A world record price of £16.6m has been reached at auction for a painting by Edinburgh-born artist Peter Doig.


The artist's painting of a canoe in a moonlit lagoon has fetched 26 million dollars (£16.6 million) at a record-breaking auction at Christie's in New York.

Peter Doig's Swamped was one of a number of works sold at the sale.

Doig, who was born in Edinburgh, grew up in Canada, but now lives in Trinidad and Germany, broke a personal record with his 1990 painting.

The previous record had been 18 million dollars (£11.5 million).

On the same evening Alberto Giacometti's life-size Pointing Man set the record for most expensive sculpture, fetching 141.3 million dollars (£90.7 million).

Doig has several connections to the land of his birth.

As a child he holidayed in Scotland many times, and he was very close to his grandparents in Edinburgh and St Andrews, and he visited the Citizen's Theatre and Glasgow for several weeks as a youth.

He told The Herald in a rare interview in 2013: "Scotland does have a resonance for me.

"I was always very aware that I was Scots, and I had a very close relationship with my grandparents.

"And if I hadn't kept going back to Scotland, I think I might not have gone back to the UK when I was 19."

Doig studied in London during the 1980s and won the Whitechapel Artist award in 1991.

Three years later he was nominated for the Turner Prize.

In 2013 his The Architect's Home In The Ravine was sold by Christie's for £6.8 million.

In that interview, he said he was bemused by the price of his paintings at auction.

He said: "More than 20 of my paintings have sold for over £1.5m, something crazy like that.

"The weird thing is that people think that is how much I am selling them for, and that I, myself, am selling them. "That's crazy."

Doig remembered his first sale: a painting he let go for £200, four weeks wages for him at the time, which seemed like a huge sum.

He said: "It's all very strange, really. The Architect's Home In The Ravine probably sold for more than that house [in the painting] is worth. When it first happened, I thought: 'Oh my God, now I am in real trouble, I am just going to become a mockery.' It happened so quickly. I thought it might affect my work, I thought: 'How can I possibly go into a studio and make a painting and it's going to be worth that?'"