Kurt Jackson: A Prehistoric Landscape

A Prehistoric Cornwall

Kurt Jackson

A Prehistoric Cornwall

for Caroline

KU R T J AC K S O N Editions  2020

K u r t J ack s o n

A Prehistoric Cornwall

If I walk from my front door and follow the lane up onto the moor, the downs, I can be walking amongst a ring of uprights, the local stone circle, within 10 minutes.

These few dozen megaliths have somehow

dark moor. And then all around this one ancient

remained standing here in this corner of heathland

site are many others tucked away or prominent on

despite being squeezed between the pressures of

hilltops and valley sides – the quoits and standing

modernity and progress and the suspicions of the

stones, the burial mounds and holed stones,

pious. They have dodged the tinners’ diggings,

inscribed stones and fortifications, let alone entire

enclosure, the potato field ploughing, waste

field systems and prehistoric hedges and even the

dumps, the commoners’ rights to peat and grazing

trackways linking these locations. All are part of a

and furze cutting, the moorland fires and even the

landscape that was apparently ritualised, ceremo-

overzealous attempts of preservation by amateur

nial, interpretable and meaningful.

archaeologists and do-gooders. For over 4000 years

The people of Neolithic, Bronze Age and Iron

this stone circle has sat here in its slightly drunken

Age Cornwall were intimate in their attachment to

leaning arrangement; charming, scary, romantic,

this country and left behind the many signs of this

meaningful or just ‘ancient’ depending on the visi-

connection littering the land. The sense of mystery

tor’s baggage and view point.

that wraps these relics remains. We don't under-

Now the destination of residents, tourists, walk-

stand the old lore and can never hope to really

ers, neo-pagans and archaeologists, they have

translate the signs and information but these places

been re-appraised and are seen as part of a whole

add another layer to the land, one of interest and

complex of prehistoric monuments, valuable in their

beauty as well as puzzlement. They have a resonance

own right but representative of a wide cultural

and are places of reflection.

past, a link to the distant pre-Christian history, a

As I work within and amongst these sites they

relic from pagan times. They are a piece of Cornish

accompany me and people my images. Many are

heritage. Fundamentally they are architecturally,

familiar, almost neighbours, reference points and

archaeologically and aesthetically beautiful, this

destinations.

circle in the landscape, this focal point pale on the

The standing stone sentinel on a skyline; a dark

3

Port Quin to the Rumps, sharp light. 2019 mixed media on canvas, 92 × 92 cm

vertical line drawn up to link Earth to sky, a simple mark that makes or breaks a composition. A stone circle silhouetted like the tines of a fork combs the cloudscape down into the moorland of furze and heather; cattle themselves resembling misshapen

as the eye, the hand or feet follow the features the mind also wanders, trying to find meaning and explanation

menhirs stand amongst the stones glowing red and white in the rays of the sinking sun. A burial mound raises itself in the corner of a field, less kempt than the mown surroundings, the dome of thistles and knapweed giving its presence away. The mush-

I have read the guidebooks, the archaeology and

by the inclusion in parts of the Area of Outstanding

room-shaped capstone of a quoit sits like a table top

even some new age ramblings but despite the many

Natural Beauty [AONB]. The AONB has been cele-

on stone legs, solid and squat, hunkered down but

theories and beliefs, most of these sites remain

brating its own existence, its own anniversary, and

prominent. The cliff castle on the headland of

shrouded in confusion and contradiction, their

reappraising these places with The Cornwall Area

granite is now vacant and only resident to the

original intended use and re-use lost in a past

of Outstanding Natural Beauty Partnership’s

seabirds and winds, the vague ramparts the only

unwritten and unvocalised. I think it is good and

Monumental Improvement project. Many sites

signs of previous use.

healthy to have places that keep their secrets to

have been neglected, ignored or even forgotten

These are extraordinary places to visit, to draw

themselves, leaving it to our imagination to people

and now are being checked and surveyed and, where

and paint, often sculptural in form and as the eye,

them and interpret them, to find our own narratives.

needed, remedial work is being carried out.

the hand or feet follow the features, the mind also

Many of these 'ancient sites' sit within a landscape

wanders, trying to find meaning and explanation.

recognised as important and as a result are protected

4

This exhibition is timely in its documentation, celebration and flagging up of these special places.

