AUGUST 2004
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Meet Martin and Reiko at Juri's, a new restaurant in Winchcombe run by a Japanese family with the daughter Juri being a cordon bleu cook (as well as an MA in English from St Andrews). Reiko has brought two beautiful dolls made by her friend Kiyoko as a thank you for when they came and dined with us last year. It had been a fascinating evening as Kiyoko had actually brought some of Nathan's puppets to life for a Japanese traditional folk tale. Likewise the conversation turns to the proposed trip to Japan. Reiko, who comes from Nara, also suggests it would be a most important place to visit and says that she can put us in touch with another friend who is a guide there.
After the lunch we drive to Burford where Brian is packing the paintings. He had been to the drinks party given by Peter King and his wife this morning. He had a word with Peter about the confusion over one of the Cinema paintings that he had been interested in (which sold to someone else) and Peter said it had just been a bit of a misunderstanding. We collect the paintings that Richard is going to deliver as Brian will be away in Scotland next week.
Working in the studio when I receive a call from the alarm system to say that Lyn Horne has fallen over so can I go down to help. I ring Richard quickly who is at number 80 where Dynorod have been doing some work, grab the key and runs down the road. I call out let Lyn know it's me. She's lying on her back on the floor of her downstairs bedroom where she has worked her way from the living room, taking an hour and a half to do so, to reach her alarm which she had forgotten to put back around her neck when she changed into a sun dress. She has a nasty bruise an her arm and a wound on her knee; the latter doesn't hurt as she has no feeling down her left hand side since reacting very badly to antibiotics as a young woman still in her teens. She is rather concerned that I won't be able to lift her and I reassure her that Richard will be here in minute or two which he is. We stay with her for about an hour and R makes her a cup of tea whist I rub cream into her bruise and wound until her friend who is coming for tea arrives.
In the evening we drive over to Redmarly again, this time to deliver Grand Parade to the Taylors. It's a beautiful old, very large farmhouse which they have been in the process of renovating for the past ten years. Grand Parade looks perfect on the blue wall of the living room where Martin and Richard hang it with Metropolis which they bought from my 1999 exhibition with Brian Sinfield and the large newspaper work commemorating the end of the last millennium. They open a bottle of champagne to celebrate the hanging after seventeen month old Zac has gone to bed. He had great fun climbing up the ladder as soon as Martin and Richard were out of the room.
R takes my Mum to Blackheath to stay with Henrietta and Kev for a few days. He then goes over to Nathan's in Stoke Newington and stays overnight whilst I'm working on the Gossage's canvas which I have been hoping to finish for the weekend but have received really nice e mails from Martin and Kryzsia saying they are very happy to wait if I need longer.
I'm busy working on the Gossage commission when R arrives back - 5.30 ish - to deliver The Diners to the Osbornes.
Still working into the Gossage's commission, making refinements to the portrait heads and further into the background. I keep fluctuating as to whether it will be complete by the weekend or not: although interestingly, when Rose has been in the studio earlier in the week she had thought it had been finished for some time. It's interesting that others often can't imagine what the artist still has left to do. I suppose it is that striving to make it as good as possible and the sort of magic that happens when it comes to life.
R's gone to London to deliver two of the paintings from the exhibition (Leap Year 1 and 2) to Gerry in Hampstead. He then goes on to visit Nathan, deliver one of his Business School prints and visit the Japanese Tourist Board to get further information on the Noh plays, Bunraku and Kabuki as well as the railways and hotels. Meets my Mum and Henrietta at the Royal Academy. R arrives back after dropping my Mum off about 9.30pm.
I'm still working on the Gossages commission, reworking Martin's head; I'm thinking I won't get it done for R to deliver tomorrow but around midnight have a bit of a boost and feel I'm in with a chance. I still have to work into Kryzsia's sweater, paint some small objects (marble, pencil etc.) on the top of the sideboard then at 3am realise there is rather more to do on the base of the frame than I'd thought but in another hour I had refined it.
