A first opportunity to hear Councillor Stephen Jenkinson, the Council’s new Transport Convener, speak on the role of cycling as part of Edinburgh City Council’s transport policy.
Cllr Jenkinson will be accompanied by Deborah Paton, Head of Transport, Strategy and Partnership at the Council. Deborah has considerable previous transport and active travel policy experience, including at Glasgow and West Lothian Councils.
At the start of his convenership, Cllr Jenkinson said there has been a great deal of consultation and policy development in the last few years, resulting in the Mobility Plan and other excellent policies under Future Streets … and that his priority would now be delivery.
This is a chance to hear what is happening, and to put forward your priorities, ideas and concerns in the QA.
Doors open 6.45 for coffee, stalls and chat, including Spokes Maps at special stall prices, and a stall to join Spokes or renew membership
Questions Questions for the panel, can be emailed to spokes@spokes.org.uk, at least a day in advance. However, questions in person from audience members are likely to have greatest priority on the night
Online We hope to live broadcast on our youtube channel – confirmation nearer the time – and make the recording available soon after
A special, one-off exhibition at the Portrait gallery in Edinburgh will chart the remarkable reign of King James VI and I, marking the 400-year anniversary of his death. Explore over 140 rare objects, many displayed together for the first time. Tickets are on sale now.
The World of King James VI and I will take visitors on afascinating journey through the complex lifeof a king who changed the shape of the United Kingdom. From 26 April until 14 September 2025, uncover more about this often-misunderstood monarch through ornate paintings, dazzling jewels, lavish textiles, and rare book and manuscripts, alongside some of the most iconic historical portraits from Scotland’s national collection.
Discover tales of friendship, family, feuds and ambition and dive deeper into the life of King James through key moments in his reign including his early childhood, the infamous Scottish witch trials, the Union of the Crowns, the treasonous Gunpowder Plot and early colonial ventures overseas.
This exhibition will not only bring King James’s story to life, but it will transport visitors into the world in which he lived and ruled, celebrating craft, visual arts, literature and performance from the 16th and 17th centuries.
Son of Mary, Queen of Scots, successor to Elizabeth I and the first monarch to rule over Scotland, England and Ireland, King James was born in Edinburgh Castle on 19 June 1566 during one of the most turbulent periods in Scottish history.
Following his mother’s forced abdication in 1567, James was crowned king of Scotland at just 13 months old. Religious reform and noble power struggles dominated his early reign, however his accession to the English throne in 1603 saw him become the uniter of kingdoms.
The World of King James VI and I will offer new perspectives on the King’s life by drawing on themes of contemporary relevance including national identity, queer histories and spirituality and belief.
Meet some of the most famous faces of the period through key artworks from Scotland’s national collection. Uncover more about his family ties and his closest confidants, and see striking portraits of Mary, Queen of Scots, his wife and Queen Consort, Anna of Denmark, and his father, Henry, Lord Darnley.
Accompany James as he grows from an orphaned boy king to established ruler of nations through a range of portraits and objects which document his life, loves and achievements.
The exhibition will give visitors the rare opportunity to view objects that were owned, or associated with King James, including books from his library and gifts he presented to his favourites, such as an intricate silver watch and a 17th-century penknife believed to have belonged to his son, Prince Henry Frederick. Skillfully hand-painted manuscripts by the Edinburgh-based writer and artist Esther Inglis, which were dedicated to the king and members of the court, will also be on display for the first time.
Embrace the pageantry and ceremony of the Jacobean court through sumptuous dress, jewellery, objects and designs from the 16th and 17th centuries. Come up close to original textiles, including a beautifully constructed ladies’ waistcoat on loan from the Fashion Museum in Bath. Embroidered with delicate flowers and adorned with ribbon fasteners, this stunning example of courtly fashion brings to life the lavish outfits depicted in the portraits on display.
The impressive Eglington Jewel (1610), on loan from The Fitzwilliam Museum, will also feature in the exhibition alongside related artworks. A rare surviving example of work by Edinburgh jeweller George Heriot, it comprises of a miniature portrait of Anna of Denmark enclosed in a crimson enamel case and adorned with the Queen’s initials set in diamonds beneath an imperial crown.