5

The Monumental Improvement project

both images © Cornwall and Isles of Scilly Historic Environment Record, Cornwall Council 2019

Scheduled monuments are an important and

Environment, Fisheries and Food, the Cornwall

also local landowners. These include Castle Dore,

people's lives and communities. You can find out

Historic england is the public body for the

We are very proud and thankful for our

integral part of both the Cornish landscape as well

Archaeological Society and the National Trust, plus

made famous by the music of Richard Wagner

more on our website or follow us on Facebook and

historic environment. We help people care for,

Monumental Improvement Project to feature

as it's culture. The Cornwall Area of Outstanding

the in kind support of our community group and

and Cornish writer Daphne du Maurier,

Instagram to join us on this journey, as in partner-

enjoy and celebrate England’s spectacular historic

alongside Kurt Jackson’s exhibition A Prehistoric

Natural Beauty Partnership, consisting of 22 organi-

education partners from across Cornwall, we are now

ship we take these sites from a state of decline and

environment. Cornwall’s heritage is cherished by

Cornwall at the Jackson Foundation, St Just for the

sations working together to protect and enhance

undertaking detailed survey work with the support

obscurity to one of stability and being valued for

people across the world for its beauty, for the awe

Development stage of the project.

Cornwall's finest landscapes, has developed a

of the Cornwall Archaeological Unit on these sites.

The sites span over 4,000 years of Cornish history

project to stabilise scheduled monuments at risk of loss or which are vulnerable to loss.

There are 140 such sites across the AONB from

and include:

the special places they indeed are.

Rame Head section of the AONB, owned by our community partner the Rame Conservation Trust, neolithic and bronze age settlements, stone

•

we have visited and prioritised 40 of these sites as part of our Monumental Improvement project.

paintings.

communities and supporting the economy. We are

also from a lack of awareness and understanding.

Cornwall Area of Outstanding Natural Beauty

proud to support The Monumental Improvement

Through Kurt’s breath-taking landscape paintings

(AONB) Project Development Officer

this will be turned around. The Jackson Foundation

with the support of volunteers, school groups,

team’s time on preparing for and running the show

our visitors to appreciate and understand them

local trusts and heritage professionals.

is also an important source of in kind matching fun­

on Bodmin Moor and the Lizard,

will offer opportunities for training, education, recreation and mental wellbeing. It will also firmly

Heritage Fund, Historic England, the Cornwall

the Lizard and the North and South coasts, many

re-establish these sites in the consciousness of local

Heritage Trust, Cornwall Council, the Department of

owned by our partner the National Trust and

people and our visitors, re-integrating them into

6

Chris Coldwell

Project to conserve 40 vulnerable historic sites

Our project will not only protect these sites for

through a programme of events and activities that

the iconic Iron Age hillforts and cliff castles of

Many of the 40 scheduled monuments within the project suffer from being both at risk of loss but

future generations, it will enable local people and

circles and burial mounds in West Penwith, •

and fascination it inspires, and for the benefits it brings – from enriching our lives, connecting

A number of them feature in Kurt Jackson's

the defensive fortifications at Maker Heights in the

together in partnership with 79 organisations,

Thanks to funding from the National Lottery

pens at St Agnes and Perranporth.

•

Hartland to Rame and down to the Lizard. Working community groups and agencies across this area,

modern features including world war 2 fighter

•

Liz Clare

Public Engagement Manager South West, Historic England

ding alongside our cash funders the National Lottery Heritage Fund, Historic England, Cornwall Council, Cornwall Heritage Trust and the National Trust.

Gill Pipkin

Chairperson, Cornwall AONB Partnership

7

Chynhalls Point, herons screech. 2018 mixed media on museum board, 60 × 60 cm

On ‘Castle’

I walk out towards the cliff and then keep heading

those times. There have been finds of beautifully

unusual warmth has brought out a lone butterfly,

seawards towards the last final craggy outcrop. It

polished hand axes here, made from the local

a peacock dragged briefly out of hibernation to

grows on approach to become an elongated spine

greenstone and these have also been found a way

inspect me and my painting, with a few lazy ochre-

of rock, a small headland protruding from the cliffs,

from here suggesting that this was a factory for

brown flies for company. They clamber over my

a rocky promontory jutting out into the Atlantic.

these ritual tools that were treasured and carried

paint like welly clad walkers who find themselves

away. Was that what it was all about?

wading knee deep in a bog, slow and laborious on

Between two large bulky boulders I follow a path out onto the backbone with steep vertical falls on either side. Below me, lower down, on

that big sea; it’s hard to believe that people lived

more level shoulders, are a series of ramparts lined

here, that it was someone’s home.

up – the defences of this place, because I am stand-

The stone bones show themselves with a thin

heavy legs.

