Langstone Painting Emerging

The painting emerging

This is the moment when the painting starts to emerge from the mist, quite literally for a painting by the sea.

My big problem was the hard line between blue and pink at the bottom of the painting. It was impossible to eradicate. I tried a small section and it was worse if anything

One of the marks fortuitously formed the shape of a stern of a small boat. That was something of a gift and I painted in the bottom right hand boat with canvas cover. Ok, what next? I think I have already said that I painted in the two dinghies in tow from the sailing boat, and the last one does help to cover that hard line.

That still leaves the left hand side of the picture. I scoured my files for images, and found one that would work. The boat is not afloat, rather propped up in the shallows, so the bottom length of painting will now be shallow water, about ankle deep. That will be amusing, trying to give that illusion. The propped up boat will help and I have made a start. A ladder is alongside and so are props. You will be able to see the keel standing out of the water. After that, I haven’t worked out

I have started to deepen the colours of the mill buildings. They look quite brightly lit now by a low sun. The photograph doesn’t do it justice, but then does it ever.

Still plenty to do

Bosham Harbour: along the Causeway

Bosham Harbour from the Causeway

I am starting another painting of Bosham, this time from a different angle. This started because I want something to use in one of those long frames I bought. Bosham has worked well in the past but I can’t repeating that same shot, so this time I am standing on the causeway which floods at high tide and which gives good possibilities for an interesting composition

So far I have drawn the cottages on the water’s edge and the church behind. I am not sure whether you can make that out and will include a close up at the end

What is that splash of yellow? Something I haven’t tried before. I have laid down the basis of a low sun across the water. The plan is to wash over that with the sky and sea colour. I may well live to regret doing that, but sometimes you have to try something a little different.

I shall wash over with a mix of blue and vermillion, and hopefully get a low lit subject. We shall see.I will leave the close up of the drawing

I hope that is a bit clearer. The wall on the corner is foreground. The posts mark the edge of the road which will be flooded in this picture

Bosham Sunset Finished

The Finished Painting
About to come off the board

The Bosham painting is finished at last. At the end of the day, there wasn’t too much that I could add to the painting on the last post

I completed some details like the spinnaker on the nearest boat. This is now plumper and more realistic. I have added more suggestions of reflections from this boat, which is already in shadow, but some more red around the stern gives a highlight

I have my eye on the next project, which will be from my recent Scotland trip. I haven’t done anything Scottish as far as I can remember, usually too busy with the Mediterranean, so perhaps it’s time to correct that

The subject will be the Eilean Donan Castle which is near the Kyle of Lochalsh, the mainland side of the Skye Bridge. It is a beautiful spot. I have started already doing some sketches just to work out the composition, and when I have something to show, then I will publish

The other good thing was that I received a commission this week to paint a hotel in Bath, a beautiful city, mostly Regency in style and built in a lovely honey-coloured stone. Commissions have been quiet this year and this is the first, so very welcome. It will be one of those paintings that will be enjoyable to do, and again more of that later.

Bosham Harbour at Sunset: part finished

Bosham Sunset not quite finished

This is the painting so far, which wants tidying up, and at the moment I am just looking at it, and wondering the best way to go

I’m thinking that the nearest boat needs some more detail, but it is also supposed to be in deep shadow, so detail obscured which contradicts

I am going to work on the spinnaker, which needs beefing up. I am not a sailor, but even to me, the spinnaker is rather puny. Quite a lot of sail gets wrapped around this so it needs to look a good deal fatter than I have shown it

In the shadow of the nearest boat, I would like to see more red, which won’t necessarily be correct, but I would like relief from the grey. I have tried to convey the sun catching the stern

Other than that I shall just keep looking, whilst all the time trying not to fiddle, which is a cardinal sin in watercolour.

I am also itching to start on something fresh, a castle in a loch, which I saw in Scotland a couple of weeks ago, which is very dramatic, so I may wrap Bosham up and move on soon

St Katherine’s Dock Commission

This is the drawing so far of the boat I was commissioned to paint. Rather faint I am afraid, not only because it’s in pencil but also because she has had a wash of phthalo blue and cobalt mix. Some orange and vermillion went in to the tops of the boats to give that evening sun look, but that will need strengthening

I have already sketched this scene just to realise the composition and to get that agreed. This is the real thing. Just a tad apprehensive, as although I have painted boats enough times, this would be the first boat portrait that I have tackled.

