Harold Gilman, Interior (Mrs Mounter), 1917. Estimate £150,000–250,000.

, an essay in stillness, of the remains of the day, appears at first glance to be anything but revolutionary. But in the context of British art in the early 20th century, it is, in its own quiet and covert way, very radical. This was a new kind of subject, a suburban lodger and part-time charlady, lost in thought in a nondescript room in an ordinary London house. For art to be modern, artists like Gilman demanded that it should be concerned with the everyday life of the city, with the peripheral and unseen, with the working classes. All of this must not have been lost to Bowie, a boy born in Brixton just after the Second World War, when much of London’s housing stock was still as it was in the early part of the century – grand Georgian houses subdivided into flats and bedsitters, with tall thin sash windows, linoleum floors and a stove for heat.