In the first place, art is a kindof poetry, a high expression of human creativity. Art should speak to you off the walls where you live. Art is often decorative. A lotof it is trying to say something. All of it is more interesting than Sanderson flock. Art brightens people’s lives, stirs and stretches imagination. it can soothe and excite. People who grow up among paintings may not become better people, but they often learn to look at the world in a different way.W. Gordon Smith

Mrs Jay & W. Mrs Jay & W. Gordon SmithGordon SmithArt CollectionArt Collection

W. Gordon Smith 13.12.1928 —13.08.1996

andMrs Jay Gordonsmith 23.08.1948 — 11.07.2019

COPY from W. Gordon Smith

There are at least two good reasons why people who can afford to should collect contemporary art. In the first place, art is a kind of po- etry, a high expression of human creativity. Art should speak to you off the walls where you live. Art is often decorative. A lot of it is trying to say something. All of it is more interesting than Sanderson flock. Art brightens people’s lives, stirs and stretches imagina- tion. It can soothe and excite. People who grow up among paintings may not become better peo- ple, but they often learn to look at the world in a different way.

In the second place, art collectors are a kind of a social service and an important link in the economic chain. By spending their dispos- able shekels on the work of artists they help to feed and clothe artists. The artist’s di- lemma — whether to spend money on a meal oron paint and canvas — can be resolved only whenthere is money to spend. The children, spouses,relations and friends of collectors get a per-manent art show for nothing. They might be encouraged to go and look at other paintings — and perhaps some day, when they have some sparemoney themselves, might spend it on art.

AITCHISON Craigie 1 09 11ALLSOPP Disa 2 09 12ANSTIS Mark 1 10 14

BALMER Barbara 1 17 25BANKS Claire 2 18 26BEATY Stuart 2 18 28BELLANY John 6 19 30BLACK Colin 1 19 34BLACK Dorothy 2 20 35 BOND Marj 3 20 37BRAHAM Philip 1 21 40BRENNAN Archie 1 21 41BUCHAN Ronnie 1 22 42BUSHE Robbie 1 22 43BYARS Hugh 4 23 44BYRNE John 3 23 48

CALLENDER Robert 2 57 65CAREY June 1 57 67CASSIDY Vicky 1 58 —CHARLES Jane 1 58 —CLARK Donald 1 59 68CLINTON Margery 11 59 69COCKBURN Tim 3 60 70COHEN David 5 60 73COLLINS Peter 3 61 76COMINS Chris 1 61 —COOK Ian 2 62 78 COSMAN Milein 2 62 80CRAWFORD Hugh Adam 1 63 82CRAYK Fred 2 63 83CREME Benjamin 1 64 85CURRIE Ken 1 64 86

ARTIST ARTWORKS BIO PAGE

DALLAS BROWN Neil 3 93 97DAYAL Susan 1 94 —DONALDSON Esther 1 94 —DOOLEY Arthur 1 95 100DOUTHWAITE Pat 4 95 101DOWNIE Kate 1 96 105DUTHIE Philip 1 96 106

EDGAR Annette 9 111 113EVANS David 1 112 121

FARQUHARSON Linda 3 125 131 FEARN Ian 1 126 134FERGUSSON J.D. 2 126 135FERNIE Lorraine 6 127 137FINLAY Ian Hamilton 1 127 141FIRTH Jack 1 128 142 FRANCE Siri 1 128 143FRASER Henry 1 129 144FROOD Millie 1 129 145

GARDNER Alexandra 1 149 151GIBBS Jonathan 1 149 152GILBERT Mark 2 150 153GILLON Nick 1 150 —

HALL Fergus 1 157 —HALL Morgen 1 158 —HARRIGAN Claire 1 158 163HONEYMAN Sarah 1 159 164HOSIE David 1 159 165HOWIE James 1 160 166HOWSON Peter 1 160 167HUNTER George Leslie 1 161 168HUNTER Margaret 1 161 169