When I wake up the telephone is ringing. I get it to it just too late but there's the most wonderful message from Kryzsia saying that they are all thrilled with the painting; it far excels their expectations. I'm so pleased and relieved that I had managed to get it there for the day they had hoped. R's already hung it for them.
When he's back we spend four hours planning the schedule for the proposed Japanese trip. It's quite difficult fitting the stays in Kyoto, Nara, Nagoya and Tokyo around the Festivals of the Ages and Fire with the performances of the Noh play and Bunraku at the national theatre in Tokyo. My Mum arrives and it's time to go dinner at Richard and Rose's. We take a bottle of champagne to celebrate the hanging of the painting that Richard had bought Rose for her birthday from the Sinfield exhibition. It's a lovely evening.
After we had taken my Mum home we come back and do a further three hours on the Japanese schedule before e mailing it to Saudi Arabia.
Looking at the Grace's commission, working out my next move. Also work on the new corrugated horse piece for the Spinal Injuries Association exhibition in London in October.
Phone call from Keith Davis from the church records working with NADFAST saying that they are recording the 'flat' art in local churches and tomorrow morning will be at St Michael's. They are interested in both the Rood (my crucifixion painting)) and the restoration work Richard did on the old school room. I invite them to call here after they have been to St Michael's tomorrow.
It's fairly chaotic with the gas boiler being serviced as the two people from the church records arrive to ask questions on Richard's restoration of the school room in the church and the Rood. they are not here for too long.
Package arrives from Martin, our solicitor, friend and collector who is kindly looking into the charity commission's rules for setting up a museum trust for us. His research is being pretty extensive with pages and pages of information. Also French textbook from the Bridgeman Art Library; it's very interesting as it also includes a reproduction of a Francis Bacon, Dali, William Roberts, Warhol and Max Ernst.
In the evening we drive to Naunton to have dinner with Jane and David and their house guests, Professor Richard Baillie and his artist wife Anne who studied at Reading University at the same time as Jane. One of the most fascinating conversations during the evening was about Jane living on a deserted island off the Great Barrier Reef [ on a level with Cook Town ], whilst still a young journalist on the Sydney Herald. There were four men and three women and it was exceedingly hot; Jane says she looked more like an aborigonie by the end of her time there. It was funded by the Australian Film Commission and the film was eventually premiered at the Sydney Opera House. One of the four men, a doctor called George, who wasn't a film maker at the time went onto to become one, making films such as Babe, Driving Miss Daisy and the original Witches of Eastwick. He spent a lot of his time on the island sitting under a shelter he had constructed.working on ideas. None of the others built shelters but slept in the open. Perhaps being a doctor he was more aware of the risks of prolonged exposure to the sun. It's interesting to see from the black and white photographs that Jane recently found at her mother's house, that they were filming with an Ariflex, similar to the one Nathan is useing for his film. Later the conversation veers round to the Edward Hopper exhibition, Luc Tuymens,.Pop Art at Tate Britain and the recent El Greco at the National Gallery.
Another package from Martin on the Charity Commission's guides for art collections, galleries and museums.
Call from Artworks at the Leicestershie Open Museum who are going to buy Ark and Beautiful Game for their collection.
A few hours spent in the garden cutting back and planting, before going into the studio.
Work on the commission for the Graces. I make considerable progress. Also reread the details for the New York commission, comparing the two different types of frame I have had made for it [ trying to visualise whether it should be vertical or horizontal ] and thinking about the time scale; it has to be there before the 30th November.
Draft letter from Martin to the Charity Commission re: the Museum Foundation project. He's wonderfully efficient and has been so busy applying himself to the project - it's that sort of energy and expertise that will get it off the ground
Fill in the two still blank white gessoed sides of the Grace's commission with table, cabinet and lots of photograph frames which makes a considerable difference to the composition. Mix up colour for the Pursport's commission; R's now carving a second large sweet jar for it, using an old glass one I've had for many years as a model.
Ronald phoned to say that Margaret is in bed with a cold so we are postponing going over for dinner on Saturday until she's better.
