This view greets the walker on the summit of Challow Hill, the final height on the path across Nine Barrow Down, stretching from Ulwell to Corfe Castle.

12”x8” Fine Art Print: available on request, with mount: £95

It’d be easy to lose your bearings along the Heather Walk but the Old Harry Rocks provide a useful reference as you explore the ancient trees that separate views of Studland Bay and Little Sea

20”x16”; oil on canvas; distressed gold frame, with slip SOLD

When walking along Knoll Beach or around Studland Bay, it’s difficult to ignore Handfast Point or The Foreland, the wide chalk outcrop which separates Old Harry and his wife from the Point. It’s a focal point from the top deck of the “Purbeck Breezer” as it bounces along Ferry Road between between Swanage railway station and the Sandbanks Ferry

20”x16”; oil on canvas; distressed grey/silver frame, with slip £650

The view towards Ballard Point is often of a sparsely-populated stretch of beautiful sand: perfect for a family cricket match or a long, undisturbed snooze under a blue sky

22”x16”; oil on canvas; grey/silver frame, with slip £650

There’s evidence of pottery being made on Brownsea Island in the 5th Century but, in the middle of the eighteenth century, the island was bought by an ex-Indian Army officer, Colonel William Petrie Waugh and bigger plans were afoot. Waugh’s Branksea Clay & Pottery Company built a village called Maryland, added new church and renovated the island’s crumbling castle. It employed 200 people and built a large pottery on the south shore, with engines, brickworks and a horse-drawn tram to bring clay from the north of the island

Colonel Waugh and his wife had thought that Brownsea Island clay was highest quality china clay. Tragically, this didn’t prove to be the case. Plans for producing high quality china had to be abandoned after five years’ effort and the couple were declared bankrupt. They left England for a new life in Spain but the Colonel’s legacy of bricks, pipes and rubble lives on along the southern shore

24”x16”; oil on canvas; distressed grey/silver frame, with slip £695

This view from the coast just beyond Encombe, shows the dark scar of the Kimmeridge ledges in the distance. Beyond lies Portland

24”x16”; oil on canvas; distressed grey/silver frame, with slip £650

The ravens returned to Corfe Castle in 2003, their absence said to be a warning sign to local inhabitants of troubled times ahead. Taking flight above the ruins, they create a stirring spectacle on a fine day

20”x16” or 10”x8” fine art print, with mount, available on request £125 or £95

Passengers eagerly await the arrival of the steam train to Swanage, even on a wet summer’s day

16”x12” Oil on canvas; grey/silver gilt frame with slip £545

A blue sky reflects a hot summer’s day beneath the blasted remains of Corfe Castle, with sheep competing for the coolest spot under a tree that seems likely to have survived Cromwell’s near-destruction of Lady Bankes’ royalist stronghold

36”x24” Oil on canvas; Black wooden frame, gold slip £950

A turbulent sky and wind rippling through the fields bring to mind van Gogh's final works in the wheatfields near Auvers

(20"x16") oil on canvas; black frame - £465

According to Langton Matravers Council, the Priest’s Way follows an ancient track taken by a local medieval priest as he travelled between the churches in his care at Swanage and Worth Matravers. It passes between the quarries that provide Purbeck stone and across open fields with spectacular views both inland and out to sea along the way

Much of the land is traditionally grazed by sheep and cattle, including this lady, caught scratching an itchy chin against the rough edge of a Purbeck stone wall

Walk along Priest's Way, towards Worth Matravers and the promise of ale at the Square & Compass, sheep and a variety of breeds of cattle will watch your progress. In the distance, towards the sea, the coastguard cottages, the chapel at St Aldhelm's Head and the dry stone walls are often the only signs of civilisation in view

George Burt (1816-1894) nephew and business partner of builder and stonemason John Mowlem (1788-1868), one of Swanage’s most famous sons, bought Durlston Head in 1862, primarily as a source of limestone for his business