JOHNSTONE John 1 173 177

ARTIST ARTWORKS BIO PAGE

KNOX Jack 3 174 178KONDRACKI Henry 4 174 181

LEWIS Whyn 1 175 185

MACKIE Clare 4 189 205MACLAURIN Robert 1 189 208MACLEOD Donald 1 190 209MACPHERSON Neil 1 190 210MANGAN Stephen 1 191 211MARGRIE Imogen 1 191 212MALTBY John 4 192 213MARSHALL Will Levi 1 192 —MCARTHUR Christine 1 193 215MCCLURE David 2 193 216MCCRIMMON Deirdre 3 194 218MCGLASHAN Barry 1 194 219MCINTOSH Lorna 1 195 220MCKENZIE Dougal 1 195 —MCLEAN Bruce 1 196 221MCLEAN John 1 196 222MCMURROUGH Alice 1 197 223MCRAE Jennifer 1 197 224MILLAR Brent 1 198 225MILLER Moray 1 198 —MITCHELL Chuck 6 199 226MITCHELL Gordon 1 199 231MOFFAT Alexander 7 200 232MONTGOMERY Iona 1 200 240MONTLAKE Eli 2 201 241MORRISON James 5 201 243MORROCCO Leon 1 202 248MOSER Lida 2 202 249MULHOLLAND Craig 1 203 251MURPHY Sandy 1 203 252MUSZYNSKI Leszek 1 204 253

NEVAY Heather 2 261 263

OGILVIE Sara 1 267 269ORAM Ann 1 268 270 PARSONAGE George 1 273 277PATERSON Boo 1 273 278PATON Avril 2 274 279PETRETTI Claudia 2 274 281PETTIGREW Duncan 1 275 283PHILIPSON Robin 1 275 284PRETSEL Philomena 1 276 285PROSSER David L. 1 276 286

RAYNOR Martin 1 291 297REDFERN June 7 291 298REIGERSBERG-VERSLUYS Carlos van 2 292 305RIVERS Ruth 1 293 —ROBINSON Zev 1 293 —RODGER Willie 9 294 307ROMERO Esperanza 1 294 311ROPER Geoffrey 1 295 312ROSS Ann 1 295 313

SALVIN Harvey 1 317 325SANDEMAN Margot 1 317 326SCHOTZ Benno 1 318 327SCOBIE Lara 2 318 328SCOTT Ian 1 319 329SCOULLER Glen 3 319 330SHORT Ian 1 320 332SIMON Edith 2 320 333 SIMON Laurance 1 321 334 SMITH Andrew 3 321 336SMITH Campbell 1 322 337STIRLING Dorothy 1 322 338

ARTIST ARTWORKS BIO PAGE ARTIST ARTWORKS BIO PAGE

A9 Allsopp

DisaBorn 1958. Disa Allsopp studied at Middlesex University from 1981 and was apprentice to goldsmith David Thomas be- fore establishing her own work- shop in Barbados, where she grew up. The influence of her upbringing is visible in her jewellery designs; in the rich tones of colourful gemstones or natural forms inspired by indigenous materials.

In 1993 she moved back to the UK for a painting and life- drawing summer school, and later studied Postgraduate Jewellery at Edinburgh College of Art. There she was introduced to more ex- perimental ways of looking at the human form, taking many life- drawing classes. She takes inspi- ration from Picasso, Giacometti, African Art and fashion illus-tration. The collaged elements of Allsopp’s life drawings play with texture in a similar way to her jewellery designs. Her work has been shown across the world, from the Victoria & Albert Museum to the New York Gift Fair and the Barbados Museum.

01INDIAN CRUCIFIXION

Screenprint

38 × 31 ins

Bought Open Eye Gallery 2003

Aitchison Craigie1926–2009. A Scottish painter and printmaker, John Ronald Craigie Aitchison CBE RSA RA studied at the Slade School of Fine Art (1952–1954), and remained in London for the rest of his career. He is best known for his lifelong fasci- nation with the Crucifixion, sparked by viewing Dali’s Christ of St John of the Cross at the Kelvingrove Gallery in 1951. Aitchison’s work also includes Italian landscapes and por-traits, mainly of black men and dogs; one hangs in the chapter house of Liverpool Cathedral.His direct style, with bright, highly-saturated colours and simplified forms, defies catego- risation. His colour palettes, often compared to the Scottish Colourists, may have been in- spired by the landscapes of Italy during a 1954 Italian govern-ment travelling scholarship. Although his work was often likened to that of primitivist or naïve artists, Aitchison resisted this label. He continued to create vibrant, absorbing paintings until his death.