So much of the boat is white, and not even many shadows to relieve the situation. The vessel is beautiful, streamlined and highly polished, in fact all the things that don’t work so well in watercolour. A rough-textured old steamer, dirty and rusty, with plenty of smoke really lets the watercolourist’s imagination run riot. 

But we don’t have that. We have a sleek yacht instead. In the background of the reference photograph which I haven’t published here, are a row of houses, which were not only superfluous, but actually crowded the composition, and didn’t look good against the boats. I have left them out altogether, and I have not regretted doing so. The depth of the painting has increased whilst still preserving the look of a marina

So for the moment I shall just carry on building up the colours on the items that matter. The yacht centre stage of course is the star attraction and needs to come forward

We shall see how this goes

Work Started on the Fountain of Love Commission

Fountain of Love Detail

I have been working on the drawing of the Fountain of Love commission, which has been testing to say the least. I have just included a detail here, otherwise the image would be too faint to show

The photograph of the fountain itself was included in my last post, and I may have explained that the fountain is in the grounds of Cliveden House in Buckinghamshire. The house is magnificent and is now an hotel but the grounds are run by the National Trust and are extensive.

Over the ages, Cliveden was associated with powerful women. One of the more recent being Nancy Astor, American heiress as well as an MP in Westminster, possibly the first woman MP. More recently still, Cliveden was the scene of the scandalous liaison between Christine Keeler and John Profumo, a married government minister

Again I have been balancing two commission projects, as I have just finished the sketch study of a rather lovely yacht in St.Katherine’s Dock, just to agree the composition with the client before going on the finished painting. I drew this with the help of a grid but there is something about the sleek almost feminine lines of a boat which seem to elude me, no matter how many measurements I take.

Dancing Girl Sketch

As usual the camera leaches out the colour but the essence is there. I did find it useful to make a sketch on this occasion. So many mistakes could be made and were made. At least these have been cleared out of the way, hopefully not to reappear

There is something about highly polished surfaces like plastic or metal, which don’t work well in watercolour. Give me some rough old wood or rusty iron any day, and that will look realistic enough to touch. Still, if you owned a rusty old tub, you probably wouldn’t want it commemorated in a painting

We will await the client’s comment to see whether I have got the composition right as a first step

Morning in Bosham Finished Painting

Morning in Bosham

The finished picture entitled Morning in Bosham

This was the first of the two paintings which I was hoping to plan together. But it was not to be. As the poet said, or something like, the best laid plans of mice and men go oft awry.

They certainly do. I have done a few sketches of the horse picture, but last Thursday the phone rang and a regular client phoned with a commission for an extremely ornate fountain called the Fountain of Love which is in the grounds of a mansion called Cliveden House in Buckinghamshire

I went to look at it, at the week end and took some reference shots and append one for your interestDSCF4449

I have just had to arrange a professional copy so that all the detailing is picked out clearly. This will be a test of drawing skill and no mistake. Too late however, as I have said yes.

Cliveden House is now an hotel. It is c18 I believe and is associated over the years with a succession of powerful women. The latest was Nancy Astor, the American heiress who became a Westminster MP, the first woman MP I think, and certainly a forceful lady.

The house is remembered for being the scene of the scandal involving Christine Keeler a model, and John Profumo the then Minister of Defence during the 1960s. She was also having an affair with a Russian diplomat, so the whole thing was considered a threat to national security. Profumo lied to Parliament and the whole thing nearly brought down the MacMillan government

The same day i received another commission to paint a boat in St Katherine’s Dock which might be postponed and give me a breather. Today I received a request to do yet another view of beloved Bosham Harbour and Church

That will teach me to boast about doing two paintings simultaneously.  The gods have a habit of looking down and teaching you a lesson if you appear over-confident. They have, and it serves me right.

Langstone Mill Finished Painting

Misty Morning in Langstone

Well, this is the finished painting in its frame which I have entitled Misty Morning in Langstone, as I have deliberately kept the colours pale to give that effect. That is my story anyway. In reality it works well, I think but photographing it was difficult. I had to wait for really flat daylight so as not to get reflections in the glass.

I quite like the trick of leaving out the horizon line which gives the scene a more misty look. I read this somewhere not so long ago.

