The Art Guide 2021

A sunny seascape by Morningside Gallery artist Emily Powell

Art can transform your home, and your life. Read on for how to find it, buy it and hang it Words Susan Mansfield

THE ART GUIDE 2021

[Top] A bold Julia Krone painting was the starting point for this kitchen’s decor. [Below] Big Yellow Flowers by Sophie Harding, £750

Where to begin Buying art can be a daunting prospect. Even crossing the threshold of a gallery can feel like entering an exclusive world reserved for those with specialist knowledge. But many galleries are working hard to break down perceived barriers.

If you’re interested in buying a piece of art for your home, the first thing to do is browse – and have fun doing it. “People often feel they’ve got to buy something when they come into the gallery,” says Alan Rae, owner of Fidra Fine Art in Gullane. “But I want people to use the gallery to learn. Visit galleries often, look at different things – it takes a long time to understand what you like.”

As you visit more galleries, you will realise that each has its preferences, and its price range. Many people also find their tastes evolving. “At first, people will automatically go for something pretty and safe,” says Alan Rae. “I didn’t like abstract art to begin with, and now it’s one of my favourite art forms.”

When you fall in love with a piece of art, trust your instincts.

“Follow your heart,” advises artist Mary McDonald. “For me, purchasing art or creating art should not be fashion-led or priceled. And it doesn’t need to be expensive to be good. But it’s so important to have an emotional connection to the painting.”

Beth Junor, owner of the Junor Gallery in St Andrews, agrees: “Buy something you like and want to live with, rather than thinking about it as an investment. Every collection begins with one piece and it’s such a thrill to buy your first.”

If you’re looking for a piece to fit in a specific room, it’s worth considering the mood you’d like to create, says Eileadh Swan of Edinburgh’s Morningside Gallery. “Colour can have a big impact on our emotions and mood. If it’s for a room you read in or sleep in, look for a painting that has a subtle palette. In a room where you want to feel lively and invigorated, go for something big and colourful.”

One way to plan a redecoration project is to choose a signature painting and build the rest of the room around it. “I advise clients, if possible, to choose their art first and use this as a departure point for the rest of the room,” says artist Julia Krone. “One client purchased a large painting of mine which he hung in his chic modern extension and then proceeded to go from there – perspex chairs in a mix of colours, orange, clear, black, and a fabulous white kitchen backdrop.”

If you’re thinking about buying art as an investment, it’s vital to remember that a return is never guaranteed. Do your homework: find out as much as you can about the artist and their career, other galleries they are connected with, whether they sell well at auction and if their work is in any major collections. “A lot of our clients are interested in the investment opportunities of buying good

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Scottish art,” says David Reid, who owns the Ballater Gallery in Aberdeenshire. “We can help them with information about the prices the artist has achieved over the years. If that artist is also represented by London galleries, it helps give confidence. However, my own view is – even if you are a multimillionaire – don’t buy a picture unless you like it.”

Art fairs, taking place annually in Scotland’s major cities, are good places to view work from a range of galleries in one place.

It’s also worth looking out for the annual exhibitions of artistrun societies, the Royal Scottish Academy (RSA), Royal Glasgow Institute (RGI), Royal Scottish Society of Painters in Watercolour (RSW) and others, where all the work is for sale. You can also buy direct from artists – most are happy to be contacted through their websites – and from events such as Open Studios.

Always ask if a gallery or organisation has signed up to the Own Art Scheme, supported by Creative Scotland, which allows you to spread the cost of a work of art (it applies to pieces by a living artist, costing between £100 and £2,500) over ten interest-free monthly payments. Some galleries also operate their own payment schemes.

“Purchasing art should not be fashion-led. And it doesn’t need to be expensive to be good.

But it’s so important to have an emotional connection to the painting” Mary McDonald, artist

Buy art from home Two years ago, many art collectors would have dismissed the idea of buying a painting they hadn’t seen in the flesh, but the pandemic changed all that. Many galleries revamped their websites during lockdown, providing more information and better images for online customers, and online sales increased across all art sectors.

Initiatives such as #artistsupportpledge, set up on Instagram to support artists during the pandemic, proved an excellent way to pick up big-name art at low prices. The brainchild of British painter Matthew Burrows, it invites artists to post works of art for sale for £200; once the artist makes £1,000, he or she pledges to buy a £200 work from another artist (search the hashtag to see what’s currently available).

Galleries might have reopened to the public again, but online purchasing looks set to continue. “High-resolution images can give you a good feel for artwork online, especially texture and colours,” says Lynzi Leroy, founder of the Scottish Design Exchange. “But always check the dimensions carefully as it can be difficult to get an idea of size online.”

Edinburgh-based auction house Lyon & Turnbull was ៉

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‘Dog nap’ charcoal drawing 32cm x 32cm, Peter Jones [Below] ‘Indoor Jungle’

by Tablet and HAAR, The Tayberry Gallery

one of the first to ‘flip’ its business online during the pandemic.

Managing director Gavin Strang describes it “a monstrous gamble”, but one which paid off: buyers flocked to its online sales, and other auction houses were swift to follow suit. “I think we’ve seen increased uptake because the online process demystifies it for people,” says Strang. “Some can be intimidated by a saleroom, but online it is so easy – placing a bid is as simple as clicking the ‘bid now’ button.”

