All 11 new prints from the previous two posts are now available through the post. Each print is £65 + P&P. It’s cheque only, so please contact and we can arrange the details of the order.

‘Rocks, Ballaglass Glen’

‘Bridge, Ballaglass Glen’

‘Waterfall Montpelier Glen, Druidale’

‘Tree Bole, Ballaglass’

‘Tree, East Baldwin Valley’

‘Old Church Building, North Shore Road, Ramsey’

‘Cafe Mooragh Park, Ramsey’

‘Old Building, Scarlett’

‘Peel Castle’

‘Blue Gate’

‘Point of Ayre Lighthouse’

Prints are:-

* Limited edition of 1/10. Numbered and signed in pencil by artist.
* Artist emboss/chop stamped on border.
* Pigment ink on archival, acid free German etching paper.
* A3+ paper size.
* Price £65 + P&P - (£1 local IoM, £2 UK, £6 RoW.)

The print is gently rolled to post in a tough, plastic capped postal tube, 4″ dia. To order please contact.

To Start with we have ‘Rocks, Ballaglass Glen’, a powerful evocation of lower Ballaglass. The light filtering through to the smouldering colour of a bank awash with leaves. Ravishing autumnal glory, never fails to delight.

Next up comes ‘Bridge, Ballaglass Glen’ a perennial favourite in terms of subject matter. The gorgeous trudge through the glen is neatly topped off by the visit to see the bridge and its attendant boulders, trees and shaggy ivy, all giving witness to the river in good flood after a heavy rain.

‘Waterfall Montpelier Glen, Druidale’ with its tangle of boughs leading us over the pool past the waterfall, on to the mellow light behind and back around again.

Back to Ballaglass for ‘Tree Bole, Ballaglass’. A close in view of the base of a tree trunk, nestled in to the cliff. All lichen smattered and mossy green lit brightly against the inky backdrop of the cliff behind. A picture for those folk that like their natural textures up close.

Last up is the ‘Tree, East Baldwin Valley’. Now this tree has more than a touch of Faery about it! A little of the Little Peoples faery glamour must have rubbed off onto my brush in this painting. The seasons transitions are all special. The wild winter, the joy of spring, a balmy summer but to me nothing beats autumn. The magic of autumn through and through is truly grist to the mill of this painter.

Prints are:-

* Limited edition of 1/10. Numbered and signed in pencil by artist.
* Artist emboss/chop stamped on border.
* Pigment ink on archival, acid free German etching paper.
* A3+ paper size.
* Price £65

Up north for a start with ‘Old Church Building, North Shore Road, Ramsey’. This building really shines out with its pyramidal gable elevation. The side porch is almost like a curtailed tower; it may well have been designed to house/elevate a water tank. The white buttresses flanking the square of the doors painted blue make a great setting. It’s as if the building is a mould which the sky has been poured into. Even the ribbon of scruffy, bleached weeds that edge the pavement has a positive effect, running parallel with the yellow lines on the road. All this adds up to a dramatic symmetry of colour and composition. Great little building.

Next is the ‘Cafe Mooragh Park, Ramsey’. The same composition was used in a pastel painting “Deco Cafe at Mooragh Park, Ramsey”; described in the previous post ‘Peel and Ramsey Architectural Gems. June 12th, 2007′ :-

“This star of a building is sited next to the boating lake. Strong early morning sunlight setting off the juxtaposed curve and straight / round and square dynamic of this Deco design. Pristine contrast again the order of the day.”

Nothing much changed though the mixed media has brought out a different character, less pristine 50s retro feel. A little more grounded and real somehow.

‘Old Building, Scarlett’ is a much admired derelict. The lime rendered gable pitted to sublimely patinated beauty from centuries of rain, salt and sun is so mellow in this light. Not enough on its own but add the maps of old stucco, bleached sea of grass and briar lapping at a row of boarded up doors. Makes for a good picture in my books.

