McTear's Timed | Contemporary Pictures

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* JOHN BYRNE RSA (SCOTTISH 1940 - 2023), LEGACY POSTER

1

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250 - 450 GBP

three colour screenprint on 250gsm Somerset paper, stamped, from an edition of 50 mounted, framed and under glass image size 63cm x 39cm, overall size 80cm x 54cm Note: Born in Paisley, Renfrewshire, John Byrne was one of the most inventive and contrary artists working in modern Scotland. Both stylistically and in terms of subject matter his work fizzes off in all directions, always however underpinned by technical mastery. He was also widely known for his work in the theatre and television, particularly The Slab Boys and Tutti Frutti. As a painter he is quite without parallel. As his friend Robbie Coltrane wrote in 2000 of Byrne's sketches: 'if I could draw like that I would give up everything else in my life'. Byrne gained entrance to Glasgow School of Art in 1958 and earned the admiration of his tutors and peers as his talent for drawing and painting became apparent. As critic Cordelia Oliver has said, before long Byrne ‘could draw like Millais.’ Considering the rules and regulations of the art school to be too stringent, however, he transferred to Edinburgh College of Art in 1961, only to return to Glasgow to complete his degree having found Edinburgh even worse. He went on to win the prestigious Bellahouston Award for painting and travelled to Italy to view the works of the Renaissance Masters. His mother said he started drawing in his pram. A year before entering the art school, he started at A. F. Stoddart & Co in Paisley - a “Technicolour hell hole” - as a “slab boy”. Much of what was to come, visually and literally, drew on what John observed there. John returned to the carpet factory in 1966 during which time he secured an exhibition - and his passport out of factory life - at the Portal Gallery, London under the pseudonym “Patrick”. Having passed himself off as a self-taught naïf, he was given an exhibition. The dream-like images that made up the show met with success. His ruse was uncovered and from here he went on to design record covers for The Beatles, Billy Connolly and Gerry Rafferty; and to co-write songs with the latter. From the early 1970s John diversified into writing, designing and directing stage and screen productions: Writer's Cramp (1977) and then a story of three workers in a Paisley carpet factory who dream of escaping to pursue a life in rock and roll in The Slab Boys (1978). In 1986 he wrote the cult television series Tutti Frutti, starring Robbie Coltrane, Emma Thompson and Richard Wilson, which tells the story of the silver jubilee tour of the rock band The Majestics. Perhaps because of the immense success of these productions his prodigious talent as an artist was temporarily over-shadowed and after the exhibition at Glasgow's Third Eye Centre in 1975 Byrne stopped exhibiting entirely and focussed on his other disciplines, only returning to exhibiting in 1991. In the decades that followed an extensive iconography unfolded amounting, in some cases, to a kind of pictorial autobiography. Paintings of 1950s Ferguslie Park - Feegie - captured what was once an invention, the “teenager”, as this strange new being emerged in the artist’s own youth. In his Underwood Lane series, the Teddy Boys who loiter are reminiscences of his own past. These pictures often referenced filmic and theatrical worlds, their backdrops lit like stage-sets. Nocturnal themes abounded: moonlit woods; the streets of 1950s Paisley; the self-examining artist, alone and wreathed in cigarette smoke. In a finely balanced act, he pulled together the macabre and humour. Byrne was awarded an MBE in 2002, but returned it because of the invasion of Iraq. He was elected RSA in 2007 and awarded honorary degrees by the universities of Stirling, Paisley, Dundee and Robert Gordon’s, Aberdeen. He married Alice Simpson in 1964. They had two children but divorced in 2014. He was also the father of twins with Tilda Swinton with whom he had a long relationship that ended in 2004. In 2014 he married Jeanine Davies. He was prolific in his output, his style is idiosyncratic, and he deliberately stands apart from artistic movements and trends. Eighty-nine of John Byrne's artworks are held in UK public collections including: National Galleries of Scotland, The Fleming Collection, Aberdeen Art Gallery, City Art Centre (Edinburgh), Kelvingrove Art Gallery & Museum, The Hunterian, Manchester Art Gallery, National Museum Cardiff, Paisley Museum & Art Gallery, The Peoples Palace & Winter Gardens, Perth Art Gallery, Royal Scottish Academy, St Andrews University, The Argyll Collection, Stirling University, Strathclyde University and the V&A. In The Scottish Contemporary Art Auction of 28th August 2025, lot 5, "Love's Arrow II" (by Byrne) estimated at £6000-9000 sold for £15,000 (hammer).