Another package from Martin containing more details on setting up the Museum Foundation. More cutting back in the garden.
The Grace's commission is beginning to come together. Later a call from Lee in New York saying Elsie Adler would like to have an image of her commission in progress which as at the moment is only contemplations reflected on the white canvas!! I will have to get started on one of the two framed canvases that have been sitting on my easels for two days. Have said I'll send a preliminary image towards the end of next week.
Out into Richard's vegetable garden with my Mum, pulling beetroot for her and picking beans. She remembers helping to pick the beans that my granddad used to grow when she was a child. The beans that are particularly beautiful at the moment are the borlottos creamy pods with bright pink markings like the start of a Jackson Pollock. There are some large yellow pumpkins; not sure why Richard grew these as years ago Nathan and I can remember hollowing out a pumpkin to make a mask like Halloween lantern and R turning his nose up at the soup I had made with the contents. Nathan and I had enjoyed it and have always had a sneaky suspicion that R doesn't like me to encroach on his kitchen. I walk my Mum back round to her house where I do s bit of cutting back for her.
Have now started the New York commission. Looks rather abstract at the moment. Later, whilst talking to my Mum on the telephone, sketch in with fairly painterly strokes, some of the central composition on the Pursport construction.
Day spent cutting back in the gardens. At 6.30 go into the studio to work on the New York commission for E A ; by 11pm have managed to work out the central composition as well as doing a little more to the Pursport's constuction.
Call from the other art consultants re. price of possible commission for an international bank. E mails from Vivienne Waddington with an Irish good luck wish and one from Gretel who is seeing a new agent in London on Wednesday. Phone call from John Whitaker saying thank you for the cheque for the five copies of his book 'The Best' that we purchased recently. His family had the company H H Martin who before the second world war, made wonderful furniture, sculpture and fittings for Houses of Parliament (Speakers chair); the pulpit for St Paul's Cathedral; fittings for ocean liners - everything beautifully made by sculptors and craftsmen. During the second world war the company turned to making aircraft (The Gloucester Aircraft Company) and never returned to the exquisite bespoke craftsmanship: perhaps because it had become the age of utilitarian furniture and design. It's an amazing book and must have taken John years to research. Although we didn't now him then there was an exhibition of items and archives from H H Martin at the museum overlapping my first exhibition at Cheltenham Art Gallery & Museum. in 1986.
Further work on the New York commission and some to the Pursport's construction.
Spend day working on the New York commission. I'm pleased I decided not to use either of the two frames that I had had made with this commission in mind but to go for a frame and canvas that's a couple of inches wider than the one they suggested and just a little shallower as the proportions feel more comfortable for this particular composition. Although I hadn't started till later in the day, made better progress that I had hoped.
More legal papers on setting up charity foundation from Martin Day, whose research has become quite extensive
Over to the studio first thing to do more to the view through the window on the New York commission. R photographs it at midday and takes them to be developed. I had been recording it's progress photographically so that EA can see it's development. She had hoped for a preparatory drawing but as I don't work in that way, preferring the intensity of working by intuition directly onto the canvas; it's a lot more exciting than knowing exactly what's going to happen in advance: like life itself. I didn't know yesterday that today I would receive an invitation to visit Saudi Arabia as the guest of a collector there who would like me to do a further five paintings of subject matter that I would observe, make drawings of and collect inspiration on whilst I am there. watching Bedouin craftsmen, camel racing etc. A rare privilege as it's a closed country and he would have to seek various permissions.
Also calls from Lee in New York regarding the Fedex account [they wouldn't pick up from us saying that the account for sending the last painting hadn't been paid ]. She's very apologetic for the inconvenience but says it was definitely paid by Jim's law firm. A young man from the office there phones seconds later and faxes a copy of the cheque they sent to Fedex. We ended up sending the photographs by regular post.
Also manage to do a bit on the Grace's commission and quite a lot to the small corrugated horses for the spinal injuries charity exhibition.
