Conservators from Historic Environment Scotland (HES) have been carrying out painstaking conservation work of a portrait of James VI of Scotland, the only monarch to be born at Edinburgh Castle.
The painting of James VI, which is on loan from a private collection, normally hangs in the Mary Room at Edinburgh Castle. However, at the end of last year the painting was brought to HES’s conservation studio to undertake a full assessment and essential conservation treatment.
James VI and I, who ruled Scotland from 1567 as James VI and England and Ireland from 1603 as James I, is the only monarch to have been born at Edinburgh Castle. The only son of Mary, Queen of Scots, he is the longest-reigning monarch in Scotland’s history.
He was also the target of the Gunpowder Plot of 1605, the attempted regicide plot to blow up the House of Lords during the State Opening of Parliament. The thwarted conspiracy is commemorated by Bonfire Night (Guy Fawkes Night) on 5 November each year.
Over the many centuries of the portrait’s life, it naturally accumulates surface dirt and changes in the protective varnish coatings. The painting underwent conservation work to stabilise the paint layer.
The old, discoloured varnish was carefully removed and replaced with a new protective varnish. King James VI and I’s silvery blue sash and his gold regalia, which had dulled in the centuries since they were first painted, now shine once more.
During the consolidation and conservation work, various strands of investigation also became apparent for Ailsa Murray, Senior Paintings Conservator. Several areas of the painting were retouched during previous conservation treatment, visible as dark purple areas under U.V. light.
Through scientific analysis of the fill material, it was found that there had been at least two campaigns of conservation previously. The original painting had at some point been lined with a second canvas, and the original stretcher, the wooden structure that holds the canvas in place, had also been replaced.
The other strand of investigation explored the identity of the portrait’s painter. The inscription on the bottom right reads ‘Painted by Jameson’ superimposed by a second inscription ‘School of Vandyck’. It is possible that this relates to the 17th century Scottish portrait painter George Jamesone (b. 1587 – d. 1644), though it may have been added later.
The original portrait by Van Dyck of James VI and I forms part of the Royal Collection at Windsor Castle. The portrait was posthumously painted for Charles I and dates from 1632. If the portrait at Edinburgh Castle was indeed painted by Jamesone, this narrows the window from 1632 to 1644, when Jamesone passed away.
Restoration and inspection of portrait of James VI from the Edinburgh Castle collection. Painting on loan. Pictured – Ailsa Murray.
Ailsa Murray, Senior Painting Conservator at HES, said: “This painting has a lot of history to tell, and some of it may yet be uncovered. We hope that through this conservation treatment, the painting will be able to see another 400 years and continue to be enjoyed by visitors from all over the world.
“It’s a real privilege to be able to work so closely with such historically important works and to be just a small part of helping to preserve such collections for future generations.”
This October the National Galleries of Scotland is partying like it’s 1984 with Celebrating 40 Years of Scotland’s Photography Collection, at the Portrait gallery from 26 October 2024 – 16 March 2025.
Step back in time to the 1980s when the National Galleries of Scotland officially began its world-class photography collection. Explore over 100 art works from Scotland’s national photography collection, dating from the 1840’s to the present day in this free-to-visit exhibition.
Marvel at historic photographs, visit some famous faces and discover an exciting range of what makes a photograph in this eclectic celebration of the nation’s photography collection.
Celebrating 40 Years of Scotland’s Photography Collection marks this magnificent milestone, reflecting on all that has been accomplished in the last four decades and looking to the future. In the 1980s recognition of photography as an artform was growing rapidly as museums and galleries around the world were looking to establish and grow their collections.
National Galleries of Scotland were no different. Having begun collecting photography in the late 19th century, it was in 1984 that the National Galleries of Scotland collection was formally established.
A world-renowned photography collection it is regarded as one of the best in the UK, its breadth and quality matches those of London institutions such as the V&A and National Portrait Gallery, London.
Due to its original remit to collect the very best of Scottish and international photography, the collection has developed over the last 40 years to have global reach.
Now over 55,000 artworks strong the ever-growing collection is showcased in this lively exhibition which explores the major themes, subjects and processes from throughout the history of photography.
