is one of the first instances
that this technique has been used
in Scotland.
At 10am on 1 December 2011, flags and
balloons were enthusiastically waved
to herald the public reopening of the
Scottish National Portrait Gallery.
Entertainment was provided by the
pipe band of Preston Lodge High
School, before John Byrne, artist and
playwright, knocked on the door of the
Gallery and became the first member
of the public to cross the threshold.
Later that day, the First Minister, Alex
Salmond, unveiled a plaque commemorating
the reopening.
A special festive programme of
events for all ages was launched to
celebrate the reopening of the Gallery.
This included live music and dance
inspired by the displays, pop-up gallery
talks by curators and educators, a
site-specific performance of ‘song as
portrait’, drop-in art activities for children,
storytelling in the library and a
Family Christmas Concert featuring
the Craigentinny Primary School choir.
Visitors were also invited to join a host
of colourful characters from Scottish
history as they came to life in The Great
Portrait Breakout! To mark the opening,
the education and curatorial teams
created a suite of five new thematic
gallery trails aimed to attract visitors of
all ages.
Around 52,000 people visited the
Portrait Gallery in its first month, with
reviews and feedback being overwhelmingly
positive.
8 9
The Opening

Our public programme
combines the display of
the permanent collection
with a series of temporary
exhibitions and displays,
alongside a dynamic
programme of education
activities and events.
A World-Class Programme
In 2011–12 NGS provided a wide and
varied programme across the Galleries,
including three major displays by living
artists. Here we have selected some of
the highlights.
Opposite Lightness of Being, 2007 by
Chris Levine. © Chris Levine
Below Tulips, 1987 by Elizabeth
Blackadder, Private collection.
© The Artist
S C OT T I S H N AT I O N A L GALLERY
The Queen: Art and Image
25 June to 18 September 2011
Sponsored by Turcan Connell
From her accession to the throne in 1952
to the present day, this groundbreaking
survey of images of Queen Elizabeth II
included many of the most iconic representations
of the Queen ever made,
including formal and official portraits as
well as documentary, unofficial and multimedia
representations, and fascinating
archival records. Each decade was highlighted
by a keynote image, illuminating a
range of accompanying material, to reveal
the startling variety of artistic creativity
that Elizabeth has inspired throughout
her reign as Queen. The exhibition
originated at the National Portrait Gallery,
London and celebrated the Queen’s
Diamond Jubilee.
Elizabeth Blackadder
2 July 2011 to 2 January 2012
Sponsored by Baillie Gifford
Dame Elizabeth Blackadder is one of
Scotland’s most popular artists, renowned
for her paintings, watercolours and drawings,
and in particular for her depictions of
plants and animals. This major retrospective
celebrated her eightieth birthday and
offered the opportunity to see her work in
all its diversity, beginning with the 1950s
and showcasing her career right up to the
present day.
11

12
S C OT T I S H N AT I O N A L
GALLERY O F M O D E R N A RT
Tony Cragg
30 July to 6 November 2011
Sponsored by Holtermann Fine Art and
the Henry Moore Foundation
Above left Bent of Mind, 2002 by
Tony Cragg. © The Artist.
Photo: Charles Duprat
Above right Portrait of a Lady
in Black, c.1921 by F.C.B. Cadell,
Scottish National Gallery of
Modern Art. Bequest of Mr &
Mrs G.D. Robinson, through the
Art Fund, 1988
Opposite Lightning Fields 168,
2009 by Hiroshi Sugimoto.
© The Artist
An artist of high international acclaim
and immense energy, Cragg has developed
more possibilities in the making of sculpture
than any other sculptor since Henry
Moore discovered the ‘hole’ as positive
space. Early works of the 1970s were
mostly made with found objects through
which Cragg questioned and tested
possibilities. Later pieces demonstrate
Hiroshi Sugimoto
4 August to 25 September 2011
In partnership with Edinburgh
International Festival
This was a major exhibition of works from
the renowned Japanese photographer
Hiroshi Sugimoto. Featuring twenty-six
large-scale works from two of Sugimoto’s
recent series, Lightening Fields and
Photogenic Drawings, the show included
dramatic photographs produced through
the play of violent electrical discharges
on photographic film. The Photogenic
Drawings series was inspired by the
innovative techniques of the nineteenthcentury
photographer Henry Fox Talbot.
a shift of interest to surface quality and
how that could be manipulated, and
a play with unlikely juxtapositions of
materials. Results vary from the exquisite
to the grotesque, from the refined to the
crude, in bronze, steel, plastic, rubber,
glass, wood, plaster and more. This
exhibition showcased his work to great
critical reception.
F.C.B. Cadell
22 October 2011 to 18 March 2012
Sponsored by Dickson Minto
This major retrospective was the first
solo exhibition of Cadell’s work in a
public gallery in almost seventy years. Of
the four Scottish Colourists, Cadell was
arguably the most elegant painter of the
group, known for his stylish portrayals
of Edinburgh New Town interiors and
the society that occupied them, as well
as for his landscapes of the Scottish
west coast and the south of France. The
show brought together eighty paintings,
including iconic works such as The White
Room and The Orange Blind.

ARTIST ROOMS is a new collection
of international contemporary art
which has been created through one
of the largest and most imaginative
gifts of art ever made to museums
in Britain. The gift was made by
Anthony d’Offay, with the assistance
of the National Heritage Memorial
Fund, the Art Fund and the Scottish
and British Governments 2011 in 2008.
A RTIST ROOMS
ON TOUR WITH THE
ON TOUR WITH THE
Tate St Ives
Agnes Martin 14 May - 25 September 2011
2011
Kilmarnock, Dick Institute, East Ayrshire Council
Bill Viola 3 September - 24 December 2011
Mostyn, Llandudno
Anselm Kiefer
3 December 2011–11 March 2012
National Museum Cardiff
Joseph Beuys 22 October 2011 – 8 January 2012
ARTIST ROOMS On Tour is an inspired partnership with the Art Fund – the fundraising charity for works of
art, making the ARTIST ROOMS collection of international contemporary art available to galleries
throughout the UK. ARTIST ROOMS is jointly owned by Tate and National Galleries of Scotland and was
established through The d’Offay Donation in 2008, with the assistance of the National Heritage Memorial
Fund, the Art Fund and the Scottish and British Governments.
