Paul Coldwell I wonder if we could start by setting the scene of you arriving in Cork Street as a young man?
Alan Cristea I remember exactly—it was November 1972. But for three years previous to that I had worked at Marlborough Fine Art. I’d studied the history of art in Cambridge, where I’d written a thesis on a 19th-century printmaker called Charles Meryon. I managed to get a job, a week after finishing my exams, where they asked if any of the interviewees on that day had any experience of prints. I said, “Well, I’ve just written a thesis on a printmaker… I don’t know if that helps.” So I was sent across to a gallery on the other side of Bond Street, which was then called Marlborough New London, which tended to show the younger artists in the Marlborough stable. But also it was from there that they had this whole print publishing exercise, and that was of enormous appeal to me because it meant working with—I have to add, in a very subsidiary role—contemporary artists on the publication of editions of original prints.