Auction houses will list upcoming sales on their website and post catalogues online, often with detailed information about the objects. “People might want to reach out by phone to ask for additional images, or a condition report, which a specialist will compile,” says Strang. “Now that we can invite people in again, we do recommend that you come and see the item if you can, but it’s our job to give the confidence to buy online.”

Auctions are a great way to see a wide range of art with starting prices often well below the retail equivalent. It’s possible to pick up a bargain, or the work of a little-known artist who is ripe for rediscovery, but of course it all depends on how many other bidders are interested.

To get the most out of an auction, do your homework: find out as much as you can about the artist and the work, and set a ceiling for the amount you’re prepared to pay. Remember, the hammer price isn’t the final price – there is also a Buyer’s Premium (usually 20% to 25%, plus VAT) and occasionally other charges, so check beforehand.

To bid online or by phone, register your details with the auction house in advance. Or, if you prefer not to participate in person, register a ‘commission bid’ with your ceiling price, and the auctioneer will bid for you.

When hanging art, it’s good to break a few rules “A lot of people seem to feel that if they have landscape paintings, they need to get other landscapes, and if they have a blue painting, they should get other blue paintings,” says Eileadh Swan of the Morningside Gallery. “I think it works really well to have two or three pieces that are very different but which speak to each other in some way, maybe with a colour or a shape. The contrast makes you appreciate the difference without jarring at all.

“A large painting above the mantelpiece or on a big wall will have a major impact on the space. You might put a smaller painting in a quiet corner where you want to go and spend time with it. It’s not an exact science, but you will get an instinctive sense of balance if it feels right.”

While it’s great to play around with hanging, it’s worth bearing

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THE ART GUIDE 2021

The Norman Gilbert Exhibition at The Tatha Gallery

in mind a few basic principles: measure the space a picture will take up before you buy it; don’t hang too high, but rather aim for eye level when standing; and don’t hang prints or watercolours in direct sunlight. If the gallery uses an app such as Art Visualiser, take advantage of that to preview what a work will look like in your home. Some galleries also offer the chance to take a painting home – ‘try before you buy’, effectively.

If a painting is heavy, or is to be hung where there is a lot of passing traffic (by a dining table, or on a stairwell, for example), consider using frameplates, which attach the frame to the wall, rather than picture hooks. Alarms can also be fitted to the backs of valuable works.

It can be fun to put a work of art where you don’t expect one, suggests artist Mary McDonald: “I love to place art in unexpected places – for example, layer art on a shelf in the kitchen, peeking out from behind glasses or a plant. Sit it on the mantelpiece rather than hang it and let it be part of dressing the space along with beautiful found objects or some shells or ceramics.”

a brightly coloured John Bellany, for example, and put it in an old ornate frame – mixing contemporary and traditional can be really effective.” If you’re hanging a group of contrasting pictures together, using similar frames will help bring a sense of unity.

A little light is better than a lot In a gallery, works of art are lit by spotlights in order to show each one at its best. At home, in more varied light, a work might look very different. “Lighting your newly acquired painting or print is essential, especially in Scotland where there is very little light at certain times of the year,” says artist Julia Krone. “I’m against traditional picture lights as they limit the space on walls for larger pieces. Simple modern spotlights, though, work very well.”

Think about the atmosphere in your paintings and then consider how lighting can best complement that. Use overhead lighting to increase the drama in a stormy picture, or lamps to create a cosy, homely atmosphere.

Have fun with frames

Make sure you’re covered

Artists pay to have their work framed for exhibitions, which means some will choose simple frames, understanding that buyers may prefer to change them later, while others will invest a lot of time and money in the frames they believe are right for their work. If you like a painting but not the frame, it’s always best to discuss this with the gallery.

Oil paintings can be hung without frames, or framed but without glass. If you do use glass, consider museum glass, which is non-reflective. Ideally, prints should be framed ‘floating’ – that is, with space between the glass and the paper.

“It’s good to have some fun with it,” says Fidra Fine Art’s Alan Rae. “If you have a William Gillies painting from the 1960s, keep the original frame with it as a period piece; but take

Artworks up to a certain value will be covered by household contents insurance (check the limit with your provider). Highervalue objects will need to be listed separately, however, and the insurer might ask to see the certificate of sale provided by the gallery. “A gallery should always provide a certificate of sale, which will have a description of the artwork and the price,” says Beth Junor. “Keep it separate from the artwork, and keep photographs of the artwork with it – these will prove invaluable if the item is lost or damaged.”

It’s also worth keeping an eye on the value of your collection; if prices rise, you might need to get work revalued for insurance purposes. Auction houses offer valuation days, or, for a fee, will ៉ provide a professional valuation at home.

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THE ART GUIDE 2021

Vibrant Vibrant peonies peonies captured captured by by Edinburgh-based Edinburgh-based Gillian Gillian Henshaw Henshaw

Take the initiative If you admire a particular artist’s work, but can’t find a painting that is exactly right for you, consider commissioning a bespoke piece. Most artists welcome approaches about commissions and will be happy to give you more information.

