KURT JACKSON
Helford River
KURT JACKSON Helford River
KU R T J AC K S O N Editions
for Caroline
KURT JACKSON Helford River
KU R T J AC K S O N Editions 2022
The River Helford, Dowr Mahonyer The Helford River in Cornwall divides the top of the Lizard Peninsula (Cornwall’s most southerly point) from the rest of Cornwall. It is largely navigable and tidal and lined with ancient woods of sessile oak; it is actually a ria – a drowned river valley and fed by a number of small streams into its many creeks.
The principal creeks on the Helford are Ponsontuel Creek, Mawgan Creek, Polpenwith Creek, Frenchman’s Creek, Port Navas Creek, and Gillan Creek. The shoreline is over 30 miles long. The name may come from the two words: ‘Heyl’, an estuary in Kernewek and ‘ford’ in English. I think the first time I became aware of the Helford was one late winter, while we were staying with friends in their old stone farmhouse on the Lizard. We awoke to one of those extraordinary snow-clamped silent mornings when it feels that the world has been temporarily stopped – something has been jammed into the spokes. The roads were empty of vehicles but filled hedge to hedge with deep snow. We walked the mile or so to the Gear Farm Shop, wading through virgin untrod whiteout with redwings and
Gillan pines, Gillan moorings. 2022. mixed media on museum board. 40 × 40cm
fieldfares flitting past. Gear, named for its proximity to an Iron Age fort, sits above the Helford, a hilltop providing panoramic views across the surrounding countryside. Standing, breath smoking, while eating an almost too hot steaming pasty in the cold morning air and staring across a fieldscape of white with the odd yellow daffodil field and the grey blue river below, was a beautiful moment - an almost once-ina-lifetime moment! This was the basis for a large canvas that month. After this I met the Helford more intimately, painting another canvas on her shore in a blizzard; and then a series of watercolours of the Gweek boatyards while visiting old friends of my parents from their art school days, and finally canoeing out of Frenchman’s Creek into the wide exposed expanse of the river at the will of the tide. I stayed in and painted Frenchman’s numerous times for over 20 years or so with the river on our ‘doorstep’, tantalisingly close, and soon felt that I needed to join these individual visits and moments together; to travel and get to know the Helford in her entirety. Never to know the river like a resident or someone who has worked and lived their lives next to or on her, but nonetheless
to make a sum of her parts to portray and depict this glorious Cornish watercourse. Another time, I was invited by a disparate group of tree enthusiasts to celebrate the publication of Oliver Rackham’s book about the Helford woodlands with a guided walk through Merthen Woods. This secret pillow of tree canopy sitting opposite Frenchman’s Creek and above its own small creek is claimed to be one of the oldest and most intact ancient woodlands in Cornwall. Like much of the Helford’s riparian banks it is out of bounds to the public; old estate land still owned by the same ancestral family. Here time has stood still; nothing much has changed for millennia, a place governed by the seasons and tides; the deer push their paths between the oaks, the silent river quietly touches the trees’ toes and tips of twigs before retreating once again to expose the gleaming mudflats for the egrets and curlew to stride upon. The woods insulate the river from the outside world; attempt to hide this riverine world. Briefly a small boat’s motor will break the silence passing on its voyage from Gweek to the sea, then silence is restored once again.
