The Harry and Margery Boswell Art Collection: Artworks
- John Bellany, Woman of the North Sea.
- Elizabeth Blackadder, Untitled.
- John Byrne, Juggling Harlequin.Steven Campbell, Portrait of Tom Normand.
- Calum Colvin, Mute Swan.
- Ken Currie, Age of Uncertainty.
- Ken Currie, Reprisal.
- Alan Davie, Zurich Improvisations XII.
- Paul Furneaux, Black Madonna.
- John Houston, Untitled.
- Ian Howard, Drago.
- Callum Innes, XI
- Elspeth Lamb, The Gift.
- Patricia Macdonald, Braided river and ancient pines, Glen Feshie, Cairngorms.
- Patricia Macdonald, Lochan Uaine (The Green Lochan) below the Angel's Peak of Carn an t-Sabhail, Cairngorms.
- Will Maclean, Bird Altar.
- Will Maclean, The Tanera Suite.
- William McCance, Machine Moloch or Machine Gods.
- William McCance, The Engineer, His Wife and Family.
- William McCance, Tree Trunk Composition.
- June Redfern, Early Morning Mist.
- Elaine Shemilt, Image in a Bell Jar.
- Alison Watt, Untitled.
- Adrian Wiszniewski, For Max.
Alison Watt (born 1965)
Untitled
2004
Unique oil on card with boxed set of two books
HC2006.1(1)-(2)
Alison Watt was born in Greenock in 1965 and studied at the Glasgow School of Art from 1983 to 1988. She gained early recognition as a painter, winning the National Portrait Gallery's annual award as a student, then a commission to paint the Queen Mother's portrait in 1989. Inspired by the nineteenth century painter Ingres, Watt's portraits often focus upon the drapery which is traditionally used as a backdrop for the sitter. In her recent large-scale works, the human figure is entirely absent, allowing the texture and folds of the fabric to take centre stage.
This painting and the accompanying boxed set of books were produced to celebrate two major projects by Watt in 2004; an exhibition at the Ingleby Gallery and her installation Still at Old St Paul's Church, Edinburgh. At twelve feet square, Still is monumental in scale, though simple in form. It comprises four paintings, grouped together as a square with the spaces between them forming a cross. As a whole, it creates the impression of flowing white fabric, and in a religious context, is reminiscent of an altar cloth or shroud.