An initial conversation might cover topics such as the size and colour of the work, the cost and how long the painting will take.

Edinburgh-based artist Trina Bohan, who paints atmospheric landscapes and skyscapes, says: “Clients often have a favourite skyscape. We start by discussing my work, what they like, the size required and where the work will be displayed. Visiting my studio helps them to understand my process.

“If the client has photographs, we use these as a source for their colour notes and perhaps inspiration. These works are always deeply personal to the client. I really enjoy this process and am impressed by their connection to Scotland.”

Glasgow-based figurative painter Gerard M Burns has painted portraits of many famous Scottish actors and politicians. He also paints portraits to commission. “With people who are embarking on a portrait commission, I ask them to think about it as an adventure,” he says. “For me, it is always a collaborative process. I work hard in the initial stages to find out why they are commissioning the portrait and what aspect of the person I am bringing out. Those initial meetings are very important — I’m 95% of the way there before I make a mark on the canvas.”

After the discussion, he will take an extensive series of photographs which will inform his work in the studio. “People are daunted because they think they’re going to have sit for hours, but this is a relatively painless process. They enter into the process with me, and by the end we have created something wonderful together.” ᔢ

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THERE’S MORE TO ART THAN JUST PAINTINGS A passion for craft seems to have swept through Scottish art schools in recent years, with many students from different disciplines choosing to work in ceramics, textiles, glass and woodwork.

This is matched by a passion for buying crafts: a report published by the Crafts Council in early 2020 found that the craft market in the UK had increased from £883 million in 2006 to over £3 billion in 2019, with almost a third of buyers now aged under 35.

“There is definitely a trend, an appetite for people who want to buy something they know the provenance of,” says Jo Scott, head of programmes at Craft Scotland. “There is an authenticity about knowing where an object has come from, and it is attractive from an ethical point of view, more sustainable than massproduced things.”

Scott’s advice to prospective buyers is to start local, browse work in neighbourhood boutiques and galleries, and look out for Open Studio events which give buyers a chance to meet the artist or maker.

“When you speak to an artist about their inspirations and their process, the work means much more. Even get involved yourself – a lot of makers run workshops and classes. Have a go at being rubbish at it and you’ll realise the skill that goes into making it!

“The beauty of craft is there is such a wide range. There are items sold at very accessible prices, so you can start small and build up to something bigger or more sculptural, or to commissioning a bespoke piece.”

Craft Scotland’s website (www.craftscotland. org) has a directory of makers in Scotland, and a useful What’s On section that lists craft events and Open Studios. For a deeper dive, Collect, the International Art Fair for Contemporary Craft & Design (www. craftscouncil.org. uk/collect-art-fair) in London each February brings together 40 galleries from around the world, with pieces starting from £500.

Tim Pomeroy, Wings Granite, granite, 92 x 40 x 15 cm, Fine Art Society

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ART

GALLERIES, ARTISTS AND UPCOMING SHOWS

Woven wonders Pop into Inverleith House Gallery next time you’re at Edinburgh’s Botanics and catch the world’s largest prize for tapestry. The Cordis Prize welcomed a record number of submissions this year, including work by Anna Olsson (pictured).

Until 12 December. thetapestryprize.org

Big BigdreamsdreamsSouth SouthAfrican-born African-bornEdinburgh-based Edinburgh-basedartist artistJulia Julia Krone Kronehas hascreated createdaalimited-edition limited-editionfifine neart artprint print of ofher herpopular popularpainting paintingDream DreamCatcher.

Catcher.Aiming Aiming to tooff offer eraasense senseof ofhope hopein inaafragile fragileworld, world,her her wider widerportfolio portfolioof oflife-affi life-affirming rmingwork workisisavailable available to toview viewby byappointment appointmentat ather herStockbridge Stockbridge studio studiogallery. gallery.juliakrone.com juliakrone.com

Charity begins at home Head online for this year’s annual Edinburgh Macmillan Art Show. Now in its 19th year, the exhibition brings together dozens of artists across the disciplines, with at least 50% of the funds raised going to the cancer charity.

1 to 30 November. macmillanartshow.org.uk

Think nk inkNicola McBride’s hyper-realistic work has a USP: it’s all done using Bic biro pens. Bridge of Allan’s Fotheringham Gallery has 20 new works by the artist whose creations have a strong connection to her childhood in Dundee and the iconic Scottish brands she grew up with. Until Until 30 30 November.

November. fotheringhamgallery.co.uk fotheringhamgallery.co.uk

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ART NEWS

Female Femaleperspectives perspectives Having Havingshown shownwork workrecently recentlyat atthe the Scottish ScottishNational NationalGallery Galleryof ofModern ModernArt, Art, Moyna MoynaFlannigan Flannigannow nowhas hasan anexhibition exhibitionat at Edinburgh’s Edinburgh’sIngleby InglebyGallery.

Gallery.Here, Here,working working in incollage, collage,she shecentres centreson onwomen, women,showing showing fragmented fragmentedbut butconnected, connected,often oftenhaunting haunting images images. .Until Until18 18December.

December.inglebygallery.com inglebygallery.com

Smooth operator Arran-based sculptor Tim Pomeroy explores the theme of rituals in his new show in Edinburgh this winter, using ancient materials to connect to the earth.