Burt subsequently developed Durlston as a tourist attraction and, between 1886 and ‘87, used local stone in building Durlston Castle as a folly. It served as a restaurant for visitors to the estate. Renovated in 2011, the Castle is now a centre for the arts, education and research, as well as providing sustenance to those who drive, walk or cycle out to Durlston Head

I’ve seen Bottlenose Dophins crashing through the waves below, whilst Razorbills, Guillemots, Terns, Puffins and Fulmars, Shag and Herring Gulls fill the sky, wheeling to and fro along the limestone ledges

An inquisitive member of a herd of grazing cattle on a winter's day on Round Down, just by Durlston Park. We saw her whilst on our way to a warm room and a pint at the Square & Compass, still a few miles away at Worth Matravers

Following the harvesting custom at The Square & Compass, Worth Matravers, with “The Rubber Wellies” band adding the musical accompaniment later that afternoon

Low ceilings, cosy rooms, a fossil collection and a roaring fire reward the walker after a short wait in line for a pint at the Square & Compass

Drive past The Scott Arms and the imposing St James Church in Kingston and you will find a woodland car park on the left of the road. A walk through Quarry Wood towards the sea is a wonderful experience. You’ll pass a farm where a variety of home produce (jams, pickles, fruit or vegetables of the season) will be placed on display with a pot for you to leave payment. In the distance, as seen here, the light at the end of the tree-lined tunnel promises open countryside beyond

The land at Encombe stretches down to the sea in the valley below and it has a romantic history. Only six families have owned the estate in the last 1,100 years. (With breathtaking simplicity, an estate agent, commenting on its recent sale, suggested that ”I imagine he [the new owner] is buying it for the [pheasant] shoot“)

In the sixteenth century, Encombe was owned by Robert Culliford of Devon. His family later thwarted Oliver Cromwell‘s attempt to confiscate the property by providing some men to assist the New Model Army in blowing up Corfe Castle nearby instead

South Gwyle is the stream running through Encombe valley before a waterfall discharges into the sea near Egmont Point. Beyond lies Worbarrow Tout, Lulworth and Portland Bill in the distance

Seaward beyond Encombe, the path turns left, to the east, across Houns-tout Cliff, above Chapman’s Pool and on, heading south, across Emmetts Hill to St Aldhelm’s Head. Look west and this view appears: of Egmont Point, then Rope Lake Head, with South Gwyle and the valley at Encombe in between. In the distance lies the dark outline of the Kimmeridge Ledges

Financed by Lord Eldon, St James’s Church took six years to build, primarily from local Purbeck stone, quarried and worked on the Encombe estate. Whilst completed in 1860, it didn’t become Kingston’s parish church until 1922, replacing the Old Church, which reflected the status of Kingston, since the 12th Century, as the chapelry of Corfe Castle

The Old Church still stands at the east of the village. It’s now a private dwelling but the cemetery remains, where the first Earl of Eldon and his wife are buried

The church is built in the gothic style and, sited on higher ground above the old post office, it casts a brooding presence over its surroundings. With its outsize tower, it stands out as a reference point for walkers on Nine Barrow Down and Knowle Hill

It reminds me of the church in a Van Gogh painting (at Auvers-sur-Oise, northwest of Paris). It has a similarly substantial tower and rises above the viewer and its surroundings. In my painting, my daughter Laura stood in for the peasant lady in Vincent’s beautiful work

In June, 1945, an RAF Liberator, bound for India, turned back to its airfield in the New Forest after reporting a fuel problem. Early that morning, Sir Ernest Scott, then owner of Encombe House, spotted the aircraft as it appeared over the sea, barely above the height of the land. It crashed in flames and all 27 people on board perished

In March, 1938, a Swordfish aircraft skipped over Orchard Hill farmhouse before clipping the top of the trees of Polar Wood, breaking up and killing its crew of three

On a chilly day, trees bent by the wind, grey, weeping skies overhead, the beauty and grace of the landscape can evoke indeed a more perilous scene

