Up early ish today and loading my car including with 2 major marine paintings (Plymouth Cattewater and Nelson at Gibraltar 10 Dec 1796) and numerous French landscapes.

One of the objectives of this return to my home port of Plymouth is to find out how the paintings are received, perceived and valued, another is to consider suitable exhibition venues.

The marine art was produced with in mind,  next years offer of an exhibition at the European Parliament, that being as far as I know the first time a marine artist from any country has been asked to exhibit at the European Parliament, certainly the first time an artist from Plymouth has been asked.

Thus with a fairly full car, including my traveling easel, paints, and so on I left Itzac sharp on 09.00 on a gloriously sunny morning, first stop Sauternes in Bordeaux with my good friends Isabelle and Jean Marie, the mayor and mayoress of Sauternes.

I admit I love Sauternes,

You may know of Sauternes wine?

The most exclusive white wine in the world comes from Sauternes, itself a very modest village of some 650 souls.

I have visited and painted there several times as part of my “Famous Wine Villages of France” project more of that on the web site.

You can view some of this work on page

http://www.frickers.co.uk/wine/index.html

This is a project I am looking to re start this summer partly because the villages have changed, more so because my work has matured and the new paintings will be even more fascinating.

As I was carrying, most unusually, a selection of about 40 french landscapes and 2 major marine paintings.

I was prevailed upon to show my work, not to hard, to show the art work I was conveying.

My friends know my work well, owning a landscape of Sauternes, also the town hall purchased a fine example, a painting of the town hall (and the gardens of the place de Sauternes)!

Isabelle and I had discussed my stopping as I more or less pass Sauternes on my route North, I had coffee at mid day in mind,

Isabelle had other ideas…

Barbeque and birthday cake,  surprisingly a truly  excellent Chardonnay from South Africa courtesy of Edward their son who unsurprisingly works in the wine industry and surprisingly has just returned from a tour working in overseas vineyards including in Chile and South Africa.

A wonderful spontaneous lunch, thank you my friends.

After a nap, onward to Bordeaux then te long haul North North North…

]]> http://www.frickers.co.uk/blog/2010/05/24/en-route-to-england/feed/ 0 http://www.frickers.co.uk/blog/2010/05/19/1975/ http://www.frickers.co.uk/blog/2010/05/19/1975/#comments Wed, 19 May 2010 16:07:39 +0000 Gordon Frickers http://www.frickers.co.uk/blog/?p=1975 I hear from my friends at Sea Breezes magazine, “Yes we did manage to get the Glenorchy scan to a publishable quality“.

Sea Breezes, Glenorchy the marine painting is in the June issue which is on sale today.
We had a slight problem because of the tight deadline.
I have an excellent 5″ x 4″ transparency of this beautiful marine art painting but no high resolution digital image and my Epsom Perfection 2450 scanner is currently NBG, refuses to talk to Vista.

~

Glenorchy is on the Sea Breezes gatefold in this issues, a rare chance to have a nice print of this classic Glen Line ship and Empire class tugs, some of the ex William Watkins,  Alexander Towing Company tugs.
You can find the picture and more text on page http://www.frickers.co.uk/marine-art/glenorchy_thames.html.

The pop up on this page shows you the painting about life size but is not as crisp, sharp as the original consequently the colours have suffered a bit.

Of course, many of the illustrations here and on www.frickers.co.uk you can view larger than life.

Recently for your enjoyment, we have started to include a grey and a colour scale with the pictures thus if you wish to se them as close as is possible to the image we place on the web you can adjust. yourscreen.

I hop you think, still fun to see though?

The editor is would like to use more of my pictures in the future, probably “Plymouth Cattewater” featuring the crack clipper Samuel Plimsoll next.
Sea Breezes are preparing an article on the Samuel Plimsoll.
I mentioned to my friends at Sea Breezes, the exceelent new-ish Nicolette Jones book “The Plimsoll Sensation” to them (ISBN 978-0-349-11720-1).

This fine example of marine painting (36″ x 28″)  is intended to be reserved as an exhibition piece and be offered for a modest £1,200.00; unless some one before then, makes me an offer I can’t refuse!

