As I sit here writing my eyes keep looking away to a chair that is here in the gallery.

At the moment it stands on a plinth and is shown as a work of art

Of course it functions as a chair but for me it is so much more than that,

It was designed by Charles Rennie Mackintosh

and it is one of the main reasons that I am sitting here today.

As a young boy I was employed as an apprentice in the printing trade,

of course this was at a time that printing was considered a skill.

At that time for me it was just a job, my very first job.

My main duties were making cups of tea and delivering parcels, I was just the "odd job" boy for five years while I slowly learnt my trade.

Most of my colleagues treated me as just the "boy" with one exception,

that was a young man [he seemed old then] of 25 years old.

His name is Fred Sykes.

By trade he was an engraver and his job was to correct all of the minor flaws that appeared on the copper printing plates, and in those times there were many.

He was a lovely intelligent man and I think that he understood that I didn't really fit with

this "mans" world that I had been thrown into,

an environment where you were measured by how many hours you could work

and how much beer you could drink.

He started to talk to me about art, designers, architects and antiques.

 

After a year or so, at the end of each day he started taking me to museums and art galleries,

he would bring me books to read about artists he admired

and bit by bit he educated me to the beauty and understanding of Art Nouveau.

In particular two artists he greatly admired.

Archibald Knox

Charles Rennie Mackintosh

As a result I now have a collection of work by Archibald Knox

and a pretty good knowledge of Rennie Mackintosh,

a man whose work has always been my "benchmark" for beauty and good design.

In later years I was even fortunate enough to work for a company that was owned

by a man who told me to design my own workspace, he then employed carpenters to build it for me.

Of course the room was an amalgamation of Mackintosh designs.

I was a lucky employee, and now many years later my employer is my best friend

So one reason or another for many years Charles Rennie Mackintosh has influenced my thoughts.

Recently Irene and Rebecca visited Glasgow to see a friend performing in concert,

the next day they were due to catch an evening flight home, so with no other plans

and with time on their hands they went to visit the Iconic building

The Glasgow School of Art

The greatest work of art created by Mackintosh.

Not only did he design this incredible building but also each and every feature inside,

from doorplates to lights and of course the furniture.

It was completed in 1909 and has been described as the most important building of the past 175 years.

It is a listed building and although it still functions as an art school it is

regarded as a museum to Art Nouveau.

On their arrival home the girls were full of stories of their visit and had many pictures to show me

of "things you would love to see".

Memories of Fred Sykes and his education of me returned, I was soon digging out old books

depicting things that he had told me of and which Irene had now seen,

amongst these was a brochure that he had given me of a man who still created some of 

the furniture designed by Mackintosh.

The result is I am now looking at a chair designed in 1902 but made in 2014,

and it looks so very contemporary.

With my rekindled enthusiasm I just had to have some around the gallery.

Since they arrived I have thought of Fred Sykes a lot, I knew that he would be so proud

to know I have learnt from his many lessons.

Then last night watching the news

like many people the world over I learnt that The School of Art was afire and that so much

of the beautiful building was lost forever.

   For me it is such a sad coincidence.

For many people and especially for Scotland it is a tragedy.

It will be rebuilt, but!

Meanwhile the chairs in the gallery are a reminder for me of a great artist

and my mentor.

Without them both my life would have taken a different path.

I think that maybe the cover of the invitation for our new exhibition might say it all

Laid back and relaxed.

Of course it is the Irish sculptor Christy Keeney

who I told you about a little while ago.

I have grown used to being "up to the wire" with work arriving close to an exhibitions opening,

but I did know that however close to the date Christy would never let me down.

I admit I was starting to get concerned about how much time I might have available

to change the whole gallery around but I was never concerned

about if it would arrive.

As I explained to the people who asked if Christy's work had arrived yet.

"No, he's an artist."

"What does that mean"?

"It will be here when it's ready and when he is happy with it."

Christy is not laid back he is a total professional, it's just that he doesn't worry as much as me,
and that's just not fair
If I'm worried then I want everyone to worry with me.

 So I understood that his sculptures would arrive in good time
but only when "he"was happy with the results.

So the pictures above show the arrival,

what a fun time that was, it made me wonder why I had ever worried at all,

now it was time to relax and enjoy things for a little.