Call from Jane Alvarez re: The Seven Ages of Man Commission asking if I can go to Cheltenham Art Gallery & Museum early in September as part of a presentation for the redevelopment of this area in the centre of Cheltenham. Neither she nor Terry from the Arts Council will be able to be there so can I take notes.
Concentrate entirely on the Grace's commission today, particularly the drapes but even venturing to do a little on the heads.
Last night I had received a message from Joan Hill; she and her husband purchased Bureau from the Brian Sinfield exhibition after they had seen it in the RA Magazine. We had said Richard would deliver it as Brian is still away in Scotland so arrange for him to go this evening. They are a delightful couple; he was a psycho analyst in Hampstead for 35 years (where psycho analysts were very thick on the ground). They are very excited about having the painting and serve champagne and caviar. R said the painting looked perfect in the spot they had chosen for him to hang it, surrounded by beautifully polished antique furniture and a grandfather clock. There are books on Dali and the Surrealists.
Meanwhile I work further into the small corrugated horses for the Spinal Injuries charity.
The Grace's commission occupies most of the day although do take time out to make a large card for Gillean and John as we have been invited to a 'good-bye' party for them. They have sold their house and are moving to Devon. Lindsey, of Lindsey and Robin who are giving the party for them, rang me to ask if I could organise a card signed by everyone. I've also realised that time is galloping on and that the exhibition in Rutland isn't far off now and that Abigail (the exhibition curator) had wanted to have some of the books (that have used reproductions of my paintings on the cover) framed; so we spend some time discussing possible ways of doing this. R has had some ideas.
Nice e mail from Eiji at the Morohashi Museum of Modern Art in Japan, thanking us from the return of the transparencies we had borrowed. Also telling us that his tiny two year old daughter is now talking all the time.
We arrive at the luncheon party for Gillean and John at about 1. It's a beautiful three storey red brick farmhouse with numerous outbuildings and quite remote - you can't see another house. For a farmhouse it has quite unusual proportions - more like a large Georgian townhouse. One of the first people I spot is Michael Shinn who taught me as a student when he was just graduated from the Slade and Jim the village picture framer was there too. There are lots of Gillean's paintings hanging through the house; Lindsey and Robin are obviously devotees of her work. Large vibrant water-colours. The food is really good and there are quite a few familiar faces. Richard and I manage to take it in turns to get people to write or draw something in picture frames I have painted on the card; as I hadn't known how many people would be there I had made sure there would be more than enough - so R and I both end up doing little drawings filling in the frames that are left. We make our farewells and leave about 4.30.
Pick a few plums and then a few beans from the vegetable garden. A good way of clearing the mind in readiness for working on the Grace's commission.
Airline ticket arrives from Jeddah for the Japan trip. I'm really pleased as they've managed to get me into the bubble. E-mail from Lisa asking if we've had the order form from Leicestershire Museums for the purchase of Ark and The Beautiful Game as she is keen to collect them as they have both already been booked out!
had been surprised to hear in yesterdays news that Edvard Munch's Scream and Madonna have been stolen from the Munch Museum in Norway. One of the most famous images in the world, the Scream has always been highly regarded by students artists and the general public. One has to hope for it's safe return; the frames have already been found but the actual work would be quite vulnerable as it's only painted on cardboard. Another version of The Scream was stolen about three years ago from Norway's National Museum but returned shortly after. It seems wonderful that marks made on cardboard in paint by man, should be so highly prized, an icon so famous that it makes news the world over. Likewise Alexander's [ Lord Bath ] Titian was eventually returned after a large reward was paid. After Picasso and Appolinaire were involved in stealing Iberian sculptures from the Louvre (which they eventually dumped in the Seine) they became chief suspects when the Mona Lisa was later stolen - also from the Louvre. Much of Picasso's work was inspired by these masks.
Very nice e mail from Alistair in Saudi Arabia saying that MJ has increased the number of paintings he would like me to paint after the visit there to ten. He has also very kindly now extended the invitation to Richard as I had not wanted to travel alone. The prospect of being able to make observations and gain inspiration and knowledge in this closed country is very exciting.
