Jeremy Gardiner to Tintagel Lulworth Cove
Jeremy Gardiner to Tintagel Lulworth Cove
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Jeremy Gardiner to Tintagel Lulworth Cove
9 Bury Street, St James’s, London sw1y 6ab telephone: 020 7930 9293 email: info@theninebritishart.co.uk website: www.theninebritishart.co.uk
The South West Coast Path
The rocks that make up our island’s coast are ancient and diversified, representing a long and complicated history of events. They embody many periods of geological time and varieties of climate, from scorching heats to frozen wastes. During the previous three billion years Britain has been flooded by tropical seas, landlocked in hot dry desert, submerged under swamps and frozen beneath thick ice, as it drifted from near the South Pole to the northern latitudes, closer to where we are today. Our geology was the source of raw materials during the Industrial Revolution and important for the nation's wealth and power. As an island nation, our coastline is a record of this social, geological and economic change. Since October 2016 I have been exploring the modern-day reality of these coastal locations; looking afresh at the harbours, bays, coves, castles and follies that characterise the remarkable shoreline of the South West Coast Path; and encountering a landscape reshaped by man, and touched by memories of generations past.
Tintagel to Lulworth Cove, the South West Coast Path
The Tintagel of Merlin and Arthur is a magical place to commence the five hundred mile adventure of the South West Coast Path. Deep in these cliffs lie veins of tourmaline, a dark rock with a subdued and milky gleam. Expert cutting and polishing releases a dazzling rainbow spectrum, like sunlight filtered through a dash of sea spray. Jeremy Gardiner’s Port Quin Hamlet and Cove (cat 5) recalls winter walks on this harsh North Cornwall coast – a white sky to the north beyond Kellan Head, the sea icy, the cold colours of the rocks in the cove, and the pallid wintry look of the sere grasses and bracken on the slopes of Doyden Head. In winter storms the hunched shapes of Atlantic Breakers (cat 6), great rock stacks known as Bedruthan Steps, break the hammer blows of the sea as it bashes and roars in on them, shaking the ground beneath your feet. Watching from the path on Sliding Cliff, you see that it is the Atlantic that will one day break the Steps. South and west lies the redundant Cornish tin mining coast, where abandoned engine houses lift their chimneys like admonitory fingers to the sky. You skelter steeply down a rough path to Towanroath engine house. Sea and rocks glint with the dull sheen of cut tin, and you picture the miners wet to the knees and working in the dark as the pumping engine panted far above. Out at Land’s End the sea stack known as the Irish Lady casts a restless and furtive shadow, hunched up in her cloak of granite, an emigrant figure heading for the far west horizon where the fabled kingdom of Lyonesse lies drowned beneath the waves. Now the coast path turns from south to east as it commences the long home run up the English Channel’s northern shore. The sea flexes its muscles all along the way. At Lamorna Cove giant winter storm waves hurl granite boulders around like tennis balls, splintering the quay and smashing up the road. People hereabouts are only too aware of what destruction the sea can wreak. Mousehole’s stronghold of a harbour is guarded each winter by a timber barricade, inside whose protection
the granite houses twinkle under Christmas lights. Stargazey pie is the village speciality, devoured on Tom Bawcock’s Eve (23 December) by locals and visitors who don’t mind the skyward stare of the ring of pilchard heads protruding all round the piecrust. At Marazion a cobbled old causeway dips imperceptibly down from the shore and slips beneath the waters, a tidal road to the fantasy island of St Michael’s Mount. From here the coast path heads south-east around the great rugged curve of Mount’s Bay. There’s a crumpled aspect to this rocky coastal landscape, as though a giant had scrunched up a dinner napkin and tossed it down. Local smuggler John Carter, known as the ‘King of Prussia’, took full advantage of all the nooks and crannies, caves