Whenever any new work arrives it feels like the Christmas times I remember from childhood,

"just what is inside those boxes"?

No matter what else I have to do I always take a long time opening such "presents,"

the anticipation of what might come next is just so exciting.

So much of my time is spent "working in an office" these moments are relished and enjoyed.

These are the times are that make having a gallery worthwhile.

Christy's sculptures are dynamic,

They have no grey area's, people love them or hate them, they are just strong and direct,

In fact he is one of the most admired artist's in our gallery,

his work seems to appeal to people of all age groups.

We are often asked by his admirers "please don't sell that before I come back again".

For some reason his art just connects with a lot of people.

Including myself.

Unfortunately, with this exhibition that presented me with a slight problem.

I "can not" purchase anything from my own gallery.

Many times I want to,

But I decided long ago that I couldn't or we would end up with no stock, and no money.

So, I just look and admire and pretend that everything is a part of my own

private collection.

That's not all bad as at least my collection changes more frequently than most peoples.

But sometimes I do have regrets.

The sculpture above is something that I would have loved to own

I can't explain why but to me it was just beautiful plus also a little bit different for Christy.

I wanted it so badly I was convinced it would be the first piece to sell.

It was.

I spoke with Irene about it on the morning of the opening.

"If you like it, treat yourself and buy it".

"Where would I put it at home"? I answered

As I have boxes and boxes of my own personal collection stored in the garage.

No, it had to be sold, after all that is what we do.

So, it was with regret that I placed a 'Red Dot' on it when it sold.

But it did sell to a very nice collector who I know will enjoy it almost as much as myself.

However, although that was my own favourite there are many unusual sculptures that are on display.

Since they arrived I have been compiling my own "wish list",

so I suppose the pictures shown here are a part of that,

Not in any particular order but they are all sculptures that I recognise as being a little special.

I have admired Christy's work for a long while and many times I have pondered, thinking,

"I will get that for the gallery in a few minutes,"

only to lose out to someone who didn't hesitate.

At least now with his exhibition here I know that we have some of the best pieces available,

Of course later in the year Christy will visit England

and as usual the galleries and collectors will be fighting for his best works.

Meanwhile, it is just nice to understand that only we have the best.

Including this head "DIVA"

A sculpture where he  acknowledges his influence of artists like Picasso.

I can't take it home but at least this week it belongs to me.

Most of the time I write about different artists and their work, on occasions I might talk about the gallery and myself [my favourite subject],

but I don't think that I have ever made much mention of the customers.

When I say customers I don't mean the people who wander in each day but the people who have become our friends and a part of our life.

Let's face it without them we wouldn't exist, but it is about a lot more than that.

They are the people who have an affinity and connection to the art that we display, the customers

that assure us that we are doing the right thing exhibiting the art that we do.

As we all know art is very personal.

A lot of my heart goes into everything that we choose to show, it is very important to me.

It is never about money it is about doing something I believe in,

I then hope that it may turn into money so that we can continue with this crazy lifestyle.

So, the people who return, purchase and speak encouragement are important to us,

as a result they have become friends.

We often think of them and at times become concerned about there well being.

It usually turns out that the person who you were concerned about has been off enjoying a holiday,

while we had been worrying about their health.

If any of them read this blog they will know who they are.

They are the people that when I eventually get home cause me to exclaim

"guess who came in today?"

This then prompts a conversation about them and what they have been up to and when we might see them again.

It is almost the same as when we talk about artists, they are an integral part of our extended family,

as such they are an important part of our life.

So, this post is devoted to one of those customer/friends.

Over a period of a few years we have been visited at each new exhibition by a beautiful lady

who we have come to like very much, her name is Helga.

At the opening of an exhibition she has been one of the first to arrive and the last to leave.

She enjoys art plus she is also an artist.

In fact a well known and collected artist, we have never shown or asked to show her art for different

reasons.

Firstly, she didn't come to us as an artist and secondly she has been showing with

a very well known London gallery and didn't need another outlet.

On her visits I had never given it proper consideration

but now in retrospect I appreciate that she has always purchased "gentle" artworks from us.

Almost every time it was ceramics and every piece contained flowers or usually a Hare.

I now understand why.

We haven't seen Helga for well over a year and she was one of the customers we had started to worry about.