This refreshing piece of marine art started life inspired by my days in the 1990’s working for Yachting World as their prize artist ( no I was not the prize, I had to provide the prize; a painting of the winning boat, ready for presentation that evening at 18.30 ~ a bit tricky as the racing finished at 16.00 and it was a handicap event with about 60 yachts…) at various Rolex Nautor Swan European Regattas.

I am pleased to say I was the only artist Yachting World used more than once for this test of nerve…

There are several very fine examples of those paintings on this web site, mostly under Marine Gallery, yachts and super yachts.

Nautor Swans, have been around much longer and enjoy a reputation as the very best quality production built yachts.

From what I saw of these splendid yachts I’d not wish to dispute that, both externally and internally they are each one a classic boat from the moment they are complete.

It gets better because I discovered the atmosphere with in the events is very amiable, competitive, competent but all the owners seem to be proud not only of their own Swan but of every one else’s too!

I was delighted to in a small way and for a short time to be a part of this happy family.

The new marine painting “Racing Yachts” featuring Swan Nautor type yachts is almost complete.

Based on my experiences producing the Yachting World Prize for previous Swan European Regattas the new painting will be offered for a modest £1,000.00

The Gordon Frickers Yachting World prize caused quite a stire and was much admired by the competitors.

http://www.frickers.co.uk/marine-art/alvine_xii.html

One recipient was kind enough to say (and allow me to quote him) “I have won a few prizes in my racing career but I can assure you this will be one I treasure most“, M.J. Leadbetter.

More about Mike Leadbetter’s marine painting on page ~ http://www.frickers.co.uk/marine-art/k_6888.html

Anyone know the name of Mike Ledbetter’s yacht, I have mislaid my record of her?

(UK) 01865 522435 (International: +44 1865 522435)

I made good progress today on the Gibraltar and the small Cattewater marine paintings, both are historical port scenes.

The Gibraltar painting now has most of Minerve’s crew painted Horatio Nelson is now recognisable (just!) and the beginnings of the back ground details.

The Cattewater, Plymouth (small version) today had the final paint applied to the sky and further work completed on the sea hills and buildings.

Further work was also carried out on the hull of the large sailing ship lying off Phoenix Wharf, the ship will become the famous clipper “Samuel Plimsoll“  which in turn was named for and launched by the very remarkable Mr. Samuel Plimsoll.

Both these new marine paintings, shown in earlier blogs this year will re appear ion this blog soon in almost finished mode.

It will be interesting to see if the follow Talthybius and sell in less than a month, see blog entries 07.02.10 and 03.03.10 ~ anyone taking bets?

On the subject of which here is in the best Blue Peter tradition, one I made earlier, a pic of a Swan painting I finished last year and which I intend to sell ~

Make me an offer I can’t refuse and it is yours?

You can pay for any unsold picture on the web site securely online using PayPal on page

http://www.frickers.co.uk/blog/making-a-payment/

enjoy!

I am yet to find a camera or film that always makes a good job of this even under ideal conditions and worse, some paintings are more difficult to copy than others, why?

I have just re photographed two of the largest major marine paintings in my collection, “Ice Maiden” ( see page http://www.frickers.co.uk/prints.html for a limited edition copy) and “Yamaha“, also the new painting “Racing Yachts“.

So where is the problem?The problem is accurate colour, cameras, Photoshop version nine billon or what ever it is up to can’t hack it.

More of this issue and bit of a giggle below.

~

First the new painting Racing Yachts is nearing completion, based on no particular event, rather memories of the times I worked with the Rolex Nautor Swan European Regatta Fleets to provuide a painting of the winner for presentation that evening.

There are several examples from those days on the web site, pages http://www.frickers.co.uk/marine-art/alvine_xii.html and http://www.frickers.co.uk/marine-art/k_6888.html will give you a taste.

If you taste is for cool art, have a good look at Ice Maiden.

Now, here is a fabulous large painting 762 x 1016mm (30″ x 40″) and an ideal gift, inspiration the for  professional woman.

You may recall, the Maiden Team were the first all women team to race round the world?