and coves during his life of crime, and bequeathed his title to the smugglers’ haven of Prussia Cove. Beyond the roofless engine houses of Wheal Trewavas and the submarine lodes of copper they once pumped dry, the coast path descends to west-facing Mullion Cove. It is all massive, storm-defying stuff here – sturdy crab-claw breakwaters of concrete sheathed in blocks of granite and serpentine, the conical sea stack of Scovarn dominant as it hugs the sea-sculpted cliffs to the north. In winter the sea’s aspect is that of Gardiner’s two Mullion Cove pictures (cat 15, 16), steel and ice, a cold hyperborean blue. Hop the Helford River, skip over Fal and Fowey, jump the Tamar at Plymouth, and you leave the rugged coast of Cornwall to land in the South Hams of Devon, a beautiful coast of green fields sloping to slanted grey cliffs. The path passes blocky, square-shouldered Kingswear Castle, low down on the eastern shore of Dartmouth Harbour, before commencing a switchback progress along the Jurassic Coast, a steep run of fossil-packed cliffs. You cross from East Devon into Dorset along the famously unstable cliffs at Lyme Regis where the Cobb, a massive limestone snake of a medieval breakwater, pokes a forked tongue into Lyme Bay. In The Walk to the Cobb (cat 20) Gardiner directs our gaze seaward along the barrier. The crumbling cliffs of Stonebarrow and Golden Cap stand across the bay, pale with
fresh falls of chalk and greensand, with the dark face of Thorncombe Beacon sloping into the sea beyond. East of Lyme the path swoops up and down a fast-eroding coast. West Bay’s pier with its sturdy-looking struts has been storm-smashed and rebuilt several times, and the hump-backed East Cliff beyond sheds its sandstone and limestone layers in fans of rubble that litter the beach below. The sea probes like a tongue at a sore tooth, seeking out weaknesses, sculpting the seaward arch of Durdle Door from the hard freestone, easing its way through to shape the perfect semicircle of Lulworth Cove out of the softer chalk and clay behind. It’s not all undisturbed nature along the Jurassic Coast as it shades into the Isle of Purbeck. The coast path hems the turquoise waters framed by the idyllic curve of the cove at Arish Mell, and then you round the corner to see the old folly tower perched on the point of Kimmeridge Bay, on whose dark striated cliffs a nodding donkey rig sucks a harvest of shale oil from nearly a mile underground. The path makes a final thrilling pass along the Purbeck cliffs, stark white now, streaking the aquamarine sea of Studland Bay with a pale smear of dilute chalk. The curved sea stack of Old Harry, the upstanding chalk finger of his wife alongside, stand sentinel for the final march of the coast path to its terminus at South Haven Point on Poole Bay. Ahead, the millionaire’s paradise of Sandbanks; behind, five hundred miles of canted, many-coloured, dramatically contorted coast, eternally at battle with the ‘unplumb’d, salt, estranging sea’.
Christopher Somerville March 2019
Cornwall
I have collected illustrated topographical travel guides from the pre-war years such as Our Beautiful Homeland and A Vision of England. Using these guides, I am encountering new perspectives on coastal locations in Cornwall that I have painted. The places have changed: I want to see how they looked, in the nineteenth and twentieth centuries, through the eyes of the artists who drew them at the time. Whereas in the past the travel guides were practically the only way to enable access to unknown places, nowadays there are many other means of finding and reaching a location. During a drawing expedition to Mullion Cove, I was able to crossreference my satellite navigation directions using GPS with Google maps’ ‘street view’ to establish my journey. Between 1890 and 1897, a harbour of two piers made from granite, serpentine and elvan was constructed at Mullion Cove, both for coastal protection and local fishermen. My original source of inspiration at Mullion Cove was an entry in Ward Lock’s 1940 Red Guide book entitled St Ives: Carbis Bay and Western Cornwall, which made me aware of the daydreaming effect of nostalgia, and how this can lead to investing a site like this with a strong sense of the past.
