155745 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

Constant Permeke (1886-1952): Village life, oil on canvas--Work: 80,5 x 56 cmÊ Frame: 110 x 85 cm Ê Ê The reverse with an old 'Van Geluwe, Brussels, n° 12' label, most probably referring to Gustave Van Geluwe, tailor in the Tervurenlaan and close friends with artists such as Constant Permeke and James Ensor, who often paid with paintings. For example, the KMSKB (the Royal Museum of Fine Arts, Brussels) bought in 1963 another Permeke painting from the heirs ofÊ Van Geluwe (link). -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Spanish school, entourage of JosŽ de Alc’bar (1730-1803): Mater Dolorosa, oil on canvas, 18th C.--Work: 79 x 63,5 cmÊ Frame: 99,5 x 83,5 cm Ê Ê A similar painting by JosŽ de Alcíbar, an 18th C. Basque painter who lived in Mexico, was sold at Christie's New York (21 - 22 November 2017, lot 131, link).Ê -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Flemish school, follower of David Teniers II (1610-1690): Pipe-smoking drinking brothers in an interior, oil on canvas, 18th C.--Work: 81 x 59,3 cmÊ Frame: 94,7 x 72,7 cmÊ The same elements (peasants smoking tobacco, a peasant walking away and a man who relieves himself in the corner) can for example be seen in 'The Smokers' by David Teniers II in the Wallace Collection (link). Ê Ê Ê Ê Ê Ê -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

A stylized Japanese apple shaped bronze vase, Tsuda Eiju, Showa, 20th C.--H 19 cmÊ The vase is signed by Tsuda Eiju (1915-2001).Ê As the son of the Imperial artist Tsuda Daiju (1875-1946), who was a professor at the Tokyo school of fine Arts, Tsuda Eiju is considered a most influential Japanese bronze caster of the second half of the 20th century. The vase comes with its signed and sealed tomobako (original wooden storage box). -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Three Russian icons, 19th C.--31,4 x 27,3 cm (Annunciation) - 31 x 26 cm (Saints Floros and Lauros, accompanied by Modestos and Blasios, at both sides of the archangel Michael) - 30,8 x 25,8 cm (Mother of God, Joy of all who sorrow)Ê Ê -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

A 19thC Chinese Canton white metal repousse cigarette case, decorated with dragons and clouds around an engraved central cartouche, the reverse with a chrysanthemum branch gilt interior cartouche initialled and a part gilt interior, marked SILVER, WA and 2 character mark, 13cm W. Note - the mark WA is that of a known Canton silversmith who, as yet, no one has been able to put a name to. His work is rare. There is no apparent damage or restoration upon initial inspection.

A Billy J. Kramer and The Dakotas / Bunny Hop / The Who concert poster, dated Saturday March 20th, Limelight Promotions by arrangement with Brian Epstein (The Who March 27), 75 x 50cm, A Farewell from The Cream poster, a Bill Hayley and The Comets 1957 European Tour programme and three Frank Sinatra souvenir programmes / brochures

AN ENGLISH DRINKING GLASS, CIRCA 1780, with a funnel bowl engraved to the border with "Colonel Roberts Sept 12 1780" (date later altered), above a slender plain stem and shallow conical foot. 12cmIt is likely that Colonel Roberts may be Samuel Wilday Roberts who, as a Captain, is listed in the List of Field Officers in July 1761 then subsequently in command of a Garrison in Maine during the American War of Independence serving with great distinction.In generally good condition commensurate with age.

§ PETER HOWSON O.B.E. (SCOTTISH B.1958) TWO BROTHERSSigned, oil on canvas (Dimensions: 91.5cm x 106.5cm (36in x 42in))Biography: Peter Howson is arguably one of the finest and certainly one of the most controversial British painters of the late 20th and 21st centuries. Born in London in 1958, he moved with his parents to Scotland aged four and studied at Glasgow School of Art from 1975 - 1977, under Sandy Moffat. On graduating, he took on various jobs, including nightclub bouncer and supermarket manager before enlisting as a private soldier in the Royal Highland Fusiliers. In 1979, disenchanted with the army, he returned to art school and from 1981 began to show at Edinburgh's influential 369 Gallery. What might be said to be Howson's signature style first emerged in a series of murals made for Feltham Community Association in London in 1982, painted in an urban realist manner. He quickly developed this into a style highly reminiscent of Max Beckmann, with exaggerated musculature, sinister characters and voluptuous nudes. He also embraced Beckmann's subject matter of extreme physical cruelty, depravity and dysfunctional behaviour. He was further influenced by the Mexican muralists of the early 20th century including Hidalgo, Rivera and Clemente. In his early works, Howson concentrated on characterizations of working class men, at the gym, at football matches, in the pub, or merely in a crowd. The exemplar was his iconic painting The Heroic Dosser (1987, National Galleries of Scotland). Tied up with such subject matter were his own memories of the brutality of his life as a soldier, together with his having been victimized and bullied at school and the sexual abuse he had suffered as a child. All of these fed into an art that became ever more brutal. It was almost inevitable, given the honesty, and graphically human monumentality of his work, that In 1992 Howson should have been commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia and a year later been appointed official British war artist for Bosnia. The effect on the artist however, was near catastrophic and he suffered a breakdown. In fact Howson had always lived in a constant state of nervous anxiety. He has Asperger's syndrome, an autistic condition that manifests itself principally in an unusual memory for detail and an obsessive need for routine. Throughout the 1980s and 1990s, Howson's work continued to display increasing levels of violence and voyeuristic sexuality. In 2000 Howson was treated for long-term alcoholism and drug addiction and that same year, possibly as result of this treatment, famously underwent a conversion to Christianity. Thereafter for a while, his work began to exhibit a strong religious content. Today, as always enigmatic, shy and unpredictable, he remains one of the most fascinating figures in 20th century British art, reflected by high profile patrons including David Bowie, Sylvester Stallone, Jack Nicholson and Madonna, who had apparently hung one of his canvases in her bedroom.

§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) UNTITLED OG.4422 - 2013Signed and dated 2013, watercolour (Dimensions: 20cm x 28cm (8in x 11in))Provenance : Gimpel Fils , London Note: Biography: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his.

§ ALASDAIR GRAY (SCOTTISH 1934-2019) THE BEAST IN THE PIT - 1952Signed and dated '20.11.52' and inscribed 'I want, I want, let me out, let me out,' ink and watercolour (Dimensions: 76cm x 51.5cm (30in x 20.25in))Literature: Illustrated in A Life in Pictures, p.32 Provenance : A Private Collection, Glasgow Biography: Alasdair Gray was a Scottish writer and artist, described by The Guardian as ‘the father figure of the renaissance in Scottish literature and art which began in the penultimate decade of the 20 th century.’ Born in Glasgow in 1934, Gray studied Design and Mural Painting at Glasgow School of Art from 1952-57. In art school, he was given the prompt to create a picture with the subject of ‘washing day with minimum of three figures.’ Initially uninspired by this generic topic, he found his muse in a Glasgow lane shaded by tenement buildings. A courtyard with a high hanging washing line and a half-withered hawthorn tree were to be the foundation for The Beast in the Pit (LOT 55) . The objects in the drawing- the three figures, three cats, three washing tubs, three close entries- are designed to draw the eye around the nearly symmetrical view. The main lines give an illusion of a traditional perspective but, in actuality, the work has 2 or 3 vanishing points, and the figures cast no shadow. At the GSA, Gray was said to have ‘immediately impressed both his teacher and fellow students with fantastic, even visionary, projects’ ( The Guardian ), and The Beast in the Pit was at the forefront of this. While he eventually achieved recognition for his artistic talents, Gray’s best-known work is his first novel Lanark , published in 1981, which was written over a period of almost 30 years. Now a classic, Lanark has been described as ‘one of the landmarks of 20th-century fiction,’ inspiring the next generation of Scottish authors. Gray also wrote on politics, in support of socialism and Scottish independence, and this theme is similarly reflected in his artwork. While his written works combine elements of realism, fantasy and science fiction, he blended them with a clever use of typography and his own illustrations. In past interviews, Gray described writing as draining, while painting was ‘an invigorating physical activity that gave him energy’ (p.129, Rodge Glass). Using his recognisable style of strong lines and high-impact graphics, he self-illustrated his books and poems. From the Soul’s Proper Loneliness (LOT 59), for example, is one of five prints which both lavishly illustrate and give depth to the text of Gray's poems. This lot is the original version from 1955, while there is a later collage version from 1965 and a coloured version from 2007. Gray’s The Faust Legend (LOT 57) is another work that showcases his witty and bold graphic style. The scene is a chaotic one, which finds its origins in the original painting by Rembrandt, c. 1652, of the same name. In Rembrandt’s work, a scholar is transfixed by an orb of light that holds a secret code. In Gray’s version, all the knowledge of life swirls around this incredibly detailed work, intertwining symbols of death, love and the human experience. Gray has said that the figure of Faust ‘is an idealised version of me, busily introspecting’- (p.70, A Life in Pictures ) . As the original tracing cloth has been lost, only a few dyeline prints and photocopies of this work exist. However, as The Guardian proclaimed, ‘A peculiarity of Gray’s graphic work is that it sometimes appears at its best in reproduction.’ From 1977-78, Gray worked as Glasgow’s official artist recorder, painting portraits and streetscapes for the People’s Palace Local History Museum. He was constantly inspired by the people and places of Glasgow and often drew his friends and their families, like Portrait of Katey (LOT 56). Gray also undertook several mural commissions across the city, including a 40ft mural for the entrance hall of Hillhead subway station in the West end of Glasgow and the mural decoration of Oran Mor, an arts centre on Glasgow’s Byres Road. As Glasgow had a lasting impression on Gray and his artwork, so too did he on Glasgow. Gray is remembered by those who knew him, as well as those who did not, for his ‘benignly nutty professor’ persona, with ‘thick spectacles and haywire hair.’ Over the course of his life, his work has been widely exhibited across Scotland and is currently held by several important international collections.