Speed isn’t the priority for the Swanage Railway but on a wet autumnal day, the steam train’s arrival adds to the excitement of a day trip to Corfe Castle

Walking up to the top of Godlingston Hill on the Purbeck Way from Ulwell is a deceptive climb. You think you're near the summit, only to turn a corner and find there's another few hundred metres to go. But the walker or cyclist (or horse rider) is rewarded with some wonderful views from the top of a series of hills which some call Nine Barrow Down. To the north, one can look over Arne, Brownsea Island, Poole Harbour and often miles beyond

This scene captures the view to the south from Brenscombe Hill, above Woolgarston. It's a view across the valley where the Swanage Railway runs back and forth: to Tabbit's Hill Farm, Harman's Cross, Downshay Farm, the reservoir and the quarries beyond Downshay Wood and out to the sea at St Aldhelm's Head. A raw wind can sometimes bring a tear to the eye but, with just a few sheep and cows for company, it's a wonderful feeling up there

It was one of those stunning bright winter days and this group looked at us as if we were uninvited guests. They had such full coats that it was difficult to see where one sheep ended and another began! Sonia suggested the title should be “Here come the girls” but my choice is the less imaginative “By Nine Barrow Down”. Both seem very apt

Look south from the top of Nine Barrow Down, just west of Giant’s Grave, and you’ll see across the valley which traces the path of the Swanage railway, from its base by the seaside, through Harman’s Cross and on to Corfe Castle and Norden

Knitson Farm lies below, where, like many others, I put a tent up several years ago for my first holiday in Purbeck

Challow Hill lies at the western end of Nine Barrow Down, where Corfe Castle breaks the passage of the Purbeck Hills towards the sea at Worbarrow Bay

During a westward journey along the Purbeck Way, it's where the real stature of Corfe Castle begins to impress. Your arrival here is often greeted by a herd of inquisitive sheep or cattle. Seemingly impervious to an occasionally raw wind, their nonchalant cropping of the coarse grass adds an improbable air of peacefulness above the Castle’s blasted remains

Walking along the top of Nine Barrow Down from Ulwell, six miles or so later and Corfe Castle appears, with Knowle Hill beyond. It suggests the prospect of a drink or two, clearly merited after decent hike, and the possibility of catching the steam train back to Swanage

Drive or cycle along the road from Studland to Corfe Castle, head past the fork down to Ulwell and Swanage beyond and you’ll pass the golf club once owned by Enid Blyton. A second chance to turn left towards the sea front will appear and then, in the spring, some curious heads will peer at you from above.

Partly hidden by a hedgerow of brambles, spring plants (red campion, water-dropwort, hogweed, beech ferns plus the odd daffodil?) and there, looking down from their elevated idyll on the north flank of Godlingston Hill, are some of this year’s offspring from Currendon Farm, like young Tom

Leaving Ulwell and climbing to the top of Godlingston Hill, the walker can enjoy some wonderful views from the top of Nine Barrow Down. To the north one can see Arne, Brownsea Island, Poole Harbour and often miles beyond. To the south, the views are of Langton Matravers, Acton and Harmans Cross towards St Aldhelm's Head and the sea. Arriving at Challow Hill, a view of the Castle brings the promise of refreshment in the village below

It's said that Ravens have always lived at Corfe Castle and many believed that a disaster would occur if ever they left. According to local legend, that actually happened in 1638 and, during the Civil War only five years later, Corfe was besieged by Oliver Cromwell's men, leaving the Castle ruined after an unimaginable three-year ordeal

Miraculously, the ravens came back again in 2003 and it seems they are again happily settled. In early spring, they can transform a brilliant blue Purbeck sky into something quite extraordinary

On a hot summer’s day, sheep find shelter under a tree that, even now, seems blasted by Cromwell’s men laying siege to the fortress above

Preparing for Launch

Duncan Youngs is sitting in the forward starboard (right hand) seat in the wheelhouse, preparing for the mission by interrogating the radar systems display and assessing its impact on the Exercise ahead. Behind him, in the coxswain’s seat, Roydon Woodford checks the radio and intercom functions through controls contained within his armrest. 

