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Big final bash on Cinema until 3.15am when R leaves for Paris taking it with him.
In todays post a copy of French academic book SES 2 with my painting Deadline on the cover,from Celia at the Bridgeman Art Library who we met at the party on Monday.
R rings from the gallery in Paris mid afternoon to say the Blondels have sold Site and Seashore, which was a nice surprise. He's also managed to collect some more oval frames from the framers on the Left Bank who have the best range of antique and new frames that we have ever come across. Particularly useful to me, a lot of them are made of untreated wood. Michelle takes him for something to eat and Alain joins them shortly afterwards. They discuss the recent Tamara de Lempicka exhibition at Robert Sandelson and the one still showing at the RA that Alain has helped organise. Meanwhile I'm doing some more work to another oval circus as Brian has said it would be really good if I could manage to start another smaller piece for inclusion in the exhibition. I also add to the Trio, some delphiniums and a banner across the top, as a present for Charles Hudson on his 50th birthday, whose party we go to the tomorrow night.
R gets back at 5am, having driven through the night. He has again done the trip remarkably quickly.
More to the oval circus and the Delphinium Trio, which I wrap en route to Wick Manor, an exquisitely beautiful Tudor house that had to be part rebuilt in the 20's. A little like Longleat, its grandeur enhanced by it's patina of haute bohemianism and family wear and tear. Ancestral portraits alongside some beautiful modern works rather like Klee or Miro signed CH so may be by Charles' own hand. The party's in a huge marquee and as we go in we recognise Judy who we met when she also came as Robert (Fripp)'s guest to see Toyah in Calamity Jane. At that time she had just sold her pickle company to Baxter's and opened a restaurant a couple of doors down from their house. She has closed it for the evening to cater for the 240 guests at Charles' party. We see a few people we know. In this mornings Independent, Will Self begins his article talking about his "friend Charles who farms confetti flowers in the Vale of Pershore.." and we see him in person at the next table.
Receiving lots of sweet letter cards and notes from people who can either come or not come to the openings at the weekend. It's good receiving news from friends and collectors that we only see occassionally.
Phone call from Hugh at DGM discussing the use of some of my newspaper painting series on the new history of King Crimson boxed set of eight CDs with book. Also e mail from James at Wentworth Wooden Jigsaws, asking if they might produce one of Grand Parade, which would be exciting ; this particularly large circus painting is really quite complex and would probably prove very challenging although not quite as complex as the Jackson Pollock produced by the American puzzle firm.
Almost the whole of the day is taken up with refining Poem, painting round the white gessoed edge of the canvas with continuations of tthe painting; although this will not be seen, if the canvas ever moved within the frame a sliver of white would become visible. Add some more people round the edge of the new oval circus.
Today it's finishing off Bureau and some to the frame of Cafe plus more to the oval circus.
Nice e mail from the Great Roberto on tour in Italy.
Payment from the Bridgeman Art Library with list of publishers in France and the US who have reproduced the work. On their news sheet it shows that they have now taken over handling of reproduction rights for Glasgow City Museums, which includes some beautiful works including Dali's St John of the Cross and Bellini's Virgin and Child; they now also represent several Museums from the newly expanded European Union such as the National Galleries of Poland and Hungary. It always seems amazing that with the millions of images that they have, mine get selected at all.
Robert Sandelson rings to see if we will be able to go to a luncheon party at Narborough Hall later in the month, which is getting to be a very busy weekend as my Mums birthday is on the Saturday and we have another party in the evening near Painswick.
It's amazing how much I always find left to do when I'm doing the final finishing off on the works. Brian would like them to be there for tomorrow morning to start arranging the hanging but at 3.30am Richard persuades me that if he takes the nine, which includes all the larger works, that the other six can go on Friday morning.
After delivering the pieces to the gallery in Burford R drives up to London to collect Winning Circle from the architects office that Robert has placed a few works in. Feel a bit guilty about this but as the Oxford Times have reproduced it big on the first page of the feature they have done on me, know it has to be in the show. After which he visits Nathan and they have a meal together in Islington.
Invitation from the National Star College to their awards ceremony
I spend the day finishing The Ark, adding a couple of bears and birds to the left hand side and refining the right. Also paint the sides and top of the deep frame on The Western and some to the new oval Circus.
R takes the rest of the paintings apart from the new oval Circus to the gallery. I'm working particularly on the audience around the frame and refining the painting within. En route he delivers a couple of invitations to the Star College.
