Steven Campbell

William Hardie Gellery, Glasgow

William Hardie, Scottish Paintings 1837 to Present, Glasgow, 1994, p. 210

Minor undulation to the sheet which is likely to be intrinsic to the work. Suggestion of a tear, also possibly intrinsic to the work. Minor paint loss to the extreme lower left hand edge. Further minor spots towards the lower left section. The edge of the sheet is slightly visible to the extreme corners. Otherwise in good condition. Simple wooden frame in fair condition. Under glass. Unexamined out of frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Steven Campbell is one of the most highly regarded Scottish painters of the modern era and along with Peter Howson, Adrian Wisniewski, Stephen Conroy and Ken Currie, he was an integral member of the New Glasgow Boys. Campbell was born in Glasgow in 1953 and after leaving Rutherglen Academy at the age of 16 he worked in the steel industry as an engineer and fitter. He gained his formative artistic training at Glasgow School of Art between 1978 and 1982 and upon graduation was awarded the Bram Stoker gold medal and a Fulbright Scholarship to attend the Pratt Institute in New York. It was in New York that Campbell gained an international reputation during the 1980s and upon his return to Glasgow further developed his unique style of overlaying narratives and freely-associated ideas. That he was successful across the Atlantic is a testament to Campbell's tenacity, ambition and precocious talent; his work was promoted in America by the Barbara Tolls Fine Art Gallery, and he was the first Scottish artist of his generation to be seriously collected in America, establishing a highly lucrative path for others to follow. Campbell was fascinated by performance art, an interest manifested in the sprightly movement of his figures, particularly evident in the amusing subject in The Blind Magician (Lot 230).