They effectively broke a “glass ceiling” by winning two legs of the race.

This painting was requested by the National Maritime Museum, Greenwich for their racing yacht collection but as it is such a stunner I have managed to keep it thus far for special exhibitions.

The photograph on the web site was taken probably 18 or more years ago and was digitalised 11 years ago hence time for an update!

That said, make me an offer I can’t refuse and I’ll think about selling “Ice Maiden“.

Yamaha, this painting also has special story.

It is one of a pair I produced when Yamaha won the Whitbread Round the World Race.

The pictures were painted because of a commission from Mitusi Machinery (who were the Yamaha importer).

The (Japanese) directors wished to give the painting to the President in Japan as a token of success, they called the painting “One Race One Victory”.

I interviewed the crew and inspected the boat the day they finished at Southampton then prepared two paintings.

The Company duly bought one for their President but refused to be tempted by the other for the UK offices.

Consequently I loaned this powerful marine painting first to the Royal Southampton Yacht Club and later to the Mount Batten Water Sport Centre from which I recovered the painting last November and at last we have had a day on which I can photograph this fine marine painting.

I intend to keep this fine example in reserve for significant exhibitions where I wish to show the full force of my work, unless some one makes me an offer I can’t refuse?

I hope not it is hard work producing paintings like this!

~

On the subject of photography…

Speaking with a local, Great you cry, ask him! Err yess…

Not so simple.

This part of the problem is my friend is expert with photoshop which has effectively replaced  the role a darkroom used to fulfill.

I was taught at Uni, best to do the work infront of the camera not behind it.

Does this rule still stand firm?

My original training included photograph to museum qualities (yes I have City & Guilds 344 and a degree) so you can guess I know more about this than your average happy snapper.

Photographing marine paintings, any paintings, can be difficult for many reasons.

Anyone who says differently does not fully understand the issues and is in my view likely to be settling for second best or is copying paintings which copy very easily…

Some colour combinations are very difficult for cameras to copy.

This is not important for 90 % of photography.

As long as the result is pleasing it is acceptable.

This is reflected in the experience we have all had, the photo looks good but it is not as we remember the colours.

Of course usually the result is not critical, not compared with the original scene.

However in subjects such as still life (I worked on many including in advertising studios in Central London) and paintings the colour, contrast  and tonal  balance is critical, food clothing are obvious examples.

You can probably think of more examples?

Light direction, balance, colour temperature, the lens, the colours of the picture and proportions of those colours, any cast in the camera or film (most are not balanced) any back ground (which some people later crop out thinking wrongly it has had no effect); all plus other factors can and usually do affect a critical copy.

We used to test film  batches then filter to compensate, this with the full co operation of Kodak Professional Department.

This time I with my paintings was able to get quite close to the original colours having very carefully chosen my day light and the spot to photograph the paintings, a place with very bright shade, lots of reflected light and a slightly warm colour to the light.

One of the reasons I paint is because one can “do” more with colour, painting, than is possible with photography.

It is also possible to paint, anticipating how the picture will reproduce, allowing for the colour shifts so the final prints look superb.

Unfortunaely the converse is possible and we have found a number of paintings simply would not print well.

There was one exception where the colours are wildly wrong, a super yachts at dusk scene.

The result is highly miss leading when compared with the original unfinished painting.

My painting “Red Bales” is another example, http://www.frickers.co.uk/landscape/red_bales_5.html.

in that case the camera using a Kodak  100 ASA print film has failed to pick out the subtle orange colours, turning them red, or picked out the oranges at the expense of the browns and Khaki colours.

Re photographing with different film failed to solve the issue.

While most camera and printer  manufactures publicity assure us the results  the results from their equipment will be marvelous they also when producing new equipment tell us the new is even better, why?

I could write a lot on this subject, the problems cameras and camera lenses encounter,  why cameras can’t record true colour and what the manufactures are doing about that … but now is not the time, later maybe.

Anyway I tried to discuss this with our local expert.

He absolutely insisted an accurate exposure is not important because ~ you can do everything in Photoshop!

Better, he offered to set up my monitor for a mear 100 Euros, what a nice chap.