cat 1 | Tourmaline Tide, Tintagel, Cornwall acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 60 x 80 cms (23½ x 31½ ins) framed: 72 x 93 cms (28½ x 36½ ins)
cat 2 | All Hallow's Eve, Boscastle, Cornwall acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 30 x 50 cms (12 x 19½ ins) framed: 43 x 62 cms (17 x 24½ ins)
cat 3 | Amber Light, Port Isaac, Cornwall acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 90 x 150 cms (35½ x 59 ins) framed: 103 x 163 cms (40½ x 64 ins)
cat 4 | Golden Lion, Port Isaac, Cornwall acrylic and jesmonite on poplar panel signed and dated 2018, titled verso 50 x 100 cms (19½ x 39½ ins) framed: 62 x 113 cms (24½ x 44½ ins)
cat 5 | Port Quin Hamlet and Cove, Cornwall acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 30 x 50 cms (12 x 19½ ins) framed: 43 x 62 cms (17 x 24½ ins)
cat 6 | Atlantic Breakers, Bedruthan, Cornwall acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 60 x 90 cms (23½ x 35½ ins) framed: 72 x 103 cms (28½ x 40½ ins)
cat 7 | Towanroath Engine House, Wheal Coates, Cornwall acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 35 x 55 cms (14 x 21½ ins) framed: 48 x 67 cms (19 x 26½ ins)
cat 8 | Bird's Eye View, St Ives, Cornwall acrylic and jesmonite on poplar panel signed and dated 2018, titled verso 45 x 100 cms (18 x 39½ ins) framed: 57 x 113 cms (22½ x 44½ ins)
cat 9 | The Irish Lady, Land's End, Cornwall acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 40 x 60 cms (16 x 23½ ins) framed: 53 x 72 cms (21 x 28½ ins)
cat 10 | Lamorna Cove Quay, Cornwall acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 40 x 70 cms (16 x 27½ ins) framed: 53 x 83 cms (21 x 32½ ins)
cat 11 | Aquamarine Sea, Mousehole, Cornwall acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 80 x 150 cms (31½ x 59 ins) framed: 93 x 163 cms (37 x 64 ins)
cat 12 | St Michael's Mount from Marazion, Cornwall acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 60 x 80 cms (23½ x 31½ ins) framed: 72 x 93 cms (28½ x 36½ ins)
cat 13 | High Tide, Prussia Cove, Cornwall acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 40 x 70 cms (16 x 27½ ins) framed: 53 x 83 cms (21 x 32½ ins)
cat 14 | Copper Lode, Trewavas, Cornwall acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 50 x 65 cms (19½ x 25½ ins) framed: 62 x 78 cms (24½ x 30½ ins)
cat 15 | Cerulean Sea, Mullion Cove, Cornwall acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 50 x 60 cms (19½ x 23½ ins) framed: 62 x 72 cms (24½ x 28½ ins)
cat 16 | Breakwater, Mullion Cove, Cornwall acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 40 x 73 cms (16 x 29 ins) framed: 53 x 85 cms (21 x 33½ ins)
Devon
For one of my paintings in Devon I decided to explore Anstey’s Cove, because of the painting made by the Pre-Raphaelite artist John William Inchbold in 1854. At the bottom of the 300-foot cliffs of Walls Hill lie Anstey’s Cove and Redgate Beach. And, sticking out like a pointing finger, is Long Quarry Point. The scenery here is dramatic, and so is the history of the area: these cliffs are Devonian Limestone, dating back 350-400 million years. Another location I painted on my journey along the Devon coast was the Valley of the Rocks in Lynmouth Bay. Lynmouth was described by Thomas Gainsborough, who honeymooned there with his bride Margaret Burr, as "the most delightful place for a landscape painter this country can boast". I began this painting with a prepared wooden panel, on which I developed the entire image. Many layers of paint are applied, scraped down, and over-painted; the intermingled strata echo the multiplicity of memories that inform the work, like the painting by Inchbold. In each case, the complex physical construction of the panels reflects the accretions of memory that have helped me build a mental image of the places I set out to portray. The painted surfaces are inspired not only by observation of the landscape but also by visits to boatyards, where I examine the patina of hulls for their shape, colour, and, above all, surface properties. When the hulls of ships are being repaired, they vary abruptly between glossy smoothness and weathered roughness, and I tend to reflect this quality in my own paintings.
cat 17 | Kingswear Castle and Flagstaff, Devon acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 75 x 140 cms (29½ x 55 ins) framed: 89 x 154 cms (35 x 60½ ins)
cat 18 | Long Quarry Point, Anstey's Cove, Devon acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 45 x 70 cms (18 x 27½ ins) framed: 57 x 83 cms (22½ x 32½ ins)
cat 19 | Valley of the Rocks, Lynmouth Bay, Devon acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 60 x 100 cms (23½ x 39½ ins) framed: 72 x 113 cms (28½ x 44½ ins)
Dorset
In 1813, English landscape painter William Daniell decided to undertake what was to be his greatest artistic work, A Voyage Round Great Britain. His ambition was to travel around the whole coast and record views of topographical interest. The journey was completed in six separate trips, over a ten-year period between 1813 and 1823. I have used his journey along the south-west coast as my touchstone for this new series of paintings. During a recent boat trip along the Dorset coast on board the Waverley – a seagoing paddle steamer, the last of its kind still in use today – I was able to observe, from a moving vantage point, some of the subjects Daniell chose to draw and which I wanted to paint again: Swanage Bay, Lulworth Cove, St Catherine’s Chapel, Bridport Harbour and Lyme Regis. The dramatic contrasts of geology and colour are still clearly visible along the Dorset coastline today. The view of Lulworth from the steamer made me remember the romantic poet John Keats. Thomas Hardy much admired Keats, whose last view of England was from Lulworth Cove, on board a ship bound for Italy. This voyage inspired Hardy’s poem, ‘Lulworth Cove a Century Back’, from which the painting I produced at Lulworth takes its title.