This haven is called the “wheelhouse” but the helm doesn’t grip a wheel, straining against surging waves and wrestling the craft through an uncompromisingly rough sea. Here, in the front portside seat, a touch on the joystick is enough to steer the George Thomas Lacy, even though this Shannon Class vessel weighs 18 tonnes and, when required, can accommodate 79 survivors. There is a second, more conventional steering position on top of the wheelhouse. This does incorporate a wheel, although, like the joystick, this is also digitally-controlled. Its position, affording an elevated 360-degree view in the open air, is useful when visibility is unimpaired and close manoeuvring is required.

Training night in January. A full moon and freezing weather. Someone has to oil every single wheel on the slipway to ensure a smooth launch and retrieval. This is a training night but it’s no different to a call-out launch. A “shout”.

Launching the vessel, an 18 tonne Shannon Class (shown here) with six crew on board or the smaller D class inflatable Inshore Lifeboat with a crew of three or four, down a slope into a black sea that might not even be visible from the boat house is a serious business. Especially when every second counts. The smallest oversight or unforeseen event can be catastrophic. Even before the boat has hit the water.

The Swanage Lifeboat has a range of 250 nautical miles and missions can last for three hours or more. The sentiments of returning crew members have been captured by various forms of news media but the Station’s onshore team will be fully alert to the risks posed by possible crew fatigue and some form of emotional disturbance as the vessel is winched back up the slipway, inspected, antennae lowered and stowed back into the Station slowly and safely.

Lucie Aggas is one of three family members of the 2025 Swanage Lifeboat Station team. She doesn’t have three right hands as shown in this painting but she accepts that it could be useful, even though Lucie is a consummate multi-tasker.

As an RNLI Launch Authority, she is responsible for authorising the launch of lifeboats during rescue operations and decides which boat - or boats – to assign to the mission, ensuring that the crew are in position, briefed and prepared. The LA is the sole point of contact with the coastguard, continuing to relay information to the lifeboat crew at sea, responding to any developments or changes during the operation.

All this requires several tasks to be executed quickly, some of which will be updated, amended or cancelled in very short order. Observing her for a few minutes involved seeing Lucie writing, filing, reading typewritten and handwritten messages, consulting three computer screens and communicating via two mobile devices and two fixed line telephones. Plus speaking to colleagues who popped their heads around her door. All in a calm, respectful and reassuringly authoritative manner.

Like a number of fellow crew members, Gavin Steeden and his brother Matt  come from a family of those who have served the Swanage Lifeboat Station. In Gavin and Matt’s case, the line extends to both their father and grandfather. Growing up with the expectation that one day, they would volunteer to become part of the service.

Gavin has featured in news media on a number of occasions. Understandably, most of these show him in action in or immediately after a serious incident at sea. He looks stressed, fatigued, relieved, exhilarated, pensive. When asked if he is ever scared, Gavin stressed that he had “confidence in the kit and the guys around me” to overcome almost anything.

This painting shows a genuine sense of joy and of belonging during a pause at the end of a training mission on the aft deck of the George Thomas Lacy. It proved infectious to the crew members around him but all remained attentive, serious and focused on the job in hand. As well as clearly thoroughly enjoying each other’s company.    

Steve and his son, Felix, are two of several volunteers who work alongside members of their family as part of the Station team. Both work locally - Felix is a yacht and boat designer and builder. Steve has taken working on the sea a step further. Among other things, he is a member of a long-established and respected group that maintain the custom of singing sea shanties, entertaining communities in pubs and village halls across the Purbecks.

Shanties are songs that sailors would sing together whilst working. Their main purpose was to develop the kind of rhythm essential in executing physical tasks in unison, like hauling in sheets, rowing, launching from a beach, pulling up anchor. For today’s listeners, their lyrics may appear arcane or even no longer suitable for modern sensibilities. But they recall a centuries-old history of working with the sea and the lives, deaths, loves and adventures of those involved.

