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| John Golding Asphodel ca. 1967 oil on canvas Southampton City Art Gallery |
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| Wilhelmina Barns-Graham Goodbye Johnny (30th July 2000) 2000 acrylic on paper Aberdeen Art Gallery |
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| Patrick Heron Rumbold Vertical Four: Green in Green with Blue and Red 1970 oil on canvas Aberdeen Art Gallery |
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| Derrick Greaves Chimney and Iris 1968-69 oil and acrylic on canvas Southbank Centre, London |
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| Robert Motherwell Scottish Ballad 1990 acrylic and collage on canvas Aberdeen Art Gallery |
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| Gerhard Richter Abstraktes Bild (Grau) (880-3) 2002 oil on aluminum Scottish National Gallery of Modern Art, Edinburgh and Tate Modern, London |
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| Ivon Hitchens Warnford Water, Movement Left and Right 1959 oil on canvas Bristol Museum and Art Gallery |
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| Alexander Fraser On Paper 1983 acrylic on paper Hunterian Art Gallery, University of Glasgow |
The Map of the World Confused with Its Territory
In a drawer I found a map of the world,
folded into eighths and then once again
and each country bore the wrong name because
the map of the world is an orphanage.
The edges of the earth had a margin
as frayed as the hem of the falling night
and a crease moved down toward the center of
the earth, halving the identical stars.
Every river ran with its thin blue
brother out from the heart of the country:
there cedars twisted toward the southern sky
and reeds plumed eastward like an augur's pens.
No dates on the wrinkles of that broad face,
no slow grinding of mountains and sand, for –
all at once, like a knife on a whetstone –
the map of the world spoke in snakes and tongues.
The hard-topped roads of the western suburbs
and the distant lights of the capitol
each pull away from the yellowed beaches
and step into the lost sea of daybreak.
The map of the world is a canvas turning
away from the painter's ink-stained hands
while the pigments cake in their little glass
jars and the brushes grow stiff with forgetting.
There is no model, shy and half-undressed,
no open window and flickering lamp,
yet someone has left this sealed blue letter,
this gypsy's bandana on the darkening
Table, each corner held down by a conch
shell. What does the body remember at
dusk? That the palms of the hands are a map
of the world, erased and drawn again and
Again, then covered with rivers and earth.
– Susan Stewart (1987)
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| Mariele Neudecker Never Eat Shredded Wheat (Memory Maps) French Male, 29 1996 acrylic and felt pen on paper Southbank Centre, London |
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| Bob and Roberta Smith Winter Then Autumn 1999 acrylic on canvas Southampton City Art Gallery |
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| Eliot Hodgkin Five Variegated Ivy Leaves 1960 tempera on panel Hunterian Art Gallery, University of Glasgow |
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| Reginald Wallace Mitchell Guy the Gorilla 1968 oil on board Zoological Society of London |
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| Henry Scott Tuke Sketch for Morning Splendour ca. 1921 oil on panel Royal Cornwall Polytechnic Society, Falmouth |
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| Paul Cézanne Bathers ca. 1899-1904 oil on canvas Art Institute of Chicago |
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| Peter Sedgley Blue Pulse 1972 acrylic on board Bristol Museum and Art Gallery |