Maybe another time I will try and deepen the colours a little, but always the danger that the misty effect might be lost

I am just packing up paintings for the Leatherhead exhibition which starts on Tuesday and goes on for two weeks. We will see what that brings. Nothing last time, but we live in hope

A very rare happening a couple of weeks ago, I actually sold a painting from my Artfinder site, thus proving that everything comes to he who waits. The painting was of the Bosphorus Waterfront, and went to a collector in the United States, which I am very pleased about

Langstone Mill Drawing Stage

Langstone Mill Drawing

This will be rather faint, I’m afraid, as I only want faint guidelines before applying any colour

Two posts which mark the depth, and painted red and white like barber’s poles I have masked out. Also the flag pole which is white and the flag, both have been masked out for now. To the right of the drawing, which couldn’t be included are three small boats. They are near the horizon line, with one side in light and the other in shadow.

I am going to use pink as a background sky, moving in to a blue grey across the buildings and then pink again across the water. I need the background to look misty ideally, so not too deep in colour but not so pale that everything looks white still.

When that is good and hard I shall work on some of the details. I usually put the shadows in first, which I will do with more of the blue-grey, and that will give the picture some structure, on which to build. Likewise background trees in the grey behind the rooftops. The colour of these I haven’t quite decided, but they need some sort of red in them

I will need to check the sea-level so that it doesn’t look wrong against the buildings.

If I can do that and make sure that the shading is right around the pillars under the mill store, then I might have the basis of a decent painting

We shall see

History of Langstone Harbour and Warblington,Hampshire Coast

Watchman's Hut Warblington.JPG

Just as a change from painting, whilst I work on my Alhambra picture, before I have anything else to say about it, I am at the same time, researching the history of Havant in Hampshire based on my postcard collection, for a talk I am due to give to my local history group in Guildford in November

Havant is an unprepossessing town. I say that as someone who grew up there and therefore has an affection for the place. Nevertheless there is plenty of interesting history around and about. I keep within the confines of my collection, and on the eastern periphery lies Warblington, a Saxon foundation, a remote place by the side of a marshy creek, eerily quiet when I was a boy and still the same today. A week or so back I went to the old church to take some pictures to back up my postcards, and wandered around the churchyard. We were within half a mile of the Havant by-pass with its buzz of traffic and yet within the churchyard you could hear a pin drop. In my mind, I went back to my childhood when I first discovered this place as a schoolboy

The church is c13 and something of an enigma. Why build it there in the middle of nowhere? It still stands in the middle of nowhere. We are told there was a Saxon settlement, and the word Warblington stems from the name of the chieftain, a woman apparently, and there are Saxon elements in the foundations of the church . The church served nearby Emsworth, which still doesn’t explain why it was built at Warblington. On the site of a holy place perhaps? We don’t know

More interesting than the church despite its age, are the two huts, in diametrically opposed corners of the churchyard. If I say they are c19, I am sure you will guess that they had something to do with bodysnatching.  They are nightwatchman’s huts used to watch out for bodysnatchers who had posed  a huge problem until the Anatomy Act of 1832, which required anatomy teachers to be licensed, which effectively put an end to this lucrative trade. Also the medical fraternity were allowed the bodies of executed criminals or even donations from poor families.

In the churchyard of this creekside church are gravestones of sailors drowned at sea, and I quote the one I have always found fascinating.

Sailor's Gravestone

This the gravestone of William Palmer, and perhaps we should start with the inscription

This is in the memory of William Palmer that lost his life and his vessel going into Dublin the 24th February 1750 aged 38 years

The carved relief is intriguing and the work of a very skilled mason. Even the rigging stands out and would need very careful carving. Huge waves are rolling and the ship obviously capsized. The object behind the capsized vessel, I cannot make sense of

So we have a local mariner, a master mariner with his own boat, most likely involved in coastal trade as so many around here and Langstone were, and with a small crew, perhaps ambitiously attempting the crossing of the Irish Sea, not to mention the treacherous rocks around Lands End, and coming to a sad end. Or perhaps this was his regular run, and he was unlucky due to treacherous weather conditions. Dublin was very English in those days, and would be looking to regular supplies of day-to-day items, so one can easily imagine mariners plying a regular and profitable trade.

There are several Palmers buried in the churchyard. William’s wife is buried in the same grave but I can’t make out the dates. I imagine them being a prosperous family, judging from the quality of William’s gravestone

I remember seeing this stone when I was about twelve. It fired my imagination then and still does. It doesn’t look any different

I had thought to talk about Langstone close by, but another time. I have painted Langstone often but never Warblington which perhaps I should add to my list