Coastal fragments and fossils are transposed to granite, resulting in majestic, elegant works. 19 November to 23 December. thefineartsociety.comuk

Cut and paste You might recognise him more readily from TV panel shows, but comedian Phill Jupitus is also a budding artist, currently honing his craft at Duncan of Jordanstone. Check out his progress this winter in a group show focused on collage at Gullane’s Fidra Fine Art. Until 21 November. fidrafineart.co.uk

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Seasonal shift Helen Tabor’s Snow Girl (pictured) is just one of the works on display at Kirkcudbright’s Whitehouse Gallery’s annual winter exhibition. Winter Light brings together painters, ceramicists, sculptors and textiles artists and more. 6 November to early January. whitehousegallery.co.uk

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ART NEWS

Pushing Pushingthe theboundaries boundaries Scotland’s Scotland’shome homeof ofweaving, weaving,Dovecot Dovecot Studios, Studios,isisshowing showingpieces piecesby byinternationally internationally acclaimed acclaimedJapanese Japanesetextile textiledesigner designerSudō Sudō Reiko.

Reiko.Five Fivelarge largeinstallations installationsreveal revealthe the manufacturing manufacturingprocesses processesused usedin inher herwork, work, such suchas aswashi washidyeing dyeingand andchemical chemicallace lace embroidery embroideryinspired inspiredby byrolls rollsof ofpaper. paper.

Each Eachisisaccompanied accompaniedby bydrawings drawingsand and sketches, sketches,alongside alongsideraw rawmaterials materialsand anddesign design prototypes. prototypes.Until Until88January.

January.dovecotstudios.com dovecotstudios.com

In the line of fire The militarisation of the Scottish landscape is visual artist and writer Alex Boyd’s subject; he explores the largely unseen places used to train the armed forces and NATO allies.

Working with archaeologists, ecologists and conservationists, he discovers places where nature thrives among burnt-out vehicles and shell craters. Until 13 November. stills.org

Open to all If you’re familiar with the East Neuk Open Studios annual event, you’ll know it’s a great place to see artists at work and pick up original pieces. If creativity is on your Christmas list, the ENOS Christmas Fair at Bowhouse returns with arts and crafts aplenty.

6 and 7 November. eastneukopenstudios.org

Party Partyof offive five To Tocelebrate celebratethe thecentenary centenaryof ofone oneof ofScotland’s Scotland’smost mostsignificant significantfemale female artists, artists,head headto tothe theGlasgow GlasgowWomen’s Women’sLibrary Libraryfor foraarare rarechance chanceto tosee seefive five original originalJoan JoanEardley Eardleyworks. works.It’s It’saafitting fittingplace placeto tohost hostthe theartist’s artist’swork; work;the the east eastend endof ofGlasgow Glasgowfeatures featuresprominently prominentlyin inher herportfolio, portfolio,where whererealism realismand and people peoplepower powercollide collide. .Until Until1212February.

February.womenslibrary.org.uk womenslibrary.org.uk.uk .uk

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ART WORDS

FIRST PERSON

SOPHIE CAMPBELL Sophie Campbell has recently graduated from the Glasgow School of Art and started a Masters at Galashiels School of Textiles. She won the 2021 Alternative Flooring competition to design a new tartan for runners and rugs

[Right] Check Mate, acrylic, oil pastel and digital drawing, 2020

T

his work is very important to me.

I made it right at the start of my graduate collection – this time last year – in my final year of studying textile design at the Glasgow School of Art. My style is bright and positive but I’d found myself becoming increasingly drawn to check and weave patterns.

This was my way of investigating colour, texture and markmaking. It also coincided with a competition run by Alternative Flooring, where students were invited to come up with a new tartan design that could be woven as a runner and rug.

The title of my degree show was Set the Scene and the collection which included this piece is called Check Mate. You can see the visual play on words in the piece, with the black and white squares sharing the space with swishes of colour, different textures and little hand-drawn marks. So, when thinking about creating a new tartan for a rug – which had to follow the brief

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and be done in a limited range of colours – I used this work as inspiration. You can see that I’m exploring colour and texture, but it’s also about the notation and structures you get in weaving when you have to be very disciplined about creating a repeat pattern.

The starting point for the piece is the playful use of acrylic paint brushstrokes for the background and some oil pastel.

Then, after scanning the piece, I made digital drawings and squiggles over the top.

It’s only when you look back at a piece of work after time has passed that you can see how important it was in developing a style. When I made this artwork, my motivation was all about experimentation and pushing my practice in new ways. This combined with the pressure of producing work both for my degree show and the tartan competition – which I’m delighted to say I won. It pleases me to look at it now as a separate artwork, with a life of its own, which represents an important landmark in my journey towards becoming a textile designer. ᔢ

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In 2018, David Reid faced an interesting decision: where to open a gallery showcasing some of the best art by contemporary Scottish artists. The former partner at Knight Frank had returned to his hometown of Aberdeen some years earlier and had organised major art sales for a charity with bases in both Aberdeen and Dundee. As a keen art collector himself, and having built up relationships with many Scottish artists through his charity work, a gallery seemed to him the perfect next step.