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Mar 16

Lot location: Glasgow

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* MARY GALLAGHER (SCOTTISH b. 1953), PORTRAIT OF A WOMAN

11

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Mar 16

Lot location: Glasgow

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* CAROLA GORDON (SCOTTISH b. 1940), FRONT GARDEN, ANN STREET (EDINBURGH)

13

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200 - 400 GBP

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Mar 16

Lot location: Glasgow

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* IRENE HALLIDAY (SCOTTISH 1931 - 2023), NIGHT FISHING

15

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90 GBP

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90 GBP

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150 - 250 GBP

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Mar 16

Lot location: Glasgow

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* MOIRA BEATY (SCOTTISH 1922 - 2015), BED SIT

19

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300 GBP

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300 GBP

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500 - 800 GBP

oil on board, signed, titled verso framed image size 39cm x 36cm, overall size 47cm x 44cm Note: Moira went to Glasgow School of Art in 1939 where her contemporaries included Joan Eardley and Margot Sandeman. These three young women were regarded by their lecturers as the brightest stars of their generation. After one year as a student she was recruited to Bletchley Park where she worked as a code breaker, one of Churchill's 'corkscrew thinkers'. She returned to GSA in 1947 to complete her studies. Moira's enduring talent was recognised again in 2014 at the age of 92 with a sell-out exhibition in Kirkcudbright. Moira Beaty was a resolute and determined woman who was an integral part of the famous group at Bletchley Park who did much to aid the Allies' victory in the Second World War. She worked in Hut 8 where Alan Turing and Peter Twinn set up the Naval Enigma Code. Beaty was responsible to Twinn - the first mathematician to be recruited to Bletchley. ''I discovered something,'' Beaty modestly remarked years later, ''a code within a code. I was immediately moved to within the codebreakers and became a cryptographer working on the German Secret Service codes.'' The Twinn team was involved in breaking the secretive Abwehr codes which were even more complicated than the ordinary military messages. The information this provided to the Allies in such major operations as the desert campaign, the D-Day landings and the sinking of the battleship Tirpitz proved vital to the war effort. Her first solo exhibition was at the Open Eye Gallery in Edinburgh in 1979 and at the Collins Gallery in Glasgow. Her works were also seen at the Cadogan Contemporary Gallery in London and around Dumfries - notably at the Gracefield Arts Centre. In 2001 Gracefield held a major retrospective exhibition of both Moira and Stuart Beaty's works, entitled Full Circle. In 2014 Beaty officially opened the Kirkcudbright Summer Art Exhibition: Glasgow Girls 1920 - 1960, and held a solo exhibition in the town's Harbour Cottage Gallery. Both exhibitions were hugely popular and, at 92, Moira Beaty was still making a strong impression and gaining new collectors.

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Mar 16

Lot location: Glasgow

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* PETER HOWSON OBE (SCOTTISH b. 1958), LIFE STUDY

20

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200 GBP

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400 - 600 GBP

charcoal on paper, signed mounted, framed and under glass image size 40cm x 30cm, overall size 61cm x 51cm Note: Peter Howson OBE has established a formidable reputation as one of his generation's leading figurative painters. Many of his paintings derive inspiration from the streets of Glasgow, where he was brought up. He is renowned for his penetrating insight into the human condition, and his heroic portrayals of the mighty and meek. His art is described by Robert Heller as "founded in humanity, especially the human face." Howson was born in London. He studied at Glasgow School of Art from 1975-1977, returning in 1979 to complete a Master's. In 1985 he was made the Artist in Residence at the University of St Andrews and also a part-time tutor at Glasgow School of Art. In 1992 he was commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia . He was appointed official British war artist for Bosnia in 1993 and in 1996 was awarded Doctor of Letters Honoras Causa, University of Strathclyde. Prior to converting to Christianity in 2000, Howson responded to pain by pursuing hedonism. His experiences of abuse - whether self-inflicted and substance-related or the traumatic events of his childhood - have afforded him an affinity with those individuals who are classed as somehow 'on the edge'. His work has caught the attention of a number of prominent cultural figures, celebrities and creatives as well as striking a chord with prisoners, a voiceless demographic from whom Howson receives many letters of support. His ability to speak to the peripheries - to both the exclusive echelons living 'the highlife' and the socially alienated outsiders labelled 'low lives' - is proof of his enduring skill at capturing the maverick, excessive and non-conformist, while also seeking spiritual change. In 2011 Howson completed a dramatic rendering of the martyrdom of St John Ogilvie for the renovated St Andrew's Cathedral in Glasgow. The two year process of working on the commission was the subject of a BBC documentary. In 2023 Howson was the subject of a major retrospective at the Edinburgh City Art Centre, When the Apple Ripens: Peter Howson at 65, a comprehensive overview of the artist's career. His work has been shown in major exhibitions globally including Eye on Europe at the Museum of Modern Art, New York, and The Naked Portrait at the Scottish National Portrait Gallery in 2007. Public collections include: Aberdeen Art Gallery; Bankfield Museum, Halifax; British Broadcasting Corporation (BBC); British Council; British Museum, London; Cartwright Hall, Bradford, Christie’s Corporate Collection; City Art Centre, Edinburgh; City Art Gallery, Southampton; Contemporary Art Society; deYoung Museum of Fine Arts, San Francisco; Dundee Art Gallery; Eigsee Festival Collection; Fitzwilliam Museum, Cambridge; Glasgow Museums (Art Gallery and Museum, Kelvingrove); Glasgow Royal Concert Hall; Gulbenkian Collection, Lisbon; Hunterian Museum, Glasgow; Imperial War Museum, London; Isle of Man Arts Council; Kilmarnock and Loudoun District Museums; Library of Congress, Washington DC; Lloyds TSB Group plc, London; The Maclaurin Trust, Ayr; Metropolitan Museum of Art, New York; Ministry of Defence, London; Museum of Modern Art (MOMA), New York; National Gallery of Norway, Oslo; New York Library; Nottingham Castle Museum and Art Gallery; Paisley Art Gallery; Pallant House Gallery; Paul Mellon Centre; Yale University, Washington; People’s Palace Museum; Peter Scott Gallery; Lancaster University, Lancaster; The Fleming Collection, London; Royal Bank of Scotland (RBS); Scottish Amicable; Scottish Development Agency; The Arts Council of Great Britain; The Scottish Arts Council; The Scottish National Gallery of Modern Art, Edinburgh; Scottish Television (STV); Tate Gallery, London; University College of Wales, Aberystwyth; University of Salt Lake City; University of Strathclyde, Glasgow; Victoria & Albert Museum, London; Walker Art Gallery, Liverpool; The Jerwood Collection. Peter Howson's paintings hang in prestigious private and corporate collections worldwide and his known celebrity buyers include Mick Jagger, Madonna and David Bowie. "What an artist. They'll be talking about him in a hundred years time" - Dr Bendor Grosvenor, art historian and TV Presenter ‘Britain’s Lost Masterpieces’.