Visitors will be given the unique opportunity to view this exquisite jewel alongside a portrait of Lady Anne Livingstone, Countess of Eglinton (1612) in which she can be seen wearing the jewel.
Delve into the belief system in Scotland during a time where spirituality, healing and folklore were entwined with strict religious views. The World of King James VI and Iwill include an early example of the revolutionary King James Bible, on loan from the National Library of Scotland.
The King ordered a new translation of the Bible in 1604, with the version on display dating to 1611. Along with his deeply religious beliefs James was very superstitious and fixated on the occult, particularly the perceived practice of witchcraft.
His beliefs lead him to become instrumental in the origins of the Scottish witch trials. Amongst a variety of objects related to witchcraft will be an original copy of Daemonologie (1597), also from the National Library of Scotland.
This book was written by King James himself and documented the evils of Satan and the covens of witches who acted on his behalf. Daemonologie would go on to set a standard for identifying and persecuting thousands of people, mostly women, as witches, causing lasting notoriety to King James’s legacy.
Travel across the seas to explore James and his government’s reach into North America and East Asia in the 17th century as the exhibition uncovers Jacobean trading ventures and early colonisation projects.
The establishment of the first British colony on North American soil took place under James’s reign. In May 1607 the king granted a warrant to The Virginia Company and The Virginia Colony was founded on the indigenous lands of the Powhatan people called Tsenacommacah.
The colony base was named ‘Jamestown’ in the King’s honour. These colonial projects and settlements lead to the displacement and objectification of many indigenous peoples. Artworks and objects on display will include a print of the Powhatan woman Pocahontas, loaned by The British Museum.
Taken captive by the English colonists when hostilities between the Powhatans and the settlers escalated into conflict, Pocahontas was converted to Christianity and married to an English tobacco merchant John Rolfe. Pocahontas and Rolfe travelled from Virginia to England in 1617.
The print shows Pocahontas aged 21, dressed in Jacobean fashions, which she may have worn when she was presented at court to King James and Queen Anna. Pocahontas died in England and is buried in the cemetery of St George’s Church in Gravesend, Kent.
Experience the great loves and relationships that influenced King James’s time as monarch, from his marriage to Anna of Denmark, to his role as a father to Prince Henry Frederick, Princess Elizabeth and the future King Charles I.
The exhibition will also shed light on the King’s own identity and his role within contemporary queer culture, through exploring his relationships with his court favourites.
Personal letters and portraits will spotlight King James’s inner circle and favoured courtiers, including George Villers, 1st Duke of Buckingham and Robert Kerr, 1st Earl of Somerset, with whom he established close, intimate relationships and who harnessed great influence over his reign.
Thanks to a collaborative research project funded by The University of Edinburgh visitors to the exhibition will have the opportunity to be immersed in the sounds, sights and even the smell of King James’s world.
In collaboration with Dr Catriona Murray (The University of Edinburgh) and the historic scent designer Clara Weale, a bespoke scent has been created especially for The World of King James VI and I. Inspired by a 17th-century apothecary list, also on display, this unique aspect of the exhibition will allow visitors to experience the scent of the Jacobean court.
The World of King James VI and I at the Portrait gallery will be a unique exhibition experience, painting famous historical figures in a new light and connecting the people of the past with the people of today.
The exhibition is yours to discover at National Galleries Scotland: Portrait from Saturday 26 April 2025.
A leading Scottish wine merchant celebrates its 50th anniversary this month, unveiling a refreshed brand identity and a series of events to mark the milestone.
Wine Importers was founded in Edinburgh during March 1975 by three local businessmen: Nicholas Henderson, Johnny Noble, and Robin Morrison. The group dreamed up the business over a nightcap in Whigham’s Wine Cellars, which later opened as a wine bar and remains a cornerstone of the Edinburgh food and drink scene.
Since that day, the business has grown into a premier supplier of fine wines to Scotland’s hospitality industry, providing a personalised service to hotels, restaurants, bars, and cafes across the country.
In 2007, Wine Importers was acquired by the private investment office of Sir David Murray’s family, Murray Capital, which itself celebrated 50 years in business last year.
The family has a strong passion for wine, which is further reflected in its direct investment into a French vineyard – Chateau Routas – and its 2010 acquisition of Scotland’s oldest wine merchants, Cockburns of Leith, which was established in 1796.