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Muddy The tide pulls away, the river drops Draws back to reveal The flats and flatness Of the beautiful mudden bed A world of grey and silver, metallic Where molluscs follow their own roads And shells are left as midden Where waders pick through the silt and sediment And fish recently browsed Everything is horizontal layered fleeting, washed, transient This shine of wet That reflects the skies, clouds and sunlight And exposes what's both above and below Makes everything clear January 2022
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Low water, Tremayne Creek. 2021. mixed media on museum board. 22 × 22cm
Autumn Helford late afternoon
This big wide expanse of estuary spreads out between here and the mouth of Polwheveral Creek mirroring the heavens above, catching the late low light The Helford has such beautiful sunsets. Once again, I find myself positioned on the end of the creek side path near Powders, above the confluence of Frenchman’s and the Helford. There is always a good chance of a light show here in the late afternoon. This big wide expanse of estuary spreads out between here and the mouth of Polwheveral Creek mirroring the heavens above, catching the late low light, reflecting the skies and clouds in its ebb and flow and shining flats like a cinema screen laid flat on its back. The banks and hillocks are pillowed and mounded, framing this performance, variously silhouetted dark or backlit with oaken halos of golden filigree, layered in subtle tones of dark foliage. A gig cuts through the centre of this vision, her crew’s voices and rhythmic clunk of oars quite clear, carried across a mile of waters. The boat leaves a silver flickering filament that disintegrates then disappears. Curlew, sandpiper and greenshank call beautifully, exploiting the perfect acoustics, their whistles, piping and cries rise from their unseen wading. Mud-coloured they are invisible to me up here. Their calls are of delight, exclamation and alarm. The harsh shriek of a heron, guttural and raucous, shatters the calm and announces sundown. The ball of the sun
slowly sinks upriver towards Gweek, where the river shrinks to just a few visible bends between the dark oaks, past Merthen, past Tremayne, the trench of the silver river lying ready to catch it. Twice daily the estuarine waters are drawn back; slowly almost imperceptibly the tideline retreats, leaving behind a plane of wet shining mudflats. Smooth as newly washed wet lino once revealed, it reflects the sky, the clouds, the overhanging oaks, the lights of the day (or night). It shines with hues of grey and brown and tints of sienna, copper, gold and silver. Autumnal foliage, sunsets and sunrises can be mirrored in this variously soupy, clayey, gooey or firm substrate to give beautiful glassy backdrops for the birds to stride and tiptoe across. The mud itself is soon pockmarked with their dainty footsteps, amongst the discarded shells of sea snails and bivalves and the casts of burying worms and other invertebrates. sept 2021
Polwheveral Creek evening. 2022. mixed media on museum board. 22 × 22cm
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Powders
My game became more of a struggle, holding onto the tree and the canvas and trying to paint as well. Furiously mixing paints in a rising wind now blowing across the river full force, painting the canvas, trying to stand back to appraise . . . A six-foot stretched canvas seemed suitable, wide enough to cope with that vast exposed sway of mud and estuary. I carried it from the van parked amongst the trees above the river, down the track and a flight of steps and along the bank to lean it against the stump of an old, felled Monterey pine. This seemed to work as a good easel with the panoramic view above the confluence of Frenchman’s Creek and the Helford. The eye was led upriver with the perspective of the narrowing grey waters, past Merthen and Tremayne towards Gweek in the distance. Sunshine lit the breeze-ruffled waters and mudflats to shine and glisten in the low winter light. The silver mud of the creek shone beneath the dark surrounding woods. I worked on the canvas with speed, knowing that the weather was fickle and could change in a moment. I smeared and brushed on thick slabs of grey river and dark silhouetted oaks. I worked in a frenzy on a precarious footing where the ground sloped away below me. I slipped and staggered between paints and canvas. The breeze grew stronger and the painting started to gain a life of its own, lifting and shifting away from the tree trunk. I took my scarf
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and tied the stretcher on the back of the canvas to the tree with the help of the ivy to hand. A gust picked the whole thing up and slammed it back down. My game became more of a struggle, holding onto the tree and the canvas and trying to paint as well. Furiously mixing paints in a rising wind now blowing across the river full force, painting the canvas, trying to stand back to appraise, moving around the painting to reach the top and the sides, grabbing it with every extra gust. A full workout! The ground became slippery, paint pots blew around, my palette was a mess, the brushes in the mud, my body bruised. The rain came in, at first a fine drizzle but soon became heavier in horizontal sheets. I wondered how much of my painting would survive, remain. The sun disappeared, that lovely light was turned off, the sky darkened. I decided enough was enough and untied the painting to drag it to shelter out of the wind and rain. Bruised and exhausted, I had been knocked over and overstretched; most of the paint seemed to have landed on me but I had made something. I would have to wait until I was back in the studio to see whether it was worthwhile.