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* BRENDA LENAGHAN DA RSW (SCOTTISH 1941 - 2020), TIBETAN MONKS

23

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150 GBP

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300 - 500 GBP

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Mar 16

Lot location: Glasgow

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* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), TOWARDS ISLAY, LAST LIGHT, WET DAY

27

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100 GBP

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100 GBP

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200 - 400 GBP

watercolour on paper, signed, titled label verso mounted, framed and under glass image size 30cm x 43cm, overall size 53cm x 63cm Artist's label verso Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpet, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.

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Mar 16

Lot location: Glasgow

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* ROBERT KELSEY DA MUniv PAI FRSA (SCOTTISH b. 1949), GATHERING STORM

46

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400 GBP

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1,000 - 2,000 GBP

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Mar 16

Lot location: Glasgow

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* LESLEY BANKS (SCOTTISH b. 1962), DON'T BE CROSS WITH ME

51

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80 GBP

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150 - 250 GBP

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Mar 16

Lot location: Glasgow

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* PATRICK PROCKTOR RA (BRITISH 1936 - 2003), CHOIR PROCESSION KINGS COLLEGE CHAPEL. CAMBRIDGE

66

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50 GBP

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100 - 200 GBP

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Mar 16

Lot location: Glasgow

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* JOE KEARNEY (SCOTTISH 1939 - 2017), BALLET PRACTICE

69

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100 GBP

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200 - 400 GBP

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Mar 16

Lot location: Glasgow

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* JANE DUCKFIELD (BRITISH 1944 -2016), MOON OVER KILCHOAN, ARDNAMURCHAN

70

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1

150 GBP

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150 GBP

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300 - 500 GBP

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Mar 16

Lot location: Glasgow

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* GLEN SCOULLER RSW RGI DA (SCOTTISH b. 1950), LACEMAKER & DOVE, PALAÇOULO, PORTUGAL

73

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1

200 GBP

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200 GBP

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400 - 600 GBP

watercolour on paper, signed, titled label verso mounted, framed and under glass image size 53cm x 71cm, overall size 90cm x 105cm Artist's label verso Note: Glen Scouller is a contemporary Scottish artist, known for his vibrant and expressive landscapes and still lifes, which showcase his interest in bold colours and the movement of light. Scouller was born in Glasgow in 1950 and studied at Glasgow School of Art from 1968-73. As a student, he won the Royal Scottish Academy Painting Award and in 1973, was awarded the Post Graduate Study Award, the WO Hutcheson Prize for Drawing and Travelling Scholarship to Greece. In the following years, Scouller won more awards for his work, including the Lauder Award, Glasgow Art Club and Scottish Amicable Award, Royal Glasgow Institute of Fine Arts. He regularly exhibits at the Royal Scottish Academy, The Royal Glasgow Institute of Fine Arts and the Royal Scottish Society of Painters in Watercolour. In 1989, he was elected a member of the Royal Glasgow Institute of the Fine Arts, followed by the Royal Scottish Society of Painters in Watercolour in 1997. Since 1977, Scouller has had over 40 solo exhibitions across Scotland and internationally. Known public and corporate collections include: Anglo Platinum Ltd; APW Group; Argyll County Council; Art in Healthcare; Atlantic Investors; Cape Grace Hotel, Cape Town; Cargill Inc.; Clyde Property, Glasgow; Clydesdale Bank PLC; Craig Capital Corporation USA; Dawn Group, Glasgow; De Beer; Deloitte & Touche; Diageo PLC; Dick Institute, Kilmarnock; Drambuie PLC; Dunedin Fund Managers; Edinburgh Fund Managers; Edinburgh Tapestry Company; Ellerman House, Cape Town; Enterprise Oil, London; First National Bank of South Africa; Ford Collection USA; Glasgow College Art Foundation; Glasgow School of Art; Grace Hotel, Johannesburg; Halifax S.A.; Henry Abram & Sons; Harper MacLeod; iOcore (Pty) Ltd.; Kelmac Group; Leeds Education Authority; Lillie Art Gallery, Milngavi; Maclaurin Gallery, Ayr; MISYS PLC; Nedcor Ltd; Old Mutual PLC; Paintings in Hospitals, Scotland; Royal Bank of Scotland PLC; S.A. Eagle Insurance; Safeway PLC; Scottish Amicable Assurance Co. Ltd; Scottish Arts Council; The Scottish Office, Edinburgh; Scotts Restaurant PLC; South African Government; St. Andrews University; Task (UK) Ltd; Tods Murray WS; Touche Ross; Walter Scott & Partners Ltd; William Grant & Sons.