§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) UNTITLED OG.3957 - 2012Signed and dated, mixed media (Dimensions: 18cm x 26cm (7in x 10.25in))Provenance: Gimpel Fils , London Note: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his.

§ NIKOS KESSANLIS (GREEK 1930-2004) ABSTRACTSigned and dated 1950, oil on board (Dimensions: 60cm x 55.5cm (23.75in x 21.75in))Biography: Nikos Kessanlis was born in Thessaloniki in 1930. He attended the Athens School of Fine Arts, Greece’s leading Art school, and would later return to serve as Rector. Kessanlis was particularly passionate about artistic research and the social impact of art. He played a leading role in the development and growth of art in Greece, both through his work as an artist and his through his involvement with the Athens School of Fine Art. Kessanlis is remembered as an activist with an eccentric, intense personality, who fought to bring Greek art onto the international art scene.

§ VICTORIA CROWE O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1945) AND DOVECOT STUDIOS DESIGN WITH REDWool tapestry (Dimensions: 33cm x 30cm (13in x 11.75in), image size)Provenance: Dovecot Tapestry Studios , Edinburgh Note: This is an experimental sample, created in collaboration between the artist and weavers at Dovecot Studios. There was some discussion about a collaboration, and Victoria Crowe provided a painting as an inspiration – some design elements from the original painting were included in the piece, as well as some re-workings and additions by the weavers involved. Biography: Victoria Crowe is one of Scotland's most significant living artists. Her ability to skilfully weave together landscape, portraiture, still life, and interiors make her artwork both highly desirable and instantly recognisable. She has achieved International status and recognition due to many high-profile exhibitions and notable commissions, including portraits of poet Kathleen Raine, composer Thea Musgrave, Professor Peter Higgs, a double portrait of the Duke and Duchess of Buccleuch, and HRH Prince Charles. Crowe beg;an her artistic career at the age of 16 when she attended Kingston School of Art, followed by the Royal College of Art, London. Robin Philipson, who was then Head of the Edinburgh College of Art, saw her degree show in 1968 and immediately offered her a teaching post in Edinburgh, where she subsequently taught drawing and painting for thirty years. She also took over the botanical drawing class upon Elizabeth Blackadder's retirement. Crowe has noted that she uses plant imagery as 'ciphers and symbols within a greater whole,' which means that her flower paintings operate simultaneously as abstract objects, as depictions of our known environment and as a symbolic language. Her works often begin as observations of the natural, visible world, before becoming layered with symbols and meditations on time, memory, and imagination. Today, Crowe is represented in a large number of private and public collections. She has recently exhibited extensively, with simultaneous shows at the Scottish National Portrait Gallery and the Scottish Gallery (Edinburgh International Festival) in 2018, followed by a major lifetime retrospective at the City Art Centre in Summer 2019. She divides her time working and living in Venice and the Scottish Borders.

§ BANKSY (BRITISH B.1974) RAT RADAR DIRTY FUNKER (BROWN)Screenprint on record sleeve with vinyl record, unframed (Dimensions: 30.5cm x 30.5cm (12in x 12in))Biography: Banksy is a contemporary British street artist, activist, and film director who has maintained an anonymity, despite his international fame. Although details of the artist’s life are largely unknown, it is thought that Banksy was born in Bristol, c. 1974, and began his career as a graffiti artist in the city in the 1990s. His work traditionally acts a form of cultural criticism; a political and social commentary through satirical street art and stencilled works. His work, which mysteriously appears on location, combines graffiti and epigrams and has been featured publicly on streets, walls, and bridges of major cities throughout the world. Although Banksy no longer sells photographs or reproductions of his street graffiti, his public installation pieces are regularly offered for sale, even if it means removing the wall they were painted on. A small number of Banksy's works are also officially, non-publicly, sold through Pest Control, a handling service acting on behalf of Banksy. Banksy's documentary film Exit Through the Gift Shop (2010) debuted at the 2010 Sundance Film Festival and he was nominated for the Academy Award for Best Documentary the following year. Banksy continues to create work worldwide, winning awards and notoriety. He was awarded Person of the Year at the 2014 Webby Awards and, in 2015, opened Dismaland Bemusement Park, a temporary art exhibition that functioned as a theme park and included collaborations with fellow artists. One of the artist's most famous stunts was his shredded painting in 2018. As a painting by Banksy was sold at auction for $1.4 million, a mechanism was triggered that caused the artwork to partially shred, resulting in a new piece titled Love in the Bin (2018).

§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) TOBYEtching and aquatint, P/P, signed, titled and editioned in pencil to margin, unframed (Dimensions: 50cm x 56.5cm (19.75in x 22.25in), full sheet)Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.

§ MAX KAUS (GERMAN 1891-1977) ERINNYE (FURY) - 1964Woodcut on japan paper, 22/25, 2nd state, signed, dated, titled and numbered in pencil to margin, unframed and another 'Head (Kopf)' (plate, after p.308) from the periodical Genius. Zeitschrift für werdende und alte Kunst , vol. 2, no. 2 (Dimensions: 30.5cm x 22.5cm (12in x 9in)) (Qty: 2)Biography: Max Kaus was born in Berlin in 1891. He attended the School for Crafts and the Applied and Decorative Arts in Berlin-Charlottenburg. His work was heavily influence by the expressionist art of the Die Brücke group. A travel grant brought him to Paris in 1914, however, the onset of World War I forced him to return to Germany. He volunteered as an ambulance driver and medical orderly and it was in this work that he met several artists who would influence his work, including Erich Heckel, Anton Kerschbaumer, and Otto Herbig. Around 1916, Kaus began printmaking but moved to more decorative painting after the war. With his reputation growing, he held his first solo show at the Ferdinand Möller Gallery in 1919 and, by the following year, had joined several artist’s groups who furthered the study of Expressionism in Berlin. In 1927 he was awarded the Albrecht Dürer Prize by the city of Nuremburg. By the end of the 1920s, he had taken a teaching position at the Master School for the Applied and Decorative Arts, teaching landscape painting and figurative drawing. Kaus travelled throughout Europe during the 1930s and came to teach in Berlin but was increasingly exposed to persecution by the National Socialists. The Nazis did not approve of his paintings of alienated, lonely figures, and thus his works were removed from public view in 1937 and he was forced to give up teaching until the end of WWII. His home and studio were destroyed by Allied bombs in 1943 and, just two days before the end of the war, Russian artillery destroyed what remained of his work. In July 1945 he accepted a new teaching position at the Hochschule für bildende Künste in Berlin, where he eventually became Deputy Director, and taught until retiring in 1968. He continued teaching and creating art until late in his life.