At each exhibition I would look outside to see if she was around and waiting to come inside.

She is a little frail and has always had to rely on a friend to drive her to the gallery,

so if it was a cold day we would rather her be inside early

than having her sitting outside in a car until the clock strikes 12.00 noon for the opening.

Of course it is not strange for our regulars to miss an exhibition or two,

let's be honest I can't really expect everything that I show to appeal to everyone who visits.

So when we don't see people we miss them but appreciate that maybe,

just maybe, this exhibition doesn't appeal to them.

Last year it was only when Helga had missed about three shows that we started to wonder

if everything was OK with her.

Of course it is impossible to call someone and ask "why haven't you been here recently?"

But the thought does come into your mind and with Helga it seemed odd.

I decided that if I was ever passing near where she lives I would make a detour to say "hello"

and catch up on events.

Well, l I decided this but then in my usual fashion forgot about it.

That is until last week when I was returning from making a delivery in Cambridge.

It was a nice day and I wanted to have a think about a few problems so I took a long scenic route home.

Let me explain, I find driving therapeutic and usually the longer the journey

the more problems I solve.

I found myself passing a roadsigns that had a familiar name.

I realised that I must be near where Helga lives so I did a small detour and stopped to see her.

I am so happy that I did.

This chance stop has been one of my most interesting days for a long while.

Like the lady herself her home is like something from a novel.

Well a fairy tale really.

She lives in and has created a home that children of all ages would love to visit and explore,

there were unusual treasures to be discovered everywhere, inside and outside.

It was like a novel where you visit a favourite aunt who has so many magical tales to tell

and wonders and delights to show.

However, I learnt that Helga as we suspected had been very ill, in fact she almost died.

But I know that is not the story she would like me to tell,

she would rather have me tell you tales about her unusual home.

Unfortunately I haven't got the hours to spare that would describe what I found and viewed so I will just leave the images to give you a small idea of her home.

It is a very small snapshot of what it is really like, I haven't shown the wonderful outbuildings and sheds all with reclaimed Gothic windows.

I have left out the thriving Bee hives, pondand much much more,

especially the interior which holds a collection of some of the best ceramics I have seen.

As I write I keep thinking about different treasures, each could make up an individual posting. 

In truth her home is something from a story, it is an artists home.

Situated high on a hillside with views that stretch for miles, somewhere that you can sit, dream and create.

Which for years is exactly what she has done.

For the first time I was able to see her paintings, it was so easy to see the source of her inspiration,

the garden is a little piece of English Heaven, it has been featured in magazines worldwide,

something that was easy to understand.

Although she kept apologising for the terrible condition that it is now been reduced to.

"It is not cared for any more and I haven't the strength to do what is needed."

She told me that in fact she is to lose her home.

For reasons that she could not explain it seems that she will have to move away.

"I don't think that I could live without this place".

I understood exactly what she was saying but I was lost for words that would encourage her.

Her home was somewhere that I was captivated by, and I was just passing.

"Is there nothing that can be done for you to keep it", I asked

"I don't know. Maybe if I was able to find someone to rent the studio? I don't know, I just don't know."

So if there is anyone out there who wants to lease an idyllic studio [pictured above] let me know.

Despite this sad news my visit to our customer was very joyous.

Helga is a very exciting woman with a vivid and fertile imagination, we had fun talking together.

She showed me a copy of her Limited Edition [very limited] book.

It was a work to treasure and I intend to ask can we have a few to show and sell.

In the introduction she explains her love of nature especially Hares and Unicorns.

"Unicorns"? I asked her.

"Yes, I have seen many Hares but never a Unicorn

But, I will".

You know what?

I really believe she might.

There times I feel almost ashamed to be a male, today was one of those times.

Ever since we have been open we have been aware of a problem when it comes to selling art,

that problem is called "relationships".

I often wonder why people are together as there seems to be nothing that they have in common

that would cement a relationship together.

Perhaps I am just getting too old and don't appreciate that now it is all about physical attraction.

Whatever!

Everyday people in a relationship and young and old

visit the gallery and purchase "nothing" and usually it is because they don't agree.

Or more to the point if it is a man and wife the husband is just appeasing his wife's strange desires.

 

Let me explain.