Wolverhampton Art Gallery
Ed Ruscha 28 May – 29 October 2011
Southampton City Art Gallery
& John Hansard Gallery
Andy Warhol 27 March - 26 June 2011
Orkney, Stromness, The Pier Arts Centre
Alex Katz and Cy Twombly 26 March – 4 June 2011
Thurso, Swanson Gallery (Highlands Touring Circuit)
Ed Ruscha 15 January – 26 February 2011
Helmsdale, Timespan (Highlands Touring Circuit)
Ed Ruscha 5 March – 16 April 2011
Aberdeen Art Gallery
Diane Arbus 5 February – 9 April 2011
Kilmarnock, Dick Institute, East Ayrshire Council
Edinburgh, Scottish National Gallery of Modern Art
Bill Viola 3 September - 24 Dumfries, December 2011 Gracefield Jeff Koons Arts 19 Centre March - 3 July 2011
Edinburgh, Dean Gallery, Scottish
National Vija Gallery Celmins of Modern Art
August Sander 12 February - 10 July 2011
Dumfries, Gracefield Arts Centre 21 May – 30 July 2011
Vija Celmins
21 May – 30 July 2011 Kendal, Abbot Hall Art Gallery
Kendal, Abbot Hall Art Gallery Richard Leeds Art Gallery Long
Richard Long
Damien Hirst 15 July - 30 October 2011
21 October – 17 December 21 October 2011 – 17 December 2011
Hull, Ferens Art Gallery
Francesca Woodman 11 June - 23 October 2011
Tate St Ives
Agnes Martin 14 May - 25 September 2011
ARTIST ROOMS On Tour is an inspired partnership with the Art Fund – the fundraising charity for works of
art, making the ARTIST ROOMS collection of international contemporary art available to galleries
throughout the UK. ARTIST ROOMS is jointly owned by Tate and National Galleries of Scotland and was
established through The d’Offay Donation in 2008, with the assistance of the National Heritage Memorial
Fund, the Art Fund and the Scottish and British Governments.
Tate Liverpool
Robert Therrien 24 June - 16 October 2011
Mostyn, Llandudno
Anselm Kiefer
3 December 2011–11 March 2012
Wolverhampton Art Gallery
Ed Ruscha 28 May – 29 October 2011
National Museum Cardiff
Joseph Beuys 22 October 2011 – 8 January 2012
Edinburgh, Scottish National Gallery of Modern Art
Jeff Koons 19 March - 3 July 2011
Edinburgh, Dean Gallery, Scottish
National Gallery of Modern Art
August Sander 12 February - 10 July 2011
London, Tate Modern
Diane Arbus, Joseph Beuys,
Jenny Holzer
Spring 2011 - Spring 2012
Bexhill on Sea, The De La Warr Pavilion
Andy Warhol
24 September 2011 - 26 February 2012
For more information on ARTIST ROOMS On Tour
please visit: artfund.org/artistrooms
Southampton City Art Gallery
& John Hansard Gallery
Andy Warhol 27 March - 26 June 2011
Orkney, Stromness, The Pier Arts Centre
Alex Katz and Cy Twombly 26 March – 4 June 2011
Thurso, Swanson Gallery (Highlands Touring Circuit)
Ed Ruscha 15 January – 26 February 2011
Helmsdale, Timespan (Highlands Touring Circuit)
Ed Ruscha 5 March – 16 April 2011
Aberdeen Art Gallery
Diane Arbus 5 February – 9 April 2011
Leeds Art Gallery
Damien Hirst 15 July - 30 October 2011
Tate Liverpool
Robert Therrien 24 June - 16 October 2011
Hull, Ferens Art Gallery
Francesca Woodman 11 June - 23 October 2011
London, Tate Modern
Diane Arbus, Joseph Beuys,
Jenny Holzer
Spring 2011 - Spring 2012
Bexhill on Sea, The De La Warr Pavilion
Andy Warhol
24 September 2011 - 26 February 2012
For more information on ARTIST ROOMS On Tour
The overriding aim of the programme
is to make world-class contemporary
art available to the widest possible
public and to engage and inspire young
people. The extensive and popular UK
national touring programme continued
in 2011, made possible through the
generous support of the Art Fund,
reaching venues from Southampton to
Stromness. In the period of the review,
ARTIST ROOMS displays were seen by
over 500,000 people outside London
and Edinburgh.
We also continued our programme
of ARTIST ROOMS displays at NGS. In
2011 we installed Sol LeWitt’s Wall
Drawing #1136 at the Scottish National
Gallery of Modern Art. This spectacular
wall drawing covered three walls in
the Gallery, enveloping the viewer in a
world of vibrant colours. The drawings
are linear systems which exist as a set of
instructions. The execution of the wall
drawing is carried out by a team who
create the artwork based upon LeWitt’s
precise instructions. It is made by
painting directly on to the walls of the
Gallery, which is then painted over at
a later date when the exhibiting period
is complete.
Opposite Detail from Wall
Drawing #1136, 2004 by
Sol LeWitt, ARTIST ROOMS
National Galleries of Scotland
and Tate. Acquired jointly
through The d’Offay Donation
with assistance from the
National Heritage Memorial
Fund and the Art Fund 2008. ©
ARS, NY and DACS, London 2012
14 15

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 the
national art collection more fully, unlocking
information of relevance to our many
different audiences. It underpins exhibitions,
our education programme and publications.
A selection of our achievements in
the period of this review are listed below.