RICHARD PRINCE (AMERICAN B.1949) COWBOY (FROM THE 'COWBOYS AND GIRLFRIENDS' PORTFOLIO), 1992Signed with initials verso, from an edition of 26, C-print, unframed (Dimensions: Image size: 40cm x 58cm (15.75in x 22.75in), sheet size: 51.5cm x 61cm (20.25in x 24in))Note: The New York Times has described the contemporary American artist Richard Prince, as ‘one of the most revered artists of his generation.’ His work has met with huge critical acclaim and popular success but, as with all of the most successful contemporary artists, Prince’s work has courted some controversy. His breakthrough series Cowboys was created using a technique of re-photography; with the artist selecting existing imagery that appealed to him and re-photographing it, sometimes cropping out promotional text or adjusting and cropping the composition before presenting the new photograph in a fine art context. The original series, and ensuing explorations of other distinctly American groups and subcultures, including bikers and their girlfriends, launched Prince’s career. Yet, on occasion, ethical and legal disputes have arisen from photographers who feel their work has been unfairly used and profited upon by the artist. With re-photography, the artist’s eye and his process of selection becomes the aesthetic action and Prince himself has described his process as similar to beach-combing or going into the studio and ‘bumping into things.’ This sense of sifting through huge volumes of imagery and ideas to select a very specific few is a particular skill and way of working that the artist developed whilst working at Time Life ’s cutting service, where he also gained a deep familiarity with advertising imagery. As an artistic practice, Prince started using re-photography in 1977, and at that time then disowned all his previous artistic work. All artistic choices and processes are important, yet it seems especially valid to explore the meanings and suggestions of Prince’s selected imagery, as it is the selection rather than any creation that is his artistic labour. Cowboys was his breakthrough series, and the cowboy, in particular, is a distinctly American view of masculinity. By selecting them as his subject, Prince at once celebrates the fantasy and icon, while also exposing its unreality, particularly as many of his cowboy images are taken from Marlborough advertising campaigns, where the original images were taken by photographers hired by the company to create such fantasy imagery, and often featured posed models rather than real men living this lifestyle. More recently Prince has turned his attention to social media, spending hours sifting through the profusion of media online before re-photographing and captioning Instagram photographs, playing around with a blurring and then distinction between selfies, self-portraits and portraiture. Time will tell whether these 21 st century images will endure and captivate as much as the Cowboys series has.

§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) CARIB ISLAND NO.2 - 1976Signed, gouache (Dimensions: 56.5cm x 81cm (22.25in x 31.75in))Provenance: Gimpel Fils , London Note: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his.

§ TRACEY EMIN C.B.E., R.A. (BRITISH B.1963) LOVE IS A STRANGE THING - 2000Off-set lithograph, 210/250, signed and dated 2000, numbered in pencil verso, unframed (Dimensions: 70cm x 54cm (27.5in x 21.25in), full sheet)Biography One of the most infamous artists of the generation of 'Brit Art' artists, christened YBAs, who emerged onto the London art scene in the early 1990s, Tracey Emin, best known for her 'tent' and 'bed', has gone on to become a leading figure in the British art establishment. In August 2006, Emin was selected as Britain's representative in the British Pavilion at the Venice Biennale for 2007. The first major retrospective of her work was held at the Gallery of Modern Art in Edinburgh in August 2008 and included ‘My Bed’ and a monumental, room-sized installation entitled ‘Exorcism of the Last Painting I Ever Made’ dating from 1996. It also featured her appliquéd blankets, paintings, sculptures, films, neon works, drawings and multiples, and travelled to the Centro de Arte Contemporáneo in Malaga and the Kunstmuseum in Bern. Fabric, particularly in the form of appliqué, has been a constant feature of her art. For her, the material itself retains an emotional significance related to its original function and history. In December 2011 Emin was appointed Professor of Drawing at the Royal Academy; drawing has always played a major part in her practice.

§ PETER HOWSON O.B.E. (SCOTTISH B.1958) MAN WITH TOWER BLOCKSigned, pastel (Dimensions: 27.5cm x 20cm (10.75in x 8in))Biography: Peter Howson is arguably one of the finest and certainly one of the most controversial British painters of the late 20th and 21st centuries. Born in London in 1958, he moved with his parents to Scotland aged four and studied at Glasgow School of Art from 1975 - 1977, under Sandy Moffat. On graduating, he took on various jobs, including nightclub bouncer and supermarket manager before enlisting as a private soldier in the Royal Highland Fusiliers. In 1979, disenchanted with the army, he returned to art school and from 1981 began to show at Edinburgh's influential 369 Gallery. What might be said to be Howson's signature style first emerged in a series of murals made for Feltham Community Association in London in 1982, painted in an urban realist manner. He quickly developed this into a style highly reminiscent of Max Beckmann, with exaggerated musculature, sinister characters and voluptuous nudes. He also embraced Beckmann's subject matter of extreme physical cruelty, depravity and dysfunctional behaviour. He was further influenced by the Mexican muralists of the early 20th century including Hidalgo, Rivera and Clemente. In his early works, Howson concentrated on characterizations of working class men, at the gym, at football matches, in the pub, or merely in a crowd. The exemplar was his iconic painting The Heroic Dosser (1987, National Galleries of Scotland). Tied up with such subject matter were his own memories of the brutality of his life as a soldier, together with his having been victimized and bullied at school and the sexual abuse he had suffered as a child. All of these fed into an art that became ever more brutal. It was almost inevitable, given the honesty, and graphically human monumentality of his work, that In 1992 Howson should have been commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia and a year later been appointed official British war artist for Bosnia. The effect on the artist however, was near catastrophic and he suffered a breakdown. In fact Howson had always lived in a constant state of nervous anxiety. He has Asperger's syndrome, an autistic condition that manifests itself principally in an unusual memory for detail and an obsessive need for routine. Throughout the 1980s and 1990s, Howson's work continued to display increasing levels of violence and voyeuristic sexuality. In 2000 Howson was treated for long-term alcoholism and drug addiction and that same year, possibly as result of this treatment, famously underwent a conversion to Christianity. Thereafter for a while, his work began to exhibit a strong religious content. Today, as always enigmatic, shy and unpredictable, he remains one of the most fascinating figures in 20th century British art, reflected by high profile patrons including David Bowie, Sylvester Stallone, Jack Nicholson and Madonna, who had apparently hung one of his canvases in her bedroom.

§ FRANCIS DAVISON (BRITISH 1919-1984) UNTITLEDMixed media collage (Dimensions: 69.5cm x 70cm (27.25in x 27.5in))Biography: Francis Davison spent his childhood in Cannes, the adopted son of George and Joan Davison, who had made their fortune through the Eastman Kodak company. He was sent to boarding school in England, where he met Patrick Heron, who became a life-long friend. Following the Second World War, he moved to St. Ives where Heron introduced him to Margaret Mellis, who later became his wife. Together they moved to London, and then the South of France, where he first started to paint and draw, inspired by the landscape surrounding the family property. They returned to England in 1950, settling in Sussex and establishing a farm. In 1952, Davison started making collages, using torn paper, and a stark colour palette. He only started to receive recognition for his work in the late 1970s, with inclusion in some high-profile exhibitions. His popularity and renown has increased since his death, with several exhibitions and an acknowledgment of him as an inspiration from Damien Hirst.

§ ARCHIE WEBB (SCOTTISH 1963-2005) SEVEN YEAR ITCHBronze sculpture (Dimensions: 72cm x 53cm (28.25in x 20.75in))Biography Extracted from the artist's obituary in the Scotsman: "Archie’s style of working was influenced by the Munich Seven, a group of German expressionist painters who were also German punks around 1979. Punk was a huge influence at every level, and Archie always said the most important night of his life was 7 May, 1977, when, aged 14, he saw the Clash on their White Riot tour. Archie’s paintings are mainly figurative, with a bold use of thickly applied oil paint. Many, with subject matter of cars, animals and art history, had an overt social or political comment, while other paintings were more escapist or fantastical. Archie’s shows were always an event whether he was exhibiting in Edinburgh, London or Glasgow, and he received critical acclaim for his sculptures as well as his painting. His work was often humorous and irreverent, poking fun at the establishment. It was always full of life and humanity. Archie followed a path that was totally his own. He was always ahead of his time as a student, and works from early student days fit absolutely into his later work. Other late works of note include Warriston Crematorium and a large blue composition of Brighton Pier. These paintings add to a vast body of work that has yet to be properly assessed."