Wine Importers’ 50th anniversary celebrations will feature a series of key events throughout the year, including a special portfolio tasting at Murrayfield in March and an exclusive customer event later in the year. The company has also introduced a new refreshed logo and brand identity.
With a 18,000 square-foot bonded warehouse in Livingston, Wine Importers ensures a seamless supply chain, allowing for efficient distribution and quick turnaround times. The company’s regionalised sales team remains one of Scotland’s most experienced, offering tailored support and expert advice to customers.
Keith Murray, Director of Wine Importers, said: “We are proud to celebrate the 50-year anniversary of Wine Importers.
“This milestone is testament to the loyalty of our customers and the strong relationships we have built our global suppliers. We look forward to continuing to provide exceptional wines and service for years to come.”
Neil Renton, Managing Director, said: “The wine industry has changed dramatically over the past 50 years, and we are proud to have adapted and evolved while staying true to our values.
“As we celebrate this anniversary, we reaffirm our commitment to offering Scotland’s hospitality sector the best selection of wines, backed by unparalleled expertise and service.”
Customers queued for over 12 hours on Princes Street to be first to try the famous Chicken Sandwichyesterday
The much-hyped arrival of Popeyes® UK in Edinburgh yesterday had fans queuing down Princes Street from 10.30pm on Thursday night, eager to be the first to try the world-famous Chicken Sandwich.
Opening its doors at 11am, Popeyes® UK celebrated its Edinburgh debut in true Mardi Gras style. Its signature New Orleans hospitality arrived on Princes St, with confetti cannons and live band The Brass Funkeys entertaining customers. Making launch day memorable, fans also had the chance to snap a photo in the new Popeyes® bite booth, capturing all of Edinburgh’s first bite moments.
Over 100 chicken fans lined up from 10.30pm to get a taste of the world-famous Popeyes® Chicken Sandwich.
First in the queue was Jonathan McCaleb who said: “I’m a huge Popeyes® fan, it’s my top-tier fried chicken restaurant!
“Since moving here from America in September, I haven’t had a Popeyes® and I’ve been craving it – especially after seeing the team out and about on campus at the University of Edinburgh yesterday.
“I’ve been waiting over 12 hours to be first in line, and I can’t wait to finally get a taste of that southern goodness again!”
Tom Crowley, Popeyes® UK Chief Executive Officer, commented:“The turnout in Edinburgh today has been incredible.
“People across Scotland have shown their love for our Louisiana chicken, and Edinburgh has now proved just as popular. We look forward to bringing a taste of New Orleans to even more customers across the city.”
Now officially open, the Edinburgh Princes Street location serves the full Popeyes menu.
The line-up includes fan favourites like the iconic Popeyes® Chicken Sandwich, Wings and Tenders. Each piece of Popeyes® famous chicken is marinated for 12 hours in bold Louisiana seasoning, then hand-breaded and battered for that world-famous ‘shatter crunch,’ and complemented by delicious sides like its Original Biscuits and Cajun Gravy.
Plus, the all-new Saucin’ range is dripping with bold flavour featuring three New Orleans-inspired sauces: cheesy Garlic Parm, smokin’ Bold BBQ and spicy Buffalo.
From today, Saturday 15 March, Popeyes® will also be serving up its breakfast menu from 8am to 11am each day. The menu features the Big Cajun Roll, Cajun Hash Browns, and indulgent Nutella-topped buttermilk biscuits – a classic British breakfast with a New Orleans twist.
Popeyes® is located at 131-133 Princes Street, Edinburgh and open from 8am until 10pm. The new 86-seat restaurant includes touch screen self-service kiosks and collection points for orders made online via the Popeyes® UK website or official app.
Edinburgh Princes Street is Popeyes® seventh restaurant in Scotland, as part of its ambitious plans to open more than 45 restaurants across the UK in 2025.
To find out more about Popeyes® Edinburgh, visit the website here or follow the brand on Instagram at @PopeyesUK or TikTok at @popeyesuk
Campaigners from Extinction Rebellion Scotland, Divest Lothian, Friends of the Earth Scotland and Protest in Harmony demonstrated outside the Pensions and Lifetime Savings Association Investment conference in Edinburgh this morning.