He also assured me that I know nothing about reproducing paintings for web sites and printing;  that he does not know plus he knows heaps and heaps that I don’t know and I can buy this info from him: I’m so lucky,  wonderful!

He also assures me absolutely that he can make perfect prints from any good desktop printer, wow , brilliant so all that time and money I spent on giclee and developing Prestige prints  is now obsolete as is my printer’s life time printing and 250,000 investment in printing equipment, fabulous.

Over the years besides photographic printing, I have worked with several excellent and one bad printer including national names like De Montfort and Solomon and Whitehead so have some experience to contribute.

Or have we missed some thing here?

Slight problem… if the original exposure is “wrong” you will never have a fully processed image so how can you hope to produce a better image on photoshop?

Maybe he knows some thing I don’t?

Maybe one of us is wrong?

Maybe the truth is some where in the middle ground?

Unfortunately with a very adamant person a discussion is impossible.

So with whom can this be discussed rationally with both parties contributing their experience, maybe my excellent printer at Adaptgraphics of Plymouth also having a say?

He has after all, 45 years experience of printing.

I simply don’t see how photoshop can be more than a damage limitation exercise in this case where as close to the original image is required.

I think there is here a fundamental miss understanding of how cameras work and how accurate image reproduction can be.

I’d like to be proven wrong.

To expect to make a perfect image from a poor exposure which inevitably means  poor colour, saturation, sharpness etc.

Sure Photoshop works well when copying is not critical but surely it must work better given a “best possible” exposure.

My friend has a good eye for these issues however having seen work he accepts as perfect, I disagree and say it is at best no more accuarte than my results.

Possibly a physiological is included problem here, I remain open minded and open for further discussion.

Ideally I’d like to talk with specialists of a major camera manufacturer as their role has largely superseded that of film emulsion manufactures.

So, sweet dreams…

I’d like to discuss the copy issue  with Canon Camerashoi’s cameras I have mostly used for soem 40 years, but with whom?

It is also sold.

Drat!

Now I only have one “Blue Flue” marine art left… http://www.frickers.co.uk/marine-art/agapenor_bombay.html

The Blue Funnel steamer Talthybius is not even on the web site yet, sold in less than a month so I’ll show you am few details below.

The Blue Funnel ship Talthybius was  painted on speculation as a possible exhibition piece for the proposed one man show at the European Parliament.

Also because I wanted to look again at the possibilities offered by moonlight:

because I am also working on another moonlight scene, this one being in the form of two paintings of the same subject, one large one small, Plymouth Cattewater by moonlight.

The story of this major new painting is emerging elsewhere on this blog…

An offer was made, an offer which I could not refuse by a delightful gentleman who’s emails had me laughing several times,

Now I only have one Blue Flue marine painting and may have to paint another for the show.

Any Ideas for a subject?
I have two ideas, how about you, a favourite ship worth recording in a marine painting?

Meanwhile I only have Agapenor at Bombay left in my reserve collection.

I guess I had better add another Blue Funnel ship to the growing list of paintings I should get on with.

Next though will be a new version of Trafalgar Dawn, the French perspective and a new painting of the voayage of the French discoverer Laperouse plus I also need examples of new cruise and cargo ships but which to choose?

I am still exchanging emails  re the European Parliament Marine Art Exhibition at Brussels.

Also on the stunning moon rises I saw from the beach last autumn at Hossigur.

You may not believe it to see the attached pop up progress report but, the scene will show the emigrant clipper Samuel Plimsoll and the (now demolished) emigration buildings at Phoenix Wharf.

Of all the boats I owned the one I miss most is Wellington, Wayfarer 6778, pictures here at Bodinnick Ferry, Fowey, Cornwall.