§ PETER HOWSON O.B.E. (SCOTTISH B.1958) LEERINGSigned, pastel (Dimensions: 27.5cm x 20cm (10.75in x 8in))Biography: Peter Howson is arguably one of the finest and certainly one of the most controversial British painters of the late 20th and 21st centuries. Born in London in 1958, he moved with his parents to Scotland aged four and studied at Glasgow School of Art from 1975 - 1977, under Sandy Moffat. On graduating, he took on various jobs, including nightclub bouncer and supermarket manager before enlisting as a private soldier in the Royal Highland Fusiliers. In 1979, disenchanted with the army, he returned to art school and from 1981 began to show at Edinburgh's influential 369 Gallery. What might be said to be Howson's signature style first emerged in a series of murals made for Feltham Community Association in London in 1982, painted in an urban realist manner. He quickly developed this into a style highly reminiscent of Max Beckmann, with exaggerated musculature, sinister characters and voluptuous nudes. He also embraced Beckmann's subject matter of extreme physical cruelty, depravity and dysfunctional behaviour. He was further influenced by the Mexican muralists of the early 20th century including Hidalgo, Rivera and Clemente. In his early works, Howson concentrated on characterizations of working class men, at the gym, at football matches, in the pub, or merely in a crowd. The exemplar was his iconic painting The Heroic Dosser (1987, National Galleries of Scotland). Tied up with such subject matter were his own memories of the brutality of his life as a soldier, together with his having been victimized and bullied at school and the sexual abuse he had suffered as a child. All of these fed into an art that became ever more brutal. It was almost inevitable, given the honesty, and graphically human monumentality of his work, that In 1992 Howson should have been commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia and a year later been appointed official British war artist for Bosnia. The effect on the artist however, was near catastrophic and he suffered a breakdown. In fact Howson had always lived in a constant state of nervous anxiety. He has Asperger's syndrome, an autistic condition that manifests itself principally in an unusual memory for detail and an obsessive need for routine. Throughout the 1980s and 1990s, Howson's work continued to display increasing levels of violence and voyeuristic sexuality. In 2000 Howson was treated for long-term alcoholism and drug addiction and that same year, possibly as result of this treatment, famously underwent a conversion to Christianity. Thereafter for a while, his work began to exhibit a strong religious content. Today, as always enigmatic, shy and unpredictable, he remains one of the most fascinating figures in 20th century British art, reflected by high profile patrons including David Bowie, Sylvester Stallone, Jack Nicholson and Madonna, who had apparently hung one of his canvases in her bedroom.

§ ALASDAIR GRAY (SCOTTISH 1934-2019) PORTRAIT OF KATEYWith a personal inscription verso, ink and watercolour (Dimensions: 51cm x 63.5cm (20in x 25in))Provenance: A Private Collection, Glasgow Biography: Alasdair Gray was a Scottish writer and artist, described by The Guardian as ‘the father figure of the renaissance in Scottish literature and art which began in the penultimate decade of the 20 th century.’ Born in Glasgow in 1934, Gray studied Design and Mural Painting at Glasgow School of Art from 1952-57. In art school, he was given the prompt to create a picture with the subject of ‘washing day with minimum of three figures.’ Initially uninspired by this generic topic, he found his muse in a Glasgow lane shaded by tenement buildings. A courtyard with a high hanging washing line and a half-withered hawthorn tree were to be the foundation for The Beast in the Pit (LOT 55) . The objects in the drawing- the three figures, three cats, three washing tubs, three close entries- are designed to draw the eye around the nearly symmetrical view. The main lines give an illusion of a traditional perspective but, in actuality, the work has 2 or 3 vanishing points, and the figures cast no shadow. At the GSA, Gray was said to have ‘immediately impressed both his teacher and fellow students with fantastic, even visionary, projects’ ( The Guardian ), and The Beast in the Pit was at the forefront of this. While he eventually achieved recognition for his artistic talents, Gray’s best-known work is his first novel Lanark , published in 1981, which was written over a period of almost 30 years. Now a classic, Lanark has been described as ‘one of the landmarks of 20th-century fiction,’ inspiring the next generation of Scottish authors. Gray also wrote on politics, in support of socialism and Scottish independence, and this theme is similarly reflected in his artwork. While his written works combine elements of realism, fantasy and science fiction, he blended them with a clever use of typography and his own illustrations. In past interviews, Gray described writing as draining, while painting was ‘an invigorating physical activity that gave him energy’ (p.129, Rodge Glass). Using his recognisable style of strong lines and high-impact graphics, he self-illustrated his books and poems. From the Soul’s Proper Loneliness (LOT 59), for example, is one of five prints which both lavishly illustrate and give depth to the text of Gray's poems. This lot is the original version from 1955, while there is a later collage version from 1965 and a coloured version from 2007. Gray’s The Faust Legend (LOT 57) is another work that showcases his witty and bold graphic style. The scene is a chaotic one, which finds its origins in the original painting by Rembrandt, c. 1652, of the same name. In Rembrandt’s work, a scholar is transfixed by an orb of light that holds a secret code. In Gray’s version, all the knowledge of life swirls around this incredibly detailed work, intertwining symbols of death, love and the human experience. Gray has said that the figure of Faust ‘is an idealised version of me, busily introspecting’- (p.70, A Life in Pictures ) . As the original tracing cloth has been lost, only a few dyeline prints and photocopies of this work exist. However, as The Guardian proclaimed, ‘A peculiarity of Gray’s graphic work is that it sometimes appears at its best in reproduction.’ From 1977-78, Gray worked as Glasgow’s official artist recorder, painting portraits and streetscapes for the People’s Palace Local History Museum. He was constantly inspired by the people and places of Glasgow and often drew his friends and their families, like Portrait of Katey (LOT 56). Gray also undertook several mural commissions across the city, including a 40ft mural for the entrance hall of Hillhead subway station in the West end of Glasgow and the mural decoration of Oran Mor, an arts centre on Glasgow’s Byres Road. As Glasgow had a lasting impression on Gray and his artwork, so too did he on Glasgow. Gray is remembered by those who knew him, as well as those who did not, for his ‘benignly nutty professor’ persona, with ‘thick spectacles and haywire hair.’ Over the course of his life, his work has been widely exhibited across Scotland and is currently held by several important international collections.

§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) MAGIC PICTURE NO.1Lithograph, 39/500, signed and numbered in pencil to margin (Dimensions: 57cm x 77cm (22.5in x 30.25in))Note: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his.

AGNES MARTIN (CANADIAN/AMERICAN 1912-2004) PAINTINGS & DRAWINGS 1974-1990 (SUITE OF 10)The complete set of 10 lithographs printed in colours, 1991, from the edition of 2500, on vellum transparency paper, printed by Lecturis, Eindhoven and published by Nemela & Lenzen GmbH, Monchengladbach and Stedelijk Museum, Amsterdam, housed within the original grey card portfolio (Dimensions: 29.8cm x 29.8cm (11.75in x 11.75in) each) (Qty: 10)Note: This set was published to celebrate the artist's 1991 retrospective at the Stedelijk Museum in Amsterdam. Biography: Agnes Martin was an American painter who was born in Canada in 1912 and became a US citizen in 1940. Martin is known for her square canvasses, covered with delicate grids or repeated stripes, and muted colour palettes. Her work and reclusive lifestyle have intrigued and inspired painters, photographers, and writers worldwide. A pioneer of abstract painting, Martin regarded her works as studies in the pursuit of perfection.

§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) YELLOWEtching and aquatint, P/P, signed and editioned in pencil to margin (Dimensions: 73cm x 97cm (28.75in x 38.25in))Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.

§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) BLACK CAT ONEtching and aquatint, P/P, signed and editioned in pencil to margin, unframed (Dimensions: 50cm x 56cm (19.75in x 22in))Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.