Out here I have seen butterfly jewels, fritillaries and blues alighted on kidney vetch and sea aster, I have swum off the rocks and watched the fishermen

ing out on a cliff castle – an Iron Age promontory

crust of soil and vegetation barely coating them.

land huge tropical coloured cuckoo wrasse. This

fort. I have been painting a series of these places up

Vivid yellow, grey and white lichen decorates every

can be a place of seasonal contrast and surprise, at

and down the coast, the length of Cornwall.

surface with thrift, sea campion, stonecrop, and

times exotic but also quick to revert back to a place

buck’s horn plantain clinging between. This place is

of mystery and isolation.

Each rampart is the ruined tumbled down remains of a tall dry stone wall – now just lines of

scantily clad. A few wild carrot stalks, pale and dry,

piled rubble, still impressive structures in their own

dare to lift themselves, poking upwards but mostly

cosy living room, staring into the fire’s flames and

right but they were massive amounts of rock to

everything is hunkered down close to the ground,

burning sticks, the firelight and chimney draw

have moved. How long must it have taken for this

buffeted and pressed against the earth.

sends the mind wandering back a mile away out

small population to construct? How many man

Gulls drift past and the choughs and oystercatch-

Later, back in front of the fire in the evening’s

onto that cliff, remembering the birds’ cries and

hours (and women’s and kids’) – the toil and labour

ers call through and above the monotony of the

that primeval place. Who was it that kindled their

with simple crude tools and bare hands - the bad

sea's continual murmur and whisper. Was this how

fires out there? Near neighbours but an eon away;

backs? It smacks of desperation; determination,

it was then? Just this empty ocean on three sides

centuries, cultures apart, nothing much in common;

that drive and zeal – the need for such a task – was

and the heavy rock behind and beneath, a place of

would be strangers. But maybe the attachment to

it fear or religion that drove them? The few hut cir-

absence, forlorn and brooding.

this bit of land and sea, and intimate association

cles found here show the position of the inhabit-

8

Now it’s a place for just the winds, the birds and

Today the winter has been interrupted by unsea-

earned by time spent and invested in the watching

ants’ tiny homes – simple abodes nestled into the

sonal warmth; tranquil and still, the sea is blue but

and feeling and living on these few square miles,

side of the headland. Was it a retreat, a sanctuary, a

still lively with her froth and foam all around. More

that is something we share(d).

place of siege, defence or trade and hunting? Was

often this is a place blasted by the full force of the

it seasonal, ritualised or one desperate period?

elements, scoured and lashed by the sea and rain,

Such a barren and desolate spot now but maybe it

no shelter, fully exposed. Yesterday this was the

This is an extract from 'The Sea , Kurt Jackson'

was a place of bounty then, a larder of plenty, in

case and tomorrow will probably be the same. The

to be published in 2021 by Lund Humphries

9

Cattle and stone circle, Stannon. 2018 mixed media on museum board, 49 × 49 cm

Stannon Upon the crest of this bare hill A crest of stone teeth Megalithic tines Comb the currents The breeze The moorland winds A careless upended rake For a careless foot Left from predated times (maybe) Years named from natural events No numerals Just weather Sun, moon Birth, death Around this wonky circle Set to snare the unknown.

When the skies were clear And trees grew here July 2018

10

11

Kenidjack holed stone. 2019 mixed media on museum board, 26 × 25 cm

12

Men-an-Tol, raven cronk. 2018 mixed media on museum board, 21 × 20 cm

Trye Menhir and its vessel. 2019 pencil on paper, mixed media on board each 22 × 18 cm

13

Blackbird sings in the pouring rain. Wet Trethevy, 2019, mixed media on museum board, 26× 25 cm

14

Three Brothers of Crugith Quoit. 2018, mixed media on canvas board, 61 × 61 cm

15

Winter solstice Tregeseal Stone Circle. 2017 mixed media on museum board, 26 × 30 cm

16

Tregeseal Stone Circle, the snow is thawing, the paint is freezing. 2017 mixed media on paper, 23 × 26 cm

