Coast with Tank Traps. Courtesy of Sam Huby
       
     
The Cityscape Paintings
       
     
 Coast. After Desiderio
       
     
 Reichtag 1945. Courtesy of Sam Huby
       
     
 Fortress. Courtesy of Sam Huby
       
     
 Blitz  There is a small picture in the National Gallery in London entitled the Legend of Saint Augustine: a haunted shoreline with classical ruins. This picture affected a number of my own paintings.   At one point I made a biggish model from c
       
     
 Exploding Car. Courtesy of Meg Huby
       
     
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 Coast with Tank Traps. Courtesy of Sam Huby
       
     

Coast with Tank Traps. Courtesy of Sam Huby

The Cityscape Paintings
       
     
The Cityscape Paintings

Coast. After Desiderio. Courtesy of Clare Cook.

I was born in the city of Hull in 1946, a year after the ending of the Second World War. The city had been heavily bombed and as small children we played on bomb sites. Sometime in my twenties I began to make images of buildings, often damaged or partly destroyed: etchings, drawings, paintings. I did a longish series of paintings of the Reichtag building in Berlin as it was in 1945, and another set of images based on old news photographs of Luftwaffe night raids on the city of Sheffield.

 Coast. After Desiderio
       
     

Coast. After Desiderio

 Reichtag 1945. Courtesy of Sam Huby
       
     

Reichtag 1945. Courtesy of Sam Huby

 Fortress. Courtesy of Sam Huby
       
     

Fortress. Courtesy of Sam Huby

 Blitz  There is a small picture in the National Gallery in London entitled the Legend of Saint Augustine: a haunted shoreline with classical ruins. This picture affected a number of my own paintings.   At one point I made a biggish model from c
       
     

Blitz

There is a small picture in the National Gallery in London entitled the Legend of Saint Augustine: a haunted shoreline with classical ruins. This picture affected a number of my own paintings. 

At one point I made a biggish model from cardboard of ruined tenements by the sea which I lit variously with an electric lamp and used as a reference for other, increasingly large, paintings.

For twenty years I continued to make images of this wasteland and then I stopped.

 Exploding Car. Courtesy of Meg Huby
       
     

Exploding Car. Courtesy of Meg Huby

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