§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) BIRD THROUGH THE WALL, NO. 8Signed, inscribed and dated 'March '71' verso to each canvas, oil on canvas across two panels (Dimensions: 152.5cm x 244cm (60in x 96in), total size) (Qty: 2)Provenance: Gimpel & Weitzenhoffer, New York Note: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his. Bird Through the Wall, No. 8 is a large-scale artwork that unfolds across two canvas panels, just as the artist’s vision and inspiration did. The striking diptych is quintessentially Davie, with strong colour, graphic symbols that recur from other paintings, including the titular bird, and gestural, energetic and dynamic brushwork, where he patterns the paint, and allows it to splodge and drip. There is a clear power and energy at work here, though an exact meaning is difficult to distil.

§ JOCK MCINNES (SCOTTISH B.1943) PALAZZO WITH BLUE POLESSigned with initials, oil on board (Dimensions: 44.5cm x 39.5cm (17.5in x 15.5in))Exhibited: Portland Gallery , London, September 2003, cat. no. 28 Biography: Jock McInnes graduated from Glasgow School of Art in 1967. His unusual approach to painting using gesso as the ground allows him to not only paint on the surface but also to inscribe into it. The white nature of the gesso ground gives his paintings a particular luminosity and is a technique borrowed from the Italian Old Masters. McInnes, who is a member of the Royal Glasgow Institute, has exhibited widely throughout the U.K. and is represented in a number of Public and Corporate collections.

§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) ORCHIDACEAEEtching and aquatint, H/C, signed and editioned in pencil to margin, unframed (Dimensions: 63.5cm x 51cm (25in x 20in), full sheet)Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.

§ VICTORIA CROWE O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1945) FOGGY DAY - 1978Signed, inscribed and dated to backboard, mixed media (Dimensions: 39cm x 48cm (15.25in x 18.75in))Biography: Victoria Crowe is one of Scotland's most significant living artists. Her ability to skilfully weave together landscape, portraiture, still life, and interiors make her artwork both highly desirable and instantly recognisable. She has achieved International status and recognition due to many high-profile exhibitions and notable commissions, including portraits of poet Kathleen Raine, composer Thea Musgrave, Professor Peter Higgs, a double portrait of the Duke and Duchess of Buccleuch, and HRH Prince Charles. Crowe beg;an her artistic career at the age of 16 when she attended Kingston School of Art, followed by the Royal College of Art, London. Robin Philipson, who was then Head of the Edinburgh College of Art, saw her degree show in 1968 and immediately offered her a teaching post in Edinburgh, where she subsequently taught drawing and painting for thirty years. She also took over the botanical drawing class upon Elizabeth Blackadder's retirement. Crowe has noted that she uses plant imagery as 'ciphers and symbols within a greater whole,' which means that her flower paintings operate simultaneously as abstract objects, as depictions of our known environment and as a symbolic language. Her works often begin as observations of the natural, visible world, before becoming layered with symbols and meditations on time, memory, and imagination. Today, Crowe is represented in a large number of private and public collections. She has recently exhibited extensively, with simultaneous shows at the Scottish National Portrait Gallery and the Scottish Gallery (Edinburgh International Festival) in 2018, followed by a major lifetime retrospective at the City Art Centre in Summer 2019. She divides her time working and living in Venice and the Scottish Borders.

AUBREY WILLIAMS (GUYANESE 1926-1990) THE CHURCH OF SANTA MARIA DELLA SALUTE, VENICESigned and dated '80, signed, inscribed and dated verso, oil on canvas (Dimensions: 45.5cm x 61cm (18in x 24in))Provenance: The vendor knew the artist personally through their work, and they developed a friendship while arranging exhibitions together. Biography Aubrey Williams was a Guyanese artist who was born in Georgetown in 1926. After some informal art training as a child he worked initially on the sugar plantations in the North-West area of the country as an agronomist. In 1952 he moved to London at the height of the Independence Movement and held his first exhibition there in 1954. Over the next fifteen years Williams established himself as a significant member of the post-war avant-garde scene and helped found the Caribbean Artists Movement. In 1970 he worked both in Jamaica and Florida and in 1964 won the prestigious Commonwealth Prize for Painting.

§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) POET CREATING AN EGG, 9293 - JULY '64Signed, dated and inscribed, watercolour (Dimensions: 55cm x 75cm (21.75in x 29.5in))Provenance : Gimpel Fils , London Note: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his.

§ BANKSY (BRITISH B.1974) WALLED-OFF HOTELDigital print and concrete relief, accompanied by original invoice numbered '2601,' and a selection of postcards from the hotel and introduction letter to the facility (Dimensions: 22cm x 22cm (8.75in x 8.75in))Note: The relief element is an original piece of the separation wall that divides Israel and Palestine, which is sprayed with graffiti. The Walled Off Hotel is an independent leisure facility set up by Banksy. It overlooks the separation wall. Accompanied by original invoice. Biography: Banksy is a contemporary British street artist, activist, and film director who has maintained an anonymity, despite his international fame. Although details of the artist’s life are largely unknown, it is thought that Banksy was born in Bristol, c. 1974, and began his career as a graffiti artist in the city in the 1990s. His work traditionally acts a form of cultural criticism; a political and social commentary through satirical street art and stencilled works. His work, which mysteriously appears on location, combines graffiti and epigrams and has been featured publicly on streets, walls, and bridges of major cities throughout the world. Although Banksy no longer sells photographs or reproductions of his street graffiti, his public installation pieces are regularly offered for sale, even if it means removing the wall they were painted on. A small number of Banksy's works are also officially, non-publicly, sold through Pest Control, a handling service acting on behalf of Banksy. Banksy's documentary film Exit Through the Gift Shop (2010) debuted at the 2010 Sundance Film Festival and he was nominated for the Academy Award for Best Documentary the following year. Banksy continues to create work worldwide, winning awards and notoriety. He was awarded Person of the Year at the 2014 Webby Awards and, in 2015, opened Dismaland Bemusement Park, a temporary art exhibition that functioned as a theme park and included collaborations with fellow artists. One of the artist's most famous stunts was his shredded painting in 2018. As a painting by Banksy was sold at auction for $1.4 million, a mechanism was triggered that caused the artwork to partially shred, resulting in a new piece titled Love in the Bin (2018).

§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) ORCHIDEtching, P/P, signed and editioned in pencil to margin (Dimensions: 37.5cm x 43cm (14.75in x 17in), plate size)Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.

§ ATTRIBUTED TO KAI FJELL (NORWEGIAN 1907-1989) WOMAN WAITINGSigned, gouache (Dimensions: 68cm x 53cm (26.75in x 20.75in))Biography: Kai Fjell is a Norwegian artist, who worked across painting, printmaking and set design. He was particularly interested in rural life and traditional folk art. This work is catalogued as ‘attributed to,’ meaning ‘in our opinion a work probably by the artist in whole or in part.’

§ BANKSY (BRITISH B.1974) PECKHAM ROCK, POSTCARDOff-set lithograph on shaped wood board, unframed (Dimensions: 12cm x 18cm (4.75in x 7in))Biography: Banksy is a contemporary British street artist, activist, and film director who has maintained an anonymity, despite his international fame. Although details of the artist’s life are largely unknown, it is thought that Banksy was born in Bristol, c. 1974, and began his career as a graffiti artist in the city in the 1990s. His work traditionally acts a form of cultural criticism; a political and social commentary through satirical street art and stencilled works. His work, which mysteriously appears on location, combines graffiti and epigrams and has been featured publicly on streets, walls, and bridges of major cities throughout the world. Although Banksy no longer sells photographs or reproductions of his street graffiti, his public installation pieces are regularly offered for sale, even if it means removing the wall they were painted on. A small number of Banksy's works are also officially, non-publicly, sold through Pest Control, a handling service acting on behalf of Banksy. Banksy's documentary film Exit Through the Gift Shop (2010) debuted at the 2010 Sundance Film Festival and he was nominated for the Academy Award for Best Documentary the following year. Banksy continues to create work worldwide, winning awards and notoriety. He was awarded Person of the Year at the 2014 Webby Awards and, in 2015, opened Dismaland Bemusement Park, a temporary art exhibition that functioned as a theme park and included collaborations with fellow artists. One of the artist's most famous stunts was his shredded painting in 2018. As a painting by Banksy was sold at auction for $1.4 million, a mechanism was triggered that caused the artwork to partially shred, resulting in a new piece titled Love in the Bin (2018).