The village of Ballater in Royal Deeside emerged as the ideal candidate. An hour’s drive through the beautiful Dee valley, it has been a popular tourist destination since the days of Queen Victoria. The recent restoration of the town’s Royal Station, with support from Prince Charles’s charity The Prince’s Foundation, and the transformation of the Fife Arms Hotel in nearby Braemar into a boutique hotel showcasing art and antiques, helped confirm that his decision was the right one.

David opened the Ballater Gallery in the town’s Bridge Street in June 2019, featuring the work of leading Scottish artists such as Glen Scouller and Jack Morrocco among many others. “Looking towards semi-retirement, I thought a gallery would be an enjoyable pastime,” he says wryly. “In fact, I’m busier now than ever before, so even semi-retirement is an illusion.”

Focusing on Scottish artists with an international reputation, he has developed a stable of over 40 artists and sculptors, and aims to offer art to suit all tastes and a range of budgets. Although the gallery has been trading for only two years – and much of that spent under Covid-19 restrictions – David has been able to build

MANDOLIN AND SALTIMBANQUES, JACK MORROCCO

SUMMER FIZZ, MURIEL BARCLAY

up a client base from all over Scotland and beyond.

From the paintings of Joe Hargan, Ann Oram and Cecilia Cardiff to the charming ceramic dogs of Olivia Brown and bronzes of Laurence Broderick, there are always beautiful, original works to see at the gallery, either in person or online. The Ballater Gallery is also the only one in Scotland to sell work by leading figurative painter Iain Faulkner “Customer service is our modus operandi,” says David. “We have a huge selection of works on display, but we prefer clients to contact us in advance if they are making a long trip so we can ensure the works they are most interested in are available to view on the premises.

“Buying a piece of art is an important decision. We never want collectors to feel under pressure. As we travel around the country frequently, we can usually offer a potential buyer the chance to try a work of art in their home. I can also create bespoke videos to allow people the chance to see every aspect of a painting and its frame.”

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THE ART GUIDE 2021 | PRINTS & PHOTOGRAPHY

Comparatively inexpensive and much more attainable, photographs and artist’s prints are a gateway to collecting Words Susan Mansfield

What if it were possible to own a work by Damien Hirst, or Elizabeth Blackadder, or even Picasso, without forking out tens of thousands of pounds? If that sounds like a pipe-dream, it’s time to discover the world of artist’s prints.

Artist’s prints (as distinct from reproductions of paintings which might be called ‘fine art prints’ by shops or websites) are made at specialist printmaking workshops using processes such as lithography, etching or monoprinting. The artist will decide how many prints are in the edition, and will number and sign each print by hand.

“It’s important to understand the difference between a limited-edition artist’s print and a reproduction print (sometimes called a giclée print), which is a copy of a painting,” says Sam Tovey, project manager at Edinburgh Printmakers. “An artist’s print is a work of art in its own right, conceived by the artist as a multiple, which they have been involved in making. It’s a really affordable way for people to get into the market and own a piece of original art.”

Prints are also a great way to buy a work by an artist you couldn’t reasonably expect to own, such as Tracey Emin or Glasgow-based Turner Prize-winner Martin Boyce, who works mainly in large-scale sculpture and installation. “You can’t go and buy a Martin Boyce sculpture, but you can buy a woodcut for

The Baptism of Clyde by Rachel Maclean, archival digital print, edition of 50, £450, Edinburgh Printmakers

No Surrender by Tracey Emin CBE RA sold for £8,125 (including premium) at Lyon & Turnbull’s Contemporary and Post-War Art Prints and Multiples sale, April 2021

£600, from an edition of ten,” says James Murphy, gallery manager at Glasgow Print Studio. “They are beautiful things which he made working with our master printer.”

Leading contemporary artists such as Hanna Tuulikki and Rachel Maclean, who represented Scotland at the Venice Biennale in 2017, have made prints which are available at Edinburgh Printmakers (www.edinburghprintmakers.co.uk), while Glasgow Print Studio offers work by artists such as John Byrne, Alasdair ៉

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THE ART GUIDE 2021 | PRINTS & PHOTOGRAPHY

Gray and Elizabeth Blackadder, as well as a wide range of others, with prices starting below £100 (www.gpsart.co.uk).

“Prints are a wonderful way to build a collection if you don’t have four or five-figure sums to spend, and to support a wide range of artists from young and emerging to well-known,” says James Murphy. “It’s almost an underdog medium, but awareness of it is growing all the time, and the range is endless.”

And if you’re prepared to spend a little more, it’s still possible to bag a print by some of the biggest names in the 20th century.

Last summer, Edinburgh auction house Lyon & Turnbull sold a Picasso etching from the prestigious Vollard Suite for £6,000.

While the best advice, as with any artwork, is to buy what you love, there is evidence that prints by leading artists maintain and even increase in value. “At the moment we’re seeing a really strong secondary market for prints,” says Carly Shearer, head of prints and multiples at Lyon & Turnbull. “We recently sold a lithograph by David Hockney, Paper Pools, for around £20,000. It was made in an edition of 1,000 and was sold alongside a book in the 1980s.”