Including works by major photographers such as Julia Margaret Cameron, Robert Mapplethorpe and Annie Leibovitz. Highlighting the enticing and universal nature of photography, the exhibition will include six themes; portraiture, landscape, documentary photography, archives, inclusion and experimentation.
Find portraits of famous Scots such as, Andy Murray, The Proclaimers, Jackie Kay and David Tennant as well as fun and vibrant portraits such as Viviane Sassen’s In Bloom.
A newly acquired work consisting of photographs, film and performance by Glasgow-based artists Beagles & Ramsay will be on display for the first time.
The Sanguis Gratia Artis (Black Pudding Self-Portrait), is a performance piece alongside photographs where the artists make black pudding out of their own blood to explore the boundaries of the self-portrait.
Celebrating the connectivity and nostalgia that photographs bring to people worldwide, the exhibition looks at how this incredible artform can be traced through generations of Scottish photographers and schools of photography.
Embracing the eclectic nature of photography, vibrant displays will create interesting contrasts and connections between historic and contemporary images.
Discover how the ideas and subject matters that started with David Octavius Hill and Robert Adamson in the 1840s continues to be photographed centuries apart with different and modern cameras.
Take pride in the influential alumni of Scottish photography schools whose connections extend around the world, making Scotland a significant home to photography.
Explore the idea of what makes a photograph, reflecting on changing technology and taking a look at artists who are pushing the boundaries of what we might have traditionally thought of as a photograph.
Get a deeper understanding of how photographers have explored the themes of landscape and environment change including a new acquisition by American, Sant Khalsa combining photography and sculpture.
Displayed alongside early Scottish photographs by John Muir Wood, showcasing the beautiful shapes created by trees. This offers a fascinating look at how these two artists explore the same subject matter in completely different ways.
Discover works by revered international photographers, with exceptional photographs from the ARTIST ROOMS collection, jointly owned by the National Galleries of Scotland and Tate.
The exhibition draws a selection of works by globally renowned artists, such as Robert Mapplethorpe and Diane Arbus.
This will also be the first time the National Galleries of Scotland has shown work from the ARTIST ROOMS collection by Don McCullin, one of the world’s greatest photojournalists.
Scotland is known as a centre for documentary photography and the exhibition will celebrate this with a medley of the best documentary photographers who have made work in Scotland.
Weaving in some old favourites and new acquisitions this will highlight photographers such as Alfred Eisenstaedt, Eve Arnold, David Hurn, Joseph Mackenzie and Bert Hardy.
A wall of Hill & Adamson’s fisherwomen will mark an important moment in the development of documentary photography not just in Scotland but in the history of the medium.
In the years immediately following its establishment, National Galleries of Scotland received a number of significant bequests which quickly grew the collection.
The exhibition will explore some of these major archives, such as The Riddell collection which joined the collection in 1985, ARTIST ROOMS, established in 2008 and jointly owned by the National Galleries of Scotland and Tate, and the MacKinnon Collection that was jointly acquired with the National Library of Scotland in 2018.
Viviane Sassen
Throughout the decades, the collection continues to grow and each year new additions are made, with an increasing focus on equality, diversity and inclusion.
Looking to the next 40 years, the exhibition also focuses on acquisitions from the last decade which address issues such as equality, inclusion and diversity.
National Galleries of Scotland actively seek opportunities to broaden representation across the collection and the exhibition highlights this as a priority area for collecting in the future.
Representation of female photographers has been a recent priority, with work by artists including Chrystel Lebas, Wendy McMurdo, Chloe Dewe Mathews and Arpita Shah entering the collection.
Anne Lyden, Director-General at the National Galleries of Scotland, said: ‘Photography is a cornerstone of the National Galleries of Scotland, accounting for almost half of the entire collection.
” It is with great delight that we celebrate the medium with this impressive and engaging exhibition drawn entirely from the vast holdings of the nation’s collection.
“Over the course of the last forty years many photographers, collectors, donors, curators, and enthusiasts have contributed to this important world-class collection which belongs to the people of Scotland.