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Mar 16

Lot location: Glasgow

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* GEORGE DEVLIN RSW RGI ROI ARWS FRSA (SCOTTISH 1937 - 2014), UNTITLED

80

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1

400 GBP

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400 GBP

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600 - 900 GBP

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Mar 16

Lot location: Glasgow

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* JAMES HARRIGAN (SCOTTISH b. 1937), AYRSHIRE LANDSCAPE

83

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150 GBP

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300 - 500 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* JAMES ORR (SCOTTISH 1931 - 2019), STILL LIFE WITH WEE BOAT

85

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1

150 GBP

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150 GBP

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250 - 450 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

86

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1

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300 GBP

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600 - 900 GBP

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Mar 16

Lot location: Glasgow

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* STANLEY J ANDREWS RSMA (BRITISH CONTEMPORARY), ON THE TERRACE

87

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80 GBP

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150 - 250 GBP

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Mar 16

Lot location: Glasgow

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* PAUL RAYMOND SEATON (BRITISH b. 1953), RHODODENDRON WITH BLUE, WHITE & SILVER II

94

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1

500 GBP

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500 GBP

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1,000 - 2,000 GBP

oil on canvas, initialled, titled label verso framed image size 61cm x 76cm, overall size 76cm x 91cm Label verso: John Noot Gallery, Broadway with printed gallery price of £3600. Note: After receiving a baccalaureate degree in Mathematics from Exeter University, Seaton furthered his studies at Nottingham University with a special focus on obtaining a teacher’s degree. Shortly after enrolment he found himself compelled to leave the university in pursuit of a totally different vocation, that of an artist. Resolute in his decision he moved to the culturally rich city of London where he studied music and painting. Primarily a self taught artist, Seaton tirelessly examined the works of the Old Masters at the Tate Gallery and surrounding museums while immersing himself in the contemporary culture of the neighbouring galleries. It was during this time that he began to draw more extensively and to paint the still life. In his words, “Still life painting became a means to an end – namely, to teach myself to paint. Inspired by the literary compositions of the Pre-Raphaelites, in particular, John Everett Millais, Arthur Hughes and Maddox Brown, Seaton connects with their use of colour, finish and detail however he eschews the brotherhood’s devotion of the figure to that of the still life. Seaton’s archaizing floral compositions remind the viewer of the gifted French painter, Henri Fantin Latour, however the bounty that Seaton describes carries with it the modernist’s sensibility of light and atmosphere. Seaton’s oils exude an ethereal beauty, each flower a complex web of marks resulting in a sophisticated unity of tone, colour and form. Paul Raymond Seaton is currently represented by galleries in the UK, United States and Australia. He has had solo exhibitions in London, Amsterdam and New York City. He has participated in group exhibitions at the Whitechapel Gallery, the Royal Birmingham Society of Artists, the Mall Galleries and the Royal Academy in London. His work hangs in many esteemed private and corporate collections around the world. He is currently represented in the USA by the Collins Gallery (Orleans, Cape Cod, Massachusetts, https://www.collinsgalleries.com ).

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

96

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1

0 GBP

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80 GBP

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150 - 250 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* MICHAEL SCOTT (SCOTTISH 1946 - 2006), SWEET NOTHINGS

99

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1

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400 GBP

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800 - 1,200 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* CLIVE MADGWICK RBA (BRITISH 1934 - 2005), FEEDING THE DUCKS

100

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1

0 GBP

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260 GBP

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500 - 800 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* DOUGLAS ROULSTON (SCOTTISH b. 1984), A HEBRIDEAN REFLECTION

103

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1

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80 GBP

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150 - 250 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* JOHN BATHGATE (SCOTTISH b. 1949), LAST LIGHT, ARISAIG

105

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1

60 GBP

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60 GBP

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100 - 200 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* JAMES HARRIGAN (SCOTTISH b. 1937), PINK ROSES IN A LANDSCAPE