Treveador. 2022. mixed media and collage on canvas. 122 × 182 cm
Navigational limit, Gweek Boatyard. 2021. mixed media on museum board. 40 × 40cm
8
Quiet morning, high water, Gweek. 2022. mixed media on paper. 54 × 57cm
9
Sea campion, sea mayweed, black horehound. 2020. mixed media on museum board. 22 × 22 cm
10
Washing hanging out. ‘Gweek river rats’ Constantine Quay, Gweek. 2021. mixed media on paper. 57 × 62cm
11
Winter’s afternoon, Gweek. 2022. mixed media on museum board. 40 × 40cm
12
Greenshank, curlew, sandpiper, misty morning. Down river from Gweek. 2022. mixed media on paper. 57 × 60cm
13
Longhorn wasp beetles and oak seedlings. Kings Meadow above Mawgan Creek. 2021. mixed media on wood panel. 60 × 60cm
14
Mawgan Creek oaks. 2022. mixed media on museum board. 22 × 22cm
Oak and blackthorn, shelduck and buzzard. Tremayne. 2021. mixed media on museum board. 22 × 22cm
15
Fishing for gilthead bream off Tremayne. 2022. mixed media on museum board. 50 × 52 cm
16
Winter stillness, Tremayne to Merthen. 2022. mixed media on wood panel. 60 × 60 cm
17
Polwheveral Creek, Polpenwith Creek, tide on the turn. 2022. mixed media on museum board. 60 × 60cm
18
Helford oak, holly and pine. 2022. mixed media on wood panel. 60 × 60cm
19
A jar found in Frenchman’s Creek with flowers from a Helford daffodil field. 2022. oil on wood panel. 60 × 60 cm
20
Old pines, Merthen and Groyne Point. 2022. mixed media on museum board. 40 × 40 cm
21
Gentle dawn, soft winter rain. 2022. mixed media on canvas. 122 × 122 cm
Autumn Helford oak and wild roses. 2021. mixed media on museum board. 22 × 22 cm
23
24
Sun downer with the birds. 2022. mixed media on linen. 103 × 118 cm
Down with the waders. 2022. mixed media on linen. 103 × 118 cm
25
Calamansack, rain stops, tide drops. 2022. oil on canvas board. 60 × 60 cm
26
With a robin, Helford winter woodland. 2022. mixed media on museum board. 22 × 22 cm
27
Raindrops and stillness. 2022. mixed media on museum board. 22 × 22 cm
28
Fine evening, voices carry across the estuary, Powders. 2021. mixed media on canvas board. 61 × 61cm
29
Rainstorm up the Helford. 2022. mixed media on museum board. 40 × 40 cm
30
Rain in a Cornish rainforest. 2022. mixed media on paper. 57 × 60 cm
31
Over the holly and across the creek to the egret roost. 2022. mixed media on paper. 57 × 60 cm
32
Out to a distant gig rowing down the Helford. 2021. mixed media on museum board. 22 × 22 cm
33
The Helford gets good sunsets. 2021. mixed media on museum board. 22 × 22 cm
34
Stubble, rain coming in across beautiful Helford. 2021. mixed media on canvas board. 50 × 61 cm
35
Autumn sunshine, across to Port Navas from Tremurlan. 2021. mixed media on museum board. 40 × 40 cm
36
Trenarth Bridge, Port Navas. High water with the grey wagtails. 2022. mixed media on museum board. 50 × 50 cm
37
Alice and her mates, Anna Maria, Port Navis. 2022. mixed media on wood panel. 60 × 60 cm
38
Curlew cry. The oaks and boats opposite are in Port Navas. 2021. mixed media on paper. 57 × 60 cm
39
Rich bird song, voices across the river, boat engines, sunshine. 2021. mixed media on wood panel. 60 × 60 cm
40
Afternoon on Penarvon Cove. 2021. mixed media on wood panel. 60 × 60 cm
41
Floral Spring, wooded Helford. 2021. mixed media on wood panel. 60 × 60 cm
42
Helford bright bird song. 2021. mixed media on canvas. 122 × 122 cm
Ebbing tide, bright Spring morning. Penarvon Cove. 2021. mixed media on paper. 57 × 60 cm
44
Flashes of blue water between the trees, Helford Spring. 2021. mixed media on museum board. 40 × 40 cm
45
Pengwidden Wood. Jack by the hedge, wild strawberry and lesser celandine. 2021. mixed media on museum board. 22 × 22 cm
46
Sea campion and sea mayweed. 2020. mixed media on paper. 27 × 16 cm
Greek morning on the Helford. 2021. mixed media on museum board. 40 × 40cm
47
Helford village. 2022. mixed media on museum board. 22 × 22 cm