17

Nine Maidens. 2018 mixed media on museum board, 20 × 31 cm

18

Boskednan, wind blasted. 2018, mixed media on wood panel, 60 × 60 cm

19

Farm tip and stone circle. 2017 mixed media and collage on museum board, 22 × 23 cm

20

Farmers dump and stone circle, Tregeseal. 2017, mixed media on paper, 57 × 60 cm

21

Trippet Stones in the gorse. 2018 mixed media on wood panel, 60 × 60 cm

22

Boswens Standing Stone and pony. 2018 mixed media on museum board, 17 × 20 cm

23

One snipe, one song thrush, a flock of starlings, autumn sunshine and a breeze on my back. 2014 mixed media on linen, 186 × 275 cm

24

25

Brea Hill and its tumuli over the Camel. 2019 mixed media on museum board, 13 × 21 cm

Brea Winding up this hot, hard hill Against the Atlantic gales’ push And away from gravity’s pull This last hummock Or maybe the first Swatting the horseflies’ nibble Blown from the ponies Knee-deep in bramble Gorse, heather and bracken A granite stumble To the foot of that top teat The nipple of this pap The bump on the peak A summit cairn Chosen for this tumulus A scenic burial chamber’s carn For the distant views Of ocean and headlands Fields, farms and islands.

July 2018

26

27

Higher Tregeseal burial chamber, St Just 2017 mixed media on museum board, 42 × 42 cm

28

Showery Tor enclosure, Roughtor. 2018 mixed media on museum board, 23 × 22 cm

29

Tumulus with a canon sticking out of it. 2019 mixed media on museum board, 25 × 25 cm

30

First day of Spring, Ballowall Barrow. 2020 mixed media on paper, 43 × 60 cm

31

Late sunlight on the tumulus bracken, Warren’s Barrow, Carland Cross. 2020 mixed media on museum board, 40 × 40 cm

32

A30 traffic between two of the Four Burrows. 2019 mixed media on museum board, 41 × 45 cm

33

Skyline of bronze age burials, Harlyn Bay tumuli. 2019 mixed media on canvas board, 51 × 61 cm

34

Gold lunula from Harlyn Bay. 2013 mixed media on museum board, 21 × 21 cm

35

Round. 2019 bramble, wool, horse hair, feathers, reed and barbed wire, 30 × 34 cm

36

The Hurlers’ circles. 2019 reeds, wool, feathers and wood, 29 × 28 cm

Tumulus field. 2019 wool, horse hair, feathers, reeds and barbed wire, 30 × 36 cm

Dodman. 2018 driftwood, copper, shells and gold leaf, 32 × 41 cm

37

Caer Bran. 2020 bronze and found objects, 22 × 21 cm

The Dodman. 2019 mixed media, oil and collage on canvas, 92 × 92 cm

38

39

Evening from the Dodman. 2020 mixed media on museum board, 22 × 22 cm

40

The Bulwark, Dodman. 2019 mixed media on museum board, 21 × 21 cm

41

The Dodman, gales. 2019 mixed media on museum board, 16 × 31 cm

42

Dodman, rock pipit tweet. 2017, mixed media and collage on canvas board, 61 × 61 cm

43

Tumulus of nodding foxgloves. 2019 mixed media on museum board, 20 × 22 cm

Barrow At the cross paths Trod into the turf by mazied feet Unknown invisible generations Going somewhere, nowhere A windblown desolate place Sombre and earthen With common sticks of ling And shattered granite Here the hillock sits quiet With its cyst and kerbs Above the heathered heath and furze A place where dark birds fly Across the moor, on the wind With lark and buzzard Muted trill and mew Plaintive, resonant Where thoughts hang in the air Why here?

Who, when, and?

What stories are buried In that stone box?

With the adders and voles Under the crest of nodding foxgloves Sage like The keepers of this hidden history

44

45

Lescudjack hill fort morning sunlight above Penzance. 2019 mixed media on museum board, 22 × 26 cm

46

Lesingey rooks and gulls. Across an old brassica field up to the hill fort. 2019, mixed media on paper, 57 × 62 cm

47

Dusk on the rim of Caer Bran Hill Fort. 2019 mixed media on museum board, 40 × 40 cm

Trencrom Hill Fort. 2020 oil on canvas, 84 × 94 cm

48

49

settlement. 2019, mixed media on paper, 57 × 60 cm

50

Dusk, settlement. 2019 mixed media on museum board, 23 × 21 cm

51

St Dennis Church. 2010 mixed media on museum board, 22 × 22 cm

52

Hut circles and field systems, Roughtor. 2018, mixed media on canvas board, 51 × 61 cm