106

Quantity

1

800 GBP

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800 GBP

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GBP

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1,000 - 2,000 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

110

Quantity

1

50 GBP

Opening bid

50 GBP

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100 - 200 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* EMMA S DAVIS RSW PAI (SCOTTISH b. 1975), STILL LIFE WITH LITTLE BIRDS

114

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1

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80 GBP

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150 - 250 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* ELSPETH HARRIGAN (SCOTTISH 1938 - 1999), HYACINTHS AND IRIS

115

Quantity

1

110 GBP

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110 GBP

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150 - 250 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* PETER HOWSON OBE (SCOTTISH b. 1958), GALLOWGATE GUEST X

117

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1

0 GBP

Opening bid

600 GBP

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0 GBP

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GBP

Estimate

1,200 - 1,800 GBP

mixed media on paper, signed, titled labels verso mounted, framed and under glass image size 29cm x 21cm, overall size 54cm x 45cm Exhibition label verso: Peter Howson : A Retrospective, 2 July - 5 September 1993, Glasgow Museums & Art Galleries, McLellan Galleries Label verso: Flowers East, London Note: The city of Glasgow has provided constant inspiration for Peter Howson's highly distinctive and frequently uncompromising work. Gallowgate, in particular, where Howson lived and worked during this period, is a constant in some of his most famous pieces, an area he describes as a place where "bad things happen...(although the people there are) real in comparison to the people who generally hang about the art world." (quoted, Donalld Kuspit, Bipolar Paintings by Peter Howson, The Scottish Bosch). Note 2: Peter Howson OBE has established a formidable reputation as one of his generation's leading figurative painters. Many of his paintings derive inspiration from the streets of Glasgow, where he was brought up. He is renowned for his penetrating insight into the human condition, and his heroic portrayals of the mighty and meek. His art is described by Robert Heller as "founded in humanity, especially the human face." Howson was born in London. He studied at Glasgow School of Art from 1975-1977, returning in 1979 to complete a Master's. In 1985 he was made the Artist in Residence at the University of St Andrews and also a part-time tutor at Glasgow School of Art. In 1992 he was commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia . He was appointed official British war artist for Bosnia in 1993 and in 1996 was awarded Doctor of Letters Honoras Causa, University of Strathclyde. Prior to converting to Christianity in 2000, Howson responded to pain by pursuing hedonism. His experiences of abuse - whether self-inflicted and substance-related or the traumatic events of his childhood - have afforded him an affinity with those individuals who are classed as somehow 'on the edge'. His work has caught the attention of a number of prominent cultural figures, celebrities and creatives as well as striking a chord with prisoners, a voiceless demographic from whom Howson receives many letters of support. His ability to speak to the peripheries - to both the exclusive echelons living 'the highlife' and the socially alienated outsiders labelled 'low lives' - is proof of his enduring skill at capturing the maverick, excessive and non-conformist, while also seeking spiritual change. In 2011 Howson completed a dramatic rendering of the martyrdom of St John Ogilvie for the renovated St Andrew's Cathedral in Glasgow. The two year process of working on the commission was the subject of a BBC documentary. In 2023 Howson was the subject of a major retrospective at the Edinburgh City Art Centre, When the Apple Ripens: Peter Howson at 65, a comprehensive overview of the artist's career. His work has been shown in major exhibitions globally including Eye on Europe at the Museum of Modern Art, New York, and The Naked Portrait at the Scottish National Portrait Gallery in 2007. Public collections include: Aberdeen Art Gallery; Bankfield Museum, Halifax; British Broadcasting Corporation (BBC); British Council; British Museum, London; Cartwright Hall, Bradford, Christie’s Corporate Collection; City Art Centre, Edinburgh; City Art Gallery, Southampton; Contemporary Art Society; deYoung Museum of Fine Arts, San Francisco; Dundee Art Gallery; Eigsee Festival Collection; Fitzwilliam Museum, Cambridge; Glasgow Museums (Art Gallery and Museum, Kelvingrove); Glasgow Royal Concert Hall; Gulbenkian Collection, Lisbon; Hunterian Museum, Glasgow; Imperial War Museum, London; Isle of Man Arts Council; Kilmarnock and Loudoun District Museums; Library of Congress, Washington DC; Lloyds TSB Group plc, London; The Maclaurin Trust, Ayr; Metropolitan Museum of Art, New York; Ministry of Defence, London; Museum of Modern Art (MOMA), New York; National Gallery of Norway, Oslo; New York Library; Nottingham Castle Museum and Art Gallery; Paisley Art Gallery; Pallant House Gallery; Paul Mellon Centre; Yale University, Washington; People’s Palace Museum; Peter Scott Gallery; Lancaster University, Lancaster; The Fleming Collection, London; Royal Bank of Scotland (RBS); Scottish Amicable; Scottish Development Agency; The Arts Council of Great Britain; The Scottish Arts Council; The Scottish National Gallery of Modern Art, Edinburgh; Scottish Television (STV); Tate Gallery, London; University College of Wales, Aberystwyth; University of Salt Lake City; University of Strathclyde, Glasgow; Victoria & Albert Museum, London; Walker Art Gallery, Liverpool; The Jerwood Collection. Peter Howson's paintings hang in prestigious private and corporate collections worldwide and his known celebrity buyers include Mick Jagger, Madonna and David Bowie. "What an artist. They'll be talking about him in a hundred years time" - Dr Bendor Grosvenor, art historian and TV Presenter ‘Britain’s Lost Masterpieces’.

