A Local Constable

view of east bergholt house

I stepped out at lunchtime to buy a sandwich and found a John Constable in the street. I was stopped in my tracks by this painting in our neighbour’s window on Kensington Church Street. Such an unexpected and wonderful and privileged encounter; why are there not queues of spectators on the pavement? See it now whilst you still can before it disappears. Continue reading “A Local Constable”

Frames of reference

To Mughal India

procession of Emperor Bahadu

This procession is at the British Library but we took a circuitous route to find it. We started out for old times’ sake from the Brunswick Centre. Sue used to share a nearby flat, the Gate Bloomsbury (now renamed Renoir) was our local cinema and later Coram’s Fields was always a favourite place to bring the girls, but not today. Continue reading “To Mughal India”

Frames of reference

Company

Andrew Walton recently called in to see us on a visit to London from Oxford, and he kindly allowed me to scan his sketchbook. It is filled with a surprising cast of characters hinting at an intriguing automatic narrative. After a closer look I found …I am not sure why I write these things especially as I’m still clueless as to why I make all these drawings of people… Continue reading “Company”

Frames of reference

A Talkative Font

Last October Howard Phipps wrote about Eggardon for Frames Of Reference, and he sent me a postcard from the nearby church of St Basil in Toller Fratrum, noting on the back that John Piper was keen on the font. It is either late Saxon or early Norman, with crudely carved figures on a limestone carousel and such an endearing image I wished he could have used it in his Eggardon post. Continue reading “A Talkative Font”

Frames of reference

From Powdermills To Wistman’s Wood

Here is an extract from a prose work in progress about family life in summer on Powdermills Farm in the 1960s and 1970s. My father, then head of art at Bournemouth and Poole College of Art, had hired a cottage there, in the middle of the moor, from the Duchy for £70 a year. No electricity, no running water, a ghost in the second bedroom, and sheep in the paddock at shearing season. It was a wild experience. Wistman’s Wood, primordial remains of the original Dartmoor landscape before its Bronze Age settlement, is a few miles walk from Powdermills, and remains one of the most atmospheric and haunting spots on the whole moor. The paintings were made on a return visit in 2009, and there are two of my father’s sketchbook drawings from the late 1960s. The poem comes from First Music, a sequence about Dartmoor, childhood and memory, in the 2011 collection The Rapture (Salt Books). Continue reading “From Powdermills To Wistman’s Wood”

Frames of reference