53

Over the rampart to Mount’s Bay, Castle Pencaire. 2019, mixed media on museum board, 52 × 52 cm

54

Across Port Isaac Bay to the Rumps. 2019, mixed media on canvas board, 61 × 61 cm

55

All is swell and aglitter towards the Rumps. 2020 mixed media on canvas 92 × 92 cm

Rumps force 9. 2020 mixed media on linen, 150 × 96 cm

56

57

Black Head Fort, cliff castle. 2020 mixed media on paper, 57 × 60 cm

Black Head This is no pimple on the nose But rather the nose itself Jutting out from the cliff face Rain-washed with run off and drizzle Saturated sea worn slate Every colour but black With rusting bracken Dry grass of hairy hay hues A rosy complexion Flushed with the wet Even the blackthorn crown Is damson dark mauve Its pelt of dripping spikes Piercing and scratching The belly of the winds Cold above Jan 2020

58

59

Dennis Head cliff castle, Gillan. 2018 mixed media on museum board, 16 × 22 cm

60

King Arthur’s Castle, Port Isaac’s Bay. 2019 mixed media on museum board, 23 × 23 cm

61

Three cliff castles, three promontory forts. 2019 mixed media on museum board, 22 × 23 cm

62

From one fort to another. 2019 mixed media on museum board, 21 × 23 cm

63

Coast path walker, Crane Castle, Portreath. 2019, mixed media on paper, 57 × 60 cm

64

Dennis Head Fort, Gillan. 2018, mixed media on canvas board, 51 × 61 cm

65

Warmth of May, Gurnards Head. 2011 mixed media on paper, 37 × 51 cm

66

Treryn Dinas, choughs flying backwards. 2019 mixed media and collage on museum board, 42 × 42 cm

67

Backdrop of an iron age cliff castle, Holywell Beach. 2020 mixed media on museum board, 40 × 40 cm

68

Holywell Beach iron age cliff castle. 2020, mixed media on paper, 57 × 60 cm

69

Through the rain to Dinas Head, across Constantine Bay. 2020, mixed media on paper, 56 × 60 cm

70

Two bottling seals, Lankidden Fort. 2019, mixed media on canvas board, 61 × 61 cm

71

Kurt Jackson

been published by Lund Humphries depicting his career so far; A New Genre of Landscape Painting

A dedicated environmentalist and true polymath, Jackson’s holistic approach to his subject seamlessly blends art and politics providing a springboard to create a hugely varied body of work unconstrained by format or scale.

Jackson’s artistic practice ranges from his trademark visceral plein-air sessions to studio work and embraces an extensive range of materials and techniques including mixed media, large canvases, print-making and sculpture.

before putting down roots in Cornwall with his

Jackson was born in Blandford, Dorset in 1961, the son of artists. While studying Zoology at Oxford University he spent most of his time painting and attending courses at Ruskin College of Art. On gaining his degree he travelled extensively and independently, painting wherever he went

the Eden Project and, for nearly 20 years, at the Glastonbury Festival, which has become a staple of his annual working calendar.

Over the past thirty years Jackson has had numerous art publications released to accompany his exhibitions. Four mono­graphs on Jackson have

72

wife Caroline in 1984.

Jackson’s focus on the complexity, diver­sity and fragility of the natural world has led to artistin-residencies on the Green­peace ship Esperanza,

(2010), Sketchbooks (2012), A Kurt Jackson Bestiary (2015) and Kurt Jackson’s Botanical Landscape (2019). A book published by Sansom & Company, based on his touring exhibition ‘Place’, was released in 2014.

Jackson regularly contributes to radio and television, presents environmentally informed art documentaries for the BBC and was the subject for an award-winning BBC documentary, ‘A Picture of Britain’.

He has an Honorary Doctorate (DLitt) from Exeter University and is an Honorary Fellow of St Peter’s College, Oxford University. He is an ambas­sador for Survival International and frequently works with Greenpeace, WaterAid, Oxfam and Cornwall Wildlife Trust. He is a patron of human rights charity Prisoners of Conscience.

He is represented by Messum’s in Cork Street, London and is an academician at the Royal West of England Academy.

Kurt Jackson and his wife Caroline live and work in the most-westerly town in Britain, St Justin-Penwith where in 2015 they set up the Jackson Foundation. They have three grown children and seven young grandchildren.