To me, they convey an awareness of the fragility of life and the yearning to live it to the full.

Starting as a stream from high in the fells at Esk Hause and fortified by numerous becks on its descent, the River Esk reaches its fullest potential here at the foot of Hardknott Pass. It continues its journey to the sea through woods of Cumbrian oak , watched over by the brooding presence of Scafell Pike

24”x16” Oil on canvas Distressed grey/silver frame - £525

The view from the Three Shires in Little Langdale. The view appeared similar to those celebrated by the work of Welshman Kyffin Williams. rendered in oil paint using palette knife

12”x10” Oil on “Purbeck Press” canvas paper; limewashed framed, with mount and glass - £425

A shaft on sunlight illuminates a lone sheep returning to the flock beneath the heights of Rannerdale Knots above Buttermere

20”x16” Oil on canvas Unframed - £295

For today’s visitors, the rear of the Palace is called the East Front. Added over 150 years after Henry VIII’s demise by William III and Queen Mary, its southern wing accommodates the Kings chambers, designed by Christopher Wren. Turn right on passing through the East entrance and the Broad Walk leads towards the Thames, with a wall separating the gravel path from the Royal Gardens. Looking back, this view of William’s living quarters appears above a profusion of the exotic and native shrubs and flowers

(30”x20”) oil on canvas; distressed gold frame - £795

The Privy Garden stretches out between William III’s Royal apartments and the River Thames. Whilst the planting of shrubs and flowers has been consistent with the Palace’s reputation for style and glamour, the Hampton Court gardening team are thinking hard about the future: how to combine exuberant style and colour over the seasons whilst water conservation and other environmental concerns come to the fore

Though this imperative for change may be different, it won’t be the first time that the Garden’s style has been revised. In 1727, George II entrusted Queen Caroline with making a number of alterations at Hampton Court (as well as to the entire Richmond Estate). She followed the contemporary taste for more natural “landscape gardening”. The Privy Garden thus became a simpler “parterre a l’Angloise” - a garden of grass and evergreens

This scene captures the garden at the end of a hot, dry spring followed by unusually heavy rainfall. The small conifers are a little “hairier” than usual, the grass bank in the foreground shows uneven new, vigorous growth with faint traces of reddish earth beneath. A handful of small rose bushes in early bloom and lavender in the foreground are the main sources of vibrant colour

36”x24” Oil on canvas board Private commission

Prominent in this scene is All Saints Church, a link to one of Hampton Court’s famous architects. Whilst its Kentish ragstone tower and some foundations date back to the 14th century, the building was redeveloped in 1706, guided by with the help of plans devised by Sir Christopher Wren

Van Gogh lived in Isleworth in 1876, employed as a schoolteacher, first by William Stokes and subsequently by the Reverend Thomas Slade-Jones. Religion became increasingly important to him during this time and he preached at Isleworth’s Wesleyan Methodist Church. This moved him to write to his brother, Theo, describing his deepest wish “to be bound to Christ with unbreakable bonds and to feel those bonds. To be sorrowful, yet always rejoicing”

To some, this scene from Kew - across the relentless flow of the river Thames’ dark waters, with grey clouds permitting only streaks of sunlight to catch the bright coloured walls of Church Street - adds some substance to Van Gogh’s words

12”x8” Oil on canvas Unframed - £245

Cross the bridge from Hampton Court and walk along the towpath past Molesey lock. Stay on the towpath through Hurst Meadow and you’ll see this structure on one of several islands along this stretch of the Thames: Platt’s Eyot

Osiers (willow rods) were grown here for basket-making until around 1884 before, in the early 20th century, the island became famous for building boats: first, as Immish & Co., then, as Thorneycroft, fast naval vessels. It became so successful that it moved production to Southampton. This dilapidated building remains a much-loved part of the scenery between the Molesey and Hampton river banks but is sadly sinking rapidly into a new landscape stripped of trees and reminders of past maritime success