Imagine Gallery has the 'good or bad' fortune to be situated next to a "Gastro Pub",

the sort of place that attracts a lot of people looking for a good meal.

Sometimes this can be good for us as people discover that we exist for the first time as they pass on route to have a meal.

A few of these visitors have become friends and good customers,

But more usual.

The downside is that the majority are male and have only one thing in mind,

that of course is having a good liquid refreshment.

Maybe that is unkind as I am sure that they sometimes have other intentions.

One fact is that whenever one partner is in a rush to get to the pub the other is never allowed

to have a proper wander around our gallery.

The men usually stand close to the door [desperate for a pint]

while their partner keeps calling them to "just come and look at this".

It is obvious that there is never going to be a sale of any kind until they have eaten and drunk.

Whatever

We have recently received some of the most amazing and beautiful small objects that we have shown.

Books.

Antique books, all one of a kind,

They have words, names and symbols created by the pages being hand folded to create the words.

Each word or symbol is emotive,

plus the books are all antique, presented in beautiful boxes, each with a numbered certificate

plus they are cheap.

I have placed a few in the window display.

The display has had the desired effect,

All day long people have been stopping in their tracks, doing "double takes" and coming back to the window.

People? Of course I mean women

Most of them with a partner who has carried on walking or has been called back to have a look.

But nobody came inside to purchase one, it seems that romance is dead.

I became certain of this when one young woman called to her partner

"look at this book,

the one with the word love inside, isn't it wonderful ".

Hearing the conversation I thought "this looks like it could be a buyer".

Wrong.

He replied "never mind about that I am going to treat you to a nice meal and a bottle of wine".

"Duh".

You could almost imagine him twisting his moustache and smirking, but he didn't have one

[moustache that is, smirk yes].

I sat and felt ashamed to be a male, couldn't he see she was asking him for the book?

No,

He had a belly to fill, food and wine were waiting, his special treat for her.

Maybe he gave her a bite of his steak.

Is that how shallow and cheap all us men are, I wonderd?

 I hope not.

Or maybe it was a really good steak, her favourite!

Just before I closed my faith was restored, I learned that romance is still alive.

A man walked though the door and asked

"could I have three of those books with a heart inside please?"

As I wrapped I questioned who they were for?

"My three daughters,

Two of them have left home and I know it won't be long before the youngest is off with her

boyfriend, so I just want them to have something that reminds them

from time to time that we love them.

Something that they might keep and look at in years to come".

How lovely, good feelings and romantic intent still exist in the heart of some males.

Apart from the story about the books

the pots are some that I have been very long overdue to show you

they are by an Australian [I won't hold that against him] named John Stroomer.

They are beautiful and so well crafted and I am proud to show them.

How they came here is a story for another day.

Visits

I mentioned last time I wrote that I had also visited another artist, but I lied it was actually two.

The first visit was a "pit stop" collection from the furniture maker

James Evans.

The brief nature of my visit had nothing to do with the quality of his work, it was just that I was travelling to a timetable, or at least I thought I was.

But I will explain that in a little bit.

I will confess that I am not really a great lover of carpentry as an art form,

there are just so many things out there that are poor.

Don't get me wrong, I love things created from wood and in fact for a short period in one of my past

life's I did support the family by creating with wood and I remember that period as being one of the happiest of my life.

Thinking back I re-call my small [then] children would come to the workshop each morning

[still in pyjamas] to bring me my breakfast.

Two bags of crisps.

That was a lovely period in my life.

Sometimes, it would be nice to turn the clock back to another time and do things differently,

but of course this would mean that I would not be sitting here today writing about the gallery

I had always dreamt of owning.

Whoops! I am drifting off into different area's as usual.

So, back to James and his work.

In my opinion he is the best artist/carpenter working in the UK.

Having trained as a restorer of antique furniture, a profession that culminated with him working for the Queen for three years,

he left her employment to follow his heart and create his own work.

And this work is truly art.

We have exhibited pieces of his work that are just stunning. Beautiful designs and so well crafted.

When his pieces are displayed within sight of the gallery windows they actually draw people inside.

Of course I want to sell everything we show

but whenever a piece of his woodwork sells I am a little sad as I know I will never 

see the like of that piece again.