§ ALASDAIR GRAY (SCOTTISH 1934-2019) ST. JEROME - 1955Woodcut, signed and inscribed 'With Love to Katie,' signed and dated in print (Dimensions: 61cm x 41cm (24in x 16.25in))Provenance: A Private Collection, Glasgow Note: The same image was re-issued as a photo-polymer print by Glasgow Print Studio in 2017. Alasdair Gray was a Scottish writer and artist, described by The Guardian as ‘the father figure of the renaissance in Scottish literature and art which began in the penultimate decade of the 20 th century.’ Born in Glasgow in 1934, Gray studied Design and Mural Painting at Glasgow School of Art from 1952-57. In art school, he was given the prompt to create a picture with the subject of ‘washing day with minimum of three figures.’ Initially uninspired by this generic topic, he found his muse in a Glasgow lane shaded by tenement buildings. A courtyard with a high hanging washing line and a half-withered hawthorn tree were to be the foundation for The Beast in the Pit (LOT 55) . The objects in the drawing- the three figures, three cats, three washing tubs, three close entries- are designed to draw the eye around the nearly symmetrical view. The main lines give an illusion of a traditional perspective but, in actuality, the work has 2 or 3 vanishing points, and the figures cast no shadow. At the GSA, Gray was said to have ‘immediately impressed both his teacher and fellow students with fantastic, even visionary, projects’ ( The Guardian ), and The Beast in the Pit was at the forefront of this. While he eventually achieved recognition for his artistic talents, Gray’s best-known work is his first novel Lanark , published in 1981, which was written over a period of almost 30 years. Now a classic, Lanark has been described as ‘one of the landmarks of 20th-century fiction,’ inspiring the next generation of Scottish authors. Gray also wrote on politics, in support of socialism and Scottish independence, and this theme is similarly reflected in his artwork. While his written works combine elements of realism, fantasy and science fiction, he blended them with a clever use of typography and his own illustrations. In past interviews, Gray described writing as draining, while painting was ‘an invigorating physical activity that gave him energy’ (p.129, Rodge Glass). Using his recognisable style of strong lines and high-impact graphics, he self-illustrated his books and poems. From the Soul’s Proper Loneliness (LOT 59), for example, is one of five prints which both lavishly illustrate and give depth to the text of Gray's poems. This lot is the original version from 1955, while there is a later collage version from 1965 and a coloured version from 2007. Gray’s The Faust Legend (LOT 57) is another work that showcases his witty and bold graphic style. The scene is a chaotic one, which finds its origins in the original painting by Rembrandt, c. 1652, of the same name. In Rembrandt’s work, a scholar is transfixed by an orb of light that holds a secret code. In Gray’s version, all the knowledge of life swirls around this incredibly detailed work, intertwining symbols of death, love and the human experience. Gray has said that the figure of Faust ‘is an idealised version of me, busily introspecting’- (p.70, A Life in Pictures ) . As the original tracing cloth has been lost, only a few dyeline prints and photocopies of this work exist. However, as The Guardian proclaimed, ‘A peculiarity of Gray’s graphic work is that it sometimes appears at its best in reproduction.’ From 1977-78, Gray worked as Glasgow’s official artist recorder, painting portraits and streetscapes for the People’s Palace Local History Museum. He was constantly inspired by the people and places of Glasgow and often drew his friends and their families, like Portrait of Katey (LOT 56). Gray also undertook several mural commissions across the city, including a 40ft mural for the entrance hall of Hillhead subway station in the West end of Glasgow and the mural decoration of Oran Mor, an arts centre on Glasgow’s Byres Road. As Glasgow had a lasting impression on Gray and his artwork, so too did he on Glasgow. Gray is remembered by those who knew him, as well as those who did not, for his ‘benignly nutty professor’ persona, with ‘thick spectacles and haywire hair.’ Over the course of his life, his work has been widely exhibited across Scotland and is currently held by several important international collections.

§ ALASDAIR GRAY (SCOTTISH 1934-2019) THE FAUST LEGENDLithograph (Dimensions: 58cm x 58cm (22.75in x 22.75in))Literature: Illustrated in A Life in Pictures, p.70 Provenance: A Private Collection, Glasgow Biography: Alasdair Gray was a Scottish writer and artist, described by The Guardian as ‘the father figure of the renaissance in Scottish literature and art which began in the penultimate decade of the 20 th century.’ Born in Glasgow in 1934, Gray studied Design and Mural Painting at Glasgow School of Art from 1952-57. In art school, he was given the prompt to create a picture with the subject of ‘washing day with minimum of three figures.’ Initially uninspired by this generic topic, he found his muse in a Glasgow lane shaded by tenement buildings. A courtyard with a high hanging washing line and a half-withered hawthorn tree were to be the foundation for The Beast in the Pit (LOT 55) . The objects in the drawing- the three figures, three cats, three washing tubs, three close entries- are designed to draw the eye around the nearly symmetrical view. The main lines give an illusion of a traditional perspective but, in actuality, the work has 2 or 3 vanishing points, and the figures cast no shadow. At the GSA, Gray was said to have ‘immediately impressed both his teacher and fellow students with fantastic, even visionary, projects’ ( The Guardian ), and The Beast in the Pit was at the forefront of this. While he eventually achieved recognition for his artistic talents, Gray’s best-known work is his first novel Lanark , published in 1981, which was written over a period of almost 30 years. Now a classic, Lanark has been described as ‘one of the landmarks of 20th-century fiction,’ inspiring the next generation of Scottish authors. Gray also wrote on politics, in support of socialism and Scottish independence, and this theme is similarly reflected in his artwork. While his written works combine elements of realism, fantasy and science fiction, he blended them with a clever use of typography and his own illustrations. In past interviews, Gray described writing as draining, while painting was ‘an invigorating physical activity that gave him energy’ (p.129, Rodge Glass). Using his recognisable style of strong lines and high-impact graphics, he self-illustrated his books and poems. From the Soul’s Proper Loneliness (LOT 59), for example, is one of five prints which both lavishly illustrate and give depth to the text of Gray's poems. This lot is the original version from 1955, while there is a later collage version from 1965 and a coloured version from 2007. Gray’s The Faust Legend (LOT 57) is another work that showcases his witty and bold graphic style. The scene is a chaotic one, which finds its origins in the original painting by Rembrandt, c. 1652, of the same name. In Rembrandt’s work, a scholar is transfixed by an orb of light that holds a secret code. In Gray’s version, all the knowledge of life swirls around this incredibly detailed work, intertwining symbols of death, love and the human experience. Gray has said that the figure of Faust ‘is an idealised version of me, busily introspecting’- (p.70, A Life in Pictures ) . As the original tracing cloth has been lost, only a few dyeline prints and photocopies of this work exist. However, as The Guardian proclaimed, ‘A peculiarity of Gray’s graphic work is that it sometimes appears at its best in reproduction.’ From 1977-78, Gray worked as Glasgow’s official artist recorder, painting portraits and streetscapes for the People’s Palace Local History Museum. He was constantly inspired by the people and places of Glasgow and often drew his friends and their families, like Portrait of Katey (LOT 56). Gray also undertook several mural commissions across the city, including a 40ft mural for the entrance hall of Hillhead subway station in the West end of Glasgow and the mural decoration of Oran Mor, an arts centre on Glasgow’s Byres Road. As Glasgow had a lasting impression on Gray and his artwork, so too did he on Glasgow. Gray is remembered by those who knew him, as well as those who did not, for his ‘benignly nutty professor’ persona, with ‘thick spectacles and haywire hair.’ Over the course of his life, his work has been widely exhibited across Scotland and is currently held by several important international collections.

§ ELIZABETH BACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) ORCHIDACEAEEtching and aquatint, A/P, signed and editioned in pencil to margin, titled in plate (Dimensions: 35.5cm x 30cm (14in x 11.75in))Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.