03COLLAGE FIGURES 11

Collage and ink

31 × 23 ins

Bought ECA Degree Show 1994

02COLLAGE FIGURES 1

Collage and ink

31 × 23 ins

Bought ECA Degree Show 1994

STOKES Mel 1 323 339STORK Mary 2 323 340SUTHERLAND Alan 1 324 342

TAYLOR Alasdair 1 347 351THOMPSON Ally 3 347 352THOMSON Peter 1 348 354THOMSON Sharon 1 348 —TRECANNI Ernesto 1 349 356TREMLETT Clayton 1 349 357

URIE Joseph 1 359 361

VETTRIANO Jack 3 363 365VOLK Patricia 1 364 368

WADE Sam 1 371 —WEAR Anna-Mercedes 1 371 377WHALEN Tom 1 372 378WHITE David 1 372 379WILSON Heather 2 373 380WILSON Tom 3 373 382WINGATE Natalie 1 374 385WISZNIEWSKI Adrian 5 374 386WOLFE MURRAY Tessa 2 375 389WYLLIE George 2 375 390

ARTIST ARTWORKS BIO PAGE

Biography by Alexander Moffat 395––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Grossart Painting Award 404 W. Gordon Smith Award 405Scope, Spectrum, The Pleasure is Mine 406Theatre Plays 412The Jay Gordonsmith Estate 415

APPENDIX ––––––––––––––––––––––––––––––––––––––––––––––––––––––––

A11

A10

Born 1985. Growing up on a farm in New Zealand, rural life pla- yed an important part in Mark Anstis’ early work. He graduated from Massey University School of Design before studying at the Florence Academy of Art, a lead- ing school in realist drawing and painting techniques, where he developed his love of figu- rative work.

The technical skill in his observational drawing is exqui- site, creating effective work that is classically inspired. In explaining his fascination with portrait painting, Anstis says he enjoys »the challenge of attempting to reveal the subtle- ties that portray individua- lity and personality with-in a sitter’s physical likeness«. He is inspired by figurative painters of the 18th and 19th centuries, admiring their natu- ralism and sensitivity to human expression.

In 2016 he was a finalist in the W. Gordon Smith Award, and in 2019 he won the People’s Choice Award at the Molly Morpeth Canaday Award exhibition in New Zealand.

Anstis Mark

04THAT’S NOT WHAT I HAD PLANNED

Oil

50 × 36 ins

Bought 2016 WGS Award Exhibition

01

Aitchison Craigie

INDIAN CRUCIFIXION

Screenprint

38 × 31 ins

A12

A13

02 03

Allsopp Disa

COLLAGE FIGURES 1

Collage and ink

31 × 23 ins

COLLAGE FIGURES 11

Collage and ink

31 × 23 ins

B50

B51

PAINTED BANJO Sign. Patrick

100 × 30.9 cms

32

CLAIRE BANKS, REVIEW 27 Feb 1994, p.1|1

B52

B53

JOHN BELLANY, SCOPESCOPE FILM MARJ BOND, VAS REVIEW, 22 May 1994, p.1|1

B54

B55

PHILIP BRAHAM, VAS REVIEW, 4 September 1994, p.1|1 JOHN BYRNE, 30 Jun 1991, p.1|1

F148

G149

JACK FIRTH, VAS REVIEW, 30 Oct 1994, p.1|1

Gibbs Jonathan

Gardner AlexandraBorn 1945. Scottish painter Alexandra (Sandie) Gardner stu- died at GSA 1963–67 and after graduating returned to teach Painting for 21 years. She crea- tes incisive figurative works with technical skill and impres- sionist daubs of paint, and her rich still-lifes pay tribute to Morandi. Combining Classicism with her own distinctive style, Gardner’s work is »spontaneous and vital … using texture and pattern to reinforce illusion« (WGS, 1993). The sensitivity and authority of her self- portraits is also seen in her confident depictions of Glasgow café culture reminiscent of Hopper. Gardner has won seve-ral prizes for her paintings, including the Lauder Award and the Paper Boat Award. Solo ex- hibitions of her work have been displayed at Cricket Hill Gal-lery, New York; Portland Gallery, London; and Kusten Gallery, Gothenburg. Gardner’s work is held in prestigious collections, including Cleveland Museum, Gothenburg Education Authority, the Fleming Collection and Kelvingrove Art Gallery.