48
From a Helford breakfast table. 2021. mixed media on museum board. 22 × 22 cm
49
Between the rain showers the sun breaks through. Up the Helford past Trebah. 2020. mixed media on wood panel. 60 × 60 cm
50
Big sails upriver, high water. 2020. mixed media on paper. 57 × 60 cm
51
Evening Helford pots. 2020. mixed media on paper. 38 × 57 cm
52
After lunch by the Helford. 2020. mixed media on museum board. 40 × 40 cm
53
Rain comes in on the tide, Durgan. 2020. mixed media on museum board. 50 × 50 cm
54
Early morning, rook calls welcome the sun. 2020. mixed media on museum board. 22 × 22 cm
55
Evening dip. 2020. mixed media on museum board. 40 × 40 cm
56
The breeze blows, rooks caw, tree buds open. Low water, Gillan. 2020. mixed media on museum board. 60 × 60 cm
57
Shifting light, Porthallack. 2021. mixed media on canvas board. 60 × 60 cm
58
Mawnan acorns and apples. 2021. mixed media on museum board. 22 × 22 cm
59
Across the mouth before the rain came in. 2021. mixed media on canvas. 91 × 91 cm
Leaves rattle as they fall, rooks caw, wind in the tree tops. Mawnan. 2021. mixed media on museum board. 40 × 40 cm
Across a moonlit Helford. 2020. mixed media on museum board. 22 × 22 cm
62
Sea whisper and owl hoot. Waxing moon over the mouth of the Helford. 2021. mixed media on museum board. 22 × 22 cm.
Jays screeching in the holm oaks as the acorns drop. Helford mouth. 2021. mixed media on museum board. 40 × 40 cm
63
Dodging the showers. Bracken and sycamore, Nare Head from Pisk Cove. 2021. mixed media on museum board. 60 × 60 cm
64
Pale evening with linnet twitter. 2022. mixed media on paper. 38 × 40 cm
65
With the first swallows and the gorse perfume, Nare Head and into the Helford. 2022. mixed media on museum board. 60 × 60 cm
66
Across the mouth of the Helford to a misty Falmouth. 2022. mixed media on museum board. 50 × 50 cm
67
Evening down to and past the Helford. 2022. mixed media on museum board. 22 × 22 cm
68
Distant Nare Head and the mouth of the Helford. 2022. mixed media on museum board. 22 × 22 cm
69
Ceramics For the Helford River project Kurt Jackson collaborated with celebrated Cornish potter Peter Swanson. Together they created a series of reduction stoneware in various sizes from Cornish and Devon clays and experimented with glazes made of mud and wood ash sourced along the Helford.
Helford’s estuarine waters. 2022. stoneware with Helford mud glaze and Helford wood ash glaze. 33 cm diameter
70
Mud exposed at low tide has always intrigued Jackson both aesthetically and as an important habitat for biodiversity. It contains minerals and soils washed down the watercourse by natural processes as well as by historical mining and agricultural activity; almost ‘an essence of the river’. With this in mind,
it therefore seemed logical that this material could work as a glaze and it has proved itself as one with a beautiful light grey shine. Alongside this, wood ash from Helford holly, oak and blackthorn trimmings has created glorious honey-coloured glazes.
The tide pulls away. 2022. stoneware with Helford wood ash glaze. 32 cm diameter
The water comes in. 2022. stoneware with Helford wood ash glaze. 26 cm diameter
Twice daily. 2022. stoneware with Helford mud glaze and oxides. 26 cm diameter
Helford creeks. 2022. stoneware with Helford mud glaze. 30 cm diameter
Down the Helford. 2022. stoneware with Helford mud glaze. 30 cm diameter
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About Kurt Jackson
A dedicated environmentalist and true polymath, Jackson’s holistic approach to his
Humphries depicting his career so far; A New Genre of Landscape Painting (2010), Sketch
subject seamlessly blends art and politics providing a springboard to create a hugely
books (2012), A Kurt Jackson Bestiary (2015) and Kurt Jackson’s Botanical Landscape (2019)
varied body of work unconstrained by format or scale.