Symposia, Lectures and Seminars
ARTIST ROOMS: August Sander and Weimar
Germany, Scottish National Gallery,
Edinburgh, 13 May 2011. This one-day
symposium, featuring expert speakers from
the UK, Ireland and Germany, was a collaboration
between the National Galleries of
Scotland and the new VARIE Research
Forum for German Visual Culture at the
University of Edinburgh.
Dürer, Holbein and the Art of the Northern
Renaissance, international study day,
Scottish National Gallery and The Queen’s
Gallery, Edinburgh, 6 October 2011
Challenging Michelangelo: Goltzius’s
Invisible Drawing, research
seminar, Scottish National Gallery,
14 December 2011
Portrait of the Nation – the Conservator’s
Perspective, lecture, Royal College of
Surgeons of Edinburgh, 15 December 2011
Unreliable Sources? Researching Van Gogh’s
Friendship with the Glasgow Art Dealer
Alex Reid, lecture, Nineteenth-century Art,
Architecture and Design Group, University
of Glasgow, 16 February 2012
© Die Photographische Sammlung / SK Stiftung Kultur – August Sander
Archiv, Köln / VG Bild-Kunst, Bonn and DACS, London 2012
Institutional Research
Anne Galastro, An Institutional History
of the Scottish National Gallery of
Modern Art: Tensions, Paradoxes and
Compromises, AHRC Collaborative
Doctoral Award, University of
Edinburgh, 2011
Publications
ISBN 978 1 906270 41 4
Dürer’s Fame, National Galleries of
Scotland, Edinburgh, June 2011
English Drawings and Watercolours in
the National Gallery of Scotland 1600–
1900, National Galleries of Scotland,
Edinburgh, July 2011
Elizabeth Blackadder, National Galleries
of Scotland, Edinburgh, July 2011
Tony Cragg: Sculptures and Drawings,
National Galleries of Scotland,
Edinburgh, July 2011
dürer’s fame
D Ü R E R’S
F A M E
F.C.B. Cadell, National Galleries of
Scotland, Edinburgh, October 2011
A History of the Scottish National
Portrait Gallery, National Galleries of
Scotland, Edinburgh, December 2011
16 17

Opposite Enjoying James Mayhew’s
story book, Katie in Scotland, at the
Tesco Bank Art Competition for Schools
Above Still from the film Silver City
Soul Part One. © NGS, Adam Proctor and
Aberdeen City Council
Learning and access are key priorities and
central to our purpose as a leading cultural
institution. Through our learning activities,
interpretation and resources we aim to entice,
inspire and enable our visitors to connect
with our collection and exhibitions in a
meaningful and enjoyable way.
Learning, Inspiration and
Opportunities for the Young
During 2011–12 we continued our
successful education and community
outreach programme and delivered a
dynamic portfolio of learning activities,
reaching people of all ages and abilities.
Silver City Soul
Achieved in partnership with Aberdeen
City Council, this innovative community
outreach project highlights the creative
potential of portraiture to engage
the people and regions of Scotland.
Aberdonians were invited to re-envisage
their city, in collaboration with local
video artist Adam Proctor. They created
powerful video portraits interspersing
evocative images of a changing city with
its inhabitants’ faces. These compelling
artworks were exhibited during 2011–12,
at the Scottish National Gallery and
at Aberdeen Art Gallery, attracting
60,873 visitors.
18 19

Desire
Desire, our second joint project with
Scottish Ballet, was a unique performance
event at the Gallery of Modern Art.
With the aim of promoting creativity in
dance, we invited the next generation of
practitioners to collaborate artistically.
Choreographers from Telford College
BA Honours Dance course and dance
students from Broughton High School
created original performances inspired
by themes in Scottish Ballet’s A Streetcar
Named Desire in direct response to
artworks in The Sculpture Show at the
Gallery of Modern Art.
Tesco Bank Art Competition
for Schools
NGS was delighted to welcome Tesco
Bank as a new partner for its wellestablished
art competition for schools
from 2012. The competition was launched
in the Portrait Gallery with the help of
James Mayhew, well-known author and
illustrator for children, and pupils from
Knightsridge Primary School. For the
first time in its nine-year history the
competition went out on the road, with
professional artists delivering workshops
inspired by national collection artworks
to primary schools across the country.
Above Desire public performance.
Dancers respond to works by Martin
Boyce (© Martin Boyce) and Barbara
Hepworth (© Bowness, Hepworth Estate).
Photos: Lisa Fleming
Left Jasmine Hunter, winner of the
Special Merit Category E Special
Education in the Tesco Bank Art
Competition for Schools
Opposite top Tesco Bank Art Competition
for Schools ambassador James Mayhew
joins winning artists
Opposite below Young people respond to a
Bill Viola installation at the Dick Institute
with their own artwork
ARTIST ROOMS
The main aim for ARTIST ROOMS is to
engage and inspire young people with
world-class contemporary art. As part
of the 2011 tour, supported by the Art
Fund, the Dick Institute in Kilmarnock
programmed an extensive project relating
to the work of American video and sound
installation artist Bill Viola. Over a sixweek
period, four groups of young people
worked with artists using a range of art
disciplines to interpret Viola’s work. The
young people included students with additional
support needs and individuals with
little or no experience of the visual arts.
20 21

Portrait of the Nation: Live!
Together with the dynamic programme
of changing displays, learning activity
for the newly refurbished Portrait
Gallery aims to keep the Gallery consistently
exciting. Portrait of the Nation:
Live!, our comprehensive three-year
learning programme for the refurbished
Gallery, was launched in January 2012
and targets four principal audiences:
Schools, Families with Children,
Communities (both on- and off-site), and
Adults. Through this excitingly diverse
programme of audience-focused activities,
resources and events, we aim to bring
the Gallery’s portraits and photographs to
life. Portrait of the Nation: Live! seeks to
help visitors to understand how such art
is made and also to engage in discussions
about what individual artworks mean.
