A whitebeam, berries starting to ripen, in a car park in Normanton.
Whitebeam
Category: Art
Alder
They’re restoring the old water mill at Newmillerdam, re-using the flagstone roof tiles, a job that involves a lot of work with power tools so I’ve made my way along the lakeside to draw this multi-stemmed alder.
The Secret Life of Pebbles
What pebbles do on their day off. Happy birthday to George (yesterday).
The View from Bettys
The view from Betty’s, Harlow Carr and Farrar’s Palm Court Cafe in Harrogate today.
Marigolds
It’s years since we bought any marigolds but they’re good at spreading their seeds around the garden. We’ll have plenty of seedlings next year at the top end of the border.
Also well able to seed itself around, the Welsh poppy. If it just spread by seed that would suit me but, unlike the marigold, it can establish itself as a perennial, building up deep dandelion-like tap roots and crowding out other flowers.
This heron, preening in a quiet corner at Adel Dam became watchful and alert when first a buzzard and then a sparrowhawk flew overhead.
Secrets of the ‘Inkwell’ Underground
A busy week for birthdays including, for Arden, some Secrets of the Underground beneath a Victorian villa. The map is 70% accurate: the Victorians did a lot of groundwork when they built their villas.
Less accurate: Paul Simon didn’t, unfortunately, include the exciting new ballad Dave in his surprise set at the Newport Folk Festival. My nephews James (happy birthday today), Richard and Tom gave its world premiere last month, at Dave and my sister Lin’s golden wedding celebrations.
It opens with Dave on his trusty NSU Quickly moped phut-phutting to the rescue with nothing to sustain him on his journey except a raw onion, hence the chorus, ‘Bite! Bite!’.
Performing alongside the Ingham brothers, my great-nephew Dylan, who also celebrated a birthday during this last week.
George Gissing’s Childhood
Happy birthday to Sue (a few days ago) who, as a member of our local wild flower group, follows in the footsteps of Thomas Gissing, pharmacist of Westgate, Wakefield, father of novelist George.
Das Hardwood Modelling Tools
I bought these just before the pandemic to model ‘Plasticine’ Wallace and Gromit-style puppets for an animation project that never got the go-ahead. Shame, as I’d asked Karen Chalmers if she could do the music, as she did with my Rhubarb Festival animation, and she’d already come up with a few suggestions of how we might do it.
It might be time to give it a try although sculptor Wilfrid Wood recently posted a photograph on Instagram showing the effect of a heatwave on Plasticine: his carefully carved head-and-shoulders portrait had been transformed into something that resembled one of The Abominable Dr. Phibes’ waxworks. A shame that Vincent Price isn’t still around to play Wilfrid if there’s ever a bio-pic.
I’ve gone for Newplast for my modelling material.
I’m sure I’ll work out what all those wooden knives, scrapers, probes and spatulas are supposed to do.
Handscape
In the waiting room at Specsavers and couldn’t draw anyone without them spotting me so it was back to drawing my hand in my A6 landscape sketchbook.
I was in for micro suction wax removal so I’ve done a few sessions in preparation lying on the sofa with olive oil in my ear. That’s an awkward angle for drawing and I realise that the Paperlike screen protector has lost its texture after eight months of use so my Apple Pencil was slipping about as I drew, so it’s time to renew it using the spare sheet that came in the pack.
I’ve never replaced the drawing tip of my Apple Pencil so that’s something worth trying to give more traction and feedback from the drawing surface.
William Baines, Harrogate, 1972
Fifty years ago today my exhibition, The Yorkshire of William Baines, marking the 50th anniversary of the death of the composer was in its second (and final) week at the Harrogate Festival. According to my diary William’s music and my show were getting a good reception.
I’ve been here before; coming through the darkened room with the piano and sitting down and watching. I definitely remember some of the slides particularly.
“I’ve been here before;” was the reaction of one young visitor, “coming through the darkened room with the piano and sitting down and watching. I definitely remember some of the slides particularly.”
His parents were equally enthusiastic; his mum thought ‘the music was marvellous’ and his dad mentioned that he had a friend who interviewed for Radio 3.
People had been so helpful as I prepared the show, loaning pictures, objects and manuscripts connected to the composer.
Helen Millifanti, curator of the Pump Room Museum, found me an Edison phonograph which we got working. It stood in a mocked-up parlour with an upright piano also on loan from the museum alongside a framed photograph of William as a toddler standing next to an Edison Bell Phonograph. I think that I remember that Mr Baines, William’s father, George William, sold them in his shop on the High Street; the latest technology in his day.
Radio Leeds
Radio Leeds had just celebrated its fourth birthday. My interview with Peter Hawkins went well and they invited me to write and introduce a radio documentary on Baines to coincide with the anniversary in November.
Goodnight to Flamboro’
To celebrate William’s sea piece Goodnight to Flamboro’, I painted one of the sections of the clip together displays we’d assembled for the exhibition.
Highlight of the week was a recital by Eric Parkin on Friday 4th August. Peter Hawkins interviewed a cousin of William’s Elsie Hargreaves and his school day’s friend Ernest Hindle and I’m pleased to say that we still have a couple of brief clips in my Hat’s Off Gentleman – A Genius! documentary.
Amongst the audience was, according to my diary, a ‘Chorister from York’. That must have been Robin Walker, now a composer himself who has been busy producing a new recording of William’s music to launch this autumn for the 100th anniversary.
Bird and Wells
I got to meet Linda Kitson who was energetically working as artist in residence at the Festival. Drawing at events and recitals during the day and posting the results on a board in the Majestic Hotel in the evening. The ‘Writers Talking’ sessioin on Saturday 5 August included Stan Barstow and Terence Dicks. While Stan’s work is definitely inspired by gritty reality, Terence Dicks, script editor on Dr Who, explained that his ‘life has been free of super villains, space monsters and Cybermen’.
My life has been free of super villains, space monsters and Cybermen
All the while Linda Kitson was squatting on the floor, moving about to to draw the various speakers. I wished that I could be so fearless when out with my sketchbook. She assured me that I’d love working at the Royal College of Art. She’d recently graduated but she said she often dropped in, using the place as ‘her club’. I became a good deal more at ease drawing in public thanks to the weekly sessions drawing at London Zoo during my time at the RCA.
Surprise visitors: John Bird and John Wells
I was most star struck though meeting satirists John Bird and John Wells who’d come in to the Royal Baths, where my exhibition was held, to escape from the rain.
Gilbert Mills
On Thursday, 10th August, veteran pianist Gilbert Mills introduced himself. Born ten years before William (so that would be about 1889) he championed William’s music in the very earliest days of radio, before the BBC was founded, giving recitals on 2LO, as it was called.
He demonstrated on the old upright piano in my mock-up of the Baines parlour. He insisted that Eric Parkin hadn’t got it right in his recording of Blackbird Singing in a Convent Garden. He played it with the trilling lilt that you get when a blackbird sings.
he was an odd bod. He was reckoned to be something of a genius even when he used to wander about Cleckheaton; gaunt-looking and huge hands, long fingers he had
A visitor on the final day of the exhibition who knew William