I began my career as a portrait painter in 1970 that spanned a period of thirty years. I met many lovely people and made good friends and had the opportunity to travel throughout the country and abroad. All the portraits were commissioned and therefore each one had to be both finished on time and successful from the client’s point of view. I could not afford to indulge in the cathartic experience of destroying the work because of my dissatisfaction. This was often very stressful.
Amalia Fuchs 1985
Oil on canvas 80x60cm |
Caroline Gourlay 1984
Oil on canvas 80x50cm |
The pose and position of the head suggests an aspect of the sitter’s character. I want the pose to be seen as a lasting pause rather than an interrupted gesture and I want the position of hands to tell a story. Amalia talked to me about her childhood in Budapest so she has a letter from her city addressed to her in London. Caroline holds a book and on the open page is the view of the landscape that she looked at during the sittings. Teddy holds his favorite cap as he sits in his favorite chair.
Sir Bryan Cartledge 1996
Oil on canvas 81x65cm |
Teddy Craig 1981
Oil on canvas 80x60cm |
I design the backgrounds independently but as an integral part of the portrait and composition. Sir Bryan Cartledge sits in front of an architect’s sketch for an extension to Linacre College in Oxford where he was the principal and to his side is a model of a Russian orthodox church. He was our ambassador in Moscow.
Roly and Max Porter 1987
Oil on canvas 72x74cm |
Thomas and Benjamin Pilling 1991
Oil on canvas 80x88cm |
In a portrait the head is the focus but the area that it covers on the canvas is relatively small in relation to the whole and therefore every square centimeter needs to be considered.
I began to construct a model as soon as I received a commission. When the portrait was signed and delivered my work was waiting for me. A line of continuity was kept alive.
I began to construct a model as soon as I received a commission. When the portrait was signed and delivered my work was waiting for me. A line of continuity was kept alive.
Notable commissions in chronological order:
Sir Christopher Ingold Lord Hailsham Dame Bridget D’oyley Carte
Sir Maurice Bowra, Wadham College, Oxford Sir Charles Legard
Sir Colin Davis and family The Hon. Murray Stuart-Smith
Sir Lincoln Steel HRH The Prince of Wales, Fishmonger’s Hall, London
Howard Ferguson, Royal Academy of Music Sir Richard Storey
Ursula Vaughan Williams, Charterhouse School The Hon David Barthurst
Sir Ove Arup, Arup Associates, London Sir Simon Gourlay
Sir Charles Frossard Sir Bryan Cartledge, Linacre College, Oxford
Sir Terence English, Queen’s College, Cambridge Lord Simon of Highbury
Sir John and Julia Boyd Sir Peter Burt
Sir Christopher Ingold Lord Hailsham Dame Bridget D’oyley Carte
Sir Maurice Bowra, Wadham College, Oxford Sir Charles Legard
Sir Colin Davis and family The Hon. Murray Stuart-Smith
Sir Lincoln Steel HRH The Prince of Wales, Fishmonger’s Hall, London
Howard Ferguson, Royal Academy of Music Sir Richard Storey
Ursula Vaughan Williams, Charterhouse School The Hon David Barthurst
Sir Ove Arup, Arup Associates, London Sir Simon Gourlay
Sir Charles Frossard Sir Bryan Cartledge, Linacre College, Oxford
Sir Terence English, Queen’s College, Cambridge Lord Simon of Highbury
Sir John and Julia Boyd Sir Peter Burt
See the gallery below for more images of my work.
