Francis at Home

(40cm x 30cm Oil) November 2016

Frankie Howerd at home at Wavering Down.

Scratching around looking for something to paint, I was distracted by a film on TV.  ‘The Great St Trinians Train Robbery’ starring Frankie Howerd.  

Why not, I thought, one of my comedy heroes.

Looking for a suitable picture I found hundreds of him clowning for the camera but few of him, almost, straight-faced.  Then there were loads of pictures of his home.  But not of both of them together.  So here we have Frankie in front of his very cosy looking home.  Someone had green fingers.

Anyroadup! I had a go.

Oooh no missus!

What? You don’t like it!

Well please yourselves!

Artwork Page 3


The Ermita at Sunset

(80cm x 40cm Oil) December 2016

This is what I see from my living room balcony.  Not every evening produces as dramatic a sunset as the one in my painting but there are times during the year that I can’t believe the sheer beauty of the slow onset of night.

The Ermita sits on a hill, surrounding by fir trees, almost hidden from view.  A few years ago you could see all of the Ermita but, naturally, the trees grew and grew.  They are now managed to prevent them from totally obscuring this beautiful building.

One Christmas

(60cm x 40cm Oil) December 2016

I wanted to have a go at a snowy scene; something cool to look at during the baking-hot months in Spain.

I could have left it at the mountains but it felt a little empty.  So I lifted the horizon line to include a frozen bay.  I thought people lived there and added a house and a few outbuildings.  If people lived there they must earn a living somehow, so I added a trawler.  Then the tiny figure of the fisherman as he walked towards his home.

Forever Audrey

(40cm x 60cm Oil) January 2017

Over the last few months, since I started painting, I’ve found that I get more satisfaction from painting portraits.  Real people who should be instantly recognised.

It’s a double challenge in that the paint still has to flow but where it flows is more exacting.  Eyes are particularly crucial, as I said with The Girl with a Pearl Earring.

The next subject was to be Audrey Hepburn and I saw a picture of her taken when she was about sixty and was taken by her classic looks.  Undimmed by the years, her eyes sparkled.

While I was preparing the project I remembered the famous black and white photo of her from Breakfast at Tiffanys and gave myself the challenge of painting both.

So here she is, Audrey Hepburn standing in front of the iconic Breakfast at Tiffanys publicity photo.

I have to say this was one of the most rewarding paintings I’ve attempted.

Painted with respect.

Firebird Lake

(60cm x 30cm Oil) October 2016

Painting Number THIRTEEN!  It’s a good job I’m not superstitious - touch wood.

After the concentration needed for the Turner, I thought I’d paint something easy-going.

Trees maybe, they’re nice.  Perhaps a lake.  Autumn, with yellows and golds.  

For the amateur artist nature is very forgiving.  Nothing is ‘wrong’.  Nature doesn’t do ‘wrong’, it just is.

So, right or wrong, this is Firebird Lake.  I called it that simply because the shapes of the leaves in the trees reminded me of a classical album cover for Stravinsky’s Firebird.

Early Riser

(50cm x 40cm Oil) March 2017

Waves on a seashore would be nice; a few fluffy clouds and that would sate my appetite for the oils.

The painting sort of ran away with itself.  The clouds were wrong, the shore line was too high, the horizon was too low. The ‘sunset’ was too bright.  Then, by a stroke of ‘genius’, I turned it round and it became a sunrise.  But the ‘sun-setty’ red was awkward.  So, the painting is a sunset or sunrise or something else dependant on whether you see a tiny stroke of white paint.

Then it’s something else entirely.

And then it makes sense.


(40cm x 30cm Oil) April 2017

After painting my neighbours dog ‘Ben’ (Painting No 10) I was sure I wouldn’t want to go through that pressure again.  It’s their pet, they love it, I can’t mess it up!

When my neighbours (Eric & Pam) asked me to paint a family pet they’d lost some time before I was very reluctant.

I started the painting as normal, blocking out the main areas, but when it came to the detail I started another painting as a little relief from the concerns of getting Fudge right.

(All this whilst I was negotiating for the purchase of my next home with all the stress that entails)

I painted and I painted - a stroke here, a dot there, with background changes to bring Fudge more into focus.


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Gallery 3