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* HUGH MCINTYRE (SCOTTISH b. 1943), DALSWINTON LOCH

118

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1

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260 GBP

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500 - 800 GBP

oil on canvas, signed and dated '80 framed (hexagonal) image size 53cm x 61cm (hexagon), overall size 59cm x 69cm Comment: A highly unusual hexagonal painting, almost certainly a commissioned work. Note: Dalswinton Loch, located in Dumfriesshire, Scotland, is a significant historical site due to its role in the development of steam navigation. The loch was the location where the world's first successful demonstration of a steampowered boat took place in 1788. Inventor William Symington tested his steampowered paddleboat, the "Charlotte Dundas," on the loch, marking a pivotal moment in the development of steam navigation. In 1785 Patrick Millar had purchased the Estate of Dalswinton, where he rebuilt the mansion house and had a swamp dredged out into a small loch where he could go boating. He had begun to get seriously interested in the idea of mechanical propulsion for boats and would experiment with double and triple-hulled model boats, with paddles between the hulls. His loch was perfect for testing out these models of various sizes. In the year 1786, Miller made two very formative new acquaintances. In July he was introduced to William Symington, engineer to the Wanlockhead mines, who had been working on steam engines and trying to combine the best features of James Watt’s and Thomas Newcomen’s designs. Miller was introduced to Symington when he came to Edinburgh to demonstrate a working model of a steam road carriage to the “Professors of that University and to other Learned & Scientific Gentlemen“. Miller could clearly see the application for Symington’s ideas and we can consider his interest piqued! In December he made the acquaintance of a 27 year old Ayrshire man by the name of Robert Burns. Burns was in Edinburgh enthralling society with his first book of poetry and anyone who was anyone in town was keen to make his acquaintance. A ten pound “donation” by Miller ingratiated him with the young poet. In subsequent meetings he would invite Burns to take up a tenancy on his estate to improve one of its farms, which he eventually did in 1787, moving to Ellisland. Despite generous terms, Burns never really managed to make a go of Ellisland and he would later leave to join the Excise, but the two would remain on good terms afterwards. Burns would write later to Miller, signing off a copy of his work as “his much indebted humble servant“. Some stories suggest that Robert Burns was onboard "Charlotte Dundas" for the Dalswinton trial but such was the publicity, the event drew a large crowd and it would seem very likely that Burns would have been there to watch as it was on the estate where he lived, even if he wasn't actually onboard. Note 2: Hugh McIntyre has been based in Dumfries & Galloway for many years and was involved with the management of the Gracefield Arts Centre during the early 1970s. He became a full-time painter in the mid 1970s and has exhibited his artwork, which focuses mainly on landscape painting, throughout the UK. He attended the Rhode Island School of Design, USA, and the Edinburgh College of Art. McIntyre`s work is included in the collections of H.R.H. The Prince of Wales (now HM King Charles III) and the Late Princess of Wales, The British Linen Bank Headquarters, Edinburgh, The Bank of Scotland, Galerie Chomarat, Lyon, Galerie Maison Jardin, Lyon, P.D.C, New York, Ashai Optical Co.Ltd, Tokyo, Brunel University, Hilton International, Albert Fisher Group PLC, Tommy Hilfiger and many other public and private collections. McIntyre exhibits widely and has been represented by Contemporary Fine Art (Eton) since 1990.

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* DOUGLAS PHILLIPS (SCOTTISH 1926 - 2012), SUMMER EVENING (CATTERLINE)

120

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1

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50 GBP

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100 - 200 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* TOM HOVELL SHANKS RSW RGI PAI (SCOTTISH 1921 - 2020), BRACADALE, SKYE

121

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1

150 GBP

Opening bid

150 GBP

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0 GBP

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300 - 500 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* CATRIONA CAMPBELL (SCOTTISH b. 1940), TORVICON, D'ALPUJAVRA SPAIN

126

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1

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80 GBP

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150 - 250 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* JOHN MCKINNON CRAWFORD DA (SCOTTISH 1931 - 2005), ALONG THE CANAL

127

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1

50 GBP

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50 GBP

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100 - 200 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

128

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1

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100 GBP

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200 - 400 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

DANISH SCHOOL (20TH/21ST CENTURY), UNTITLED

130

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1

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100 GBP

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200 - 400 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* JAMES FULLARTON (SCOTTISH b. 1946), DUTCH BARGES

134

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1

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1,000 GBP

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2,000 - 4,000 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