Visitors to the Gallery are encouraged
to respond directly to objects, the new
galleries and the refurbished building as
a whole. They can also explore related
themes and issues. We also offer many
different types of opportunities for
visitors to have a go at making art themselves,
communicating their responses
to a wider audience online, and through
community-focused exhibitions and
displays.
Schools activity since January 2012
has been revitalised through a brandnew
programme of guided tours and
practical workshops for early years
to senior students, and every stage
in-between. This included the launch
of a cross-curricular initiative: In the
Frame: The Jacobite Cause, using innovative
drama activities in the Gallery
to explore this important historical
topic through its visual culture. Meet the
Ancestors is just one of a series of exciting,
new drop-in activities for Families with
Children aged three to twelve, visiting the
Portrait Gallery at weekends and during
the holidays. Using costumes, props,
professional actors and story-tellers, and
lots of imagination, it aims to transport
young people back in time, to the thrilling
historical events of the past, through the
fascinating people and places represented
in the Gallery.
Memories are Made of This is an
award-winning community learning
programme based in the Portrait Gallery
for older people, particularly those with
dementia. It aims to provide an inclusive,
creative environment in which older
people can connect with the national art
collection in a meaningful way. At the
Portrait Gallery we now offer regular,
free reminiscence sessions and artistled
tours inspired by the collection and
displays, as well as other special events
for older people. In February 2012, we
worked with the Sporting Memories
Network to offer special reminiscence
sessions based on sporting topics, particularly
football, linked to our Playing for
Scotland exhibition.
Off-site, we have also launched The
Nation//Live, the NGS’s first, major
community education outreach project
for the new Portrait Gallery, which will
culminate in a ground-breaking exhibition
in the Contemporary Scotland space
in the Gallery, in autumn 2013.
Inspired by the new displays, and
the fabulously refreshed Arts and
Crafts building, the new regular events
and activities programme for adults is
designed to attract a wide-ranging audience.
It includes talks, lectures, thematic
tours, insight sessions in the smaller
gallery spaces, music concerts in the
Great Hall and Enlightenment Gallery,
practical art workshops and specialistled
architecture tours. We also held our
first special Salon event, an Alternative
Burns Night, which sold out well
in advance.
Portrait Triptychs
Portrait Triptychs showcased work
created through a collaborative learning
project in partnership with Ecas, a
disability access charity. Ecas clients,
all of whom are disabled, worked with
contemporary artist Elaine Allison to
create portraits in response to the NGS
collection. The resulting exhibition at the
Scottish National Gallery was attended
by an estimated 77,184 visitors.
Opposite left Meet the Ancestors:
Rebellious Rogues and Drama Queens.
Photo: Andy McGregor
Opposite right Meet the Ancestors:
Caddie Capers. Photo: Alicia Bruce
Right, top to bottom Still from The
Nation//Live trailer. Photo: Daniel
Warren
Memories are Made of This: Summer
Tea Dance. Photo: Andy McGregor
Portrait Triptychs workshop. Photo:
Andy McGregor
22 23

Connecting Across the World
The National Galleries of
Scotland is very successful
at extending its reach across
the world, giving the opportunity
to promote and share
some of Scotland’s amazing
collections with a global
audience.
Parts of the collection reached visitors as
far and wide as the USA and New Zealand.
Loans travelled more locally around
Scotland and across the UK.
N E W Z E A L A N D
In March 2012 NGS sent a series of
works from both the Scottish National
Gallery and the Scottish National
Gallery of Modern Art to Auckland Art
Gallery, New Zealand. Degas to Dalí
comprised around eighty works from
the collection, offering the opportunity
to promote Scotland as well as NGS. It
was the first major travelling exhibition
to be hosted by the magnificently
renovated Auckland Art Gallery since
its reopening in September 2011.
Chris Saines, Director of Auckland Art
Gallery, commented: ‘I am delighted
to confirm that Degas to Dalí achieved
everything and more than we had
hoped for! It was, on all key measures,
an outstanding success for the Gallery,
attracting 98,944 visitors, close to a
record for an exhibition of its kind.’
C H I N A
The Tony Cragg exhibition, following a
successful run at the Scottish National
Gallery of Modern Art in summer 2011,
opened at CAFA Art Museum, Beijing, on
2 March 2012. Although the works were
not part of the NGS collection, the show
had been curated by NGS and was an
opportunity to promote NGS curatorship
and Scotland in the Far East. The exhibition
continued its journey to the Museum
of Contemporary Art, Chengdu and
Himalayas Art Museum, Shanghai.
N O RT H A M E R I CA
Titian and the Golden Age of Venetian
Painting: Masterpieces from the
National Galleries of Scotland
From 21 May to 14 August 2011, the
Museum of Fine Arts, Houston hosted the
final leg of a three venue exhibition tour
across the USA. Prior to this the show
toured to the High Museum in Atlanta
and the Minneapolis Institute of Arts.
The Art of Golf
The second of NGS’s collaborative projects
with the High Museum of Art, Atlanta,
opened successfully on 5 February 2012,
the first leg of a tour which was scheduled
to travel on to Oklahoma, St Petersburg
(Florida) and Philadelphia.
E U R O P E
Venice Biennale
Every two years NGS works with Creative
Scotland and partner galleries to commission
and promote a chosen Scottish
artist at the Venice Biennale. In 2011 this
honour fell to Karla Black with a show
curated by The Fruitmarket Gallery,
Edinburgh.
This was a solo exhibition of brandnew
‘almost objects’, worked in situ into
exquisitely detailed aesthetic forms and
filling the Palazzo Pisani, a fifteenthcentury
Venetian palace. In this major
exhibition the works comprised varied
forms and compositions, in Vaseline
and marble dust, sugar paper and
eyeshadow, soil, powder paint and plaster,
polythene, cellophane and soap, in crumbling,
peeling washes or dustings of
varying colours.
Over 21,000 people visited the show.