Born 1953. After studying at the Lowestoft School of Art and the Slade, London, Jonathan Gibbs lectured at several art col-leges, retiring from Programme Director of Illustration at ECA in 2019. As well as teaching, his practice involves drawing, painting and printmaking, with a focus on woodblock engraving. Gibbs’ delicate and exquisite engravings are »wholly absor- bing, compulsive and oddly satis- fying« (WGS, 1993). He uses pattern, line and shape to de- pict forms of nature, as well as interior compositions, figura-tive representation and varia-tions of the still life. The graphic sensibility of his print- making has been seen in various settings: editorial illustra-tion, advertising, packaging, web and mural design. Gibbs’ work has been selected for the John Moores Exhibition, the Royal Academy and the Scottish Gallery of Modern Art. He has illustrated for Faber & Faber, Penguin and Routledge and his work is held in private collec-tions in the USA, Singapore and Hong Kong.

111DJANGO TANGO

Wood engraving

15.2 × 10.2 cms

Bought Open Eye Gallery 1993

110SMALL HEAD (1993)

Wash drawing

14.5 × 11.5 cms

Bought 1993

G152

G153

112MOTHER SEATED

Oil

60 × 60 ins

DJANGO TANGO

Wood engraving

15.2 x 10.2 cms

111

Gilbert Mark

Gibbs Jonathan

M201

M200

1932–2020. Graduating from GSA in 1954, James Morrison RSA RSW was influenced by Joan Eardley, and his early paintings depict Glasgow’s decaying Victorian tenements. He painted Tuscan hillsides and sketched Paris, yet the more he travelled the more »fervently he returned to his adopted heartland around Montrose«, (WGS, 1992). In-spired by the fertile land of the Mearns, and the majestic cliffs and skies of the North Sea, his rugged landscapes tee- ter on the verge of abstrac-tion. Using thin layers of oils to capture the translucency of watercolour, his paintings exude vigour and vibrancy. Morrison’s formidable drawing skills and robust energy of line portray the love he felt for the land.

Born 1965. After graduating with a BA and a postgraduate dip- loma from GSA, Iona Montgomery RSW undertook research at the Tamarind Institute, New Mexico. She has lectured at Gray’s School of Art and ECA, and was an invited lecturer at the State University of West Georgia, US. Informed by early memories of rock pools and fossil fragments while beachcombing, her work focuses on intricate structu- res found in nature. Montgomery uses these skeletal forms to explore her interest in »meta- phor, metamorphosis and memory … and cultures found in mytho- logy and archaeology«. Skilled in her use of watercolour and printmaking, her images have a strong poetic quality. In 1991 Montgomery was elected a member of the Royal Scottish Society of Painters in Watercolour, serving as Vice-President three times. She exhibits widely across Europe and the US, with awards including the Sir William Gillies Award, Glasgow Art Club Fellowship and John Gray Award RSW.

Born 1943. Teacher and distin-guished author, Alexander Moffat OBE RSA is best known as a figurative painter. He challen- ged institutional styles as a student at ECA, later teaching at GSA, where he influenced generations of painters. He is renowned for his perceptive por- traits of Scottish poets, emotivefigurative compositions of wor- kers and thinkers, and insight- ful depictions of Edinburgh. Moffat is critically acclaimed internationally, and praised for his »expressionist lyricism, humanity and subtle but daringly personal orchestration of co- lour« (WGS, 1991). His work is held in prestigious collections including the Yale Center for British Art and the Pushkin Museum, Moscow.

1923–1992. Born in Giffnock, Eli Montlake was a celebrated painter, draughtsman and sculp- tor who studied at GSA. Gai- ning early recognition, he exhi- bited with Jankel Adler, Robert Colquhoun and others as the New Scottish Group at the 1947 Edinburgh Festival. In 1948 Robert McLeish’s The Gorbals The Gorbals Story, a play the group produ- ced as the Gorbals Artists, was taken to London to great suc-cess. Montlake collaborated with his wife Helen Biggar on projects in film and printma- king until her death in 1953, later moving to Ibiza, where he spent the rest of his life. His painting practice is known for stylised drawings that use effective line and contrast. Often featuring the female figure, he juxtaposes the body with objects and animals to create engaging compositions. Exhibiting widely throughout his life, from 1926 to 1943 Montlake was a regular exhi- bitor at the Royal Scottish Academy Exhibitions.

