Artist In Focus

By the late 1990’s, Edward was smitten by miniature painting and having always painted in oils and pastels, he experimented with painting with layers of extremely diluted oils on Japanese paper, with the resulting fineness of watercolour. Miniature painting really suited Edward. Not only did he never use a magnifying glass – he enlarged each tiny point of focus in his mind’s eye – but he was able to stay completely still in one position for a couple of hours at a time. In fact, such was his concentration, that he would not notice that he had become locked into position and his partner would have to release him by massaging his shoulders. He grew the nail on his ‘pinkie’ finger long so that he could use it as an eraser! Edward hated imperfection in his work and set impossibly high standards. He would rather destroy it than have it seen by others less than perfect. 

Edward started to enter international competitions and became a regular winner of all the top prizes, including the prestigious Gold Memorial Bowl at the Royal Society of Miniature Painters at his first attempt in 2001. His partner, too, successfully started to paint miniatures and win prizes. It was around this time that we first met Edward, tracking him down after seeing his exhibited work and giving him a commission. 

Before giving him a commission to draw the late Queen Mother from a childhood photograph, we thought it wise to ensure that the most senior members of the Royal Family would not be offended, such was the affection in which she was held. It was surprising and touching to receive such personal replies to our letters of enquiry, but we never for a moment thought that any member of that illustrious Family would ever see the end result. Edward accomplished the task promptly and with exceptional skill. 

However, he was very unhappy with it as just as he was finishing, a bluebottle fly splattered the paper throwing drops of excrement over the sitter’s face, in particular her eye. No amount of pinkie finger erasing would take away the tell-tale stain, and in despair, Edward offered to redraw it. Naturally, we did not allow it, as Edward had produced a masterpiece and we were not going to reject it for so tiny an imperfection. 

For the last decade of his life, Edward moved back to his home state, Tasmania, and settled in Smithton where he had purchased 25 acres of wooded land with a small wooden hut that became home for his remaining years. It started off as one room with a caravan outside housing his seven dogs, which he regarded as his children. 

When we were gleeful on his clinching a contract with a top London art gallery and being offered a one man show, and an opportunity to paint a member of the Royal family and earn more money than he ever dreamt of, he was frozen with fear. A fearfulness that prevented him from taking up the offer.

Towards the end of his life, he asked to paint a miniature of Roger as a gift. By 2011 he was struggling with his state of mind and was frustrated that he could not get his paintings as he wanted them. ‘I haven’t been quite so thrilled about my recent ventures into miniature art. The nerves still aren’t 100% and I’m a bit rusty. A couple of bird paintings reached the half way stage before being thrown into a top drawer to finish later (or forget). I started the fire with ‘Roger Number 1’ as I wasn’t pleased with it, back to the drawing board. I will get there. You know me, nothing less than perfect, right?’