20”x16” oil on canvas, teal wooden frame, mount and glass - £650

Bushy Park covers over 1,000 acres of woodland, waterways and open parkland by the River Thames between Hampton Court Palace, bordered on its riverbank side by Home Park, and the town of Kingston upon Thames. Its origins date back to the Tudors and it remains the home of herds of resident Red and Fallow deer, established by Henry VIII over five hundred years ago. The “Friends of Bushy and Home Parks” is a charity that protects, conserves and ensures the public’s continuing enjoyment and appreciation of the Parks. Its work exclusively involves members and volunteers, who can be identified by their Royal Blue tops.

The Gardeners shown here wear the distinctive maroon jerseys of members of The Royal Parks team, led by its Head Gardener. Again, these are volunteers. I came across them by the Water Gardens. Planting and clearing debris and dead vegetation in dappled sunlight, the scene looked like an Impressionist work of art. I commented on this and asked for their permission to take some photos in anticipation of capturing the scene in a painting. Without looking up or taking a break, they cheerfully agreed and asked to see the result. Eighteen months later, this is it

Whilst I didn’t know it at the time (and it’s probably inappropriate to disclose his full name here) it now seems wonderfully apt that The Gardeners in this scene are led by someone called Vincent

Stepping into the Swanage Bay Fishmonger's premises says a lot about Julia. It's clearly her world. Busy, full of interest and multi-task-ready, it exudes knowledge, passion and warm good humour. Fish of all kinds, in freezers with blue-tinged glass doors and on piles of crushed ice, draped with faux green foliage. Cash machine, calculator, scales - the fishy kind as well as those that weigh - paper and plastic bags, shiny pots, a self-assembled angel fish (?), post-it notes, certificates, photos and various artworks .. even a flag. Julia stands behind the counter, filleting, wrapping, offering advice, making notes. A cautionary note is captured in large blue letters: “Please don’t lean on the glass” suggesting a past calamity that's it's probably wise not to mention …

David Hockney would enjoy entering Julia’s place. He doesn't like scenes with a "fixed-point perspective". "It pins you down" he says. "If the focal point is fixed, so are you. Your eyes, your gaze, can’t move freely." Julia's domain provokes a wandering gaze. But wherever you look, it's full of energy, full of character.

Work started on building the Tiltyard at Hampton Court in 1537, with Henry’s plans ensuring that it would be larger than the lists at Greenwich, Hampton Court’s rival as the monarch’s “Palace of Pleasure”. Whilst it seems that Henry never saw jousting at Hampton Court, enactments of this spectacular sport regularly take place on the Course in the Great Fountain Garden at the Palace’s East Front

16”x12” Oil on canvas Distressed gold frame, with slip - £585

It took Giles Daubeney several years to persuade the Knights Hospitaliers to grant him an extended lease on Hampton Court, then a comfortable manor house. He wanted to transform it into a residence more suited to his role as a Privy Councillor and a key man in Henry VIII’s court. A place where, in particular, he could entertain the Monarch. The Great Kitchen and a series of adjacent food storage and preparation rooms are reminders of his work and of his desire to entertain the royal family and their courtiers

14”x10” Oil on board Distressed gold frame - £585

Today’s top international Real Tennis professionals are well-represented at Hampton Court, home of the Royal Tennis Courts. As well as being among the world’s best performers, they also carry out the duties first performed by Oliver Kelly in 1540 as Master of the King’s Tennis Courts, and his “markers”: looking after the courts on a daily basis: organising tournaments, arranging matches for members, coaching and teaching aspiring players and promoting the game worldwide

20”x16” Fine Art print, with mount, available on request - £195

The original painting can be seen in the Royal Tennis Club rooms adjacent to Hampton Court Palace’s East Front entrance

