Dorset Art Weeks 2018

It’s that time again, when artists all over Dorset prepare – with varying degrees of pressure and panic, for Dorset Art Weeks.
This will be the 6th time I have taken part in a variety of venues, including my home, an antiques showroom and Gaunts house, and have also helped the area co-ordinator by distributing all the marketing material to the local artists, ie brochures, banners and road signs etc. We even have little badges this year!

I am pleased to say, this hansome beast is coming back on loan for the exhibition

For anyone not familiar with this event, it is a truly amazing opportunity to look through the brochure, choose the artists that you wish to see, and travel around the Dorset countryside over 16 days tracking them down. Many people plan days out around the venues too.

I have a bit of an admission to make… I had this grand plan of working intensively creating 30 new still life paintings after Christmas however… there was an unseasonal influx, or I should say deluge of new commissions ordered. I completed most of them, had a bit of a rest and then – another deluge. As I write this I have 15 in, not counting the 2 that went out last week. That’s my excuse anyway. I did manage to complete 8 new still life paintings, and have finished some other previous ones too. Because I didn’t take part last time, I have plenty to fill the walls so it will all be just fine, she says calmly.

If you would like a brochure, they are available almost everywhere including many Tourist Information Centres and cafes across Dorset. I have some too, if you let me know fairly promptly as they are flying off the shelf.

The Valentine Gallery will be open 11-5 every day from the 26th May – 10th June except Mondays and Tuesdays.
For more details visit the Event Page

Alfred Stevens – Sculptor. Blandford 1817 – 1875

The famous sculptor Alfred Stevens was born in Blandford 200 years ago, there is a blue plaque on the wall of his house opposite my gallery. His artistic talent was spotted early, and large sums of money were found to send him to train in Florence from the age of 16 where he stayed for many years. The result of that training can be seen in a current exhibition of his works at the Blandford Town Museum (see below for more details). His drawings in particular are incredible, such beautiful and descriptive line-work. At the opening I asked whether I could sit and draw the lion sculptures and also create drawings and a painting of how he may have looked based on the bust, using colour references from his self-portrait. So far I have completed 3 lion drawings, this is a charcoal – the proud way he sits and the big paws and ruff remind me of our dear old Maine Coon Puss-cat. The original sculptures were made to go on the railings outside the British Museum in London, although they now reside inside. Stevens also designed the monument of the Duke of Wellington in St Paul’s Cathedral.
There will be a lecture about his life and work on the 23rd September, see below for details or visit the website. I highly recommend you visit this exhibition at the museum, Bere’s Yard. Blandford, Dorset DT11 7HQ. Tel 01258 450388. Open Monday to Saturday, 10-4 daily until 31st October 2017. The museum if full of fabulous items and information about our beautiful Georgian town and is well worth a visit.

I will be there at random times, please contact me on 07985 027495 if you would like to find out when.
I would like to thank Sylvia Hixson-Andrews for making this project possible, and for everyone who has made me so welcome there.

Christmas Orders:
On a different note – it is that time of year again. If anyone is thinking of ordering a commissioned piece of artwork as a Christmas gift, please let me know as soon as possible as I am about to start advertising, and it is always good if I can be organised and space out the work as much as possible. The slightly daunting thing about this time of year is that all the deadlines to complete work are – Christmas! After Christmas I will be mostly working on a new exhibition for Dorset Art Weeks 2018.

Back to the Real World

So it is with great sadness that I come to the end of my current stint of training, I have created 6 paintings at the Sarum Studio, 3 of which are destined for the bin, and 3 turned out surprisingly well, including the one below. They are all of the same model – I was surprised that my teacher let us work together after the first one as we were really quite chatty, in a mostly quiet room full of concentrating artists, I am already banned from working with another artist for the same reason, we had far too much fun! (Whilst working hard of course)


It has been hugely challenging , I feel as though I have learned so much from the tuition, and I am excited about putting my new skills into practice in future, I will definitely continue my studies when I have saved up again and already miss everyone there.

It is strange being back in Blandford again, and re-opening the gallery which was looking terribly neglected, but I return to many new exciting projects, alongside an attempt to get fit, oh and lots of paperwork.

I have had some interesting photoshoots over the years. I did an outdoor shoot for 2 good sized portraits alongside their dogs near London this February, brrrrr, frozen hands. One of the models – a huge Alsatian guard dog was definitely considering me for dinner. The people were lovely and welcoming and gave us a very tasty lunch, so a great day was had all round.


After celebrating Easter at The Sarum Studio with a pair of bunny ears, four furry guests turned up at the gallery in the shape of the most adorable rescue bunnies. I was only expecting two, and the challenge of getting bunnies to pose together took quite a while, as they happily hopped around.
It was so enjoyable, I would definitely consider a career as a professional bunny photographer; I am looking forward to painting them and will post a blog when they are finished.