JacksonFoundation North Row | St Just | tr17 7lb info@kurtjackson.com jacksonfoundationgallery.com

+44 (0) 1736 787638

f jacksonfoundation @jacksonfgallery @jacksonfgallery

front cover Poppy field and an iron age fort one early evening. 2019 mixed media on museum board, 22 × 24 cm

First published in 2020 for the exhibition A Prehistoric Cornwall Published by Kurt Jackson Editions in 2020 www.kurtjackson.com i s bn 978-1-9995829-7-5 Publication copyright Kurt and Caroline Jackson Ltd All images, words and poetry copyright Kurt Jackson 2020 Portrait photography copyright Caroline Jackson 2020 Art Photography by Fynn Tucker and PH Media Design by Lyn Davies www.lyndaviesdesign.com Printed by Park Lane Press, Corsham, on fsc® certified paper, using fully sustainable, vegetable oil-based inks, power from 100% renewable resources and waterless printing technology.

Print production systems registered to iso 14001, iso 9001 and over 97% of waste is recycled.

KU R T J AC K S O N Editions 2020

Jackson Foundation

k u r t j a c k s o n page

title / media

A Prehistoric Cornwall dimensions

price

f cover Poppy field and an iron age fort one early evening. 2019

mixed media on museum board

22 × 24 cm

£4000

page 5

Port Quin to the Rumps, sharp light. 2019

mixed media on canvas

92 × 92 cm

poa

8

Chynhalls Point, herons screech. 2018

mixed media on museum board

60 × 60 cm

£8500

10

Cattle and stone circle, Stannon. 2018

mixed media on museum board

49 × 49 cm

£7000

12

Kenidjack holed stone. 2019

mixed media on museum board

26 × 25 cm

£3500

12

Men-an-Tol, raven cronk. 2018

mixed media on museum board

21 × 20 cm

£3500

13

Trye Menhir and its vessel. 2019

pencil on paper, mxd media on board each 22 × 18 cm

£4250

14

Blackbird sings in the pouring rain. Wet Trethevy. 2019

mixed media on museum board

15

Three Brothers of Crugith Quoit. 2018

mixed media on canvas board

26 × 25 cm

£4000

61 × 61 cm

£8500

26 × 30 cm

£4500

price list

page

title / media

dimensions

28

Higher Tregeseal burial chamber, St Just 2017

mixed media on museum board

29

Showery Tor enclosure, Roughtor. 2018

mixed media on museum board

30

Tumulus with a canon sticking out of it. 2019

mixed media on museum board

31

First day of Spring, Ballowall Barrow. 2020

mixed media on paper

32

Late sunlight on the tumulus bracken, Warren’s Barrow etc. 2020

mixed media on museum board

33

A30 traffic between two of the Four Burrows. 2019

mixed media on museum board

34

Skyline of bronze age burials, Harlyn Bay tumuli. 2019

mixed media on canvas board

35

Gold lunula from Harlyn Bay. 2013

mixed media on museum board

36

Round. 2019

bramble, wool, horse hair, feathers etc

36

The Hurlers’ circles. 2019

reeds, wool, feathers and wood

37

Tumulus field. 2019

wool, horse hair, feathers, reeds etc

37

Dodman. 2018

driftwood, copper, shells and gold leaf

38

Caer Bran. 2020

bronze and found objects

39

The Dodman. 2019

mixed media, oil and collage on canvas

40

Evening from the Dodman. 2020

mixed media on museum board

41

The Bulwark, Dodman. 2019

mixed media on museum board

42

The Dodman, gales. 2019

mixed media on museum board

42 × 42 cm

£6000

23 × 22 cm

£3500

25 × 25 cm

£4000

43 × 60 cm

£7000

40 × 40 cm

41 × 45 cm

21 × 21 cm

£3500

30 × 34 cm

£4500

29 × 28 cm

£4000

30 × 36 cm

£4500

32 × 41 cm

£4500

22 × 21 cm

£4500

92 × 92 cm

poa

22 × 22 cm

£3500

21 × 21 cm

£3500

16 × 31 cm

£4000

£8500

Winter solstice Tregeseal Stone Circle. 2017 mixed media on museum board

17

Tregeseal Stone Circle, the snow is thawing etc. 2017

mixed media on paper

18

Nine Maidens. 2018

mixed media on museum board