Kurt Jackson’s Sea (2021). A Sansom & Company published book based on his touring
Jackson’s artistic practice ranges from his trademark visceral plein-air sessions to studio work and embraces an extensive range of materials and techniques including mixed media, large canvases, print-making and sculpture. The son of artists, Jackson was born in Blandford, Dorset in 1961. While studying Zoology at Oxford University he spent most of his time painting and attending courses
exhibition Place was released in 2014. Jackson regularly contributes to radio and television and presents environmentally informed art documentaries for the BBC and was the subject for an award-winning BBC documentary, A Picture of Britain. He has an Honorary Doctorate (DLitt) from Exeter University and is an Honorary
at Ruskin College of Art. On gaining his degree he travelled extensively and indepen-
Fellow of St Peter’s College, Oxford University. He is an ambassador for Survival
dently, painting wherever he went before putting down roots in Cornwall with his
International and frequently works with Greenpeace, Surfers Against Sewage, Friends
wife Caroline in 1984.
of the Earth and Cornwall Wildlife Trust. He is a patron of human rights charity Prisoners
Jackson’s focus on the complexity, diversity and fragility of the natural world has led to artist-in-residencies on the Greenpeace ship Esperanza, the Eden Project and for nearly 20 years Glastonbury Festival which has become a staple of his annual working calendar. Over the past thirty years Jackson has had numerous art publications released to accompany his exhibitions. Five monographs on Jackson have been published by Lund
72
of Conscience. He is represented by Messum’s in Cork Street, London and is an academician at the Royal West of England Academy. Kurt Jackson and his wife Caroline live and work in the most-westerly town in Britain, St Just-in-Penwith where in 2015 they set up the Jackson Foundation. They have three grown children and seven young grandchildren.
Jackson Foundation North Row | St Just | tr17 7lb info@kurtjackson.com jacksonfoundationgallery.com
+44 (0) 1736 787638
f
jacksonfoundation @jacksonfgallery @jacksonfgallery
First published in 2022 for the exhibition Helford River Published by Kurt Jackson Editions in 2022 www.kurtjackson.com isbn 978-1-9196521-3-9 Publication copyright Kurt and Caroline Jackson Ltd All images, words and poetry copyright Kurt Jackson 2022 Portrait photography copyright Caroline Jackson 2022 Art Photography by Fynn Tucker and PH Media Design by Lyn Davies www.lyndaviesdesignfolio.com Printed by Park Lane Press, Corsham, on fsc® certified paper, using fully sustainable, vegetable oil-based inks, power from 100% renewable resources and waterless printing technology. Print production systems registered to iso 14001, iso 9001 and over 97% of waste is recycled.
With thanks to Annie and Peter Swanson, Zinzi and Fynn Tucker and the team; Caroline for her companionship and logistics
front cover
Autumn days at the mouth of the Helford. 2022. oil on canvas. 122 × 122 cm
KURT JACKSON
Helford River KU R T J AC K S O N Editions
Jackson Foundation KU R T J AC K S O N Editions 2022
KURT JACKSON
page
Helford River
title / media
price list
dimensions
price
f cover Autumn days at the mouth of the Helford. 2022. oil on canvas 2
122 × 122
4
5
6&7
£8,000 29
22 × 22 cm
£3,500
£8,500
40 × 40cm
£6,500
£8,500
60 × 60cm
£8,500
22 × 22cm
£3,500
50 × 52 cm
£7,500
60 × 60 cm
36 nfs
60 × 60cm
37 £8,500 38
60 × 60cm
£8,500
60 × 60 cm
39 £8,500
mixed media on museum board
40
40 × 40 cm
£6,500
£8,500
40 × 40 cm
£6,500
57 × 60 cm
£8,500
57 × 60 cm
£8,500
22 × 22 cm
£3,500
22 × 22 cm
£3,500
50 × 61 cm
£8,000
40 × 40 cm
£6,500
50 × 50 cm
nfs
60 × 60 cm
£8,500
Curlew cry. The oaks and boats opposite are in Port Navas. 2021. mixed media on paper
Old pines, Merthen and Groyne Point. 2022.