POLISH SCHOOL (20TH CENTURY), VILLAGE SCENE

137

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1

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100 GBP

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200 - 300 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* NANCY MORONEY, STILL LIFE WITH ORCHIDS

143

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1

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150 GBP

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300 - 500 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

144

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1

0 GBP

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100 GBP

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200 - 400 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* BARBARA ROBERTSON (SCOTTISH 1946 - 2018), THE HOUSE THAT JACK BUILT

145

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1

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80 GBP

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150 - 250 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

146

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1

0 GBP

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20 GBP

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0 GBP

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100 - 200 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* ALBERTO MORROCCO OBE RSA RSW RP RGI LLD D Univ (SCOTTISH 1919 - 1998), PORTRAIT OF A JUDGE

147

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1

50 GBP

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50 GBP

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100 - 200 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* CLAIRE MARSHALL (SCOTTISH b. 1967), UNTITLED

149

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1

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100 GBP

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200 - 300 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* OSCAR GOODALL RSW (SCOTTISH 1924 - 2022) ROCKS - SEA

150

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1

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150 GBP

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300 - 500 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* NIKKI MONAGHAN (SCOTTISH b. 1971), CHAT BETWEEN THE TREES

150a

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1

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50 GBP

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100 - 200 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

151

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1

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100 GBP

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200 - 300 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* SALLY CARLAW (SCOTTISH b. 1964), PARROT

153

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1

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100 GBP

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200 - 300 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* BARBARA ROBERTSON (SCOTTISH 1946 - 2018), THE HOUSE THAT JACK BUILT - THE COCK THAT CROWED IN THE

158

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1

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100 GBP

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200 - 300 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* JAMES WATT RGI (SCOTTISH 1931 - 2022), SKYLIGHT, TARBERT

159

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1

0 GBP

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400 GBP

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GBP

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800 - 1,200 GBP

oil on canvas, signed, titled verso framed and under glass image size 46cm x 61cm, overall size 64cm x 79cm Label verso: Red Rag Gallery, Stow on the Wold Note: from an essay by Alf Young on the artist: 'Painting out of doors brought Watt into contact with the men working on the boats. He got to know them. And then he started sailing with some of them, gaining a growing insight into the kind of lives they led. Puffers had a huge impact on him. Jimmy still remembers the day, on a walkabout in Greenock's East India Harbour, he came across The Lady Bute, lying moored in a dark corner near the coal chute. Something about the old battered hull, its red lead flaking, its paintwork peeling, struck a deep chord with him. "I knew I had found my catalyst, my icon, the thing that could pull my work together." Note 2: James Watt was born in Port Glasgow in 1931 to Alexander Watt and his wife Isabella (nee Hooper). His entire family, including his grandfather, and everybody he knew, were in shipbuilding. He was always passionate about boats. He believed he was very lucky. "I was in the right place at the right time. I caught the tail-end of the Clydeside shipbuilding boom in the 1950s. Shipyards had full order-books and the river teemed with craft of every sort. So I always had a subject”. His paintings are in a formidable array of collections – including those of HM The Queen and Prince Philip, The Princess Royal, The Arts Council, The Hunterian, Glasgow Museums, Paisley Museum & Art Gallery, IBM, Britoil, the Danish Embassy, Yarrow Shipbuilders, McKean Museum and Art Gallery, Clyde Shipping Co, the Royal Bank of Scotland and also the town council in the Faroes. Watt went to Glasgow School of Art for four years where he was taught by Ted Odling, Douglas Percy Bliss, and David Donaldson. In 1958 he was one of 13 founders of the Glasgow Group, an artists' co-operative which continues to this day. Irritated by the conformist, unadventurous policies of local exhibiting societies like the Royal Scottish Academy and the RGI, and at the dearth of commercial outlets in the city, they got together with other GSA students and graduates to exhibit at Glasgow’s then-beautiful McLellan Galleries. The Glasgow Group was the Transmission Gallery of its day. After two years National Service in the army, from 1955 to 1957 he became an art teacher, and a much-beloved one at that. He was noted for his kindness and good counsel, and one former student says of him: "I had pretty much zero talent but he sparked a lifelong love and interest in art." Another remembered “His was the fastest-moving Volvo down the school drive. He was some man." Later Watt became a member of the RGI and was elected a member of Society of Scottish Artists in 1965. In 1997 he received The Royal Bank of Scotland Award at the Glasgow Institute. He dedicated much of his life to recording the River Clyde and its industries, and his vast body of work forms a vital archive of the river. Greenock's McLean Museum and Art Gallery exhibition, The Lost Clyde: The Paintings of James Watt, was mounted to celebrate his 90th birthday. James was also the father of Alison Watt OBE FRSE RSA, one of Britain's best-known painters.