Photography is another great way start a collection and to pick up interesting work for your home. “It’s a really rich medium in Scotland in terms of the untapped potential for collectors, both for contemporary and historical work, and it doesn’t need to cost a lot,” says John Farrell, exhibitions and retail co-ordinator at Street Level Photoworks, Glasgow’s photography workshop and gallery.

Street Level’s online shop (www.streetlevelphotoworks.org) features a wide range of works, from moody black-and-white cityscapes of bygone Glasgow to candid shots of top Scottish bands, to contemporary work by a younger generation of art photographers, with prices starting at less than £100. Alan Knox’s unique images look like galaxies in outer space, but are made by scattering his grandfather’s ashes on photosensitive paper and then exposing it to light.

Stills Gallery in Edinburgh (www.stills.org) is currently offering a range of art photographs for £25 (each from an edition of 25) including work by emerging contemporary artist Sekai Machache and artist and writer Christina Riley. Stills director Ben Harman says: “We made these because we wanted to show that photography is accessible for everyone. It’s a very easy medium to collect and very portable – you don’t need to have a lot of space, and it’s easy to hang.”

Photography fairs such as Photo London (www.photolondon. org) are a good way to explore the market, and look out for events like the Magnum Square Print Sale, when prints by the agency’s world-famous photographers are made available online for $100 for one week only (sign up to the mailing list at www.magnum photos.com). ᔢ

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Black Hole I by Alan Knox, £750, Street Level Photoworks

“Prints are a great way to buy a work by an artist you couldn’t reasonably expect to own” PRINTED MATTERS •

•

•

•

Artist’s prints should be signed and numbered by hand by the artist (with the number of the print and the edition, e.g. 7/20).

Some will also be stamped by the workshop.

If buying a print on the secondary market, check the number of the edition matches other examples and that the signatures match, and always check the condition.

Sometimes, prints are sold that were created before the final edition. These might not be numbered but could be marked AP (artist’s proof), PP (printer’s proof), GC (gallery copy), and are sometimes considered more collectable.

Prints and photographs should not be hung in direct sunlight. Make sure acidfree framing materials are used and avoid hanging above a heat source. Consider using UV protective glass on frames, or rotate your collection every now and again for a change of scene.

When buying a photograph, check whether the print is an open or limited edition, and be aware that the same print could be editionised in different sizes. Make sure the work is signed or stamped, or ask for a JLY[PÄ JH[L VM H\[OLU[PJP[` ZPNULK I` [OL HY[PZ[ or the artist’s estate.

THE ART GUIDE 2021 | ARTIST PROFILES

Trina Bohan Skyscape oil painter, large format

Think of the brilliance of Turner, Sisley and Camille Corot, and you’ll get some idea of the kind of enigmatic, brooding atmosphere that landscape artist Trina Bohan seeks to evoke. Her paintings, bursting with colour and character, depict a Scotland that is mysterious, romantic and full of drama.

She is utterly committed to her calling. “Art is my life – I have always painted, and can’t imagine a day without it,” says Bohan. “Art is about beauty and emotion. The sheer joy of putting paint on my palette, the smell of the oil, it’s indescribable – to me, anyway.”

Bohan walks Scotland’s coastlines and landscapes in search of that elusive frame to capture. It might be a particular colour or cloud formation that catches her eye, but her fascination with the Scottish light and the way it refracts, bouncing off hills and lochs or piercing the clouds, has proved an endlessly fruitful source of ideas for this talented painter. ¸;OL SPNO[ PZ Å LL[PUN I\[ \WSPM[PUN" TVTLU[HY` and yet timeless,” she says. “I am inspired to try to capture these ethereal moments.”

It’s usually impossible for her to work outdoors – the wet, blustery weather that conjures up the kind of glowering atmosphere she likes to depict makes it very tricky to paint en plein air – so she spends her time with eyes lifted to the sky, soaking up the vistas and taking thousands of photographs. ¸0 Ä SS ZRL[JO IVVRZ ^P[O JVSV\Y UV[LZ ¹ ZOL explains. “I love the earthy oranges and browns of the heathers and the purples of the land mass. The colours of the land are YLÅ LJ[LK IHJR VU[V [OL JSV\KZ PU HU PU[LYWSH` of sky, land and water. The clouds provide a YLÅ LJ[P]L Z\YMHJL ^OPJO WOV[VNYHWOZ KVU»[ always capture.”

Back in Edinburgh, in her studio at Leith’s Customs House, she works with oil paints

trina.bohan.artist

Above: Near Rhue, 2.2m x 1.2m

on large canvases often up to two metres in width, and sometimes even more. “The larger the better to capture these awesome scenes – all that limits me are the practicalities of space,” she explains.

“I paint in oils for permanence, but my technique is built on a lifelong experience with watercolours, which has enabled me to develop an oil technique that uses transparent layers of washes, building up the colour and adding luminescence and transparency.”

Those who commission her often have a favourite landscape in mind, which can be a useful starting point for the artist. The process begins with a discussion about what the client likes about Bohan’s work, what size is YLX\PYLK HUK ^OLYL [OL Ä UPZOLK HY[^VYR ^PSS be displayed.