—– Original Message —–

From: AP

To: Gordon Frickers

Sent: Thursday, January 28, 2010 6:23 PM

Subject: For and against the face-veil

By Indlieb Farazi

A French parliamentary panel has recommended that face-covering veils such as the burqa or the niqab be banned in public insitutions such as hospitals and schools. The decision is the result of a six-month inquiry into full veils, after Nicolas Sarkozy, the French president, said they were “not welcome” in the country. Here the issue is debated by Hadiah Ahmed, a niqab-wearing Muslim, and Shaaz Mahboob, vice chair of British Muslims for Secular Democracy. ‘THE NIQAB IS PART OF MY IDENTITY’ Hadiah Ahmed, 30, is a full-time mother of two in Manchester. She previously worked as an interior designer in London.“I am a Muslim woman, born and bred in Yorkshire. I studied in English schools, furthered my education to degree level and have worked with celebrity faces. I changed my whole lifestyle for my religion as it was the way I wanted to live. I started wearing the khimaar (head scarf) and jilbab (a long dress-type cloak). A good few years ago as I started to practise Islam more, and it states in the Quran: ‘And say to the believing women that they should lower their gaze and guard their modesty.’ (24. 31). “Targeting the niqab is just an excuse to target Islam, afterall why is it that Christian nuns are not pinpointed for the way they dress?” Hadia Ahmed It was solely my decision, and after all, we live in Britain, a place where we have freedom of speech, freedom to live how we want to live!!I can remember when I first went out in my hijab (Islamic dress), how people were staring at me and calling out things like, “You bomber!” It was quite funny how, before I started wearing my hijab, men would whistle and make comments and now it was the total opposite.  It’s so strange how people perceive you just by what you wear even though you’re the same person from within. I found that people were rude, talking to me as if I wasn’t familiar with the English language and as if I was stupid. Sometimes it use to annoy me so much as I was educated in Britain, paid my taxes and yet I was being told to go back to my own country!! Hello, I was born here!! But now I just laugh and think that it’s so ironic. Three years ago I went for pilgrimage to Mecca for Hajj and there it was when I decided to wear the niqab (a veil which leaves only the eyes uncovered). When I came back to England I kept on my niqab and the comments just escalated. Years on, I still get the looks and the comments. However, things are becoming increasing harder for a Muslim woman wanting to practise her religion. In my opinion targeting the niqab is just an excuse to target Islam. After all, why is it that Christian nuns are not pinpointed for the way they dress? Or that it’s OK to wear less and for women to be degraded and seen as sex symbols, but if someone wants to cover up and protect their modesty, then there’s a big uproar? I, as a Muslim woman, should have the right to wear what I want without any question as to why I want to wear it. It’s my identity, it’s who I am. We are a hard-working family trying to practise our religion whilst living in a Western society. In my opinion governments should use their efforts wisely to try and promote unity so that religion and society can go hand in hand, so that we can live in peace.” This choice of garment is not perceived as modest, rather as deceptive and suppressive. Imam’s who point out it is not directly required by the Koran are some times threatened. One in Paris was recently threatened with death while in his own mosque by a gang of 80 and called a Jewish Imam. There is no place in any civilized society for death threats to people who you don’t agree with. Such actions belittle Islam and proclaim it as dangerous and suppressive to liberty, enlightenment and progress. If that is what Islam is, then yes there is going to be trouble, like nothing you have see. As Islam sows, so it shall reap. In the words of a Dutchman I spoke with recently “we will resist”. The fundalamentalist would earn more respect if they devoted their energies to helping their less fortunate poor and sick, to honest education and personal improvement. But that does not suit the Imam’s who’s power they misguidedly think rests on control of other people. These clothes are used by terrorists and prevents honest people identifying the wearer and seeing their facial reactions a very important part of communication. Christian Nuns… ~ no comparison. I don’t like the Chatholic Church however I appreciate nuns do not cover their faces and perform much useful and charitable work. We have some other dotty religious orthodox in Britain and France of various religions, who wear quaint cloths. Differences are they don’t hide their faces or wish to convert all Britain, France and Europe to their religion by any means possible. This latter point is exactly what many Islamist are working towards, Islamic