introduction

ill’. What my father, aged 59, had blotted from his mind was that during the time of the sittings he did look strained and careworn due to the pressure of saving the Knox mill. Sandy politely staged another sitting, but let the essential truth of his portrait stand concentrating only on finessing my father’s hunting gloves with all the swagger and perfectionism of his hero, John Singer Sargent. My father, unaware of Sandy’s sleight of hand, was delighted with the result.

My friendship with Sandy proved to be one of the most pivotal in my life strengthening my resolve to pursue a path largely driven by art. A few weeks after the portrait was finished, I was offered a job out of the blue as feature writer on the Antique Collector magazine. Our friendship continued over the years often in London in the bravura setting of Sargent’s studio in Tite Street, where he held court for a month or so in the summer while working on portraits of southern clients. For Sandy, life itself was a work of art.

james knox director, the fleming collection

1. Self Portrait in Gilet, c.1965 oil on canvas, 102 x 76 cm

Alexander Goudie Self Portrait, c.1961 Private collection

Alexander Goudie, c.1965