When we arrive at the gallery there are already people there. Joyce and Phil Elliot; Myrtle, Rachel and Pauline (all of whom I met through the Star College and also Joan. The day seems to whizz past. I'm really touched that so many people have turned up. The good thing about having the private view over the two day s of the weekend is that you get longer to talk to everyone. I am amazed at how many of the works sell, particularly bigger and more challenging pieces.
It's nice in the evening to have supper here with Henrietta and Kev who had taken my Mum out to lunch in Burford.
We arrive slightly later and again the gallery is soon full of people, some of who I haven't seen for several years. Whilst I am describing how I worked on Bureau, to friends who had asked how I painted the light, we are joined by a woman with a beautiful smile who joins in the conversation asking pertinent questions, both about Bureau and Poem. I'm not sure if she's someone from my guest list or Brian's and am somewhat surprised when she says she would like to buy Bureau and discover that she had seen it in the RA Magazine. The afternoon brings a meeting with a cousin I haven't seen since I was a child, which coincided with the arrival at the gallery of my sister Gill, followed shortly by Henrietta and Kev bringing my Mum.
It's been another really nice day and already thirteen of the works have gone. I feel very fortunate and count my blessings that it's started so successfully.
Back home for Rose's birthday celebrations. I was particularly moved when her husband Richard had bought Winnig Circle as her speciual birthday present.
The studio's now relatively clear and I'm able to get out the commissions. More contemplation of the Grace's canvas ; some work to the Gossage's family portrait and more contemplation on the Pursport constructions. There's also Elsie Adler's to go to New York in October.
Claire from Robert Sandelson gallery rings to check on what Richard collected from the architects office as they are sending the paintings to Narborough Hall for Robert's opening there in a couple of weeks. I'm slightly aghast to realise that they only have one large work as we have sold all the others. Also make a start on the small wavy construction that John has just made for me; it's his first one and is a bit deeper. I'm very excited as he has already started work on the huge triptych altarpiece.
Work on the Gossage's portrait and have ideas for more personal references. Brian rings to see if I will do a painting for his exhibition in aid of the CPRE (Council for the Preservation of Rural England) in October.
Lee phoned from New York wanting another copy of the catalogue with a list of anything that is available as she has a client who may be interested; she also want to commission another piece for herself.
Work on the commission for Frank and Judy Grace; the composition's looking quite theatrical with the drapes of their beautiful four poster in the foreground. Also start to paint the beginnings of the composition on the first of the constructions for Richard and Elaine.
We arrive at the National Star College at about 10 to 10 and are very impressed that there is a reserved parking place marked with our name; likewise in the marquee our seats also. It's wonderful to see all the students and their parents there, although some who wouldn't be able to manage to be in the marquee for three hours are in the CABER building where the ceremony is connected by a video link. I am most touched when Helen. the Principal, mentions me by name in her welcoming speech as being their most active Patron. It's a lovely ceremony and wonderful to observe the joy on the faces of the students and staff when the awards are given out. Whilst Melissa is taking us over to the luncheon, Sue who teaches photography, says she had been disappointed that we hadn't got to their exhibition opening. I apologise and tell her that we had every intention of going but although we had arranged our week around it; Richard had been going to Paris that night and because I had been working on the Cinema painting until the last minute for him to take to Galerie Alain Blondel, it had totally gone out of my mind. We are fortunate that it is still up and she is going to take us round it after lunch. I mention to her that there doesn't seem to be a photography prize - the Chelsea Building Society do one for art - and ask if they would like one. her response is wonderful, she is so enthusiastic and has been trying for three years to get a related business to sponsor one to no avail. We get a chance to talk to several of the students including Rob who won a Sunday Telegraph national horse racing photography prize and had his photograph reproduced in the calendar eighteen months ago.
En route home we pop into Cheltenham to get R a black suit for Saturdays party as the moths seem to have eaten his last one!!
Stay up late finishing the little painting for Vivienne.
I've received two wonderful books by their writers this week; the first being "Tree of Angels" by Penny Sumner who I met when she contacted me to write piece for "The fruits of labour - motherhood and creativity". This looks to be a fascinating novel through my brief scanning; one of the main protagonists seems to be an artist and part of the story is set in Cheltenham. It's a great privilege to meet such interesting people through my career. We have also received a copy of the Folio Society's magnificent "100 Greatest Portraits" from Martin Bailey who has edited and compiled this volume. It's full of marvellous works including lots of very familiar portraits such as Leonardo's Mona Lisa and some that I'm less familiar with like Holbein's Catherine of Aragon as a girl where she looks very young and childlike.
