Scullery Sink
In 1954 Glynn painted ‘ The Scullery Sink’ in the house at No.76 Acton Street, Middlesbrough, where he lived with his family. This painting was exhibited in the Middlesbrough Municipal Art Gallery, Dunning Street, along with other student’s work.
It was purchased by a lady who wished to be anonymous. At a later date ‘The Scullery Sink’ was donated to the gallery and became part of the permanent collection, consequently it is now in MIMA’ collection and has been shown in a recent exhibition (November 2010 – March 2011) in which works of art were chosen by the public – Glynn’s little ‘Scullery Sink’ painting has caused quite a stir, being voted painting of the week several times. I found Glynn’s preparatory drawing and have gifted it to mima. They were so delighted to receive it, and in March held a little presentation ceremony, the Evening Gazette photographed me presenting the drawing to Kate Brindley – MIMA’s Director, with the painting in the background and a photograph of Glynn at his easel was also included and an article covering the event. At art college Glynn did his thesis on the artist Walter Sickert who in a statement shortly before the formation of the Camden Town Group elucidated his belief that ‘serious’ art avoided the drawing room and flourished in the scullery or kitchen. I'm particularly fond of the Scullery Sink which Glynn painted six years before we met. This painting is in the permanent collection at MIMA and was on display recently, from November 2010 to March 2011 in an exhibition of works chosen by members of the public and the gallery apprentices. Glynn completed the Scullery Sink in 1954 and along with other students' work it was exhibited in the Mddlesbrough Art Gallery in Dunning Street. An unnamed lady purchased the work and in the early sixties, whilst still wishing to remain anonymous donated it to the Art Gallery. What a generous deed to allow everyone to enjoy this great work for which we are very grateful. This painting gives me enormous pleasure and the more I see it the more I love it. It was the scullery in no. 76, Acton Street, Middlesbrough where Glynn lived with his family. His father was a heavy smoker (he smoked Capstan Full Strength), you can tell by the colour of the walls and the woodwork. It's such a nostalgic piece of work, so beautifully painted. It was well admired by Andrew Graham Dixon as well as the many visitors to Middlesbrough Institute of Modern Art during the exhibition. James Beighton curator of MIMA described the Scullery Sink as a little gem! |
The Shaving Mug
Shaving mug is a particular favourite of mine. The detail is incredible. The work only measures three and a half by 5 inches. Glynn painted a memory from his days at Art School when students were sent out sketching around the docks.
He remembered going for something to eat at a workman's cafe. A scruffy sort of man came in, ordered his mug of tea, then whilst it was steaming hot he whipped out a razor from his jacket pocket and dipping it into the mug, gave himself a quick shave, then proceeded to drinK the tea. I had to pose as the dreadful woman lighting her cigarette - (Glynn is the man). We had a lot of fun in the preparation of this painting - we had long given up smoking and Glynn said I wasn't to inhale the smoke in case I got to like it... I'm afraid I did inhale a couple of times - didn't like it at all - could hardly smoke for laughing. Although I saw the work in progress, when I saw the finished painting it took my breathe away - amazing -the transporter an works through the window - the Evening Gazette and Everybody magazine on the table, the cigarette smoke rising from the ashtray, the mans paper carrier bag of shopping... I could go on and on but I won't only to say that 'Shaving Mug' is a tiny masterpeice. |
Glynn's inspired version of 'The Travelling Companions'
This is a beautiful painting and in such contrast to the elegance of the young girls in Eggs' painting; total disregard for ettiquette - feet up on seats,smoking in a no smoking carriage, rubbish thrown on the floor, Fosters' beer can, cigarettes and lighter on the seat next to the girl on the left, who is dressed in denim. Her sister's wearing an extremely short tartan dress with huge boots and socks.
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So much went into the preparation for Glynns' Travelling Companions; lots and lots of photography, getting the positions right, trips to Redcar, taking pictures on the train, walking to the Ship Inn at Marske, then relaxing with a drink of beer and crisps, getting somewhat tipsy, walking back along the beach to Redcar, laughing and stumbling along.
Glynn worked hard on this painting. It was finished in 1999 and exhibited at Kirkleatham Museum in ( what we didn't know at the time) would be his last exhibition.
Phil Philo who was curator at this time really loved this painting, which showed the works through the train window on the way to Redcar. He purchased it for the permanent collection, where it still is to this day, I wonder if it will ever see the light of day again. I saw it last year for the first time since Glynns' exhibition, when I went to photograph it with my digital camera. It was such an emotional time for me, although I don't suppose anyone noticed. None of the images came out very well and it's a good job there were some really good photographs at home. I managed to use one of these instead.
Because I've always been very involved with whatever Glynn was creating - whether it be painting, sculpting or miniature modelling, everything he did was favourite with me, but I guess Travelling Companions is special, up there top of the list. I love it, just as I love you Glynn.
Glynn worked hard on this painting. It was finished in 1999 and exhibited at Kirkleatham Museum in ( what we didn't know at the time) would be his last exhibition.
Phil Philo who was curator at this time really loved this painting, which showed the works through the train window on the way to Redcar. He purchased it for the permanent collection, where it still is to this day, I wonder if it will ever see the light of day again. I saw it last year for the first time since Glynns' exhibition, when I went to photograph it with my digital camera. It was such an emotional time for me, although I don't suppose anyone noticed. None of the images came out very well and it's a good job there were some really good photographs at home. I managed to use one of these instead.
Because I've always been very involved with whatever Glynn was creating - whether it be painting, sculpting or miniature modelling, everything he did was favourite with me, but I guess Travelling Companions is special, up there top of the list. I love it, just as I love you Glynn.