“If people like my work because it triggers a response, I feel I have been successful,” she says. “Believe it or not, even the few

trinabohantyrie

trina.bohan

Below: This Summer Sea, 1m x 70cm

negative responses I know about have been positive to me.”

Bohan doesn’t limit herself to depicting [OL ZLH ZR` VY SHUKZJHWL" ZOL PZ HSZV HU HJJVTWSPZOLK Ä N\YH[P]L HY[PZ[ HUK Y\UZ workshops at the Scottish Art Club in Edinburgh. Inspired by her travels (she has set up groups with local artists wherever ZOL OHZ ILLU OLY Ä N\YH[P]L Z[\KPLZ HYL HZ evocative as her landscapes. Both offer an insight into an artist who has embraced her vocation, her compulsion to paint and grasp [OVZL WYLJPV\Z Å LL[PUN TVTLU[Z KL[LYTPULK to give them permanence.

www.trinabohan.co.uk

Customs House, 67 Commercial Street, Leith Docks EH6 6LH / 07783 398112 / trinabohan@gmail.com

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Julia Krone’s Studio Gallery Julia Krone Art + Design

www.juliakrone.com

Meet the artist in her Stockbridge Studio Gallery.

Paintings l Fine Art Prints on Paper or Canvas l Art Fabrics l Art Cushions Bespoke Art Products l Made in Scotland l Online Shop I’m always delighted to welcome visitors by appointment throughout the year.

Please see my website for our pop up Studio Gallery opening hours.

1 Clarence Street, Stockbridge, EH3 5AE, Edinburgh (just off St Stephens Street) M: +44 7766351696 Ring the Doorbell l Track & Trace l Wear a Mask See IG Bio or Website for specific opening hours @JuliaKroneArtDesign

@JuliaKroneArt

FIDRA F I N E ART COLLAGE Colin Brown, John Brown RSW, Alfons Bytautas RSA, Ann Cowan, Phill Jupitus, Simon Laurie RSW RGI & Alastair Strachan with Ceramics from Karen Thompson.

9 OCTOBER TO 21 NOVEMBER Simon Laurie RSW RGI - Fine Wines, Collage on Board, 32x34 inches

www.fidrafineart.co.uk alan@fidrafineart.co.uk HOMESANDINTERIORSSCOTLAND.COM

Gerard M Burns A Painter of People

Painter and portrait artist Gerard M Burns takes his cue from the Old Masters, following their time-honoured technique of building SH`LY \WVU SH`LY VM WHPU[ \U[PS [OL Ä UHS MVYT reveals itself. It’s a method that has won him commissions to depict a host of globally famous Scots – the likes of Ewan McGregor, Billy Connolly and Elaine C Smith.

“I discovered a long time ago that I simply can’t work on any one painting from start [V Ä UPZO¯ 0 LUK \W NVPUN YV\UK PU JPYJSLZ ¹ admits the artist. “The maximum I can spend on any one picture at any given time is a couple of hours, so I can have anything up to 20 or 30 canvases all on the go at the same time. I move between them, tweaking and HKQ\Z[PUN LHJO VUL HZ 0 NV ¹ The Glasgow-born artist is highly collectible, with a strong following in the UK, and across Canada, Europe and the United States, and has several works in the permanent collection of the Scottish National

Portrait Gallery. His signature style speaks of traditional themes but his representation is modern and highly recognisable.

Often working on a very large scale, Burns manages the impressive feat of creating intimacy and hooking the viewer in, despite the majesty of his canvases. He also brings elements of surrealism into his work; symbols are often intertwined with classical portraits, giving his buyers a completely unique piece of art.

And you don’t have to be a celebrity to be painted by Burns – he’s more than happy to accept commissions from the public.

“For some reason people still feel nervous about contacting an artist direct about a commission. Working with clients on portrait commissions is one of the things I enjoy most about this job, so people should absolutely get in touch if this is something they’re interested in. Once the initial contact has been made, a face-to-face consultation is set

Left: Highlands 2 Below: A detail of Burns’s portrait of Brian Cox

gerardmburnsart

gerardmburns

\W LP[OLY PU T` Z[\KPV VY [OL JSPLU[»Z OVTL ¹ OL ZH`Z ¸( KL[HPSLK IYPLM ^PSS IL Å LZOLK V\[ exploring questions like ‘why the portrait is being commissioned’ and ‘who exactly are we painting’. The second question is the most important: it is essential to know, from all of the myriad possibilities, which aspect of the sitter (or sitters) we’ll seeking to portray in [OL WHPU[PUN ¹ The next part of the process involves Burns taking photographs of the sitter, in an attempt to capture that moment when they are absolutely themselves. “This can take a couple of hours, since I take hundreds of photographs, aiming to get just one or two [OH[ LUJHWZ\SH[L [OH[ WLYMLJ[ TVTLU[ ¹ To ensure the sitter is completely happy with the path that will be taken to canvas, these images are selected together, giving [OL ZP[[LY HU HJ[P]L ]VPJL PU [OL Ä UHS MVYT [OL WHPU[PUN ^PSS [HRL ¸0[»Z JVSSHIVYH[P]L ¹ ZH`Z Burns. “The client has to be happy before I’m ^PSSPUN [V JVTTP[ HU`[OPUN [V JHU]HZ ¹ His process has been honed over many years. “The idea is to make the whole thing as pain-free as possible for the client and sitters. Assuming we get what we need from the photo session, the actual painting itself takes place in the studio over a period of two [V [OYLL TVU[OZ ¹ ( Ä UHS JVUZ\S[H[PVU [HRLZ place when the canvas is 95% complete, at which point [OL SHZ[ IP[Z VM Ä UL [\UPUN ^PSS be decided upon. After that, [OL Ä UPZOLK ^VYR PZ ZPNULK and handed over.