We call in at my Mums summer fair and buy some plants, then on to London popping into see Brian at the gallery en route. We arrive at the RAC Club at about 6. Whilst we are still at reception Theo appears looking bright and well; it's lovely to see him. He asks how the exhibition is going and if I'm still on for the Dublin show next year. I give him the little painting for Vivienne. The RAC Club is a beautiful building with a Grade 1 listed swimming pool; large murals painted round the rotunda walls on the balcony level. When we've dressed we go down. Vivienne looks beautiful in the dress she has had made and that only just arrived on time due to being held up in the traffic. She thanks me for the little painting which she has brought down to show people - I called it The Psychologists Guide to Horse Racing as she has just one more year to go for her Psychology degree with the Open University and like Theo she's a passionate racegoer. People are out in the garden drinking pink champagne. Interestingly I recognise someone who must be one of Theo's older brothers through facial resemblance; he's come over from Canada with his wife, where they have a vineyard. We are introduced to Goivanni and Anna who are also seated on the same table as us. Giovanni studied sculpture at Central St Martins and the Sir John Cass Schools and works with artists like John Hoyland and Terry Frost (who died recently) helping them to translate their work into Venetian glass sculpture (he actually comes from Venice though they live in Maida Vale) and is about to do some work with Anthony Caro. Meet an interesting collector called Steve who had just arrived with his wife from Paris on Eurostar, where they also live. He has an interesting collection including John Hoylands and other artists that Theo represents. I'm interested to learn that he was one of professor Ken Simmonds' students and also knows Professor Philip Kotler of Chicago. The band play Glen Miller music and are very good. I don't think Vivienne and Theo can have managed to eat much as they are on he dance floor for most of the evening. It's pretty compelling and most people do dance. The food is wonderful; we have had the vegetarian option for the main course and it's delicious. During the meal Vivienne passes my little painting around for the 74 guests to look at. It's a lovely evening and flies by very quickly.
At breakfast I'm very pleased when a rather nice Canadian or American lady says they had been admiring my dress last night and the way we danced.
We arrive at Tate Modern midday where there's huge queue for the Edward Hopper exhibition. Tickets are being sold for the 1pm entrance but whist in the queue it changes to 1.30 pm so we go to see the Luc Tuymans first. Very minimal canvases in muted colours, the most disturbing piece by this Belgian artist who used to be a film maker, is Gaskamer. I knew that Richard hadn't much liked the works in the exhibition but also know that that this canvas has affected him as he turns away from it quickly unable to continue looking.
A quick viewing of some of the works from the Tate collection in the 'Body' display before going into the Hopper. It's full of images of paintings that we have often seen in reproduction as well as familiar pieces from American Museums. It's interesting to remember the comments of several friends and collectors who have already seen the show. They are much better in reality than in reproduction - the paint's quite loose and the often solitary figures have a slight awkwardness about them, adding to their vulnerability. I think his wife posed for most of the female subjects; they are very evocative of American cinema homing in on parts of the cityscape and architecture, a love of which is very apparent.
We then drive to Blackheath for a late lunch with Henrietta and Kev. their garden looks beautiful, almost tropical in it's abundance. The house is very stylish and well designed and they look very happy. At about 6 we leave to drive over to Islington to collect Nathan from Reckless Records and go back to Stoke Newington to take him out to dinner. It's an interesting area with lots of restaurants and eating houses of every nationality. We end up at an Indian and then go back to the flat where he plays us soundtrack music for his film which is quite magical. Although we can't see the film, it is still being edited, we can visualise it with the various scenes that he describes. It's almost 1 am when we leave to arrive home at just after 3.
I'm working on the Gossage's commission when Brian rings to say that he's just sold Cafe to friends of ours. Seem to be working at a slower pace today, probably after the crowded weekend and catching up with correspondence etc. Interesting to hear on Front Row (BBC's review programme R4 7.30pm) that the British Museum have an exhibition of badges on ; "Status Symbols" and Peter Blake is talking about his own collection that is housed in three drawers.We also have a rather good collection started when Henrietta was doing her Brownies collectors badge. One of the prizes amongst these was a gift from two artist friends, Joan and Arril, for my birthday a few years ago of the beautiful Artists Rifles badge from the First World War.