61 × 61cm
Alice and her mates, Anna Maria, Port Navis. 2022. mixed media on wood panel
A jar found in Frenchman’s Creek with flowers . . . 2022.
£3,500
Trenarth Bridge, Port Navas. High water with the grey wagtails. 2022. mixed media on museum board
Helford oak, holly and pine. 2022.
22 × 22 cm
Autumn sunshine, across to Port Navas from Tremurlan. 2021. mixed media on museum board
Polwheveral Creek, Polpenwith Creek, tide on the turn. 2022.
£3,500
Stubble, rain coming in across beautiful Helford. 2021. mixed media on canvas board
Winter stillness, Tremayne to Merthen. 2022.
22 × 22 cm
The Helford gets good sunsets. 2021. mixed media on museum board
35
£8,500
Out to a distant gig rowing down the Helford. 2021. mixed media on museum board
34
60 × 60 cm
Over the holly and across the creek to the egret roost. 2022. mixed media on paper
33
£30,000
Rain in a Cornish rainforest. 2022. mixed media on paper
32
103 × 118 cm
Rainstorm up the Helford. 2022. mixed media on museum board
31
£30,000
Fine evening, voices carry across the estuary, Powders. 2021. mixed media on canvas board
30
103 × 118 cm
Raindrops and stillness. 2022. mixed media on museum board
Fishing for gilthead bream off Tremayne. 2022.
oil on wood panel 21
28
£3,500
With a robin, Helford winter woodland. 2022. mixed media on museum board
Mawgan Creek oaks. 2022.
mixed media on wood panel 20
£6,500
Longhorn wasp beetles and oak seedlings . . . 2021.
mixed media on museum board 19
40 × 40cm
57 × 60cm
mixed media on wood panel 18
27
22 × 22 cm
Calamansack, rain stops, tide drops. 2022. oil on canvas board
Greenshank, curlew, sandpiper, misty morning . . . 2022.
mixed media on museum board 17
£50,000
£35,000
Down with the waders. 2022. mixed media on linen
Winter’s afternoon, Gweek. 2022.
mixed media on museum board 16
122 × 182 cm
57 × 62cm
mixed media on wood panel 15
£3,500
Washing hanging out. ‘Gweek river rats’ . . . 2021.
mixed media on paper 14
22 × 22cm
122 × 122 cm
price
Sun downer with the birds. 2022. mixed media on linen
Sea campion, sea mayweed, black horehound. 2020.
mixed media on museum board 13
£3,500 25
54 × 57cm
mixed media on paper 12
22 × 22cm
Quiet morning, high water, Gweek. 2022.
mixed media on museum board 11
24
dimensions
Autumn Helford oak and wild roses. 2021. mixed media on museum board
Navigational limit, Gweek Boatyard. 2021.
mixed media on paper 10
£6,500
26
mixed media on museum board 9
40 × 40cm
Treveador. 2022. mixed media and collage on canvas
8
Gentle dawn, soft winter rain. 2022.
23
Polwheveral Creek evening. 2022. mixed media on museum board
22
mixed media on canvas
Low water, Tremayne Creek. 2021. mixed media on museum board
title / media
£35,000
Gillan pines, Gillan moorings. 2022. mixed media on museum board
page
57 × 60 cm
£8,500
Rich bird song, voices across the river, boat engines, sunshine. 2021. mixed media on wood panel
60 × 60 cm
£8,500
JacksonFoundation North Row, St Just tr19 7lb |
t
01736 787638 |
e
info@kurtjackson.com |
w
jacksonfoundationgallery.com | jacksonfoundation | @jacksonfgallery
KURT JACKSON
Helford River
page
title / media
41
Afternoon on Penarvon Cove. 2021.
dimensions
mixed media on wood panel 42
45
46
46
48
65 40 × 40cm
£6,500
22 × 22 cm
22 × 22 cm
£3,500
60 × 60 cm
£8,500
£8,500
38 × 57 cm
£7,500
22 × 22 cm.