Recently, after the sale of a table [unfortunately I didn't photograph it] I started to panic

as we had so few of his pieces left.

So I have been "hounding" him for new work.

Alas, he told me that he is fully committed until the Summer [after which I can take my choice]

there was nothing available.

So the conversation started again as I was just not taking "No" as an answer.

I confess that I did feel a little guilty putting him under more pressure, but it worked.

"OK, yes, I can spare just one piece for you".

So although it was a very brief visit it was worth it.

The cabinet that I returned with I have titled the 'Cadaver Cupboard".

I can't think why.

The reason my visit to James was so brief is because I had to travel further that afternoon to visit

and collect from the sculptor Paul Harvey, or I thought I had to.

But on calling after leaving James I found that one of had got the date wrong [me].

My sculptures would not be ready until the morning.

This wasn't a great problem but it did mean that I couldn't travel onwards to Wales first thing

in the morning as I had intended.

Oh well, I needed a break from driving so I booked in very early at a Travelodge close to Stonehenge.

It was a beautiful evening and it seemed so very strange to be sitting on my bed reading a book

when I was aware that the sun would soon be setting below one of the worlds

most famous and oldest landmarks.

I was tempted to drive the two miles to experience the event, I didn't because

I knew I would only feel sad and disappointed.

To witness the sun setting behind the great monument while I was standing hundreds of metres away viewing from behind a mesh fence just would never equal the experience of standing

touching the stones as the sun disappeared.

Of course that is just "hippy" stuff and I understand we have to protect against that sort of thing,

much better to charge pilgrims for the privilege to stand behind a fence from a safe distance.

I just wonder, how has it ended up that we are made to pay to see things that no living person owns?

Maybe that was the original intention!

So instead of witnessing something amazing I fell asleep with a book on my chest.

It was a good book but I was tired, plus at times it is nice to get away from the stress of running 

the gallery and I find on these occasions my body shuts down early.

After all, whatever is happening 'back at base' is for once out of my hands.

So I was up, showered, fed and on the road early, on route to the studio/shed of Paul Harvey.

After an hour or so of driving I was soon far off the beaten track driving down country lanes

shrouded in mist. It was a lovely English country morning, which to me always means

sun, fields and mist.

Driving in the mist along narrow hedged lanes was not so much fun but it did have its moments,

like when I passed a beautiful Lodge cottage beside a pair of giant gates.

Beyond the gates was a drive that stretched for half a mile before it disappeared downhill somewhere,

on each side there was a row of trees but what was more striking were the mass of daffodils

that outlined the drive like yellow lamps.

It was the home of Andrew Lloyd Webber.

Visiting Paul is always a real pleasure.

He is one of the artists that we deal with who I regard as being a real mate, it is never about money

we work together.

Every meeting is relaxed and we pick up on conversations that have spanned months.

As I arrived he was standing holding the gate open for me,

within a minute of getting out of the van he was saying "you have got to have a look at this".

So it went on, it was a great "fun" visit.

On the day I arrived his studio looked so romantic, I think I have mentioned before what a lovely location it is set in,

beside a small fresh water lake, fed by an underground spring,  you can even watch the bubbles rising in places and as long as you make sure that watercress is not in the way you can drink from the lake.

I understand that familiarity breads contempt or at least indifference,

but just how Paul and his wife Sarah ever manage to get work done as they look from the studio windows I will never know.

I think that Paul is one of the few artists who understands what "makes me tick" or perhaps we are just similar souls.

" Come on lets go feed the fish" he said in between all of our artist/art/galleries gossip.

We walked together through a small woodland area covered in wild garlic [you could smell it]

and bluebells to a clearing beside the water where he always feeds his Trout.

"This is how I spend my days"

he told me as he threw a crust of bread that hit a Mallard duck on the head.

"Sorry".

Despite what I have just mentioned Paul is a really hard working artist.

He is a person who lives for his art.

Sure, his art supports him [and me] but that is not why it is created, he just has to create.

As I write this he is on holiday in Cornwall.

He told me that this would be a great break because he will take some clay with him and come home with at least one new sculpture.

From the clay originals he casts his work in stone and more recently Bronze.

I visited to collect some marble pieces but before I left he asked "would I like to show his bronze work this July"?

Now let me think about that Paul?

OK