The protest included a performance calling on delegates to acknowledge they are currently hugely underestimating climate risk and to take bold action to address this.
This annual Pension Investment conference brings over 800 delegates to Edinburgh from across the UK pension investment industry; an industry which invests more that £1.3 trillion on behalf of 30 million people.
Attracting the attention of delegates with singing and a ‘Big Oil Funk’ dance, campaigners portrayed a pension fund leader with his head in the sand being persuaded by actuaries and climate scientists to look up and “Face the Climate Risks”.
They warn of the “catastrophic” risks to communities and the economy which are being ignored by pension funds due to the flawed climate risk assessments supplied by their advisers, according to ‘Planetary Solvency – finding our balance with nature’, a report published in January 2025 by The Institute and Faculty of Actuaries, in conjunction with climate scientists at the University of Exeter.
The report explains how climate change and nature-driven risks have been hugely underestimated through flawed economic modelling and risk assessment processes. It sets out that we are on a trajectory to catastrophic warming levels of > 2°C by 2050, leading to a possible 50% contraction of the global economy within the lifetimes of current pension savers.
Alexander Forbes, 35, Lifeguard and XR Edinburgh & Lothians, said: “The warning from the actuaries, the risk experts, couldn’t be more stark. Risk management by pension funds is currently blind to systemic climate, nature, societal and economic risks.
“The lack of urgency within governments to make the sweeping policy changes necessary – and within the pension industry to demand that they do – can be directly attributed to the flawed economic modelling and risk assessment processes widely considered authoritative, that underestimate the risk.
“We urgently need the people managing our pension savings to boldly face these risks, be honest about the risks with pension savers and demand the government take immediate policy action to accelerate the energy transition and reduce emissions.”
The actuaries’ report comes at a time when UK pension funds are investing an estimated £88 billion in fossil fuel companies which, buoyed by support from the new US administration, are intent on increasing oil and gas production and worsening the climate crisis, as evidenced by BP’s ‘reset’ announced in February.
Joan Forehand, 60, retired accountant and Divest Lothian, said: “Pension fund managers have their heads in the sand when it comes to climate risk. They need to look at the evidence in front of them, which risk experts have hammered home. A robust approach to climate risk assessment would clearly show that investing in the fossil fuel industry is not in the interests of its members.
“Divestment by pension funds would be both economically wise, and would send a strong signal to governments that policies and subsidies favouring the fossil fuel industry must be rapidly removed.”
Meanwhile climate records continue to be broken and extreme weather is devastating millions of lives around the world.
Last year, 2024, was the hottest on record, and the first year with an average temperature exceeding 1.5°C above the pre-industrial level. January 2025 was the warmest January on record, surprising scientists who had expected it to be cooler due to transition from El Niño to La Niña conditions.
Sally Clark, divestment campaigner at Friends of the Earth Scotland, said: “Pension funds are in charge of our savings, they are responsible for our futures – but if they keep investing in fossil fuels, we won’t have a liveable planet or positive future to retire into.
“The money moved away from fossil fuels could instead be invested in ways that support local communities and protect the planet for everyone, like renewable energy, warm homes and social housing.”
The campaigners demand that pension fund leaders face the climate risks and urgently:
conduct robust climate risk assessments
divest from fossil fuel companies, and;
advocate with governments for policy changes to accelerate the transition.
The centenary of the remarkable Scottish artist Ian Hamilton Finlay (1925-2006) will be marked in a new free display of his work on the ground floor of Modern Two in Edinburgh from 8 March to 26 May 2025.
This exhibition will showcase key highlights from Ian Hamilton Finlay’s artistic career, starting in the early 1960s until his death in 2006. Hailed as a unique combination of poet, sculptor, printmaker, gardener and provocateur, Finlay’s practice covered a wide range of media which will be reflected in this display of sculptures and prints as well as never-before-seen archival materials and a room-sized installation, all from Scotland’s national collection.
From the Classical world to the French Revolution, the Enlightenment to World War Two, Finlay, a self-proclaimed ‘anti-modernist’, often looked to history for inspiration. Recurring motifs including boats, tanks, wallflowers and ships can be spotted throughout the range of artwork that will be on display. Although simple by design, they often draw on more complex references to history, literature and art – with subtle humorous nods.