Morrison James

Montlake Eli

Moffat Alexander

Montgomery Iona

176FRUITS OF PASSION II

Mixed media

39 × 36 cms

Bought Edinburgh Gallery 1997

177FEMALE WITH FAN

Etching

78.5 × 54 cms

Gift from artist

179ST CYRUS

Oil (with purple pastel)

32 × 44 ins

180CATTERLINE

Oil

12 × 25 cms

181BOATS AT CATTERLINE

Oil

31 × 39 ins

182UNTITLED

Mixed media with perspex

38 × 62 ins

183GLASGOW TENEMENTS

Mixed media

42 × 66 ins

169WHAUR EXTREMES MEET — TWO MACDIARMID HEADS

Etching (aquatint)

16 × 16 ins

Gift from artist

172– 173PORTRAIT OF GORDON (1973)

Charcoal on paper 30 × 23 ins

Oil on canvas 112 × 92 cms

Gift from artist

170TWO GIRLS BY THE SEA (1970)

Acrylic on canvas

41 × 73 cms

171NUDE (1971)

Acrylic on canvas

92 × 122 cms

174CALTON HILL

Watercolour on paper

16 × 30 cms

175BASS ROCK

Oil on board

18 × 24 ins

178FIGURE WITH VIOLIN

Etching

78.5 × 54 cms

Gift from artist

M236

M237

PORTRAIT OF GORDON

Oil on canvas

112 × 92 cms

PORTRAIT OF GORDON

Charcoal on paper

30 × 23 ins

173172

W394

395

395

Mrs Jay & W.Gordon SmithBiography

by Alexander Moffat

397

397

The Art Collection of Jay & W. Gordon SmithTo call them collectors only partly describes theextraordinary lives of Jay and W. Gordon Smith. The collection as such reflects their lifelong com- mitment to the arts, a commitment spanning a halfcentury and more of cultural change and artistic growth in Scotland. No mere onlookers, for much ofthat time they were active participants in the course of events — crucially in Television and Thea- tre production, and in writing about the visual arts.

They first met at BBC Scotland’s Edinburgh Head-quarters in the late 1960s when Jay applied for atemporary job with Gordon’s production team. We must presume she impressed and as she later re-marked »the six months stretched to twenty-eight years«. Their collection was built up over a fifty-year period, begun by Gordon in the 1960s and con-tinued by Jay until her death in 2019. From the onset there was never any intention to form a col-lection in the manner of the Medicis or a Peggy Guggenheim. Far from it. Their motto was a simple one: they both had to love the work and no matter how tempting, not spend more than £1,000. Every-thing was displayed in their home in Edinburgh, towhich the artists were invited and where they would see not only their own work, but also the work of their contemporaries. Many did so and became good friends of the pair. Paying a visit to their house on Inverleith Row was always a pleasurableexperience, catching glimpses of old favourites aswell as viewing their latest acquisitions.

W. Gordon Smith was an author, dramatist, art cri-tic, photographer and filmmaker. As Trevor Royle noted in his obituary for The Scotsman, »He belonged to the great Scottish tradition of polymaths who not only delighted in their country’s cultural life but also made a substantial contribution to it.« His understanding of how different art forms— poetry, painting, music, theatre, film, for example