“We are excited to celebrate this anniversary with our visitors through such a dynamic display.’
Louise Pearson, Photography Curator at the National Galleries of Scotland, said: ‘The 40th anniversary is the perfect moment to draw from the full breadth of Scotland’s photography collection.
“This vibrant and fun exhibition includes photographs of famous Scots and works by photographers who have become household names. It opens many possibilities in making connections across our country’s photography collection, sharing highlights as well as celebrating lesser-known works.
“We want visitors to join us in celebrating the collection and take pride in Scotland’s contribution to photography worldwide.’
This exhibition is funded by The Morton Charitable Trust and the players of the People’s Postcode Lottery.
Ken Currie’s Unknown Man, a portrait of the preeminent forensic anthropologist, Professor Dame Sue Black, has been acquired by the National Galleries of Scotland.
This arresting portrait has been on long loan to the gallery since 2021 but has now been secured for the nation permanently. This acquisition ensures the continued enjoyment of this poignant work, currently available to view for free at the Portrait gallery.
Unknown Man depicts one of the most distinguished, internationally famous contemporary Scots, Professor Black. Currie’s large-scale painting shows her in surgical robes standing behind the covered remains of a body.
The idea for the portrait grew when Currie and Professor Black met during a BBC Radio 4 discussion on the relationship between art and anatomy.
Currie later visited the Centre for Anatomy and Human Identification at the University of Dundee, where Professor Black was Director. The artist was so moved by the work he encountered there that he asked her to sit for a portrait.
The title Unknown Man was given by Currie and relates to the essential aim of a forensic anthropologist – to identify remains and restore the identity of the deceased – while also referencing the covered body depicted in the painting.
Currie bestows Professor Black with the qualities of impassivity and sternness in his portrait. She stands, stock still and full-face, arms spread equally, holding the trolley before her. Professor Black wears dull blue scrubs and before her, under the dark green shroud, is stretched the most minimal or rudimentary indication of the corpse – which could be said to be the attribute of her profession.
Artist Ken Currie (born 1960) is renowned for his unsettling portrayal of the human figure, often large-scale, dramatic canvasses of startling originality.
His work prompts powerful responses as he deals with difficult, profound themes through figurative paintings which are carefully considered and painstakingly executed.
Currie’s subjects often emerge from darkness, suggesting fearful dramas which are all the more disturbing because so much is suggested but not explicitly articulated.
Currie also has another much-loved work in the national collection, Three Oncologists. This 2002 painting depicts three professors who were leading innovators in cancer research at the University of Dundee and its affiliated teaching hospital, Ninewells.
It shows the three, emerging from the darkness as modern-day heroes, battling on our behalf on the front line between life and death. Currie regards Unknown Man as being connected to Three Oncologists, and a progression from this work.
With both works currently on display in The Modern Portrait exhibition, visitors have a special opportunity to experience both in the same space. Unknown Man gives rise to strong feelings and emotions. Professor Black had a visibly emotional reaction when she saw the painting for the first time in 2021.
Sir John Leighton, Director-General of the National Galleries ofScotland said: “We are delighted to have acquired this powerful and moving work which has already generated a lot of interest and comment from our visitors.
“The Portrait gallery provides the perfect setting for this outstanding painting which now has a permanent home alongside other images of pioneers in the fields of science, sport and the arts.”
Professor Sue Black, said: “It was such a wonderful experience to work with Ken and I am so grateful that the portrait has been so well received even if it is a bit scary!
“I feel honoured that this has been acquired by the National Galleries of Scotland and secured for the nation permanently. It all feels more than a little surreal.”
Ken Currie, said: “I am delighted that Unknown Man has been acquired by the National Galleries of Scotland and will continue to hang in the Portrait gallery where it will hopefully inspire a new generation of young women to follow in the illustrious footsteps of Sue Black.”
Jenny Waldman, Director of Art Fund, said: “I’m so pleased that Art Fund has been able to support the National Galleries of Scotland to acquire this important painting.
“I am sure that it will continue to delight and inspire visitors to the Portrait gallery for many years to come.”