Born in the Bahamas in 1925 to Scottish parents, Finlay moved to Scotland in his early childhood, taking up a brief stint at Glasgow School of Art and eventually settling in Edinburgh in the late 1950s. His love of the written word influenced the start of his career as a playwright and poet. He became a key figure in the concrete poetry movement – a type of visual poetry where words are arranged to create patterns and images on the page.
Visitors will see early examples of Finlay’s concrete poetry, including the screenprint Star/Steer (1966), which tells the visual tale of a ship navigating stormy seas under the silvery light of the stars, presented through cascading words.
The artist’s first steps into the world of sculpture will also be explored through his days as a hobbyist toy-maker in 1960s Edinburgh. The exhibition will feature the wooden Toy Cow (1962-63), one of the earliest examples of Finlay’s sculptural work, alongside photographs of the artist amongst his toy creations.
A visionary artist, Finlay harnessed the power of collaboration throughout much of his work, drawing on the expertise of fellow makers and creators to bring his artistic visions to life. From stone-carvers to typographers, ceramicists to calligraphers, he employed a wide range of specialist technicians to realise his work.
In 1966, Finlay and his wife Sue moved into a semi-derelict farmland called Stonypath, south-west of Edinburgh, sheltered within the Pentland Hills. Here, he would go on to create what is often considered his greatest work: an ambitious, expansive garden filled with sculptures.
Renamed ‘Little Sparta’, in reference to the Spartan wars in Ancient Greece, and a humorous nod to his own personal battles with organisations such as the Scottish Arts Council, Finlay grew his creative practice in its grounds over the course of 40 years.
Rarely leaving its confines for decades due to agoraphobia (a fear of open, crowded spaces), Finlay created over 260 sculptures and artworks at Little Sparta, distributed across its four acres of curated gardens. The site remains an integral part of Finlay’s artistic legacy and is open to the public to enjoy each summer.
Visitors to the exhibition can take a glimpse into the lush grounds of Little Sparta for themselves through Finlay’s installation Nature over again after Poussin (1979). Filling a whole room, the work comprises 11 photographs set on plinths, each offering different viewpoints of Little Sparta.
A carved stone can be found within each image, ‘signed’ with the initials of artists who embraced a more classical approach to painting landscapes. The work encourages a moment of escapism, embracing time to get lost within the serenity of each photo.
The exhibition will also take over the Keiller library, where visitors can uncover more about the man behind the artwork through a selection of rare archival materials. Objects including letters, personal photographs and notebooks, many of which have never been on display before, will give a unique insight into Finlay’s inspirations, artwork and life.
Patrick Elliot, Chief Curator of Modern and Contemporary Art at the National Galleries of Scotlandsaid: ‘Ian Hamilton Finlay was a completely unique figure in British art.
“Severe agoraphobia meant that he seldom left his house and garden in the Pentland Hills. Collectors, museum curators and art lovers from all over the world came to see him and his garden over a period of 40 years.
“He was a complete maverick, a wonderful, complicated, fascinating man and artist. Totally uncompromising and at times difficult, he created what is, in many people’s eyes, the greatest artwork created in Scotland in the second half of the twentieth century: his garden at Little Sparta.’
Ian Hamilton Finlay is free to visit and yours to discover at Modern Two from Saturday 8 March 2025.
Forever Edinburgh is partnering with the city’s independent bakeries and cafes to launch Edinburgh’s ultimate tasting menu.
Collaborating with eight of the city’s top producers, Forever Edinburgh has created the Ultimate Edinburgh Menu—a unique foodie’s guide offering an alternative take on the traditional tourist map. Available for download via Forever Edinburgh’s website, this exclusive guide is perfect for visitors looking to savour the city’s finest bakes, brews, and bites.
The menu offers an authentic, insider-led perspective. Each participating business has not only shared its own offerings but has also recommended another must-visit spot in the city. The result is a trail of unmissable cafes, bakeries, and coffee roasters, curated by those who know Edinburgh’s food scene best.