406

407

406 407406SPECTRUM, SCOPE,THE PLEASURE IS MINE ANDERSON Alasdair 5.11.74

BASSI Angela & TENNERONIE MARY 25.3.75

BELLANY John 10.12.74

BRENNAN Archie 30.4.74; 16.5.71

BROWN Douglas & GRANT NORMAN 29.10.73

BROWN Sandy 22.1.74

BRYANT Trevor/MUSCULAR ARMS 31.1.72

BRYDEN Bill 2.2.79

BUCHAN Tom 2.10.73

BYRNE John 8.5.73; 21.12.69

CALLENDER Robert 4.6.70

CAMERON James 29.10.76

COHEN David 11.12.73; 19.9.75

CONTI Tom 17.6.77

COOK John Kingsley 18.4.71

COOPER Dominic 7.5.76

THE CORRIES 30.1.66; 2.2.68; 9.2.68; 5.5.72

CRAWFORD Hugh Adam & MANN KATHLEEN 22.10.71

CROZIER Bill 18.9.73

DALLAS BROWN Neil 2.4.76; 13.6.71

DICKSON Barbara 11.3.75

DONALDSON David 5.5.75

EARDLEY Joan & MORRISON JAMES (FIRST SCOPE) 10.9.73

EVANS David 5.9.75

Camera transcript from BBC TV Scotland, 1979

ARTISTS DATE

414

415

415414

THE JAY GORDONSMITH ESTATE

This unique art collection is the culmina- tion of a lifetimes work by the late W. Gordon and Jay Gordon Smith. It was Jay’s wish that this catalogue and exhibition serve as a celebration of their lives. The proceeds from this sale will assist in fulfilling their le- gacy to the promotion of art in Scotland.

Following a terminal diagnosis, Jay put her affairs in order and, with a view to exten- ding their support of the arts in Scotland, left a series of legacies. As well as conti- nuing the W. Gordon Smith Award, (founded in memory of Gordon by Jay) awarded to the best artists in each of the annual exhibitions of The Royal Scottish Society of Painters and Watercolour, The Royal Scottish Academy, Visual Arts Scotland and The Society of Scottish Artists, Jay wanted to provide bur- saries to »deserving students in their foun- dation course« at the Leith School of Art. Her estate will also facilitate the continuingprovision by The Royal Scottish Academy of their Residences for Scotland Programme.

416

416ACKNOWLEDGEMENTS–––––––––––––––––––––––––––––––––––JOHN MCARTHUR Mrs Jay Gordonsmith Executor Gillespie MacAndrew LLP

ALEXANDER MOFFAT & TOM WILSONW. Gordon Smith Award TrusteesArtist biographies on pages 200 & 373.

SIGRID SCHMEISSEREditor and DesignerSigrid Schmeisser is an internationalmulti-disciplinary designer and artdirector working both in the arts andacademic sector. A thorough research process with a strong conceptual and typographic approach underpins every design project. Schmeisser has wor- ked with several clients in the arts including THE LITTLE SPARTA TRUST, as well as THE SCOTTISH GALLERY. In her self-directed work she investigates critical issues within visual culture, media and globalisation.

SIOBHAN MCLAUGHLINBiography Writer and ResearcherSiobhan McLaughlin is an artist, cura- tor and researcher. Her art practicesits between abstracted landscape andan expanded form of painting. She ex-hibits regularly and has been awardedthe SSA Wilhelmina Barns-Graham Awardat the RSA. She curated the exhibi- tion Beginning of a Far-off World: Alan Davie’s 100 years, in collaboration with Dovecot Studios (Jan–March 2021). Her research has focused on the material analysis of Sonia Delaunay’s work and post-war Scottish art.

HELEN BLECKProofreader and CopyeditorHelen Bleck began her publishing career at Chambers Harrap and later became Managing Editor at Canongate Books. Now freelance, Bleck works in refe- rence, education, academic and trade (fiction and non-fiction) publishing, specialisingin arts and humanities subjects.

–––––––––––––––––––––––––––––––––––THANKS TOThe Open Eye Gallery Jilly Dobson

Jed Gordon Photography, 2016

The Scottish Gallery Guy Peploe & Lisa Muxworthy

Robin Rodger Documentation OfficerRoyal Scottish Academy of Art & Architecture Collections Department

Grammlich Lithoprinting (DE)Lithography Offset printing

Josef Spinner Großbuchbinderei GmbH (DE) Bookbinding

UK ARCHIVING Archival Scanning

We want to thank all artists who kindly shared their knowledge about the art- work in question and also their stories about their encounters with Jay and W. Gordon Smith.

–––––––––––––––––––––––––––––––––––Published in the UK in 2020 by the Jay Gordon-

smith Estate in conjunction with the W. Gordon

Smith Award Trust. The right of the Jay Gordon-

smith Estate to be identified as the owner of

this work has been asserted by them according

to the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this publica-

tion may be reproduced, stored in a retrieval

system or transmitted, in any form or by any

means, electronic, mechanical, photocopying,

recording or otherwise, without the prior writ-

ten consent of the copyright owner.

Copyright © Jay Gordonsmith Estate 2020

–––––––––––––––––––––––––––––––––––