Framed limited edition
With his distinctive style characterised by loose brushwork and a muted palette, Millar captures the enduring spirit of working-class communities and breathes life into scenes of urban decay and nostalgic remembrance. Inspired by his own upbringing in Scotland and his experiences in the shipyards, Millar’s paintings resonate with a profound sense of authenticity and emotional depth.
Through exaggerated proportions and dynamic compositions, he captures the essence of everyday life in cities like Newcastle and Glasgow, celebrating the resilience and camaraderie of those who call these places home. Millar’s work stands as a testament to the enduring power of art to evoke memories, stir emotions, and connect us to the shared experiences of the past.
This unique limited edition print is just one of twenty made at an event with the artist himself. Alexander used twenty of these scenes to illustrate a unique bottle of the buyer’s choice to be painted right there and then which can be seen held above the flag on the right. This is a very special edition and perfect for a whisky lover!
| Medium: | Giclée |
| Format: | Hand Embellished Print |
| Size (Framed): | 39 x 33" |
| Size (Unframed): | 32 x 26" |
| Signed: | Yes |
| Condition: | Excellent |
| Provenance: | Original sales invoice |
| Limited Edition: | Edition 13 of 20 |
Alexander Millar’s formative years were spent in Springside, a mining community near Kilmarnock in Scotland. The scenes he saw around him every day have informed his artwork, both in content and style. Industrial landscapes, working men in suits, women with tartan headscarves, bicycle commutes, and more are all part of his instantly recognisable style.
Millar’s upbringing results in the classic, humble and nostalgic scenes of his work. He grew up in a time of financial difficulties, in a town that was unable to keep up with the progress of the modern world.
After leaving Springside, Millar settled in Newcastle-Upon-Tyne. He became a professional artist in 1988, using his memories as a basis for his artwork. The characters from his past and the humour in everyday scenes continued to guide his work. He recalls the amusement in watching a street drunk: “I love the almost choreographed movements of the street drunk with his vertically challenged, about to fall over but never quite does it routine – to me it is every bit as entertaining as Swan Lake.”
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