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| Catherine Miller Académie 1970 oil on board Robert Gordon University, Aberdeen |
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| David Pettigrew Académie 1971 oil on board Robert-Gordon-University-Aberdeen |
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| Stephen Farthing Louis XV - Rigaud 1975 casein paint, enamel and metal-leaf on canvas Walker Art Gallery, Liverpool |
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| Philip Scoular Académie 1975 oil on board Robert Gordon University, Aberdeen |
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| Frank Auerbach JYM Seated 1976 oil on board Aberdeen Art Gallery |
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| Peter Greenham Jane 1976 oil on canvas Hatton Gallery, Newcastle-upon-Tyne |
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| Hugh Farren Académie 1977 oil on canvas Robert Gordon University, Aberdeen |
César Borgia
Portrait en pied
Sur fond sombre noyant un riche vestibule
Où le buste d'Horace et celui de Tibulle
Lointain et de profil rêvent en marbre blanc,
La main gauche au poignard et la main droite au flanc,
Tandis qu'un rire doux redresse la moustache,
Le duc CÉSAR, en grand costume, se détache.
Les yeux noirs, les cheveux noirs et le velours noir
Vont contrastant, parmi l'or somptueux d'un soir,
Avec la pâleur mate et belle du visage
Vu de trois quarts et très ombré, suivant l'usage
Des Espagnols ainsi que des Vénitiens,
Dans les portraits de rois et de patriciens.
Le nez palpite, fin et droit. La bouche, rouge,
Est mince, et l'on dirait que la tenture bouge
Au souffle véhément qui doit s'en exhaler.
Et le regard, errant avec laisser-aller,
Devant lui, comme il sied aux anciennes peintures,
Fourmille de pensers énormes d'aventures.
Et le front, large et pur, sillonné d'un grand pli,
Sans doute de projets formidables rempli,
Médite sous la toque où frissonne une plume
S'élançant hors d'un nœud de rubis qui s'allume.
Cesare Borgia
Full-Length Portrait
Against the dark background flooding a wealthy hall
Where the bust of Horace and that of Tibullus
Dream in white marble seen in profile from a distance,
Right hand at his side while his left hand's
On his dagger, his moustache turning up with gentle laughter,
He stands out in fancy dress, Duke CESARE.
Black eyes, black hair, black velvet are contrasting,
Amid the opulent gold of an evening,
With the matte beautiful pallor of his face
Heavily shadowed and seen in three-quarters
According to the custom of the Spaniards and the Venetians,
In portraits of kings and patricians.
The nose quivers, thin and straight. The mouth, red,
Is thin, and one would say the drapes are stirred
With the sharp breath that it must exhale.
And that gaze, ranging casual
Ahead of him, as is appropriate to old pictures,
Swarms with great thoughts of adventures
And the brow with a deep furrow, broad and flawless,
Filled with tremendous plans, doubtless,
Ponders them beneath a hat in which a plume shivers
Soaring up from a blazing knot of rubies.
– Paul Verlaine, Poèmes saturniens (1866), translated by Karl Kirchwey (2011)
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| Tom Wood Naked Self Portrait 1978 acrylic on canvas Cartwright Hall Art Gallery, Bradford, Yorkshire |
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| John Bellany Love Song - Homage to Titian ca. 1980 oil on canvas Fitzwilliam Museum, Cambridge |
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| Andrew Gibbon Williams Figures (Achilles and Patroclus) ca. 1980 oil on paper Hunterian Art Gallery, University of Glasgow |
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| Robin Philipson Men Observed IV 1981 oil on canvas Royal Academy of Arts, London |
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| Paula Rego Sleeping 1986 acrylic on canvas Southbank Centre, London |
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| Sonia Lawson Tobias and the Angel 1986-87 oil on canvas Royal Academy of Arts, London |
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| Leonard Rosoman Portrait of André Deutsch 1987 oil on canvas National Portrait Gallery, London |
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| Kevin Sinnott Wrestlers 1989 oil on cardboard Ashmolean Museum, Oxford |