cat 20 | The Walk to the Cobb, Lyme Regis, Dorset acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 40 x 65 cms (16 x 25½ ins) framed: 53 x 78 cms (21 x 30½ ins)
cat 21 | The Anchor Inn and Golden Cap, Dorset acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 60 x 75 cms (23½ x 29½ ins) framed: 72 x 88 cms (28½ x 34½ ins)
cat 22 | The Pier, West Bay, Dorset acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 55 x 85 cms (21½ x 33½ ins) framed: 67 x 98 cms (26½ x 38½ ins)
cat 23 | St Catherine's Chapel and Chesil Bank, Dorset acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 60 x 110 cms (23½ x 43½ ins) framed: 72 x 123 cms (28½ x 48½ ins)
cat 24 | Cliff Path, Durdle Door, Dorset acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 60 x 60 cms (23½ x 23½ ins) framed: 72 x 72 cms (28½ x 28½ ins)
cat 25 | At Lulworth Cove a Century Back, Dorset acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 50 x 65 cms (19½ x 25½ ins) framed: 62 x 78 cms (24½ x 30½ ins)
cat 26 | Turquoise Sea, Arish Mell, Dorset acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 50 x 60 cms (19½ x 23½ ins) framed: 62 x 72 cms (24½ x 28½ ins)
cat 27 | Kimmeridge Folly, Dorset acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 60 x 110 cms (23½ x 43½ ins) framed: 72 x 123 cms (28½ x 48½ ins)
cat 28 | South West Blow, Kimmeridge Bay, Dorset acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 45 x 70 cms (18 x 27½ ins) framed: 57 x 83 cms (22½ x 32½ ins)
cat 29 | Everywhere you go, the Great Globe, Dorset acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 30 x 46 cms (12 x 18 ins) framed: 43 x 59 cms (17 x 23 ins)
cat 30 | Aquamarine Ocean, Old Harry, Dorset acrylic and jesmonite on poplar panel signed and dated 2018 titled verso 60 x 70 cms (23½ x 27½ ins) framed: 72 x 83 cms (28½ x 32½ ins)
Jeremy Gardiner
Biography Born 1957, MĂźnster, Germany Lives and works in Bath and London
Awards and Fellowships 2013 First Prize, ING Discerning Eye 2010 Arts Council England Grants for the Arts Award Artist in Residence Nottingham University 2008 Arts Council England Research and Development Award 2007 Arts and Humanities Research Council Grant 2003 Peterborough Art Prize 2002 National Endowment for Science, Technology and the Arts Grant 1998 New Forms Grant, Cultural Affairs Council, Florida 1995 Florida Council on the Arts Fellowship 1988 Prix Ars Prize, Austria 1987 New York Foundation for the Arts Fellowship 1985 Major Works Grant, Massachusetts Council on the Arts and Humanities 1984 Harkness Fellowship Churchill Fellowship 1981 John Minton Scholarship, Royal College of Art 1979 Yorkshire Arts, Artist in Industry Fellowship 1978 Midland Bank Drawing Prize Hatton Scholarship, Newcastle University 1977 John Christie Scholarship, Newcastle University Northern Arts Exhibition Award Solo Exhibitions 2018 Geology of Landscape, Candida Stevens Gallery, Chichester 2017 Drawn to the Coast, Paisnel Gallery, London 2016 Pillars of Light, Paisnel Gallery, London 2015 Jeremy Gardiner, Jurassic Coast, Victoria Art Gallery, Bath 2014 Jeremy Gardiner, ING, City of London 2013 Jeremy Gardiner, Intaglio Monoprints, Pratt Gallery, Pratt Institute of Art and Design, Brooklyn, NY