Following its conclusion in November
2011, the Venice project continued back
at NGS with a series of education projects
programmed by NGS staff. These included
a performance evening for students at the
Gallery of Modern Art, as well as a series
of artists’ talks and a seminar on ephem-
AC R O S S S C OT L A N D A N D T H E U K
The main driver for our domestic touring
programme is the collection. We place
great emphasis on the effort to provide
nationwide access to our collection and
activities, achieving this through our work
with partner galleries, notably Duff House
and Paxton House. We collaborate with
a very broad range of other museums,
galleries and cultural and heritage bodies
across Scotland and the UK.
Opposite Tony Cragg exhibition in Shanghai.
© The Artist
Above The Golfers, 1847 by Charles Lees,
Scottish National Portrait Gallery, Edinburgh.
Purchased with the assistance of the Heritage
Lottery Fund, the Art Fund and the Royal and
Ancient Golf Club 2002
Below In the Car, 1963 by Roy Lichtenstein,
Scottish National Gallery of Modern Art,
Edinburgh. Purchased 1980. © The Estate of Roy
eral artists’ materials.
Lichtenstein / DACS 2012
24 25

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 supplemen ted
from other sources
including private
benefactors, trust
funds and the
Art Fund.
Building Great Collections
A full list of acquisitions for
2011-12 is available on the National
Galleries of Scotland website
www. nationalgalleries.org.
Opposite Detail from Rome from Monte
Mario by Joseph Mallord William Turner
Diana and Callisto, 1556–9
by Titian (c.1485/90–1576)
Oil on canvas, 187 x 204.5cm
Purchased jointly with the National Gallery,
London, with generous support from the
Heritage Lottery Fund, the Art Fund,
The Monument Trust, the Patrons of the
National Galleries of Scotland and through
private appeals and bequests, 2012
Following the account in the ancient
writer Ovid’s Metamorphoses, Titian here
shows the exposure of the pregnancy of
the unfortunate nymph Callisto, who
had been seduced by Jupiter against her
will. With a commanding gesture, the
goddess Diana expels Callisto from her
chaste company, condemning her to a
life of misery until Jupiter eventually
took pity on her and immortalised her as
the constellation of the Great Bear. The
painting formed part of a highly important
series supplied by Titian over a ten
year period to the Spanish king Philip II,
his most important patron during the
latter part of his career. This is the
outstanding acquisition of the year for
NGS, successfully completing the twopart
deal which saw the painting’s pair,
Diana and Actaeon, acquired in 2009,
again jointly with the National Gallery
in London. The arrangement secures
the continuation of the incomparable
Bridgewater loan of old master paintings
to NGS until at least 2030.
27

Jean-François Regnault, the
Artist’s Son, 1815
by Jean-Baptiste, baron Regnault
(1754–1829)
Oil on panel, 77 x 62cm
Purchased by a private donor and gifted to
the National Galleries of Scotland
This fine Romantic portrait is by an
artist who was considered in his day to
be one of Jacques-Louis David’s great
rivals. Regnault had three sons, all of
whom enjoyed distinguished military
careers during the Napoleonic era.
Jean-François (known as ‘Francesco’
to his friends) is shown wearing the
‘undress’ or service uniform of a captain
in the 3rd Rifle regiment with the Légion
d’honneur pinned to his chest. The
scar on his forehead was the legacy of
a wound from a sabre cut sustained at
the siege of Astorga in Spain in 1811.
This is the first painting by Regnault to
enter a public collection in the United
Kingdom.
Rome from Monte Mario, 1820
by Joseph Mallord William Turner
(1775–1851)
Watercolour, 29.8 x 41.5cm
Accepted by H.M. Government in Lieu of
Inheritance Tax and allocated to the National
Galleries of Scotland 2011
This is the first watercolour based on
Turner’s visit to Rome of 1819–20 to enter
the NGS’s already very fine collection of
watercolours by this artist. It was one of
a set of eight Italian views produced for
Turner’s great friend and patron, Walter
Fawkes of Farnley Hall in Yorkshire. The
view shown is an unusual one and looks
south-east across the ‘eternal city’, with the
dome of St Peter’s visible on the right. The
Via Angelico cuts across the foreground of
this sunset scene. The watercolour later
belonged to another great Turner collector,
the Scot Sir Donald Currie (1825–1909),
founder of the Castle (later Union Castle)
Steamship Company.
Entrance to the Cuiraing, Skye, 1873
by Waller Hugh Paton (1828–1895)
Oil on canvas, 111.8 x 162.6cm
Purchased with the assistance of the
Patrons of the National Galleries of
Scotland 2011
This spectacular landscape is the first
major painting depicting the Isle of
Skye to enter the NGS collection. Waller
Hugh Paton, the younger brother of
the painter Sir Joseph Noel Paton, was
Scotland’s most prolific and successful
Pre-Raphaelite landscape painter. Here
he depicts the Quiraing (spelt by the
artist ‘Cuiraing’) on the Trotternish
peninsula of Skye. Paton had visited it in
1866 and described it as ‘an awful place’.
Here he conjures up that memory with
his vision of tiny kilted figures toiling up
the boulder-strewn slopes, completely
dwarfed by the apocalyptic panorama
of the northern Skye hills beyond. The
picture was exhibited at the Royal
Scottish Academy in Edinburgh in 1873
and retains its original frame.
The Mysterious Garden, 1911
by Margaret Macdonald Mackintosh (1865–1933)
Watercolour and ink over pencil on vellum laid on
original board, 45.1 x 47.7cm
Purchased with the assistance of the Art Fund to
mark the 50th anniversary of the founding of the
Scottish National Gallery of Modern Art
Margaret Macdonald Mackintosh was, alongside
her husband Charles Rennie Mackintosh, one of
the key figures in the emergence of the ‘Glasgow
Style’, as it became known. She studied at Glasgow
School of Art in the early 1890s and there met
Mackintosh, whom she married in 1900. Her sister,
Frances, was a fellow student, and she married
Mackintosh’s friend, James Herbert MacNair. The
group – who sometimes worked together designing
furniture and fittings – became known as ‘The
Four’ or, more sardonically, as ‘The Spook School’,
owing to the spectral appearance of the figures
in many of their works. Producing a distinctive
brand of art nouveau, they became internationally
famous. This is the first work by Margaret
Macdonald Mackintosh to enter the NGS collection.