‘Peel Castle’ from Fennella Beach side. Such a wonderful building is no push over when getting a handle on it art wise. The red of the sandstone and ink green of the sea standout in this rendition. Brings good ruddy colour to the place some say could have been the court of King Arthur. Still, a jolly good castle whatever!

‘Blue Gate’ is a cottage on a little triangle of land between two lanes up behind Ballabeg. If you want to place it take a right off the road to Ronague, up past Ballamaddrell farm. The map puts it at the apex of the triangle made by the previously mentioned forking lanes of upper and lower Ballavarkish. There is no doubt a name for it, but ‘Blue Gate’ suits the picture fine.

Last but non the worse for it, looking pretty as a picture, all sweetness and light after a shower and good dose of sunshine is the ‘Point of Ayre Lighthouse’. Very fresh looking. Lighthouses are great. NLB rocks! Shame that automation has seen off the keepers though.

Well, that’s them. All the prints for a sneak preview as promised. Hope you like.

Prints are:-

* Limited edition of 1/10. Numbered and signed in pencil by artist.
* Artist emboss/chop stamped on border.
* Pigment ink on archival, acid free German etching paper.
* A3+ paper size.
* Price £65

The Artist shop in Douglas is having an exhibition of my new Manx landscape prints. The show will run from Friday the 16th - Saturday the 24th of November. The prints are limited editions 1/10 and are only available from the ‘The Artist’ 37 Nelson St. Douglas. Tel 629851. Open 9:30 - 5:00 Mon-Sat.

The print editions are very small making each one highly collectable. Images of all 11 of the prints will be posted on this site giving a sneak preview of the entire exhibition. Phone your order ahead or see the prints in the flesh at ‘The Artist’ from the 16th of November.

Prints are:-

* Limited edition of 1/10. Numbered and signed in pencil by artist.
* Artist emboss/chop stamped on border.
* Pigment ink on archival, acid free German etching paper.
* A3+ paper size.
* Price £65

Two more from the Cornish collection of pastel paintings. The flags are out for Port Navas regatta in this rather mysterious painting. The second work has an unusual feel too. This time the subject is a boat undergoing a refit in Gweek boatyard.
Though these paintings are not a pair they seem to compliment each other. The strong, bold compositions and similar primary colour scheme create parallels. Not to mention the nautical theme.

The maritime signaling flags from left to right as far as I can ascertain are:-

Pennant

First Substitute / Substitute 1

Yellow and blue check

L - you should stop, I have something important to communicate
or In harbour: the ship is under quarantine

White rectangle on a blue ground

P - the Blue Peter - all aboard, vessel is about to proceed sea.

1 - At sea: Your lights are out or burning badly

2 - At sea: It may be used by fishing vessels to mean: “My nets have come fast upon an obstruction”.

Red, white and blue bands

T - do not pass ahead of me

Keep clear of me; I am engaged in pair trawling.

Seemingly no special secret messages spelled out so a good guess as to their meaning could well be ‘ Regatta week, have a great time messing around in boats!’

“Port Navas Regatta”
image size - 25 x 30.9cm (9.8 x 12.1″)

“Refit at Gweek”
image size - 25 x 32cm (9.8 x 12.6″)

Prints are:-

* Limited edition of 1/10. Numbered and signed in pencil by artist.
* Artist emboss/chop stamped on border.
* Pigment ink on archival, acid free German etching paper.
* A3+ paper size.
* Price £65 + P&P - (£1 local IoM, £2 UK, £6 RoW.)

The print is gently rolled to post in a tough, plastic capped postal tube, 4″ dia. To order please contact.

Second post of Cornish work.
Pastel paintings of snow scenes based around the top of the West Looe Valley. The way snow transforms a winter landscape is nothing short of magical, a real treat in our neck of the woods. A winter wonderland of exquisite pristine contrasts . Snow can lift our receptivity to the forms around us to such heights so suddenly, the quiet flurry fall of a white blanket like no other. Brilliant stuff!