extreemists are simply the least patient of them. It is no secret, see for yourself by searching the Internet or living as I have with Muslims in France. She previously worked as an interior designer in London. ~ and now? Does she sponge off the state, the British people? Expecting them to subsidies her life style, most of these “religious” women do… It has an adverse effect on Their fellow Britain’s and they know this. The British also are increasingly aware it is no secret that the aim of Islam is to convert all Europe to their ways. “I, as a Muslim woman, should have the right to wear what I want without any question as to why I want to wear it. It’s my identity, it’s who I am. ~ yes, until it becomes anti social. We do not permit nudity or breast or penis exposure either, there are limits and rules in our generally liberal and tolerant society. We are a hard-working family trying to practice our religion whilst living in a Western society. ~ OK, good luck but as you have just said, this is Western Society and heartland of it at that! You must respect our rules, laws and ancient culture which have taken us over a thousand years to win and develop or forfeit our hospitality and friendship. In my opinion governments should use their efforts wisely to try and promote unity so that religion and society can go hand in hand, so that we can live in peace.” ~ I completely agree. However, this is a Western Society, more, it is Britain, Old England and it too has a right to have it’s institutions and traditions respected so start showing some respect and appreciation…. ‘THE NIQAB HAS NO PLACE IN ISLAM’ Shaaz Mahboob is the vice-chair of British Muslims for Secular Democracy, a charity which promotes religious understanding and addresses prejudice against Muslims. “Discrimination of any form is considered unacceptable is all civilised societies. Shaaz Mahboob believes the niqab should not have a place in civilised Western societies The burqa or the niqab does just that. It allows one person to remain anonymous during face-to-face communication, thus depriving the right of the other to reciprocate whilst registering the changes in facial expressions, which is vital in such communication, in conjunction to voice that is used for everyday communication.Whether in public offices, educational institutions or out on the streets, the disadvantage to those who are required to deal with women covered under a niqab or burqa is immense. Furthermore, to all the men out there, it is insulting since it implies that every man on the street would somehow get aroused by the sight of a woman’s face and in therefore to protect these women, they must be put behind a suffocating layer of thick clothing. This might be true for certain societies where men rarely get a glimpse of women’s faces or skin altogether, and any such sight might awaken their natural instincts. Whereas in Western societies, especially within the French society, this rationale does not hold much weight since members of the public are exposed to significant display of the skin of the opposite sex, which perhaps renders them immune to any such mental state where they would readily pounce on a woman upon seeing her uncovered face. “Not knowing whether an individual amongst them is a man or a woman due to their attire is deeply unsettlig“ Shaaz Mahboob The argument put forward by individuals and groups that somehow covering of women’s face is a religious obligation for the reason of their safety from the lewdness of men, falls flat on its face when recalling the etiquettes during Hajj.It should be remembered that during this holiest of pilgrimages, worldly pleasures and distractions have been removed by the Almighty, thereby allowing the pilgrims to concentrate on their prayers and associated rituals. During the Hajj, Islam forbids women from covering their faces, whilst at the same time removes segregation on the basis of sex during the days that men and women, who are otherwise strangers to each other, spend many days in close proximity to each other. No wonder even amongst the vast majority of women who do choose to cover themselves, only a fringe element finds the niqab or burqa a religious obligation, while the rest are content only with a hijab. Whether it’s security at airports, identification in banks or during job or dole (income support) interviews, it is the right of the authorities and businesses to be certain of who they are dealing with on the basis of identity and communication. Furthermore, it is perfectly reasonable that the general public feel reasonably secure about the persons sharing the same public sphere. Not knowing whether an individual amongst them is a man or a woman due to their attire is deeply unsettling and any such anxieties must be addressed by the relevant changes to law. Burqa or niqab neither has a place in Islam nor should it obtain a place in civilised Western societies where women are equal to men and public safety of all is paramount.