Burns paints from a studio in his Victorian home in Dullatur, just outside Glasgow, but twice a year he opens up his home and the Z[\KPV HUK NYV\UK Å VVY VM [OL house are transformed into a gallery where people can come and see his paintings in [OL Å LZO

gerardmburnsartwork

Fairhill House, Prospect Road, Dullatur G68 0AN / 07801 659768 / www.gerardmburns.com / www.gerardmburnscollections.com

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The Butterworth Gallery

Original Art • Prints • Cards & Calendars Scottish Landscapes by Howard and Mary Louise Butterworth

“Luce Bay, Galloway”

By Trina Bohan

01764 663003 | dngauchterarder.co.uk

Quote “HOME10” Online to receive 10% OFF Any Unframed Prints Offer valid until 01.12.21

www.thebutterworthgallery.com

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THE ART GUIDE 2021 | ARTIST PROFILES

Mary McDonald Landscape painter

Left: Gorse (Sanna Bay), 0.63m x 0.63m, £410 Right: Sit a Moment (Loch Lomond), 0.98m x 1.15m, £1,450

“I realise this might sound a bit cheesy,” ZTPSLZ 4HY` 4J+VUHSK ¸I\[ 0 Ä UK LUKSLZZ inspiration in the instinctive, natural creativity of the drawings and paintings that my young children show me.” The Scottish painter studied at Duncan of Jordanstone College of Art, graduating in 2000, and worked in interior design before committing to painting full time in 2015. Now, looking after her young family and renovating the house she shares with her husband, McDonald works from a studio on a beautiful peninsula on the River Clyde between Helensburgh and Dumbarton. It’s little wonder she focuses on capturing the ever-changing ebbs and Å V^Z VM [OL SHUK HUK ZLH ¸4` [Y\L WHZZPVU lies in expressing in paint my love of this country’s varying landscapes,” she says.

“Our unpredictable weather instinctively encourages me to paint and attempt to capture the wild and wonderful experience of where we live.”

Driven by the relationship between sky, land and water, McDonald is at home when

she is investigating sightlines or altering perspective within her work to create new and engaging compositions. “I love to experiment with perspective and the layering of directional lines, often simplifying a subject into what I see as an assembly of elements,” she explains.

“I strive to strike a balance between painting a particular subject without focusing my attention on the most obvious components.”

Filling sketchbooks and taking lots of photographs, she works primarily in oil on canvas, applying layers of expressive paint marks to capture the emotion of her subject.

The resulting pictures, deep with rich tones and layers of paint, brilliantly conjure up the drama of Scotland’s landscapes. “People are attracted to my use of colour and expressive Scottish landscapes but don’t necessarily want a traditional landscape painting,” she admits, with her work held in private collections all around the world including UK, Europe, USA and Canada.

Viewings by appointment at Ardmore Point /

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With a growing following on Instagram, McDonald has viewing sections on all of her social and online platforms for prospective buyers to peruse for purchase and also to see what new work is in progress. She is also represented by galleries accross the UK where work can be seen in person.

Since art is such a personal and emotional endeavour for her, art has taken on a new ZPNUPÄ JHUJL MVY 4J+VUHSK PU YLJLU[ `LHYZ “Painting gives me a release of energy and emotion.

“I can express how I feel so much better in paint than I could ever do with words. It gives me freedom and such joy, and has been particularly important to me, embarking on a new phase of life with a different perspective,” she explains.

“When I take my easel out to the garden or to the loch side, I love being immersed in nature, listening to water lapping on the shoreline or the breeze blowing through wild grasses around me.”

mlmmcdonald / www.marymcdonaldart.co.uk

SHOWS AT COAST GALLERY CONTEMPORARY ART GALLERY IN DUNBAR

www.coastgallerydunbar.com

Time and Tide JANUARY 28TH UNTIL THE 26TH APRIL Girl with Polka Dot Tie and Stripes

by IAN (JOHN) NEILL

138 South Street, KY16 9EQ 01334 474331 info@sprosongallery.com Open Tuesday - Saturday, 10am-1pm / 1:30pm-5pm

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ARTISTS IN THE SHOW: DRYSDALE SCOTT (OUR FEATURED ARTIST) • IAN MCWHINNIE • JULIE BRUNN • MIKE DAVIS • IAN (JOHN) NEILL IAIN HOLMAN • LOU HARDING • ROSANNE BARR MARGARET KATHLEEN HUME • JACKIE HENDERSON

Gallery & Bespoke Framing

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144 High Street, Dunbar, EH42 1JJ

01368 865141

COAST Gallery

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