Cornish Monoprints, Belgrave Gallery, St Ives Exploring the Elemental, Paisnel Gallery, London Unfolding Landscape, Kings Place Gallery, London Jeremy Gardiner, University of Northumbria Art Gallery, Newcastle Upon Tyne Jeremy Gardiner, Monoprints, Level 39, 1 Canada Water, London 2010 A Panoramic View, Pallant House Gallery, Chichester in association with Paisnel Gallery, London Light Years, Jurassic Coast, Lighthouse, Poole Centre for the Arts Atlantic Edge, Belgrave Gallery, St Ives Jeremy Gardiner, Campden Gallery, Chipping Campden 2008 The Coast Revisited, Paisnel Gallery, London 2007 Arvor, Belgrave Gallery, St Ives Atrium Gallery, Bournemouth University Foss Fine Art, London Along the Coast, Campden Gallery, Chipping Campden 2006 59th Aldeburgh Festival, Foss Fine Art Midtsommerfest, Tysvaer, Norway Jurassic Coast, Black Swan Arts, Frome, Somerset 2004 Archipelago, Gallery 286, London Northcote Gallery, London Maltby Gallery, Winchester 2003 Purbeck Light Years, Lighthouse, Poole Centre for the Arts 2001 Maltby Gallery, Winchester 2000 Ballard Point, Belgrave Gallery, London 1991 Fine Arts Museum of Long Island 1989 Centro Cultural Candido Mendes, Rio de Janeiro Museu de Arte Moderna de Sao Paulo 1987 Compton Gallery, MIT, Cambridge, Massachusetts 1985 George Sherman Gallery, Boston University 1984 Galerie 39, London 1983 Heuristic Journeys, General Electric, Hirst Research Centre, London 1980 Parnham House, Dorset
Selected Group Exhibitions Coast, St Barbe Museum, Lymington Secret, Royal College of Art Impressions on Paper, David Simon Gallery, Bath 2017 Capture the Castle, Southampton City Art Gallery Coastal Connections, The Otter Gallery, University of Chichester Secret, Royal College of Art 2016 Facing History, Victoria & Albert Museum, London Shorelines, Artists on the South Coast, St Barbe Museum, Lymington Digital Futures, British Computer Society, London Secret, Royal College of Art 2015 Nature, Politics and Science, DLI Museum, Durham The Discerning Eye, Mall Galleries, London 2014 The Newcastle Connection, University of Northumbria Art Gallery Songs of Nature, Foss Fine Art Ways of Looking, Aldeburgh Gallery 2013 The Discerning Eye, Mall Galleries Mapping the Way, Walford Mill Crafts, Dorset Haysom Quarry, Purbeck Art Weeks, Dorset Summer Show, Belgrave Gallery, St Ives 2012 The Art Stable, Dorset Coast Unearthed, Bridport Arts Centre, Dorset Intuition and Ingenuity, Phoenix Square, Leicester 2010 Works on Paper, Camden Gallery, UK 3D2D, Edinburgh Printmakers, Scotland Earthscapes, Geology + Geography, Bridport Arts Centre, Dorset (touring exhibition) 105th Annual exhibition, Bath Society of Artists, Victoria Art Gallery, Bath 2009 Imaginalis, Chelsea Art Museum, New York City Mapping the Coast, Dorset County Museum (touring exhibition) 157th Autumn Exhibition, Royal West of England Academy, Bristol 2018
2008
Salon de Yutaka, Kanazawa, Japan Art de Art, Osaka, Japan Artzone, Kyoto, Japan Orie Gallery, Tokyo, Japan Gallery Mai, Tokyo, Japan Gallery Atos, Okinawa, Japan Acostage Gallery, Takamatsu, Japan 61st Aldeburgh Festival Streaming Museums, Federal Plaza, Melbourne, Australia 2007 A Postcard from St Ives, Belgrave Gallery, St Ives, Thompson’s Gallery, London 2006 59th Aldeburgh Festival Art Loan Collection, Bournemouth University Ancient landscapes, Midtsommerfest, Tysvaer, Norway Time Passes, Renscombe Farm, Worth Matravers, Dorset Originals, Mall Galleries, London 2005 Royal Academy Summer Exhibition Art Loan Collection, Winchester University 2004 New Media Arts, First Beijing International Exhibition, China Works on Paper, Sears Peyton Gallery, New York Hunting Art Prize, Royal College of Art, London 2003 Landscape, Campden Gallery, Chipping Campden Peterborough Art Prize, Peterborough Museum and Art Gallery Digital Terrains, Deluxe Gallery, London 2002 Laing Landscape Competition, Mall Galleries, London Quiet Waters, Poole Study Gallery A Pelican in the Wilderness, Holburne Museum of Art, Bath ISEA, Nagoya, Japan 2001 Maltby Gallery, Winchester Laing Landscape Competition, Mall Galleries, London Art Loan Collection, Bournemouth University Belgrave Gallery, London The Discerning Eye, Mall Galleries, London