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* JOHN WARMERDAM (BRITISH b. 1944), SUNSET, ARGYLL III

160

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1

100 GBP

Opening bid

100 GBP

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0 GBP

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200 - 300 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* MARGARETANN BENNETT RSW (SCOTTISH b. 1968), GLIMPSE OF AN OPULENT INTERIOR

161

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1

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300 GBP

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Estimate

600 - 900 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

BILL BLACKWOOD DA PDA, MOONRISE AT MOSS YARD, GALLOWAY

169

Quantity

1

550 GBP

Opening bid

550 GBP

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GBP

Estimate

1,000 - 1,500 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

170A

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1

0 GBP

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100 GBP

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Estimate

200 - 400 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), ARRAN FROM CUMBRAE

173

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1

0 GBP

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200 GBP

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GBP

Estimate

400 - 600 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), BEACHED, ARISAIG

177

Quantity

1

30 GBP

Opening bid

30 GBP

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0 GBP

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GBP

Estimate

100 - 150 GBP

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), NEMESIS & NIOBE

178

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1

0 GBP

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200 GBP

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0 GBP

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GBP

Estimate

400 - 600 GBP

pastel on paper. titled mounted, framed and under glass image size 46cm x 68cm, overall size 69cm x 88cm Provenance: The Corrymella Scott Gallery Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), UNTITLED

179

Quantity

1

0 GBP

Opening bid

200 GBP

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0 GBP

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Estimate

400 - 600 GBP

pastel on paper mounted, framed and under glass image size 46cm x 65cm, overall size 70cm x 88cm Provenance: The Corrymella Scott Gallery Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.

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Mar 16

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

181

Quantity

1

260 GBP

Opening bid

260 GBP

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0 GBP

Max bid

GBP

Estimate

250 - 450 GBP

oil on canvas, signed framed image size 40cm x 28cm, overall size 57cm x 47cm Note: In 1996, after 17 years as a graphic designer, Graham McKean decided to commit himself totally to producing his oil paintings. Graham McKean’s paintings have featured in numerous exhibitions and are increasingly appearing at the U.K.’s leading auction houses. His work has now become highly collectible and is held in prestigious private and public collections worldwide. Graham also supports a number of charities through events and auctions. A review by the late W. Gordon Smith (Art Critic, The Scotsman), described the work of Graham McKean as a cross between the painters John Byrne and Stanley Spencer, but with an “interesting bite”. Graham McKean needs little introduction to our buyer audience having been consistently one of our most popular and best selling artists since the inaugural Scottish Contemporary Art Auction in November 2008. Known commissions & collections include: Aberdeen Asset Management 2017, to produce a series of original paintings inspired by the whisky making process; Buzzworks Holdings Ltd 2017, Commissioned to produce a large scale oil of the ancient "King Malcolm of Scotland"; Commissioned by William Grant & Sons Ltd to produce a painting and statement to be incorporated onto their bottles of Glenfiddich single malt whisky.; Commissioned by Bayard Partners Ltd, Investment Fund Managers, London to produce a large scale painting for their company reception.; Commissioned by "Scottish Opera" to produce five large paintings depicting all aspects of Opera and Theatre. Images were used as boardings on the exterior of The Theatre Royal, Glasgow.; Commissioned by Celtic FC to produce a painting to mark the 40th anniversary of their 1967 European Cup winning team known as "The Lisbon Lions". A limited edition print of the painting was published each with a certificate signed by Graham McKean along with signatures from all the surviving team members. The finished painting was presented to Billy McNeill MBE, Captain of the cup winning team.; 2009, Portrait to celebrate the life of Michael Jackson received worldwide press coverage. Uri Geller, close friend of Michael Jackson, commented "McKean's painting of Michael is a truly fantastic piece and is amazingly powerful."; 2011, A new oil painting of the Scottish cartoon character "Oor Wullie" was unveiled at McTear's (Glasgow) receiving wide acclaim and coverage on national television and news media.; 2013, Commissioned by North Ayrshire Council to produce a painting to mark the 50th anniversary of Irvine being officially designated as a Scottish New Town and the regeneration and redevelopment of much of the old town. The painting was also produced to portray the influx during this period of many families from Glasgow and the surrounding areas who resettled in Irvine.; 2013, Commissioned by Bentley Motors, Glasgow to stage a major exhibition of new work for display at their main Scottish dealership in Hamilton. A number of new "automobile inspired" paintings were produced for this show.; Commissioned by Scottish Art Direct to produce a large scale painting inspired by Scotland's so called "tartan army". The finished work, titled "Flower of Scotland" was unveiled at The Scottish Football Museum in Hampden Park Stadium attracting national TV, press and radio coverage.; 2015, The Danforth Art Museum, Framington, Massachusetts, USA acquired a large scale painting titled "Desperados" which is now part of their permanent collection.; Standard Life, Baillie Gifford, Black Appointments, The Scottish Arts Council, Roycec, William Grant & Sons Ltd, The Ralli Museum (Switzerland and Israel), Glasgow Celtic Football Club, Daniel Stewart & Company, North Ayrshire Heritage Centre, Aberdeen Asset Management, Sir Tom Hunter, Demontfort Fine Art and private and public collections worldwide.

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Mar 16

Lot location: Glasgow

Auction currency	GBP
Buyer's premium	24 %
Online commission	3 %
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