Start tiny painting as gift for Suzie's birthday on Saturday, which coincides with my Mum's who will be 82. She has just come back from her check up with the doctor he is very pleased with her and says her blood pressure is even better than last times. Richard picks lots of vegetables including carrots, beetroots, spring onions and a marrow from his kitchen garden for her when she calls in to tell us how well she has got on.
Also spend time on the Gossage's commission.
Reverend Ian comes to see if we have heard that our good friend and neighbour Barry had died last Friday after a valiant struggle with cancer of the oesophagus. He was a lovely man who we first got to know when Nathan was also in the church choir with him. In more recent years we would meet him on our late night walk when he was walking Ben, his slightly overweight basset hound. Barry was a marvellous story teller and would give us wonderful accounts of his journeys with his wife Lyn; they seem to have travelled all over the world making friends wherever they went. A man of great faith, he'd been in the Navy and then spent the rest of his working life as the local Lloyds Bank manager whilst being very involved in the church as treasurer, the Rotary Club and bridge playing. He also found time and very much enjoyed working on his daughter's farm. We also briefly discuss the altarpiece.
Phone call from Lee in New York to discuss her commission and to see if I had given the price further thought.
Have been trying to sort out a date to get the great Roberto and Toyah, Cressida and Charles over to dinner. Although they live quite close to each other they still haven't met.
Still getting nice e mails and letters from American collectors some of whom must still just be receiving the catalogue. A lovely letter from David Kane, a dear collector in NYC who would have liked Cafe but it had already gone to another couple of collector friends of whom we are also very fond.
Quite a lot more on the Gossage's commission and also the new tiny painting as a present for Suzie.
Work on the commission for Frank and Judy Grace in the morning.
It's Barry's funeral in the afternoon; the church is packed as his life crossed so many others. It's a good service with communion and father john speaks movingly about Barry calling him his surrogate brother and says that as churchwarden he had got him out of many a difficulty. Lots of people we haven't seen for some time. At the tea in the church hall afterwards several people mention the Rood which I painted in 1986 and ask when I am going to do the altarpiece.
During the hour or so we are back at the house Brian rings to say that he has sold two more of the works from the exhibition.
Just as we get to my Mum's, my sister Gill is just arriving with large terracotta planters full of blooms and little trees, she has come to take her out for a meal and give her her birthday presents as she won't be able to get here on Saturday. We have a cup of tea and walk down with them to the Chinese restaurant, Richard carrying a basket of clean jam jars that my Mum has saved for me to mix paints in. Gill invites us to join them so we do, jam jars, working clothes and all. Afterwards we accompany them back and Richard collects one of the bottle of the greek wine that arrived at the beginning of the week for Gill to take back and try.
E mail from an art consultant in London asking if I would be interested in a commissioned newspaper work, and for details of other works, prices and how long it would take.
Brian rings in a panic as he's heard from Elaine Alport that she's coming to the gallery to collect their corrugated newspaper work and I reassure him that we have it here as I had made some personal references in the painting especially for them. So we arrange for him to meet Richard half way to Burford as she's coming to pick it up at 10 in the morning. Work on their commission during the afternoon / early evening and then do some more to the little painting for Suzi Coppersmith-Heaven. We decide that it's going to be almost impossible to get to Narborough Hall for Sunday lunch especially as Henrietta and Kev will be here on Sunday.
Message from Lee in New York whilst I'm on the phone to Richard, saying that they have transferred some moneys into my account for their new commission; they are also seeing to the outstanding federal Express bill that had somehow not got paid from when we sent her last commission.
It's my Mum's birthday today - she's 82. Most of the day spent preparing for that and for Henrietta and Kev and two of their friends who are coming to stay. Richard and Rose our neighbours come to tea and so does her friend Minnie. It's a lovely celebration which she really enjoys. At about 7.15 Richard and Rose take Minnie and my Mum to the Royal Oak where we are treating them to dinner. H, K and their friends are going to a wedding reception and we are going to Cranham to Suzy Coppersmith-Heaven's birthday celebration. It's very beautiful and remote with rather exotic open sided strangely shaped tents or small marquees, fairy lights and flaming torches. Earlier there had been a flamenco dancer but now there is a live group consisting of Ozzy from Edisson Lighthouse and his daughter who is a very powerful vocalist (probably about 17); Josh, Vic and Suzy's son on bongos and sax and their nephew on guitar. They are a very musical family. Vic's parents were both musicians, his mother a concert pianist and his father played several wind instruments and was well known as a jazz musician. Whilst we are eating the supper we see gold discs for The Jam and The Verve - whom Vic had produced. Tiffany and Josh also sing a rather humorous tribute to Suzy - she has a beautiful voice and Nathan tells us that she sang on a Care Bears advert when she was about 9.