Celebrating the capital’s blooming cafe culture, the second instalment in the Meet Edinburgh’s Makers series, ‘Bakers and Baristas’, focuses on the city’s talented bakers, baristas, and independent café owners. It will shine a spotlight on the craftspeople and artisans that have helped shape Edinburgh into one of the UK’s top destinations for food and drink experiences.
Cllr Jane Meagher, leader of the City of Edinburgh Council said: “Edinburgh’s cafe culture is a vibrant part of the city’s charm, from artisan bakeries to speciality coffee houses.
“The Meet Edinburgh’s Makers initiative allows us to champion the talent behind these fantastic businesses and inspire visitors to explore Edinburgh’s thriving cafe scene. The Ultimate Edinburgh Menu is a brilliant resource for anyone looking to discover the city’s best-kept foodie secrets.”
Featured in the menu are local favourites Dune Bakery, Twelve Triangles, Mimi’s Bakehouse, Patina, The Bearded Baker, Little Fitzroy, The Kilted Doughnut and The Milkman.
Lewis Gill, owner of Dune Bakery, said: “Meet Edinburgh’s Makers is a fantastic initiative that celebrates the city’s creative spirit and provides a platform for Edinburgh’s unique independent businesses to showcase their craft.
“We’re proud to be involved in the ‘Bakers and Baristas’ campaign and to be able to highlight the incredible work our team and the city’s talented bakers and baristas create every day.
“It’s wonderful to come together to celebrate the places that make Edinburgh so special and to recognise the passion and craftsmanship behind every bake and brew. We hope this campaign inspires visitors to explore Edinburgh’s food and drink scene, and we’re delighted to be featured alongside such an inspiring group of makers.”
’Bakers and Baristas’ is part of the Experience the Beauty campaign, an inbound leisure visitor campaign, which aims to build year-round demand for Edinburgh by showcasing the city’s unique, surprising and memorable experiences.
Cafe culture is a booming sector of Edinburgh’s hospitality industry and ‘Bakers and Baristas’ highlights the city’s diverse and flourishing food scene while supporting local independent businesses.
To learn more about Meet Edinburgh’s Makers – Bakers & Baristas and download the Ultimate Edinburgh Menu to embark on a delicious journey, visit:
To mark International Women’s Day (8 March) the National Galleries of Scotland is celebrating the acquisition of a painting by one of Scotland’s most accomplished female artists, Olive Carleton Smyth (1882─1949).
“This vibrant work forms part of National Galleries of Scotland’s mission to represent the extraordinary generation of Scottish women who trained and taught at the Glasgow School of Art in the late 19th and early 20th century.
Bacchanale is now on show at the National as part of the free display, The Glasgow Girls, (until 8 June 2025) alongside four exquisite drawings by renowned Scottish artists Jessie M King and Annie French.
Smyth’s work is extremely rare, with Bacchanalebeing only the second painting by the artist to enter a UK museum collection. Described by a contemporary as ‘small, fast talking and tweed suited’, she was an important figure in the Glasgow art world for over 35 years. Smyth was a brilliant and versatile artist and an effective and inspiring teacher for many generations.
Bacchanale is an energetic painting, created in the early 1920s, which beautifully depicts a group of musicians and revellers dancing ecstatically through a mountain forest, sweeping up wild animals in their midst.
The rhythmic, frieze-like composition and use of shimmering metallic paint is typical of a 1920s Art Deco design. The stylised poses of the figures are probably inspired by Japanese prints, as are the intricately patterned textiles they are wearing.
The painting is full of wild, exuberant colour and action, but also has incredible minute details – the dancers’ clothes have flamboyant spots and chevron prints and even the gold musical instruments are covered in tiny, engraved patterns.
It is full of symbols associated with Bacchus, God of wine, theatre and festivity, including gold pinecones, flower garlands and the thyrsus, a wand wreathed in ivy. Smyth may have been inspired by her love of the stage, as themes of Classical mythology were popular in theatre and dance in the early 20th century.
For over ten years the National Galleries of Scotland has been proactive in acquiring more works by women artists for Scotland’s national collection, which spans roughly from 1300 to the present day.
More needed to be done to represent works by female artists in the collection, and to reflect the important role of women artists in the history of art.
The representation of more works by Scottish women artists has been integral to the creation of the Scottish galleries at the National, with Bacchanale the latest to go on display.