§ ALASDAIR GRAY (SCOTTISH 1934-2019) FROM THE SOUL'S PROPER LONELINESS LOVE AND AFFECTION SEEM . . .Mixed media on card with sgraffito (Dimensions: 24cm x 14.5cm (9.5in x 5.75in))Literature: Illustrated in A Life in Pictures, p.67 Provenance: A Private Collection, Glasgow Note: Alasdair Gray was a Scottish writer and artist, described by The Guardian as ‘the father figure of the renaissance in Scottish literature and art which began in the penultimate decade of the 20 th century.’ Born in Glasgow in 1934, Gray studied Design and Mural Painting at Glasgow School of Art from 1952-57. In art school, he was given the prompt to create a picture with the subject of ‘washing day with minimum of three figures.’ Initially uninspired by this generic topic, he found his muse in a Glasgow lane shaded by tenement buildings. A courtyard with a high hanging washing line and a half-withered hawthorn tree were to be the foundation for The Beast in the Pit (LOT 55) . The objects in the drawing- the three figures, three cats, three washing tubs, three close entries- are designed to draw the eye around the nearly symmetrical view. The main lines give an illusion of a traditional perspective but, in actuality, the work has 2 or 3 vanishing points, and the figures cast no shadow. At the GSA, Gray was said to have ‘immediately impressed both his teacher and fellow students with fantastic, even visionary, projects’ ( The Guardian ), and The Beast in the Pit was at the forefront of this. While he eventually achieved recognition for his artistic talents, Gray’s best-known work is his first novel Lanark , published in 1981, which was written over a period of almost 30 years. Now a classic, Lanark has been described as ‘one of the landmarks of 20th-century fiction,’ inspiring the next generation of Scottish authors. Gray also wrote on politics, in support of socialism and Scottish independence, and this theme is similarly reflected in his artwork. While his written works combine elements of realism, fantasy and science fiction, he blended them with a clever use of typography and his own illustrations. In past interviews, Gray described writing as draining, while painting was ‘an invigorating physical activity that gave him energy’ (p.129, Rodge Glass). Using his recognisable style of strong lines and high-impact graphics, he self-illustrated his books and poems. From the Soul’s Proper Loneliness (LOT 59), for example, is one of five prints which both lavishly illustrate and give depth to the text of Gray's poems. This lot is the original version from 1955, while there is a later collage version from 1965 and a coloured version from 2007. Gray’s The Faust Legend (LOT 57) is another work that showcases his witty and bold graphic style. The scene is a chaotic one, which finds its origins in the original painting by Rembrandt, c. 1652, of the same name. In Rembrandt’s work, a scholar is transfixed by an orb of light that holds a secret code. In Gray’s version, all the knowledge of life swirls around this incredibly detailed work, intertwining symbols of death, love and the human experience. Gray has said that the figure of Faust ‘is an idealised version of me, busily introspecting’- (p.70, A Life in Pictures ) . As the original tracing cloth has been lost, only a few dyeline prints and photocopies of this work exist. However, as The Guardian proclaimed, ‘A peculiarity of Gray’s graphic work is that it sometimes appears at its best in reproduction.’ From 1977-78, Gray worked as Glasgow’s official artist recorder, painting portraits and streetscapes for the People’s Palace Local History Museum. He was constantly inspired by the people and places of Glasgow and often drew his friends and their families, like Portrait of Katey (LOT 56). Gray also undertook several mural commissions across the city, including a 40ft mural for the entrance hall of Hillhead subway station in the West end of Glasgow and the mural decoration of Oran Mor, an arts centre on Glasgow’s Byres Road. As Glasgow had a lasting impression on Gray and his artwork, so too did he on Glasgow. Gray is remembered by those who knew him, as well as those who did not, for his ‘benignly nutty professor’ persona, with ‘thick spectacles and haywire hair.’ Over the course of his life, his work has been widely exhibited across Scotland and is currently held by several important international collections.

§ PETER HOWSON O.B.E. (SCOTTISH B.1958) BETRAYALSigned and dated 2003, charcoal and coloured pastel on brown paper (Dimensions: 39cm x 29cm (15.5in x 11.5in))Biography: Peter Howson is arguably one of the finest and certainly one of the most controversial British painters of the late 20th and 21st centuries. Born in London in 1958, he moved with his parents to Scotland aged four and studied at Glasgow School of Art from 1975 - 1977, under Sandy Moffat. On graduating, he took on various jobs, including nightclub bouncer and supermarket manager before enlisting as a private soldier in the Royal Highland Fusiliers. In 1979, disenchanted with the army, he returned to art school and from 1981 began to show at Edinburgh's influential 369 Gallery. What might be said to be Howson's signature style first emerged in a series of murals made for Feltham Community Association in London in 1982, painted in an urban realist manner. He quickly developed this into a style highly reminiscent of Max Beckmann, with exaggerated musculature, sinister characters and voluptuous nudes. He also embraced Beckmann's subject matter of extreme physical cruelty, depravity and dysfunctional behaviour. He was further influenced by the Mexican muralists of the early 20th century including Hidalgo, Rivera and Clemente. In his early works, Howson concentrated on characterizations of working class men, at the gym, at football matches, in the pub, or merely in a crowd. The exemplar was his iconic painting The Heroic Dosser (1987, National Galleries of Scotland). Tied up with such subject matter were his own memories of the brutality of his life as a soldier, together with his having been victimized and bullied at school and the sexual abuse he had suffered as a child. All of these fed into an art that became ever more brutal. It was almost inevitable, given the honesty, and graphically human monumentality of his work, that In 1992 Howson should have been commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia and a year later been appointed official British war artist for Bosnia. The effect on the artist however, was near catastrophic and he suffered a breakdown. In fact Howson had always lived in a constant state of nervous anxiety. He has Asperger's syndrome, an autistic condition that manifests itself principally in an unusual memory for detail and an obsessive need for routine. Throughout the 1980s and 1990s, Howson's work continued to display increasing levels of violence and voyeuristic sexuality. In 2000 Howson was treated for long-term alcoholism and drug addiction and that same year, possibly as result of this treatment, famously underwent a conversion to Christianity. Thereafter for a while, his work began to exhibit a strong religious content. Today, as always enigmatic, shy and unpredictable, he remains one of the most fascinating figures in 20th century British art, reflected by high profile patrons including David Bowie, Sylvester Stallone, Jack Nicholson and Madonna, who had apparently hung one of his canvases in her bedroom.

§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931)Etching and aquatint, A/P, signed and editioned in pencil to margin, titled in plate (Dimensions: 60cm x 45.5cm (23.5in x 18in), plate size)Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.

§ ALEXANDER GOUDIE (SCOTTISH 1933-2004) BRITTANY VIEWSigned, watercolour (Dimensions: 62cm x 87cm (24.5in x 34.25in))Biography Alexander Goudie (1933-2004), was one of Scotland's foremost contemporary artists. He was born in Paisley in Renfrewshire. He studied at the Glasgow School of Art, where he received the Newbery medal. On a trip to France, he visited Brittany, where he met Marie-Renée Dorval. They married in 1962 and her education in art and Breton culture helped establish him as a leading 'Breton' artist and Brittany became one of his main sources of inspiration. He exhibited widely in Brittany and in 1966 for the first time he exhibited his Breton paintings in Edinburgh. In 1987, he was commissioned to design the interiors and artworks for the ship ‘Bretagne,’ flagship of the Brittany Ferries Company. His work brought together landscapes, small scenes & still lives. The tables of the first class dining room were divided by paintings of food hanging at right angles. The originality of the scheme and the large number of works on display was received with great acclaim at the time. He liked to see, and attempt, mastery in painting but in a more conventional way; remaining uninspired by 20th century artistic movements, such as cubism or futurism. He has been described as 'an old-fashioned painter,' and for a man who felt that his job as an artist was 'to simply to tell a story in pictures and to speak with a clear voice,' presumably this was a compliment. But for the artistic establishment at this time, that would be far from a positive affirmation of his approach, entirely aside from their thoughts on his technical abilities. As Sir Timothy Clifford, former Director-General of the National Galleries of Scotland eulogised, Goudie 'had the skill and eye to describe, as almost no one else could, the sweating flanks of a cart-horse, the toiling, foreshortened form of a Breton peasant, the sheen on silk velvet, or the glow on a pretty girl's cheek.'