28 29

Horse’s Skull, Sphere and Moon,
1941
by Peter Rose Pulham (1910–1956)
Oil on canvas, 51 x 76cm
Purchased with the assistance
of the Art Fund. © The estate of the
artist
Peter Rose Pulham worked mainly
as a photographer: moving between
London and Paris in the 1930s, he
made a celebrated series of photographs
of Picasso. He was a close
friend of Francis Bacon and knew
many of the French Surrealists.
He took up painting in the late
1930s. Horse’s Skull, Sphere and
Moon dates from 1941. The writer
Theodora FitzGibbon recalled that
Pulham bought the horse’s head
from a butcher: ‘We soaked, washed,
scrubbed, even cleaned the teeth,
which we found lifted in and out of
the noble skull. It looked superb, like
an unglazed T’ang head.’ Pulham’s
work is rare, owing to a German
bomb destroying his studio. This
work, which joins the NGS’s great
Surrealist collection, must count as
one of his masterpieces.
Untitled, from the series ‘The Brave
Ones’, 2010
by Zwelethu Mthethwa (b.1960)
Digital C-type print, 150 x 194.3cm
Purchased with the assistance of the Art
Fund. © Courtesy of the artist and Jack
Shainman Gallery, NY
From Mthethwa’s recent series, The Brave
Ones, this image depicts two boys from the
Shembe Nazareth Baptist religious community
in South Africa, a denomination that
blends Christian and Zulu traditions.
Its young male adherents adopt special
costumes based on the kilt for religious
ceremonies, often performed on the edges
of forests (the boys refer to themselves as
the ‘Iscotch’). The influence is drawn from
Scottish regiments that were present in
Natal in the late nineteenth century.
Self-portrait, 1986–7
by Alison Watt (b.1965)
Oil on canvas, 30.8 x 30.8cm
Presented by the Art Fund in December 2011 to celebrate
the reopening of the Scottish National Portrait
Gallery. © Alison Watt
This self-portrait was painted while Alison Watt,
one of Scotland’s most distinguished contemporary
artists, was still a student at Glasgow School
of Art. Watt is best known for her enigmatic
paintings of drapery, but, even in these seemingly
abstracted works, there is a powerful sense of the
human body implied by the folds and creases. Watt
painted images of herself obsessively in her early
career, and, although she has rarely engaged in
formal portraiture, self-representation remains
an important element of her work. This acquisition
underlines the commitment of the Scottish
National Portrait Gallery to exploring contemporary
portraiture and showcasing Scottish talent.
‘Self-portrait: Scratched out, it’s all in
the wrist’, c.2006
by Steven Campbell (1953–2007)
Oil on canvas, 183.5 x 133.5cm
Purchased with the assistance of the Patrons
of the National Galleries of Scotland 2011.
© The estate of Steven Campbell
Steven Campbell was one of the most
prominent painters to emerge in the revival
of Glasgow as an art centre in the 1970s
and 1980s. This theatrical and complex
self-portrait is one of the last paintings
Campbell completed before his untimely
death in 2007. It is filled with a rich narrative,
incorporating figures and symbols,
mixed together in a dream-like composition.
The artist presents himself as a Christ
figure, displaying his palms which show
the stigmata. To the left, a cross is marked
out with police tape, which, as testament
to Campbell’s dark humour, reads ‘Police.
Death in Progress’. He takes this further
with a skull visible at the base of the cross,
a reference to Golgotha, the place where
Christ was crucified. Crammed with death
and religious symbolism, it is hard not to
consider this work as a portrait of a man
in some way aware that death was on
his doorstep.
31

ARTIST ROOMS Gifts
From its inception, ARTIST ROOMS was
intended to grow, both to develop the
existing holdings, and to introduce the
work of younger generations of artists in
order for the collection to remain dynamic
and contemporary (see page 15). Shared
with audiences nationally through a major
touring programme since 2009, thanks to
the support of the Art Fund, the collection
has a principal aim of inspiring young
people. Many artists and individuals have
responded to this ethos of learning and
engagement and have generously donated
works that are enabling this world-class
national collection to develop in new and
exciting ways, for the benefit of audiences
throughout Scotland and the UK.
M A RT I N C R E E D ( b. 1 968)
Work No. 1102, 2011
Acrylic on canvas, 61 x 45.7cm
Work No. 1103, 2011
Oil on canvas, 61 x 45.7cm
Work No. 1104, 2011
Acrylic on canvas, 61 x 45.7cm
Work No. 1105, 2011
Acrylic on canvas, 61 x 45.7cm
ARTIST ROOMS Presented by the artist
jointly to National Galleries of Scotland
and Tate and acquired with assistance
of the ARTIST ROOMS Endowment,
supported by the Henry Moore
Foundation and Tate Members 2011.
© Martin Creed
Martin Creed’s work emerges from an
ongoing series of investigations into
commonplace objects and actions.
Creed titles his works primarily using
numbers, so that each piece is added
to his catalogue with equal status,
regardless of its size, or medium.
Through subtle interventions or
apparently simple processes, he
reintroduces the viewer to elements
of the everyday and the ordinary that
are otherwise overlooked. Creed has
made numerous works that deal with
notions of subtraction and addition,
stacking and progression. The artist has
generously presented a group of seven
works to NGS and Tate for ARTIST ROOMS,
of which these four recent paintings
represent an important aspect of the
artist’s practice. In such works, Creed
builds up broad lines of paint across the
canvas in decreasing lengths that together
create a stepped pyramid. Each painting
differs in terms of the width and number
of lines, following a set of rules that resist
processes of decision-making. Although
individually titled, together the four
paintings form a series that can be exhibited
together.
