From Dillons' First Floor Window

From Dillons' First Floor Window
(Oil on board) Private Collection.

We went out to a Private View last night at a gallery new to me - the Bewicks Gallery Space in Gateshead Civic Centre. We'd been invited to a preview of work by Tom Bromly OBE, Dean of Newcastle Polytechnic (the forerunner of Northumbria University) Faculty of Art and Design until his retirement in 1992.

I liked the show very much, although I preferred his more designed/abstracted compositions to the straightforward studies and paintings of trees. I chatted to an old friend for a while and then, as we were taking a second glass of wine for a second turn around the gallery, someone came up to me and said:

"You're Harry Bell, aren't you? I bought a painting of yours a long time ago and I still love it!" We were joined by his wife who said "You're Harry Bell! You painted my favourite painting!"

The oil painting was From Dillons' First Floor Window and it was sold in 1995 from my first solo show. It was always a favourite of mine and here was the man who bought it twenty years ago, still enthusing about it now. 

Don't you just love it when that happens?

Newcastle Skyline

Newcastle Skyline 1995 (Oil on board, 10.5 x 36 in)

I was contacted yesterday through my page on Facebook by someone asking if this painting, which he now owns, was one of mine. Signed "HRBELL95", it is indeed one of mine. It's one of the first paintings I ever sold and I'm delighted to be reminded of it. 

This painting was to be part of my first solo show but after I'd delivered it to Northumbria Gallery, and before it could be sent off to the framer, a man charged with putting together a corporate art collection bought it from the gallery along with one or two others. I was really pleased, of course, even though it meant I had to suddenly produce more work to fill the gaps in the show.

The kind person who contacted me on Facebook is a Geordie living in Berwick who says he loves having this memory of Tyneside in his home. For my part, I'm heartened to learn that my work is still providing pleasure.

It's always instructive to look again at old work and this one reminds me of ways of working which I've abandoned in recent years. In these times of self-doubt and uncertainty, it helps to get my mind into new, or even old ways of thinking and I can already see where I might be going.

Happy New Year

Garden Gate (Oil on canvas, 16 x 16 in) Private Collection

2013 was not my favourite year by any stretch of the imagination. It began with a pre-existing eye condition getting out of control, went on to encompass two operations on my left eye and ended with a death in my partner's family.

So I'm not unhappy to bid farewell to the old year, even though it did have some saving graces: Pat, my partner bought a house much closer to my own and we're now able to spend more time together.

I've done no real painting since March. Partly because of the problems with my eyesight, but also due to a definite pause in the creative urge. I've written before about a feeling that I need a new direction to revitalise what I'm doing and I'm still in that uncertain state. But I always like the challenge of a New Year and intend to get some ideas sorted out this month so that I can start to move on.

Meanwhile, what can you expect from me here on Boogie Street, assuming that is that I'm still talking to at least my Regular Reader?  A while ago I promised to resume posting from my collection of unfinished sketchbooks. The Malta Sketchbook is the one I think should come next, so watch out for drawings from that island.

Finally, there are exhibitions in the offing. Two are lined up with Figure 8 this year and I'm delighted to say that I'll be putting on a solo show for the first time in my home town of Gateshead in April/May. So there should be news of those as we get nearer.

Let me end by wishing you and those you love a Very Happy New Year indeed. We all deserve it, you know; let no one tell you otherwise.

Comments Book

The Free Trade Inn (Oil on canvas, 16 x 16 ins)
SOLD

Northumberland Fells (Oil on canvas, 12 x 12 ins)
SOLD

Today my paintings came back from my solo show at the Arts Centre in Newcastle - minus these two, which happily have sold..

Yesterday I collected the Comments Book from the gallery and, if you can forgive me a little self-indulgence, I thought I might share some of the comments here.

Your hedges and walls make me want to go out and look for myself. Your vision of Newcastle is optimistic if not romantic. Good luck with this exhibition. - Paul

Really like the 'city scapes' and the differing view points. - Liz Atkins

What a wonderful exhibition. So much detail and colour, with even some "blue skies". Keep up the good work. Wishing you all the best, - Ann Elliott

Thank you Harry! I liked 'The Free Trade Inn' when I saw it on your blog, while researching Newcastle for an English class I teach. How wonderful now I finally visit, to find a whole exhibition of your strong shapes and colours and Norh East visions. I've just slept 2 nights in Sandhill and agree the roofs are full of pictures. Keep the art coming! - Sally (Holman) Johnson, London E17

Really liked the rich use of paint - my favourite, 'Wooden Spiral', reminiscent of Carel Weight's surreal atmosphere. - Joy Barsby

Love the oaks and hedgerows; the textures and colours are inspiring. - JGriffiths

Love the way you capture the feel of Newcastle. No.16, 'View from the Keep' somehow suggests the proximity of the sea. So glad I saw your works. - P Johnston, Berwick upon Tweed.

These are wonderful. Redolent of Edward Hopper without being remotely derivative and they are most certainly *not* illustrative. - Chandra Sankarayya

I'd like to thank all those who took the time to leave such generous comments in the Comments Book (and they were all positive) and those others who complimented me in person.

Review

My good friend Paul Mingard, who, with his wife Christina, runs Hawthorn Cottage Industries, posted this lovely review of my show on Facebook.


Went to see Harry Bell's exhibition Town & Country at Newcastle Arts Centre. Not enough people were there though. Harry's paintings of Newcastle show his love of the city. His vision is romantic and optimistic without ever becoming sentimental. The paintings of the station at night really capture the feelings of anticipation and expectation you get when leaving on a train, or arriving home after a trip. His city is not the traditional one of Newcastle, 'Fog On The Tyne' and all that. It is very much a post-industrial metropolis; people hurrying for the metro; shopping and hopping on and off buses. It's a shame Newcastle doesn't love Harry as much as he loves the city. As a postscript the paintings of old hedges and walls made me want to go and study them for myself. He notices and records things we see, but don't observe.

Paul Mingard (9 August 2012)

Don't forget to check out Christina's fine paintings on the Hawthorn Indutries website.

Solo Show Photographs

End wall

I called in to Newcastle Arts Centre yesterday to see how the solo show looked devoid of private view crowds.and to take some new photographs of some of the works hung. While I was there, I decided it might be good to take a set of photos round the room. I may have missed a couple, but most of the show is shown above.

Invitation

New Work

Log Figure (work in progress)

Even though my two man show is currently running at Alnwick right now (still time for you to get up there and catch it!), I'm working out some new subject matter for my next show, which will be a solo effort throughout August in Newcastle .

I've been thinking about my Rock and Tree series and how that might be enlarged and expanded upon. The shades of Graham Sutherland and Paul Nash are sitting in the studio right now giving me advice and this is today's freshly started painting.