Have been working on the bed in the Grace's commission. It's structure looks rather Moorish with it's beautifully carved posts - suspect it's probably Venetian. The painting is progressing which is just as well as I had asked for an extension until August for it's completion but things have been so busy it was difficult to fit a lot of work on it in earlier in the year with both the Sinfield show and other commissions to finish. And it seems to be getting more so. I will probably have to postpone the exhibitions scheduled for next year until 2006 with both the Japanese and Saudi Arabian trips and the two series of paintings inspired by them.
Walk down the Lane with my Mum on her way to skittles we meet and are accompanied by 93 year old Mr Minnett who has the most delightful smile. Still upright he's walking down to the church where for over eighty years he sang in the choir. A few minutes later after I've left my Mum at the Club, I meet 86 year old Tommy, my Mum's admirer, with his twinkling blue eyes and Scottish lilt - another charming man, on his way to skittles.
Leave studio about a quarter to seven and change quickly for going over to dinner with Cressida and Charles, whose other guests are Toyah and Robert. Lots of good stories exchanged here including a series on copyright infringement which had affected each of us in our different fields. After I've told the 'my Mum and Henry being lost in Paris' story, Toyah says that the film that she is soon to do with Gene Hackman is almost exactly that story and that she is playing me.
Set out at lunchtime for London, calling in at the Brian Sinfield Gallery en route. The accountant's there working out the exhibition account. We discuss a project or two with Brian and his next couple of mixed exhibitions.
We arrive in Stoke Newington at about six. Having cycled back from Reckless Nathan looks well. Henrietta calls from Grenada; they are going to see the Alhambra next week. We are off to dinner at a little restaurant in Church Street which Richard had seen mentioned in the Michelin guide. The owner's really nice and brings out a chocolate cake with candle and sings 'Happy Birthday' for Nathan. Then back to his flat after midnight for a present unwrapping session. We arrive home about 4am.
Brian and his accountant have been very prompt and the cheque arrives for settlement of the exhibition account today.
A parcel had arrived before we were up and was taken back to the post office. When R collects it we find it contains two copies of the new Collectors jigsaw by Wentworth of my Grande Parade circus painting. It's interesting to see the image on the box which is the smallest reproduction of this very large painting that I have seen, making it look incredibly detailed.
Brian had asked if I had any small works so do a little more to the doorway painting and Descent from the Ark.
My sister Gill comes to supper with my Mum whom she's taking back to Turling in Essex with her, to stay for the week. She and Richard spend a lot of time looking at the Readers Digest Complete Guide to Cookery as we had been trying to work out whether myrtille berries, blueberries and bilberries are the same thing. It turns out that myrtille is the French name for the other two and that in Canada they call bilberries blueberries.
Nice e mail from Toyah telling me more about the new film that she is going to be in with Gene Hackman and Eileen Atkins called French Leave in which she goes to Paris to find her mother. Says she was amazed and kept looking at Robert when I was telling my Mum's story as it was as if I had read the script because it mirrored it so well.
Richard brings in two paintings that Gillean Whitaker has very generously given to us for the prospective museum foundation. A wonderful watercolour that she painted at the Summerfield Auction in 1989. Painted on the spot in Southam Tythe barn it's a wonderfully vibrant and has portraits of many of the people involved, some of whom we recognise, with Jenny Shinn the antique dealer wife of Michael who taught me, in the foreground and Quincey Hobbs the auctioneer. Summerfield himself was a most fascinating character who accumulated three houses packed full of antiques, even on the stairs and although he was a dealer he hardly ever sold anything. By the time of his death these accumulated treasures were worth a fortune. Some were left directly to the Museum but the majority was auctioned (it took three days). The proceeds went to various charities that he had nominated, including the National Star College of which I am a Patron. There is also a portrait of his white haired girlfriend within the painting who he had made financial provision for. The other painting that she has given me is by Tom Barnard who taught her at Pates and also seems to have been a member at the Royal West of England Academy; Royal Society of British Artists etc. It's very kind of Gillean to donate these works quite unexpectedly.