R O B E RT M A P P L ETHORPE
( 1 9 4 6 –1989)
David Hockney, 1976
Silver gelatine print, 50.8 x 40.6cm
Feet, 1982
Silver gelatine print, 50.8 x 40.6cm
ARTIST ROOMS National Galleries of
Scotland and Tate. Presented by the
Robert Mapplethorpe Foundation 2010.
© Robert Mapplethorpe Foundation.
Used by permission.
The acclaimed American artist Robert
Mapplethorpe used photography as a
means of exploring the physical and
sculptural potential of objects and the
human form. Originally trained as a
painter and sculptor at Pratt Institute,
Brooklyn, New York, he did not see
himself as a ‘photographer’. Rather, his
practice with the medium initially developed
out of an interest in using photographic
images found in magazines and
books. He went on to take his own photographs
in order to control his compositions
more directly. His distinctive style
possesses a classical quality that revels
in the sensualism of nature and the body.
By the time of his premature death from
AIDS in 1989 he had created a powerful
body of work that spanned portraiture
of artists, writers and actors, floral still
lifes, male and female nudes, figurative
studies, and erotic images which engaged
with sexual politics through frank and
frequently provocative compositions.
The explicit nature of many of his works
caused controversy, testing the very
right to individual freedom of expression.
Mapplethorpe triumphed over
legal campaigns, and his work therefore
holds a significant place in the history of
artistic struggle.
32 33

Opposite Friends 10th Anniversary
event. Photo: AMJ Photography
Supporters
Corporate Support
Apex Hotels
Baillie Gifford
BNY Mellon
Dickson Minto WS
Doughty Hanson & Co
The Drambuie Liqueur Company
The Edinburgh Residence
Holtermann Fine Art
Lloyds Banking Group
Lowell Libson Ltd
Lycetts
Rathbones
Scottish Widows
Tesco Bank
Turcan Connell
Donors
The Scottish Government
Heritage Lottery Fund Scotland
The Art Fund
Mary R. Ainsworth
Patricia R. Andrew
Sir Michael and Lady Atiyah
The Bacher Trust
The Misses Barrie Charitable Trust
The Binks Trust
David and Alison Binnie
To celebrate the birth of James Alexander
Boag-Thomson on 27 January 2011
Bourne Fine Art
Iain Gordon Brown
Irene J. Brown
Mr and Mrs Nigel Buchanan
Catriona Burns on behalf of Finlay
William Hunter Read, Flora Charlotte
The Gabo Trust
Gavin and Kate Gemmell
Doreen Milne
The Monument Trust
Burns and Hector James Burns
Sir Matthew and Lady Goodwin
The Henry Moore Foundation
34 35
Jim Buddle
The staff and Trustees
would like to thank 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
Dr Norman E. Butcher, Geologist
Jennifer Bute for John Bute
J. Graham Callander
Lady Mary Callander
Lord Cameron of Lochbroom
Angus and Anne Cameron
To celebrate the special birthday of
Mike Ciesla from all his family
The Vivienne and Sam Cohen
Charitable Trust
Joanna Cole-Hamilton
Sally Cole-Hamilton
Norma-Ann and Rob Coleman
Herbert Coutts MBE KM
Andrew Crowe
Dr and Mrs John Cruikshank
Kathleen Dalyell OBE and Tam Dalyell
Moira Davidson
Ronald and Jane Duff
Dunard Fund
Edinburgh Decorative and
Fine Arts Society
David Eustace
Esmée Fairbairn Foundation
Sir Tom and Lady Farmer
Dr Angus Findlay
Niall and Dale Finlayson for
their family in America
Chris and Claire Fletcher
Joanna Forsyth, from her
daughter, Rosemary
Scott Forsyth, from his son, Dick,
and his daughter, Rosemary
Gordon Fraser Charitable Trust
The Friends of Morita; The
Victor Murphy Trust
Scotland in 2011–12. In
addition, we would like to
thank the Patrons, Friends
and American Patrons
of the National Galleries
of Scotland for their
continued interest in, and
support for, our work.
For Gregor and Finlay, the
stars in our firmament
Natalie Gyles
Lord Hamilton
John Alexander Don Harrison
From the loving family of Judy Heller de
Gonzalez to celebrate her 60th birthday
Carol and Shields Henderson
Miss E.C. Hendry’s Charitable Trust
The Right Hon the Lord
Hope of Craighead KT
Miss Agnes H. Hunter’s Trust
The Imlay Foundation
International Music and Art Foundation
To celebrate the 50th birthday of
Yvonne Keith from her mother
Dame Barbara Kelly
Brian and Lesley Knox
The Lamb Family
Norman Lawrie
Carol Ann Leeuwenberg
Joost Leeuwenberg
Joyce Ludriecus DA(Edin)
Peter Macaulay and Alan Rodger
Donald and Louise MacDonald
The R S Macdonald Charitable Trust
Ray MacFarlane
Angus and Elizabeth Mackay
Neil and Anna Magee
George Maxwell Stuart – our
grandson born 3 March 2011
Mary Scott Renwick McCabe
Harvey McGregor QC
Professor Donald B. McIntyre, Geologist
Charlie McNally
Kirsteen Millar

Above Friends on a trip to Rome
Allan and Carol Murray
The Northwood Charitable Trust
Dr Brendan O’Connor
Betty Pentland for the family
Players of People’s Postcode Lottery
The Portrack Charitable Trust
Peter Powell – to celebrate 40 years of the
Thrie Estaits Antiques and Decorations
Sarah Elizabeth Raikes
Mr and Mrs David Reid
Cameron Reid-Thomas
Mia Reid-Thomas
Rory Reid-Thomas
The Robertson Trust
Mrs E.F.S. Robertson, Ladybank – to
celebrate the birth of Findlay G. Kung
The Earl and Countess of Rosebery
The Ross Girls
Alastair and Elizabeth Salvesen
Heather Salzen
Alan Saville
The Seligman and Stanic Families
Michael Shapiro
Louis and Sharon Shirley
Aurore and Jim Sibbet