40 × 40 cm
60 × 60 cm
£8,500
38 × 40 cm
£6,500
60 × 60 cm
50 × 50 cm
22 × 22 cm
22 × 22 cm
£6,500
70
Rain comes in on the tide, Durgan. 2020.
£7,500
£3,500
£3,500
£7,500
71
Early morning, rook calls welcome the sun. 2020. 71
Evening dip. 2020.
£1,150
The water comes in. 2022. stoneware with Helford wood ash glaze 26 cm diameter
£3,500
nfs
The tide pulls away. 2022. stoneware with Helford wood ash glaze. 32 cm diameter
22 × 22 cm
£8,500
Helford’s estuarine waters. 2022.
33 cm diameter
50 × 50 cm
£6,500
stoneware with Helford mud glaze and Helford wood ash glaze
After lunch by the Helford. 2020. 40 × 40 cm
£3,500
Distant Nare Head and the mouth of the Helford. 2022. mixed media on museum board
70
£3,500
Evening down to and past the Helford. 2022. mixed media on museum board
69
22 × 22 cm
Across the mouth of the Helford to a misty Falmouth. 2022. mixed media on museum board
68
£6,500
With the first swallows and the gorse perfume . . . 2022. mixed media on museum board
67
40 × 40 cm
Pale evening with linnet twitter. 2022. mixed media on paper
£3,500
£24,000
Dodging the showers. Bracken and sycamore . . . 2021. mixed media on museum board
Evening Helford pots. 2020.
£750
Twice daily. 2022. stoneware with Helford mud glaze and oxides
40 × 40 cm
£6,500
26 cm diameter
The breeze blows, rooks caw, tree buds open . . . 2020. mixed media on museum board
58
£3,500
91 × 91 cm
Jays screeching in the holm oaks as the acorns drop . . . 2021. mixed media on museum board
64
57 × 60 cm
mixed media on museum board 57
£3,500
Big sails upriver, high water. 2020.
mixed media on museum board 56
22 × 22 cm
63
£3,500
Sea whisper and owl hoot. Waxing moon . . . 2021. mixed media on museum board
Between the rain showers the sun breaks through . . . 2020.
mixed media on museum board 55
£6,500
From a Helford breakfast table. 2021.
mixed media on museum board 54
62
22 × 22 cm
Across a moonlit Helford. 2020. mixed media on museum board
66
mixed media on paper 53
£8,500
Helford village. 2022.
mixed media on paper 52
62
price
Leaves rattle as they fall, rooks caw . . . 2021. mixed media on museum board
Greek morning on the Helford. 2021.
mixed media on wood panel 51
40 × 40 cm
27 × 16 cm
mixed media on museum board 50
£35,000
Sea campion and sea mayweed. 2020.
mixed media on museum board 49
61
dimensions
Across the mouth before the rain came in. 2021. mixed media on canvas
Pengwidden Wood. Jack by the hedge, wild strawberry . . . 2021.
mixed media on museum board
Mawnan acorns and apples. 2021.
£8,500
Flashes of blue water between the trees, Helford Spring. 2021.
mixed media on paper 47
60 × 60 cm
57 × 60 cm
mixed media on museum board
59
mixed media on museum board
Ebbing tide, bright Spring morning. Penarvon Cove. 2021.
mixed media on museum board
title / media
60
122 × 122 cm
mixed media on paper
page
£8,500
Helford bright bird song. 2021. mixed media on canvas
44
60 × 60 cm
price
Floral Spring, wooded Helford. 2021. mixed media on wood panel
43
price list, continued
60 × 60 cm
71 £8,500
mixed media on canvas board
71 60 × 60 cm
Helford creeks. 2022. stoneware with Helford mud glaze
Shifting light, Porthallack. 2021. £8,500
£750
30 cm diameter
£950
30 cm diameter
£950
Down the Helford. 2022. stoneware with Helford mud glaze
JacksonFoundation North Row, St Just tr19 7lb |
t
01736 787638 |
e
info@kurtjackson.com |
w
jacksonfoundationgallery.com | jacksonfoundation | @jacksonfgallery