Works by female artists pre-1945 are considerably rarer due to the nature of art training and the constraints put on women wishing to pursue art as a profession until well into the 20th century. However, the National Galleries of Scotland is determined to celebrate pioneering female Scottish artists such as Olive Carleton Smyth.
Born in Glasgow, Smyth studied at the Glasgow School of Art from 1899. Joining the staff in 1903, she taught a wide variety of decorative and fine arts courses, including metalwork, woodblock printing, poster design, sgraffito (a ‘scratching’ technique widely used in decorative arts), gessos (a plaster-based substance used for decorative modelling and as a base for painting), manuscript illumination and miniature painting.
Smyth left the Glasgow School of Art in 1915, concentrating on creating work for exhibition and teaching at Westbourne School for Girls in Glasgow. She returned to the Glasgow School of Art as Head of School of Design (Pictorial and Commercial Art) in 1933, teaching stage design and the history of costume.
Smyth’s earliest exhibited works were miniature portraits, soon followed by watercolours and line drawings on vellum. These were described by a critic as ‘about as splendid as Beardsley could have done’.
Her drawings appeared in The Studio, a prestigious fine and decorative arts magazine,and she exhibited regularly at the Glasgow Institute of Fine Arts for over 40 years from 1904. She showed her work internationally at the Paris Salon in 1913 and in Lyon, Munich and Cork.
In 1912 Smyth’s drawing Peer Gynt was purchased by the National Gallery of Canada from an exhibition in Toronto. Her work often combined a strong sense of colour with incredibly precise and tiny detail.
She drew inspiration from a rich range of sources, from Celtic literature and folklore to Shakespeare, Ibsen, Art Nouveau, Leon Bakst’s designs for the Russian Ballet and contemporary theatre design.
Bacchanale was likely exhibited in Glasgow in 1922 and in 1929 was presented to the Paisley Art Institute. The Paisley Art Institute was founded as an artists’ collective in 1876 for the ‘encouragement of Art Studies and the promotion of a taste for Art’ and the Institute continues to champion and nurture contemporary Scottish artists work to this day.
In 2024, the Institute made the decision to sell selected works from their collection, to raise funds to safeguard the remainder of its collection and to create new awards for artists.
Charlotte Topsfield, Senior Curator of British Drawings and Prints at National Galleries of Scotland, said: ‘We are so excited to have acquired this remarkable work by Olive Carleton Smyth.
“A dynamic artist, who worked across so many different media, Olive is an outstanding representative of the extraordinary generation of women who trained and taught at the Glasgow School of Art around 1900.
“Full of colour, energy and amazing detail, Bacchanale is an intriguing and spectacular painting and we hope our visitors love it as much as we do!’
The acquisition was made possible by funds from the Cowan Smith Bequest, the Iain Paul Fund and the Treaty of Union Bequest.
Council’s Kinship Care Team launches inspiring photography exhibition
Kinship Captured: Kinship Carer Journeys in Photographs, a powerful visual exploration of kinship stories and experiences in Edinburgh, has opened at the Museum of Edinburgh.
This unique exhibition is the result of the Kinship Captured Project, which uses photography to delve into the journeys of kinship carers and the meaning of ‘wellbeing’ within this context.
The exhibition features a selection of photo journals created by five Kinship Carers who have been actively involved in the project. Through the lens of their cameras, these carers have shared their personal experiences, providing a deeper understanding of the challenges, rewards, and the powerful connections formed through kinship care.
Culture and Communities Convener, Val Walker said: “The photographs on display offer a visual narrative of the kinship care experience, focusing on the joy, love, and resilience that often goes unspoken. Through their work, these carers are helping to shine a light on the vital role they play in the lives of the children they care for.
“We are proud to support this project, which highlights the important work that Kinship Carers do every day. The exhibition provides an opportunity for the community to engage with and understand the journey of kinship carers, and we hope it will inspire others to consider the profound impact of kinship care on both carers and the children they support.”
In addition to showcasing their photographs, the exhibition includes a short film that captures the essence of the project and the lasting impact it has had on participants.
The Kinship Captured exhibition will run in conjunction with Kinship Care Week, from 17-21 March 2025, a week dedicated to celebrating the vital role that Kinship Carers play in supporting children and young people.