19

Boskednan, wind blasted. 2018

mixed media on wood panel

20

Farm tip and stone circle. 2017

mixed media & collage on museum board 22 × 23 cm

21

Farmers dump and stone circle, Tregeseal. 2017

mixed media on paper

22

Trippet Stones in the gorse. 2018

mixed media on wood panel

23

Boswens Standing Stone and pony. 2018

mixed media on museum board

24–25

One snipe, one song thrush ... starlings, autumn sunshine etc. 2014

43

Dodman, rock pipit tweet. 2017

mixed media on linen

mixed media and collage on canvas board 61 × 61 cm

45

Tumulus of nodding foxgloves. 2019

mixed media on museum board

20 × 31 cm

£4500

60 × 60 cm

£8500

£3500

57 × 60 cm

£8500

60 × 60 cm

£8500

17 × 20 cm

£3000

186 × 275 cm

27

Brea Hill and its tumuli over the Camel. 2019

mixed media on museum board

13 × 21 cm

poa

£3000

£6500

£8000

£4000

£6000

51 × 61 cm

16

23 × 26 cm

price

20 × 22 cm

£3500

JacksonFoundation North Row, St Just tr19 7lb | t 01736 787638 | e info@kurtjackson.com | w jacksonfoundationgallery.com | jacksonfoundation | @jacksonfgallery

k u r t j a c k s o n A Prehistoric Cornwall page

title / media

price list

dimensions

46

Lescudjack hill fort morning sunlight above Penzance. 2019

mixed media on museum board

47

Lesingey rooks and gulls. Across an old brassica field etc. 2019

mixed media on paper

48

Dusk on the rim of Caer Bran Hill Fort. 2019

mixed media on museum board

49

Trencrom Hill Fort. 2020

oil on canvas

50

Winter light, Porthmeor settlement. 2019

mixed media on paper

51

Dusk, settlement. 2019

mixed media on museum board

52

St Dennis Church. 2010

mixed media on museum board

53

Hut circles and field systems, Roughtor. 2018

mixed media on canvas board

54

Over the rampart to Mount’s Bay, Castle Pencaire. 2019

mixed media on museum board

55

Across Port Isaac Bay to the Rumps. 2019

mixed media on canvas board

56

All is swell and aglitter towards the Rumps. 2020

mixed media on canvas

57

Rumps force 9. 2020

mixed media on linen

58

Black Head Fort, cliff castle. 2020

mixed media on paper

22 × 26 cm

continued price

£4000

57 × 62 cm

£8500

40 × 40 cm

£6000

84 × 94 cm

poa

57 × 60 cm

£8500

23 × 21 cm

£3500

22 × 22 cm

£3500

51 × 61 cm

£8000

52 × 52 cm

£7000

61 × 61 cm

£8500

92 × 92 cm

poa

150 × 96 cm

poa

57 × 60 cm

page

title / media

dimensions

60

Dennis Head cliff castle, Gillan. 2018

mixed media on museum board

61

King Arthur’s Castle, Port Isaac’s Bay. 2019

mixed media on museum board

62

Three cliff castles, three promontory forts. 2019

mixed media on museum board

63

From one fort to another. 2019

mixed media on museum board

64

Coast path walker, Crane Castle, Portreath. 2019

mixed media on paper

65

Dennis Head Fort, Gillan. 2018

mixed media on canvas board

66

Warmth of May, Gurnards Head. 2011

mixed media on paper

67

Treryn Dinas, choughs flying backwards. 2019

mixed media & collage on museum board 42 × 42 cm

68

Backdrop of an iron age cliff castle, Holywell Beach. 2020

mixed media on museum board

69

Holywell Beach iron age cliff castle. 2020

mixed media on paper

70

Through the rain to Dinas Head, across Constantine Bay. 2020

mixed media on paper

71

Two bottling seals, Lankidden Fort. 2019

mixed media on canvas board

price

16 × 22 cm

£3500

23 × 23 cm

£3500

22 × 23 cm

£3500

21 × 23 cm

£3500

57 × 60 cm

£8500

51 × 61 cm

£8000

37 × 51 cm

£7000

£6000

40 × 40 cm

£6000

57 × 60 cm

£8500

56 × 60 cm

£8500

61 × 61 cm

£8500

£8500

JacksonFoundation North Row, St Just tr19 7lb | t 01736 787638 | e info@kurtjackson.com | w jacksonfoundationgallery.com | jacksonfoundation | @jacksonfgallery