AN UNEXPECTED MEETING
by Richard Banks
When
you go to a provincial gallery you do so more in hope than expectation. If the
curator is a person of discernment the procurement of art from living artists
will have been astute and well presented, the beginning of a collection that
may, in time, acquire a national reputation. If not, you are largely left with
the daubings of pre-war and Victorian artists who, the accompanying texts
assure us, were well known, if not renown, within their locality.
For those, like me, who yearn to
connect with something more inspired there is little to delay our departure
through the gift shop and into the cafe beyond. Indeed on a rain-swept morning
the cafe at the Holksmere Town Arts Centre was probably the best place to be.
It did, I was told, an excellent pot roast and with that in mind I made my way
to the gallery at half eleven intending to while away an hour at most before
sampling the culinary arts of a Chef who was about to move on to more remunerative
employment in a High Street restaurant.
The collection proved to be as
depressing as the weather and I was soon through to the Victorians when I
paused before a painting that seemed to have a little more merit than the rest.
Evidently, the gallery thought so too for it had recently been revarnished
returning its colours to something like their original hues. The scene it
depicted also had topographical interest, showing the west front of the parish
church before its restoration in the 1890s. Outside, in the churchyard, is
gathered a wedding party of some forty well-heeled members of the local gentry,
along with a few others of more splendid appearance. It’s a summer’s day,
bright sunshine, short black shadows indicating that it’s only an hour or two
into the afternoon. Behind the guests, between them and the church, a horse-drawn carriage waits to take the bride and groom to the reception that has, no
doubt, been organised and paid for by the bride’s parents.
“Good grief, what a performance that was!”
The voice came from behind me. Without
my knowing, someone had entered the room and was only a yard behind me. There
was a chill in the air that was almost a mist. I half turned and he came up
level with me, a strange little man in a paint bespattered smock that came down
to his knees.
“Thank goodness for photography. Never
thought I would say that, but on that day how else would I have coped. An oil
painting of themselves and all their guests was what they wanted, accurate in
every detail, everyone to be just as they were, standing exactly where they had
put themselves. How was I to manage that when they were come and gone in
fifteen minutes?”
The question was apparently rhetorical
for the man continued swiftly on.
“I had no choice but to make a deal
with the devil, well, as good as. Paid Timpson, the photographer, to take four
plates and work as slowly as he could, while I busied myself sketching
everything that caught my eye. Never worked so quickly in my life. In the three
weeks that followed I returned to the churchyard on no less than seven
occasions to make sure I had the colours and background detail exactly as they
were. It was a labour of love, I can tell you. Mark, you there was more than
love involved. Had the painting not been to Browning’s liking he would probably
have refused to pay me.
See that man there, the one with the
medals, that’s the Earl of Dramgordon. He wasn’t even there, taken ill the day
before, but Browning insisted that because he had been invited he must
therefore be included. It would, he said, be a breach of etiquette to leave him
out. Nonsense! Browning was a social climber who wanted the painting so he
could show it off in his dining room.
Leave out the Earl, his guest of honour, no way was he going to do that.
Mind you he needn’t have worried, several of his younger guests also
distinguished themselves in the years to come. Charley Wainwright won the VC at
“And now it’s here,” I said. The words
passed slowly from my lips and seemed to struggle through the air.
“Yes,” he said, “although more by good
fortune than design. When Browning died, predeceased by his wife, all his
property passed to his only child, the bride in my picture. But what was she to
do with my picture? Her husband had left her for an American heiress and
applied for a Decree Absolute. The last thing she wanted on her walls was a
picture of them both on their wedding day. So she gave it to the daughter of
the aforementioned Jones who lived in
Although the picture was undisputedly
the property of the Scottish Minister the thought that it properly belonged to
the parish church rather than himself began to trouble him rather more than his
conscience should have allowed. The following year, while availing himself of
the reciprocal hospitality of his English counterpart, he visited the church
and soon after bestowed the picture upon its board of trustees. It was that
body who in 1981 gifted it to the Gallery on condition that the local council
undertake certain necessary repairs that the church was unable or possibly
unwilling to finance. Its formal unveiling was marked by a gathering of local
dignitaries to which I was not invited. Well, of course, I was long gone, dead
and buried in the graveyard of the church I once painted. But at least I was
not forgotten. Even now there are still a few people who know my name. I wager
you won’t be forgetting me in a hurry.”
I tried to answer but this time the
words refused to come. Another voice boomed out from behind me causing me to
spin round in alarm. A large, middle-aged man had entered the room in the
company of one somewhat younger and of more modest proportions. Our eyes met
and he stopped in mid-sentence. Disconcerted and lost for something to say I
turned back towards the artist but he was no more to be seen.
The spell broken and myself in need of
a chair to sit upon I hastily made my way to the cafe where I held tightly to
the self-service bar until I managed to order and pay for the pot roast. The
lady at the till asked if I was alright and when I said I was she bid me take a
seat; my meal, when ready, would be brought over to me. I needed no second
bidding and sat down at the nearest table. It was my first meeting with a ghost
and although he had obviously meant me no harm the encounter left me both
bewildered and shaken.
The lady on the till briefly abandoned
her post to bring me my lunch. “Are you sure you’re alright?”
My querulous expression was changing
for the worse. The ghostly encounter was not yet done. The faint but
unmistakable sound of his voice was growing louder, drawing ever closer,
a goodbye said, then silence as the
artist entered the cafe. The till lady acknowledged his presence with a wave of
her hand.
“Can you see him too?” I spluttered.
“What, Mr Pettegrew?” she asked,
looking at me with renewed concern. “Yes, he’s an actor pretending to be one of the artists in the
exhibition. Surprised you didn’t meet him on your way through. He’s proving
quite an attraction, especially with the kiddies. At least, that’s what most
people think. Now, if you’re sure you’re OK I better get back to the till. The
sticky pudding’s very tasty if you fancy a dessert.”
I did not have dessert. Having by now
attracted the unwanted attention of the cafe’s patrons I was only too ready to
make my escape. Needless to say, I departed the gallery in a very different mood
to the one in which I arrived. How I was taken in by a theatrical performance
when no one else had been, I am at a loss to explain. On reflection, the embarrassment
I felt was no more than I deserved. No critic is more worthy than the poor
artist he despises. I have since done my penance, making a thorough study of
the county’s lesser-known talents. They are an interesting bunch, much
deserving of the book I am planning to write. If any have become ghosts I look
forward to meeting them.
Copyright Richard Banks