Prints of these pastels are available.

“Snow Fields, West Looe Valley”
image size - 25.6 x 25cm (10.1 x 9.8″)

“Oxford Corner, West Looe Valley”
image size - 34.3x 25cm (13.5 x 9.8″)

“Sowdens Bridge, West Looe Valley”
image size - 22.9 x 25cm (9 x 9.8″)

“Sowdens Bridge, Filigree Snow”
image size - 23 x 25cm (9.2 x 9.8″)

Prints are:-

* Limited edition of 1/10. Numbered and signed in pencil by artist.
* Artist emboss/chop stamped on border.
* Pigment ink on archival, acid free German etching paper.
* A3+ paper size.
* Price £65 + P&P - (£1 local IoM, £2 UK, £6 RoW.)

The print is gently rolled to post in a tough, plastic capped postal tube, 4″ dia. To order please contact.

I thought I would put up a post on the Cornish pastel paintings I have made.

The first off being these four from Golitha Falls. A wonderful place of maze like tracks crisscrossing ancient woodland, all eventually becoming paths running parallel to the rivers course. Itself flowing from placid pools to running the gauntlet of huge boulders, creating tumultuous torrents and a magnificent din. All this bathed in a mercurial dappled light. Just the ticket.

Prints of these pastels are available.

“Golitha Boulders”
image size - 25 x 25cm (9.8 x 9.8″)

“Golitha Bridge”
image size - 25 x 26cm (9.8 x 10.2″)

“Golitha Quicksilver”
image size - 25 x 25cm (9.8 x 9.8″)

“Golitha Velvet Rock”
image size - 25 x 26cm (9.8 x 10.2″)

Prints are:-

* Limited edition of 1/10. Numbered and signed in pencil by artist.
* Artist emboss/chop stamped on border.
* Pigment ink on archival, acid free German etching paper.
* A3+ paper size.
* Price £65 + P&P - (£1 local IoM, £2 UK, £6 RoW.)

The print is gently rolled to post in a tough, plastic capped postal tube, 4″ dia. To order please contact.

N. S. 1926 - 2007

Norman’s funeral today.

Since hearing of his death I have realised how strange the landscape of manx art is without him. His wonderful paintings sing on, though no new ones will appear for our minds to delight in. I miss him already. He excavated our landscape. Crafted with his weather eye for the extraordinary, his paintings are gems to be treasured.

N.S… sleep in Brides bright bosom, an earthgrip of tenderness for one of Mann such as you.

A favorite poem he would share with students and friends was The Ruin. Norman loved the word Earthgrip. We love it too.

THE RUIN

Well-wrought this wall: Wierds broke it,
The stronghold burst….

Snapped rooftrees, towers fallen,
the work of the Giants, the stonesmiths,
mouldereth.

Rime scoureth gatetowers
rime on mortar.

Shattered the showershields, roofs ruined,
age under-ate them.
And the wielders & wrights?
Earthgrip holds them - gone, long gone,
fast in gravegrasp while fifty fathers
and sons have passed.
Wall stood,
grey lichen, red stone, kings fell often,
stood under storms, high arch crashed -
stands yet the wallstone, hacked by weapons,
by files grim-ground…
….shone the old skilled work
….sank to loam-crust.

Mood quickened mind, and a man of wit,
cunning in rings, bound bravely the wallbase
with iron, a wonder.

Bright were the buildings, halls where springs ran,
high, horngabled, much throng-noise;
these many meadhalls men filled
with loud cheerfulness: Wierd changed that.

Came days of pestilenece, on all sides men fell dead,
death fetched off the flower of the people;
where they stood to fight, waste places
and on the acropolis, ruins.

Hosts who would build again
shrank to the earth. Therefore are these courts dreary
and that red arch twisteth tiles.
wryeth from roof-ridge, reacheth groundwards…
Broken blocks…

There once many a man
mood-glad, goldbright, of gleams garnished,
flushed with wine-pride, flashing war-gear,
gazed on wrought gemstones, on gold, on silver,
on wealth held and hoarded, on light-filled amber,
on this bright burg of broad dominion.