My Mum joins us for breakfast, regaling us with stories about my fathers more mischievous doings. Henrietta, Kev, Alistair and Ruth leave at midday. I'm very pleased that we hadn't gone to Narborough Hall for lunch as I have developed a streaming cold. Work on the Gossages commission and start a horse piece for the Spinal Injuries charity.
E mail arrives from Alistair in Saudi Arabia re the trip to Japan to produce a series of paintings on Japanese subjects for them. They would like me to work out a schedule and flights which they would them organise from Saudi Arabia but I'm feeling a bit too muzzy headed to be able to formulate ideas today.
R takes the paintings back to the gallery after having the Circus photographed at the Darkroom.
John calls in to let us know how things are going with the big altarpiece triptych. It sounds as if he's making good progress and has also been working on another corrugated one.
Phone the gallery at about 5 to enquire if Richard and Elaine had collected their corrugated newspaper work on Saturday and whether they were happy with it. Brian said they were very pleased and recognised all the personal references. He also tells me that he has just sold Poem to a couple of his clients who were also very keen on The Western, which had of course sold at the beginning of the exhibition. I tell him how delighted I am with how well the show is going.
Yesterday we received planning permission for the proposed building work onto the house. This is exciting though sadly Eddy, who has done most of the work on it so far, feels it might be too big a job for him as his son Adrian [who normally helps him] is currently travelling making his way to Australia to work and his cousin Les might not be able to help - which at 73 that's not really surprising. So we are now looking at alternatives. Do some cutting back in the garden and work on the commissions whilst R's been reading up on Japan to help with scheduling the planned trip.
I planted a pot of beautiful Madonna lilies last year, which are at present in perfect bloom and ideal for using as direct reference for the vase of madonna lilies in the centre of the top section of the commission for the Gossages. The studio is looking more itself again with the several commissions out on easels. Do some work on the Grace's canvas.
Receive two communications from the Star College (in the same envelope). An invitation to the opening of two bungalows that have been adapted specially for students specific needs where they can learn to live independently. The other a letter from Peter Horne the Chief Fundraiser who Sue, the head of photography had already spoken to about the idea of a photography cup and annual award. He is suggesting we all meet in September and says they can come here if it's easier; I was thrilled by her enthusiastic response and to learn that she had been approaching others to no avail for the past couple of years with this in mind.
Do a lot of cutting back before going into the studio when the latter part of the afternoon is spent painting further into Gus on the Grace's canvas. Then some time on the Gossage's before R returns back for me to make the subtle alteration on one of the two Leap Year paintings for Gerry and also around the edge of the canvas of Grand Parade. Richard had collected these two works from the gallery when it closed and will take them back for when it opens tomorrow morning. Oh dear I'm still up till 3 am working on them.
During the afternoon go to Freda's garden party with my Mum, in aid of the premature baby unit. We buy lots of plants and a few books etc.
A brief spell back before setting out to Redmarley for dinner with John and Christine, their son Ben who works for Channel 4 as a film editor and his girlfriend Vicki who's a graphic designer. The house is very interesting as John, who is an architect, had designed and built it himself; ecologically friendly with solar panels to generate the heating. It is particularly beautiful at this time of the year with a very sculptural landscape garden of artificially created [using the earth dug out from the foundations ] hillock, mounds and pond. Interestingly over dinner John enquires whether I have any plans to go back to Japan so I am able to tell him about the proposed trip. He travelled there extensively during his architectural studies, particularly looking at the gardens and the way the Japanese have worked at perfecting them over hundreds of years. He now wonders whether when he taught students always to look to creating anew it wouldn't have been better to have looked at the striving to perfect an art form that has existed over the centuries. He says we should definitely go to Nara which is more ancient that Kyoto, the old capital. He had also been fascinated and taken part in the tea ceremony. we discuss the Hopper exhibition which they are gong to see next week. Christine had prepared a very beautiful meal recreating one that she had had whilst in Ravenna, consisting of goats cheese and vegetables arranged clock like on the plate.