I completed another military photoshoot too, neither chilly or fluffy, variety is the spice of life!

The Brush Killer

In the depths of February I find myself once again back in Salisbury, at the wondrous Sarum Studio, studying the Old Masters techniques with Nicholas Beer. I have commenced my painting training, and have 5 weeks of full-time brain-melting studying of portraiture and the human figure. It is unbelievably challenging and my mind is full of exciting new information. On day 2, the portrait is transforming better than expected, the figure painting less so, it should be a 10 day project but I only have 3 days, so all a bit frantic, still it is a great place to start the learning curve.

The painting technique differs hugely from my own in many ways, the main one is regarding brushes – For the past 10 years I have worked mostly with soft flat acrylic brushes, or very tiny ones. I am learning to use hog bristle brushes which are flat but rounded at the end, so there goes my ability to create straight crisp edges! Small sable ones are used for detail and highlights.

I never throw away brushes, which means that I own hundreds and hundreds of them, most have been at some point left unloved and abandoned after a painting session with the best intentions of returning later to continue painting or clean them.

I searched through my battered collection and dug out large quantities of old and abused hog brushes, most of which were rock solid with old paint and varnish. I then remembered my 5 litre tub of non-toxic water based paint stripper which I have used for my house renovation. With a little patience and squidging, I brought them all back to life. Nick wasn’t quite as impressed, my paint collection and palette instil horror in most who set eyes upon them, yesterdays comment was ‘are you really planning to use that palette?’ It was caked in an unsightly rainbow of multiple layers of paint – I hastily turned it upside down and used the clean side.

There is a way of wrapping wet brushes with tissue paper to get all the bristles tidy and in good shape, unfortunately time ran out and I just let them dry, and many had wayward bristles sticking out in various directions. I just about found some usable ones in the pile.
The technique involves a limited palette of just a few colours, which were the only ones which were available way back in the past, not having a blue is strange, instead, ivory black is used (not the most obvious name for a black) a lead white and only 3 other colours. You would think that mixing flesh tones with what would seem like only a few options would be easy but noooooo, it is not.
Another major difference are the painting mediums and thinners , my Zest-it ones have been banished, and I now spend my days slightly high on turpentine and some other traditional substances, which I must say, are fabulous to paint with. I am very happy there!

Here is the latest official Queen’s Gurkha Signals portrait.

Military Portrait in Oils for the Queen's Gurkha Signals 2016 by Annabelle Valentine

My New Old Friend

I have a new (old) companion in the gallery in the shape of an enormous double sided easel. I had been looking to buy an upright one with a crank arm to easily raise it up and down for a while, as the one I had previously borrowed had returned to its owner. This one came to me in a strange set of circumstances – I tried very hard not to buy it from a kind friend, as it looked far too special for me to actually own, but thankfully my protestations fell on deaf ears.
Wheeling it up through town tied to an old sack truck got plenty of attention with a few comments along the lines of how it looked like the stocks used in the dark ages, and what was I planning to do with it!


It seemed as though it would be too tall to set up in the gallery, and would be more at home in somewhere with a much higher ceiling but I have been innovative and screwed some kitchen drawer fronts together to sort that out, and can use one side for standing and one side for sitting. It is good to vary how I work when I do such long hours to avoid back ache.
Never buy an old easel, says my wise teacher, and his words echoed in my mind as I oiled up the impressive Victorian steel triple winding mechanism, which thankfully works like a dream. Although I had been assured that the large family of woodworm had been asked to vacate, I wasn’t taking any chances and retreated the whole thing, turning it upside down and rendering my gallery useless for quite some time while the fumes subsided. I returned a few days later to piles of dust underneath, where the wood had been totally annihilated by the little critters, it seems that there is less easel left than I had thought, but I think that adds to the character. Anyhow, once I have glued a split piece, I am guessing that it will last me out, despite only having 3 and a half wheels….


Fitting the handle and winding the whole beast up and down to precisely the right height to work at is such a luxury and will save me a lot of time previously spent adjusting and cursing the awkwardness of my other one whilst almost dropping canvases. No more reaching down at that uncomfortable angle to paint ‘just for a few minutes’ which inevitably turns into a lengthy and torturous ordeal for my back as I zone out, caught up in creativity.
It originates from an art supplier called C Roberton who set up a shop in 1810 near the Royal Academy of Arts in London, where my ancestor John Linnell trained along with Turner. Linnell had an account with the supplier from 1849 – 1887, who knows, maybe he saw it in there!