Stood stone houses; wide streams welled
hot from source, and a wall all caught
in its bright bosom, that the baths were
hot at hall’s hearth; that was fitting…
……….

Thence hot streams, loosed, ran over hoar stone
unto the ring-tank….
…It is a kingly thing
…city….

Translated by Michael Alexander.

Strong architectural subjects for the latest pastels. First up is “Market Place Tower, Peel”. A strong composition of light and shade, taughtly strung with a web of telephone wires, all to the backdrop of an intense blue sky zapping the white wash to the max!

Next is the “Deco Cafe at Mooragh Park, Ramsey”. This star of a building is sited next to the boating lake. Strong early morning sunlight setting off the juxtaposed curve and straight / round and square dynamic of this Deco design. Pristine contrast again the order of the day.
These paintings can be seen at the Courtyard Gallery as part of their “Courtyard Artists’ Summer Show”. The exhibition details are :-

“Courtyard Artists’ Summer Show”

15th of June to the 8th of July.

Courtyard Gallery, Tynwald Mills, St Johns.
Tel: 01624 801108 (1-5pm)

Prints of these pastels are available.

“Market Place Tower Peel”
image size - 25 x 26cm (9.8 x 10.2″)

“Deco Cafe Mooragh Park, Ramsey”
image size - 26 x 33cm (10.2 x 13.1″)

Prints are:-

* Limited edition of 1/10. Numbered and signed in pencil by artist.
* Artist emboss/chop stamped on border.
* Pigment ink on archival, acid free German etching paper.
* A3+ paper size.
* Price £65 + P&P - (£1 local IoM, £2 UK, £6 RoW.)

The print is gently rolled to post in a tough, plastic capped postal tube, 4″ dia. To order please contact.

Two photos above showing a recently commissioned 3′ x 2′ stained glass panel under construction. These images are at the leading up stage. The cutline pattern can be seen beneath the glass. The design was created entirely in photoshop using collage techniques. The cutline pattern is scaled up from the design. It is annotated with the number, colour and type of glass for each specific position.

The photo on the left shows the panel growing at approx. 45 degrees from the bottom left corner using the L shaped edging batons to work up against. Traditionally horse shoe nails are used to temporarily hold the panel together while under construction. In this case modern glazing tacks have been substituted.

The lead is called ‘came’ and comes in an ‘I’ section; the vertical called the ‘heart’ and horizontals known as the leaves. The leaves are gently lifted using a lead knife or a wooden/plastic fid to accept the glass, which fits snug up to the heart of the came.

These photos show before and after the work hardening/straightening of the lead. The came arrives from the supplier, all twisted and buckled due to coiling, a method of space saving for transit. This is a shock if your unfamiliar with the recovery achievable. The came looks unusable.

One end of the lead is placed in the grip of a special lead vice and the twists are unraveled. Gripping the lead in pliers, it is stretched. This miraculously straightens and work hardens the lead making it easier to handle. See straightened lead in photo on the right.

The above photos show the panel with its joints soldered and a tray of tools.

A printout of the design for quick reference can be seen in the tray along with glazing tacks, brass bristled brush and a tallow candle. Each joint is cleaned with the brass brush and then fluxed with tallow. A 100w soldering iron is used to dab melt blowpipe solder onto each joint. The leaves are then lifted and puttying up is done to consolidate the glazing. Leaves are smoothed down, excess putty removed and then the panel is flipped to allow the same process on the back.

Apart from the metal frame support the panel is complete. The re-bar is held in place by copper wire twist tags soldered into place at an existing joint point.

The photo below shows the finished panel installed in the window reveal, awaiting final fixing. A single sheet of float glass will be installed to sound and condensation proof from utility area beyond.