Julia Singer – in memory of countless
visits to museums and galleries together
David Lennox Skinner
Mrs Norah Helen Spurway
Charitable Trust
The Stevenston Charitable Trust
Kimberly C. Louis Stewart Foundation
Sir Jack and Lady Stewart-Clark
William Syson
Anna Colette Taylor
Charlotte Olive Taylor
Katherine Maria Taylor
Tekoa Trust
Ben and Lucy Thomson
The Tulip Charitable Trust
The Turtleton CharitableTrust
Dame Lorraine Veitch Rutherford
To celebrate the birth of Eloise Maud
Watson on 30th September 2011
Lord Weir
Tibi, Saskia and Theo, my
three Weir stars
Dr Derek A. White
T. George Wickham
Mr Colin Wilson
The Wood Family
WREN
William Zachs and Martin Adam
Legacies
In memory of Miss Marion Dickson
The late Andrew K.M. Elliott
George Greig Garson
In Memoriam
To celebrate the lives of Graham
and Maureen Allison
In memory of Mary Bird (née Greer),
wife of Stanley and Scottish mother National of Ruth,
Gallery
Freda, Susan and Stanley Jnr Scottish National
Gordon Elder Brown – a tribute
Gallery of Modern
to my dear braveArt brother, Gordon,
Art
who died 2 December 1950,
aged 26 years, from Olive
Jeremy M. Burnet and family
Paxton House
in memory of Jen Burnet
In Memory of Peter Duff House Chiene
To celebrate the life of Ben Chudleigh
Another gallery
Remembering Bill Crabbie
To celebrate the life of Marguerite Crane,
who loved this gallery and inspired a love
of its works in others, from her children
Norman Christison Crow, 1925–2009
In memory of John Drysdale,
6 February 1929–2 February 2008,
and his grandson Sandy Dickson,
24 January 1986–12 August 2000
To celebrate the life of
Alexander Blair Garven
To celebrate the life of Annie Garven
Elisabeth Graham 1929–2010, she
loved much and was much loved
In Memory of John Higgitt
In memory of Graham Frank Horsman,
1951–2010, donated by his family
In memory of a much loved wife,
mum and friend to many throughout
the world, with love from Jack,
Genevieve and John Livingstone
Jill Marx in memory of David Marx
In memory of Alexander (Sandy)
McMorran of Leith and Grangemouth,
11 May 1954–28 May 2011
In memory of Alastair McNicol
This star is to remember my
husband Brian J.L. Minto OBE
CA, from Margot J. Minto
In memory of Muz who found
excitement in the stars
To celebrate the life of
A.V.B (Nick) Norman
Gallery
Scottish National
To celebrate the life of my
father, Archie Watt
Scottish National
Scottish National
Portrait Gallery
Portrait Gallery
Joan Wilson, 1910–1998, and Mick
Wilson 1912–1943, from Jennifer Wilson
In memory of Millie Yule (née
Cartwright), mother of Jane and Sarah
897014
897014
315292
315292
Scottish National
Gallery of Modern
164757 164757
1 6 9 819 6 9 8 9
2 0 5 32 2 0 5 3 2
1 6 4 715 674 7 5 7
Paxton House
Duff House
Another gallery
Facts and Figures
Visitor Numbers
897,014 Scottish National Gallery
315,292 Scottish National Gallery of
Modern Art
164,757 Scottish National Portrait Gallery
(reopened 1 December 2011)
1,377,063 Total visitors to Edinburgh Galleries
Virtual Visitors
1,144,140 Sessions on the NGS website
Educational Visits
33,481 Total number of participants from schools,
higher and further education
28,209 Total number of adult participants at talks,
lectures and practical workshops
4,878 Total number of community and
outreach participants
6,661 Total number of families with children
at drop-in events
Partner Galleries
16,989 Paxton House
20,532 Duff House
Scottish National Gallery
Scottish National Gallery
Scottish National Gallery of Modern Art
Scottish National Gallery of Modern Art
Scottish
Scottish
National
National Portrait
Portrait
Gallery
Gallery
Paxton House
Duff House
National Galleries of Scotland
Board of Trustees
Ben Thomson Chairman
Ian Barr
Richard Burns
Herbert Coutts (to 31 July 2011)
James Dawnay (to 31 July 2011)
Professor Ian Howard
James Knox
Lesley Knox
Ray MacFarlane
Alasdair Morton
Nicola Wilson
Senior Management Team
John Leighton
Director-General
Michael Clarke
Director, Scottish National Gallery
Nicola Catterall
Chief Operating Officer
Dr Simon Groom
Director, Scottish National Gallery of Modern Art
James Holloway (to 27 January 2012)
Director, Scottish National Portrait Gallery
Nicola Kalinsky (from 28 January 2012)
Interim Director, Scottish National Portrait Gallery
Jacqueline Ridge
Keeper of Conservation
Catrin Tilley
Director of External Affairs
Elaine Anderson
Head of Planning and Performance
Finance
Full Annual Accounts for 2011–12
are available on the NGS website
www.nationalgalleries.org.
Published by the Trustees of the
National Galleries of Scotland 2012
ISBN 978–1–906270–59–9
© Trustees of the National Galleries of Scotland 2012
Unless stated otherwise, all works © the Artists
Designed by Dalrymple
Printed by Pureprint
Photographic Credits: Unless stated otherwise, all images have
been photographed by John McKenzie, Antonia Reeve, NGS
Education, NGS Curatorial Team, NGS Development and NGS
Conservation and are © National Galleries of Scotland. All other
images are © the photographers.
For further information on all our activities please visit our
website: www.nationalgalleries.org. National Galleries of
Scotland is a charity registered in Scotland (no.SC003728)
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