The exhibition highlights the importance of kinship care, not only for the children in need of support but also for the carers who provide it, emphasizing the collective power of community and shared experiences.
Education, Children and Families Convener, Joan Griffiths said: “This new exhibition offers a fantastic insight into the unique and rewarding, but often challenging, role of kinship carers.
“Stepping into this role can often be unexpected and these carers play a vital part in a child’s life, creating stability and helping them to maintain important family and community links.
“We offer a range of support mechanisms for those in this role, including help to navigate the formal aspects of looking after a child, access to local support groups, services and training as well as everyday help to explore any difficulties or concerns.”
The Kinship Captured exhibition will be open to the public at Museum of Edinburgh from Thursday 6 March until Sunday 6 April. Admission is free.
Quotes from participants:
This was a stimulating and therapeutic project which came along at just the right time for me.
I found that using the camera and especially making the album was a wonderfully creative way to show some of the journey I have been on so far and I loved making it.
Although it was sad and painful at times exploring all that has happened since I began my kinship journey, being involved in this project has ultimately been life affirming and enriching.
I loved meeting everyone, and hearing everyone’s stories has been a privilege. Thank you to you for facilitating it all so gently and supportively.
MEET 2025’S HOTTEST LITTLE TREND: THE GREY GOOSE® TINY ‘TINI
In 2025, small is the new big, with tiny drinks and shareable plates stealing hearts and dominating menus – the iconic vodka martini cocktail is joining the trend.
Set to lead a ‘Martineissance’ in 2025 – the GREY GOOSE® Vodka Tiny ‘Tini is predicted to open the doors of the martini cocktail to a brand-new era of cocktail lovers.
In case you hadn’t heard, the vodka martini cocktail is making a stylish comeback, blending timeless elegance with new bartender creativity to suit every taste. But for some, the classic martini cocktail can feel like a bit ‘too intimidating’.
Introducing the new GREY GOOSE Tiny ‘Tini. Partnering with renowned cocktail bars across London, Manchester and Edinburgh, the iconic vodka brand has worked with bars to introduce a flight of miniature GREY GOOSE vodka martini cocktails – perfectly chilled, perfectly sized, and perfect for social occasions.
Tapping into the increasing trends of moderation, flavour exploration and accessible luxury, the GREY GOOSE Tiny ‘Tini makes vodka martini cocktails more approachable, proving that great things really do come in small packages.
The ‘small and mini’ trend is showing no signs of slowing down for 2025 either – with more and more people developing a fascination for craftsmanship, where intricate, miniature designs are admired for their artistry, attention to detail – and flavour.
Lexa Ulijaszek, UK Ambassador for GREY GOOSE commented: “When it comes to the vodka martini cocktail, size does matter for some. Sometimes a full-sized martini cocktail can be a little bit too intimidating.
“Or over the course of great conversation between friends, the final sip of your drink may not be as superbly chilled or balanced in taste as the beginning. As a result, the offer of a ‘sip sized cocktail’ is gaining traction across many of the UK’s most influential bars.”
“A sip size GREY GOOSETiny ‘Tini is the perfect solution – beautifully crafted, expertly chilled, elegantly served- with rich taste. A flight of three petite drinks allows you to responsibly enjoy the perfection of the ‘first sip’ of a martini cocktail while also experiencing a range of unique flavours.
“The trend is very much a UK-wide affair, with some of the best bars across Manchester, Edinburgh and London all serving the GREY GOOSETiny ‘Tini – ushering in a brand new and bold ‘sip sized’ era for the vodka martini cocktail.”
Set to lead a ‘Martineissance’ in 2025 – the GREY GOOSE Tiny ‘Tini is predicted to open the doors of the martini cocktail to a whole new generation of cocktail lovers.
Flights of GREY GOOSE Tiny ‘Tini’s range £12 to £25 and will be available across London (A Bar with Shapes for a Name, and Lobby bar at The London EDITION), Manchester (Blinker) and Edinburgh (Panda & Sons) for a limited time.
Where to sip a GREY GOOSE Tiny ‘Tini:
(Subject to availability. We suggest reservations where possible to avoid disappointment. All pricing set by the venues and subject to change).