2000 Neuhoff Gallery, New York City 1999 CADE, Historical Museum, Novosibirsk, Siberia, Russia Belloc Lowndes Fine Art, Chicago Gamut, Colville Place Gallery, London 147th Autumn Exhibition, Royal West of England Academy, Bristol 1998 Landmark, Atrium Gallery, Bournemouth University Royal Academy Summer Exhibition 1997 Isle of Purbeck, Silicon Gallery, Philadelphia 1996 Digital Salon, Visual Arts Museum, School of Visual Arts, New York Multimedia Artworks, University of Ghent, Belgium 1995 ArCade Prints, Brighton University 1994 Nature Morte, Joel Kessler Gallery, Miami 1991 Virtual Memories, Friends of Photography, San Francisco 1989 Print 89, Arnolfini Gallery, Bristol Fictive Strategies, Squibb Gallery, New York 1988 Emerging Visions, Tibor de Nagy Gallery, New York Summer in the City, Twining Gallery, New York A Kiss is just a Kiss, Twining Gallery, New York Cleveland Gallery, Cleveland (touring exhibition) Prix Ars Electronica, Austria 1987 Emerging Expressions, Bronx Museum, New York Casas Toledo Oosterom, New York HighTech/High Touch in Printmaking, Pratt Institute Gallery, New York 1986 42nd Venice Biennale, Italy Tradition & Innovation in Printmaking, Barbican, London Hurlbutt Gallery, Greenwich, Connecticut Louisville Art Gallery, Kentucky
Collections Barclays Wealth Management, Poole BNP Paribas, London Bournemouth University Art Collection, Bournemouth Centrebridge, London Cleary Gottlieb, London Davis Polk & Wardwell, Paris Ente Nazionale Idrocarburi, Milan Gaz de France, London GDF Suez, London General Electric, London GlaxoSmithKline, London Goodwin Proctor, London Government Art Collection, London Greenlight Capital, London Hatton Gallery, Newcastle Upon Tyne Imperial College Art Collection, London ING, London Lawrence Graham LLP, London LGV, London NYNEX Corporate Collection, USA Pallant House Gallery, Chichester Peterborough Museum and Art Gallery, Peterborough Peter Taylor and Associates, London Pinsent Masons, London Rathbones, London Rank Xerox, London Royal National Lifeboat Institution, Poole Royal College of Art Collection, London St Thomas’ Hospital Collection, London Swindon Museum and Art Gallery Tudor Capital, London University of Northumbria, Newcastle upon Tyne Victoria and Albert Museum, London Watso Wyatt, London Films 2016 Pillars of Light, Edge 2 Edge Productions 2014 A Page in the Book of Time, World Out There Productions 2013 Jeremy Gardiner, Unfolding Landscape, Aquiline Productions
Jeremy Gardiner Tintagel to Lulworth Cove Published in 2019 The Nine British Art isbn 978-1-9995993-2-4 The Nine British Art 9 Bury Street St James’s London sw1y 6ab Telephone: 020 7930 9293 Email: info@theninebritishart.co.uk www.theninebritishart.co.uk © The Nine British Art All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means without first seeking the written permission of the copyright holders and of the publisher. Introduction: Christopher Somerville Catalogue text: Jeremy Gardiner Photography: Paul Tucker Photography Aerial Photography courtesy of Richard Hughes and Veronica Falcão Design Alan Ward @ www.axisgraphicdesign.co.uk Print: Graphius, Ghent
Cover: cat 3 | Amber Light, Port Isaac, Cornwall (detail) Back cover: cat 11 | Aquamarine Sea, Mousehole, Cornwall (detail)
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