§ ALEXANDER GOUDIE (SCOTTISH 1933-2004) BOATS IN HARBOURSigned, mixed media (Dimensions: 48.5cm x 63.5cm (19in x 25in))Biography Alexander Goudie (1933-2004), was one of Scotland's foremost contemporary artists. He was born in Paisley in Renfrewshire. He studied at the Glasgow School of Art, where he received the Newbery medal. On a trip to France, he visited Brittany, where he met Marie-Renée Dorval. They married in 1962 and her education in art and Breton culture helped establish him as a leading 'Breton' artist and Brittany became one of his main sources of inspiration. He exhibited widely in Brittany and in 1966 for the first time he exhibited his Breton paintings in Edinburgh. In 1987, he was commissioned to design the interiors and artworks for the ship ‘Bretagne,’ flagship of the Brittany Ferries Company. His work brought together landscapes, small scenes & still lives. The tables of the first class dining room were divided by paintings of food hanging at right angles. The originality of the scheme and the large number of works on display was received with great acclaim at the time. He liked to see, and attempt, mastery in painting but in a more conventional way; remaining uninspired by 20th century artistic movements, such as cubism or futurism. He has been described as 'an old-fashioned painter,' and for a man who felt that his job as an artist was 'to simply to tell a story in pictures and to speak with a clear voice,' presumably this was a compliment. But for the artistic establishment at this time, that would be far from a positive affirmation of his approach, entirely aside from their thoughts on his technical abilities. As Sir Timothy Clifford, former Director-General of the National Galleries of Scotland eulogised, Goudie 'had the skill and eye to describe, as almost no one else could, the sweating flanks of a cart-horse, the toiling, foreshortened form of a Breton peasant, the sheen on silk velvet, or the glow on a pretty girl's cheek.'

§ BANKSY (BRITISH B.1974) DI-FACED TENNEROff-set lithograph, unframed (Dimensions: 8cm x 14cm (3in x 5.5in))Biography: Banksy is a contemporary British street artist, activist, and film director who has maintained an anonymity, despite his international fame. Although details of the artist’s life are largely unknown, it is thought that Banksy was born in Bristol, c. 1974, and began his career as a graffiti artist in the city in the 1990s. His work traditionally acts a form of cultural criticism; a political and social commentary through satirical street art and stencilled works. His work, which mysteriously appears on location, combines graffiti and epigrams and has been featured publicly on streets, walls, and bridges of major cities throughout the world. Although Banksy no longer sells photographs or reproductions of his street graffiti, his public installation pieces are regularly offered for sale, even if it means removing the wall they were painted on. A small number of Banksy's works are also officially, non-publicly, sold through Pest Control, a handling service acting on behalf of Banksy. Banksy's documentary film Exit Through the Gift Shop (2010) debuted at the 2010 Sundance Film Festival and he was nominated for the Academy Award for Best Documentary the following year. Banksy continues to create work worldwide, winning awards and notoriety. He was awarded Person of the Year at the 2014 Webby Awards and, in 2015, opened Dismaland Bemusement Park, a temporary art exhibition that functioned as a theme park and included collaborations with fellow artists. One of the artist's most famous stunts was his shredded painting in 2018. As a painting by Banksy was sold at auction for $1.4 million, a mechanism was triggered that caused the artwork to partially shred, resulting in a new piece titled Love in the Bin (2018).

Disney, Jakks, Star Wars - A Jakks Big Figs Darth Vader Battle Buddy. The figure stands at 122 cm in height and is signed by Spencer Wilde, the actor who portrayed Darth Vader is several of the modern Star Wars films.

TS MCPHEE - SOMEONE TO LOVE ME 7" - ORIGINAL UK PRESSING (PURDAH RECORDS - 45 3501). From T.S. Mcphee (who would shortly after find recognition with The Groundhogs), here is an absolute top rarity in Someone To Love Me c/w Ain't Gonna Cry No Mo' issued on tiny Blue Horizon subsidiary Purdah Records. The record is in extremely fine Ex+ condition with just a couple of extremely fine and faint paper hairline markings that are only really noted under intense LED lighting. The four prong centre is fully intact with the labels very clean and sharp.

THE MICKEY FINN - GARDEN OF MY MIND 7" - ORIGINAL UK PRESSING (DIRECTION - 58-3086). Heavy Psych/Freakbeat classic from The Mickey Finn who were occasionally joined by Mr Jimmy Page... The record is in extremely fine and glossy Ex condition with a few rather light and minor scuff marks on the flip 'Time To Start Loving You'. With a small cataloguing sticker (stating '10.710') on the B side label.

THE HIGH NUMBERS - ZOOT SUIT 7" - ORIGINAL UK PRESSING (FONTANA - TF 480). The legendary July 1964 7" from The High Numbers, 'who' in October of that year change their name to 'The Who'... This right here is an exceptional condition original UK pressing on Fontana (TF 480), the record presented in Ex+ or 'NM' condition. There are just a couple of trace-like, extremely faint wispy paper markings to the playing surfaces that can only really be witnessed under intense LED lighting. With the three pronged centre fully intact, the labels are in fantastic condition too - the release date '3/7' is written faintly on the A side label. Matrix/runout: 267364 1F ? 1 // 420 & 267364 2F ? 1 = 420.

WW2 Great Escapers rare multiple signed Stalag Luft III cover. Signed by ten of the escapers who survived. Les Broderick, Raymond van Wymeersch, Desmond Neely, San Ldr Dick Churchill, Sqn Ldr Jimmy James, Sqn Ldr Bob Nelson, Desmond Plunkett, Flt Lt Ivo Tonder, Capt Douglas Poynter, Sqn Ldr Sydney Dowse MC. . Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Traudl Junge Hitlers secretary signed 6 x 4 inch b/w portrait photo. Gertraud Traudl Junge was a German editor who worked as Adolf Hitler's last private secretary from December 1942 to April 1945. After typing out Hitler's will, she remained in the Berlin Führerbunker until his death. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Rare Victoria Cross winners Sepoy Bhandari Ram VC signed Brooklet card. Signed in Indian and English. On the 22nd November 1944, in East Mayu, Arakan, during a Company attack on a strongly held Japanese bunker position, Sepoy Bhandari Ram was in the leading section of one of the Platoons. In order to reach its objective, it was necessary to climb a precipitous slope, by way of a narrow ridge with sheer sides. When fifty yards from the top of the slope, the leading section of the Platoon came under heavy and accurate light machine-gun fire. Three men were wounded, amongst them Sepoy Bhandari Ram, who received a burst of light machine gun fire in his left shoulder and a wound in his leg. The Platoon was pinned down by intense enemy fire. This Sepoy then crawled up to the Japanese light machine gun, whilst in full view of the enemy, and approached to within fifteen yards of the enemy position. The enemy then hurled grenades at him, seriously wounding him in the face and chest. Undeterred, severely wounded by bullets and grenade splinters and bespattered with blood, this Sepoy, with superhuman courage and determination, crawled up to within five yards of his objective. He then threw a grenade into the position, killing the enemy gunner and two other men, and continued his crawl to the post. Inspired by his example, the Platoon rushed up and captured the position. It was only after the position had been taken that he lay down and allowed his wounds to be dressed. By his outstanding gallantry, determination to destroy the enemy at all cost, and entire disregard for his personal safety, this young Sepoy enabled his Platoon to capture what he knew to be the key to the whole enemy position. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Traudl Junge Hitlers secretary signed 6 x 4 white card. Gertraud Traudl Junge was a German editor who worked as Adolf Hitler's last private secretary from December 1942 to April 1945. After typing out Hitler's will, she remained in the Berlin Führerbunker until his death. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

WW2 Resistance heroine Nancy Wake signed 6 x 4 inch portrait photo in WW2 uniform. Nancy Grace Augusta Wake, AC, GM (30 August 1912 - 7 August 2011) (also known as Nancy Fiocca) was a New Zealand-born nurse and journalist who joined the French Resistance and later the Special Operations Executive (SOE) during World War II, and briefly pursued a post-war career as an intelligence officer in the Air Ministry. The official historian of the SOE, M.R.D. Foot, said that "her irrepressible, infectious, high spirits were a joy to everyone who worked with her. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Artist Ronald Brooks Kitaj signed in red to bottom of 6 x 4 inch colour postcard of his painting The Neo Cubist, to James and Sally. American artist with Jewish roots who spent much of his life in England. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Artist Ronald Brooks Kitaj signed in red to bottom of 6 x 4 inch colour postcard of his painting The Rise of Fascism, to James and Sally. American artist with Jewish roots who spent much of his life in England. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

A Box of Books to Include 'The Sphere' 1900, Pictorial Gallery of Arts, Punch 1919, Arabian Nights Entertainments, The Man Who was Nobody etc