Corner of Masters Court, and crane

This morning I was again sketching in The Charterhouse. I’ve wanted to sketch in Masters Court, which has a fine façade on the Great Hall. But when I got there I preferred this view of the dark North West corner. Also there was a convenient seat.

I thought this view would be simple, but it wasn’t. The angle of those two roofs was a challenge.

While I was drawing, Mark came to mend the paving. He removed a heavy section of stone, and reset it. He looked at what I was doing. I asked him whether I should put in the crane, which loomed above the roof, and whose motor was clearly audible in the quiet courtyard. “Well,” said Mark, “it’s there!”

So I put the crane in. Then I met Robin, who asked if I would put in the crane driver, who was also visible at that point. So yes, the crane driver is in there too.

Here’s the picture:

January 30th 2018 (Masters Court)

Here are some pictures of the painting in the location. You can see the colour of the stone. Also there is the picture in pen and ink before the colour went on.

 

1hour45minutes, drawn and coloured on location. Very cold (6 degrees C), but dry.

A concert at St Bartholomew the Great

Here is a post-card sized sketch of people listening to the concert. It felt as though the stones were listening too.

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Pen and ink in small Seawhite journal, about 20 mins.

The Cheesegrater from the East

I have previously drawn the Cheesegrater from Threadneedle Street. Today I went to find a good view from the East. I was keen to include the ancient church of St Katharine Cree.

Here is the Cheesegrater from Leadenhall, just east of Creechurch Lane.

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The current building of St Katharine Cree is 1633. The tower that I’ve drawn is from 1504. Parts of the church date back to the Mediaeval Priory 1108. This place is a survivor. It survived

  • the Great Fire 1666
  • The Second World War, which damaged the roof
  • the Baltic Exchange bomb, 1992, which blew out the central part of the 17th Century East window.

The Cheesegrater, aka The Leadenhall Building, 122 Leadenhall St, was finished in July 2014. The architects were Rogers Stirk Harbour + Partners.

Behind, you can just see the cranes for 22 Bishopsgate under construction.

Drawn standing in the street, 1 hour, drawn and coloured on location.

Lady of Avenel etchings

Here is the Lady of Avenel in aquatint.

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Lady of Avenel, aquatint

Here is the hard ground, before the aquatint went on:

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To help with the aquatint, I made a small test plate. It seemed a pity to leave it blank, so I put some sea life:

Lady of Avenel is an 102ft brigantine square rigger. I sailed on her for the swimming expeditions in the Hebrides in 2017. This is why the sea life is relevant, and realistic. Especially the jellyfish.

I drew the Lady of Avenel in Heybridge basin, see this post:

Lady of Avenel at Heybridge Basin

Lady of Avenel website is: www.LadyofAvenel.com

Etchings done at East London Printmakers, 18th January 2018.

Oxford, St Giles

As the daylight faded, I made this sketch from outside 37 St Giles, Estagun House.

St Giles is the name of the road going North out of Oxford, and also of the Church, which where the road starts. There has been a “St Giles” church near Oxford from at least 1120.

“St Giles is supposed to have protected a wounded deer from hunters, and images of him usually show him accompanied by a deer pierced by an arrow. Many churches dedicated to St Giles are situated just outside city limits, where they could minister particularly to those who resembled the wounded deer – the weak and defenceless, such as lepers and beggars, who might not be welcomed into the city. Today, the St Giles congregation continues this tradition by working with the homeless.” [St Giles Church website]

The building is from 1200, the lower part of the tower in the drawing is 13th century. The top was altered in the 15th century.

Behind the tower, you see a crane, which is building part of Somerville College.

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I was staying in St Benets Hall, 38 St Giles. Here is the view from the window.

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Gambier House from St Luke’s

A very cold and blustery day.
Drawn from Ironmonger Passage, beside St Luke’s Gardens. My watercolour bag blew onto the ground, and the street sweeper, speaking Polish into his mobile phone, swept it up amongst the leaves. I raced after him to retrieve it, and he was very polite and apologetic.

“Gambier House was constructed in 1968 and is a 20 storey tower block, comprising 115 flats. The block is located on a triangular site between Mora Street and Lever Street. A small park is immediately adjacent to the south whilst surrounding properties, of between two and seven storeys, are in both commercial and residential uses. “

Gambier House was subject of a Planning Application in 2014, to install cladding. The above is an extract from this Planning Application. Here is a link to the document:

1-115 Gambier House Mora Street London EC1V 8EJ.

From Threadneedle Street

On the way back from the dentist, I looked up and saw The Cheesegrater, above Victorian buildings on Threadneedle Street. I sheltered from the rain under a Classical pediment, and made this sketch.

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The Cheesegrater is also known as “The Leadenhall Building”, which is descriptive of its location, but not its shape.

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22 Bishopsgate, Digital Information Point

The building to its left, under construction, is “22 Bishopsgate”. According to the informative panel from its builders, Multiplex, this will be 278m tall, with 3 basement layers, and 62 upper storeys, providing 1.4M sq feet of “net useable space” which accommodates 11000 people. That’s 1273 sq ft of useable space per person, or 141 sq yards: a space about 12×12 yards, which is about the size of our living room, including the kitchen.

I did the picture outside a building whose architects had had their names inscribed in serif capitals, low down: Mewes and Davis. This is number 53 Threadneedle Street, and now houses Montanero Asset Management Limited, and the Burger and Lobster Bar. A blue plaque of the City of London declares that this was the “site of the 13th Century Hospital of St Anthony, and of the French Protestant Church demolished 1840”.

Opposite, above a grand entrance door to number 30, is the motto “Concordia parvae res crescent” and the crest of the Worshipful Company of Merchant Taylors. This is the Merchant Taylors Hall, the yellowish building on the front right of the drawing.

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“Concord will make small things flourish”

Multiplex also have “2 other projects on Bishopsgate”, said their notice, “number 15 and number 100”. I don’t know about making small things flourish, but big things are certainly flourishing.

About 45 minutes, pen and wash on location, drawn standing up.

Towers, Chine Collé

Last Thursday I made more prints for my “Towers” project.

I improved a plate I made last September, “Skyline”, using a dry point tool, and a marvellous rolling tool called a roulette. The idea was to add more detail.

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The drypoint tool, above, and the roulette, below.

I used chine collé to make a yellow shape. Chine collé is paper. It is put on the inked plate, glue side up, which as you can imagine is quite tricky. Then I carry the whole lot to the press, trying not to let the sticky yellow bits float away. The print paper goes on top, then tracing paper to protect the blankets, then the blanket which the press needs, and then I roll it through the press.

Here’s the result:

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Skyline, Chine collé, 4th January 2018

This is the view out of my window. When I look out, I can see shadow of my building and other buildings. The yellow outline reminds me of this effect, and of all the other buildings whose metaphorical shadow is here: the buildings demolished or bombed down, and the buildings to come.

I also made Chine collé prints of Towers East and Towers West.

 

I have printed these before. See these links:

Towers East and Towers West

Towers, East

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