This splendid marine art has resurfaced in a private collection,  it’s  owners one of whom is a decendant of Vasco da Gamma are offering “Last departure“  for sale as they are retiring and down sizing their home.

This marine painting (30″ x 40″) shows the moments Ferriera ex Cutty Sark left her last port with a cargo.

The story of the painting is written up on this frickers web site under marine, merchant sail.

http://www.frickers.co.uk/marine-art/ferriera_departure.html.

I have a very long association with the famous tea clipper Cutty Sark.

In some ways those days influence me still.

At this moment I am working on a painting which includes one of the rivals of Cutty Sark, the emigrant and wool clipper “Samuel Plimsoll“.

By the way this marine painting’s development has been and will be over the next 6 weeks, featured on this blog.

Besides your being able to watch the painting evolve, you will be able to read some of the stories of Plymouth and the sea, centered around the painting.

If history and marine subjects interest you, then you are in for a good read!

The painting, as yet unsold, is intended as a large (30″ x 48″)  exhibition piece to be shown at Brussels (the European Parliament have kindly requested a show of my work via MEP Brian Simpson) and after at Plymouth.

The latter beacause this new marine painting will be part of Plymouth’s heritage.

Anyway, back to the plot, I visited Cutty Sark several times when a child (school outings).

To many years to think on, lets just say later, I took my son and daughter to visit Cutty Sark, hence the photo here of Helmsman Graham.

Storm damaged in the English Channel, “Ferriera” had put into Falmouth, Cornwall, in distress.

Her crew self repaired “Ferriera” and we see her outward bound.

A happy result of this incident was Captain and Mrs. Dowman of Falmouth resolved to try again to buy the ship which in turn lead to her eventual restoration at Falmouth docks and her preservation ~ Until some careless fools let her catch fire at Greenwich…

Of “Ferriera” ex “Cutty Sark“, “Last Departure“, Brian Stewart-Brown wrote to me:

“Dear Gordon,

Some years ago in the late 1980’s you sold me the above mentioned painting.

You may remember my wife is Portuguese and you thought it would be an exciting painting for us to have baring in mind she is a descendant of Vasco de Gamma, the relationship between Portugal and England” (Port wine aside, England’s oldest ally) “and that Cutty Sark had been known as Ferriera”.

Ferriera was much loved by the Portuguese and owned by them for longer than she sailed under the British “Red duster”.

“Looking at your website and talking to various Art dealer friends of mine, my wife and I are wondering what the value of the painting would be today if we decided to sell it?

I would very much like to talk to you about this matter if you had a moment, my mobile number is 07713329567.

Regards Brian Stewart-Brown“.

Subsequently we spoke on the phone about “Ferriera” ex “Cutty Sark“, “Last Departure“.

Brian is seriously interested in selling this fine example of marine art, you can see a detail here and more on this web site under Marine Gallery, merchant sail.

Thus if you might be interested in owning this marine painting phone Brian or you are welcome to contact me, Gordon Frickers,  via this web site.

By biggest concern is for the Porto Fino super yacht scene which will show superyachts off Porto Fino at dusk.  The sketch here show the basic design.

It’s great to work on a delightful warm evening super yacht scene while outside we have – 4 C, steady snow falling and 2 inches ( 50 cms) of solid compacted ice on the hill into Itzac

Is this an ideal world, what do you think?

In an ideal world I would be painting as I wish with the work pre sold.

Other time has been lost helping a good friend who is ill with vertigo attacks and because we have had 4″ in “old money” of snow, 10 cms to the rest of you.

I am stuck on the super yacht scene.

Maybe you can help?

I would like to find some good photos of the super yacht square rigger Maltese Falcon, ideally flood lite, to use in the middle back ground.

As the principal yacht I’d like to find a vessel of some 5 decks and 300 tons +.

Ideally this new marine painting will be shown at the European Parliament were I have been asked to exhibit later this year, sold or used in other exhibitions as my European parliament Exhibition goes on tour.

It would be best if the yachts shown will be regularly used for charters.

I wish the painting to illustrate part of the super yacht dream.

Why a yacht which charters?

Because that will have a larger number of people actively interested in her and people who see the painting will experience the possibility that one day they might charter her of be invited as a guest…

I have all I need to paint in Sarafsa but…

Sarafsa is very privately owned and while a beautiful superyacht is not a good bet for me as her owner is unlike to want to buy the painting.

I painted Sarafsa once before, for her builders,

Devonport Royal Dockyard of Plymouth, a part of the massive babcock marine,  and all I got was paid for which I am grateful of course, thanks chaps.

However as far as I am concerned, a truly successful painting goes on to generate attention on display and in journals and that one as far as I know never left Devonport Royal Dockyard.