A Sunday evening concert featuring Mick’s brother draws a thirsty audience to the Square & Compass, converted to a pub from a pair of quarrymen’s cottages in 1776. It’s been run by members of the Newman family since 1907 and Charlie serves some of the best pasties in Purbeck

10”x8” Limited edition print; limewashed frame, mount - £195

The Great Hall at Hampton Court Palace is one of the few surviving locations where William Shakespeare performed in person over 400 years ago

Elizabeth I was Queen when the “Lord Chamberlain’s Men”, an acting company that included Shakespeare, was formed in 1594. The Master of the Revels was the member responsible for ensuring that the content, characters and style of the plays performed were suitable for royal enjoyment. When language or content deemed “inappropriate” could mean the company’s disbandment, imprisonment or worse, this was not a particularly safe job!

An unmarried and ageing Elizabeth faced war in Ireland, the threat of an imminent Spanish invasion and civil unrest at home stirred by religious division. Without a clear successor, Elizabeth’s rivals were circling the throne. As Shakespeare and his colleagues fully understood, the theatre was a major and hugely popular source of information and commentary on life in England at that time. Yet in this feverish political climate, Shakespeare decided to reject the bawdy, slapstick and populist performances of the day and instead used stories and historical events to reflect on contemporary England … including, by implication, the behaviour of its leaders

The Chamberlain’s Men ultimately became the King’s Men when James I came to the throne in 1603 and Shakespeare emerged with Royal Patronage intact and his reputation, popularity and wealth hugely enhanced

For which the Master of the Revels must take enormous credit

12”x9” Oil on canvas Distressed gold frame, with slip - £545

Empty glasses suggest that waiting for Mick’s brother to perform is thirsty work … trouble is, nobody seems willing to risk losing their seat by returning to the bar for a refill!

20”x16” Oil on canvas; burnt umber wood frame, gold slip - SOLD

Cattle are free to roam the slopes of Ballard Down, where deer descend into neighbour’s gardens at night, meeting the odd badger on the way and feeding on the shoots of young fruit trees and shrubs

(20”x16”) oil on canvas, distressed gold frame with slip - £650

On an early summer's evening near our cottage, just above Whitecliff Farm, I saw a herd of cows returning from grazing on top of the hill. The effort to negotiate the descent without slipping on the chalk path cut into the hillside is a feat of concentration for anyone, let alone the leader of a herd of cows. Here, the task was complicated by my group of walkers appearing ahead of them to climb past them up the hill. The leader has stopped, unsure of what next. Her followers start to assess the terrain either side of the path or simply nuzzle the cow in front, wondering why progress has been halted

We thought it best to leave the path and give these lovely animals room to focus on the task in hand

Fine Art Print available on request

Walk along Priest's Way, towards Worth Matravers and the promise of ale at the Square & Compass, sheep and a variety of breeds of cattle will watch your progress. In the distance, towards the sea, the coastguard cottages, the chapel at St Aldhelm's Head and the dry stone walls are often the only signs of civilisation in view

(16”x12”) oil on canvas; limewashed frame - £375

It was one of those stunning bright winter days and this group looked at us as if we were uninvited guests. They had such full coats that it was difficult to see where one sheep ended and another began!

(24”x18”) limited edition fine art print, with mount - £225

According to Langton Matravers Council, the Priest’s Way follows an ancient track taken by a local medieval priest as he travelled between the churches at Swanage and Worth Matravers. It passes between the Purbeck stone quarries and across open fields with spectacular views of the sea and the hills inland along the way

Much of the land is grazed by sheep and cattle, including this lady, caught scratching an itchy chin against the rough edge of a Purbeck stone wall

(22”x16”) limited edition fine art print, limewashed frame, with mount & glass - SOLD

Drive along the road from Studland to Corfe Castle and you’ll pass the golf club once owned by Enid Blyton. Continue for a few hundred metres and, in the spring, some curious heads will peer at you from above

Partly hidden by a hedgerow of brambles, red campion, water-dropwort, hogweed, beech ferns plus the odd daffodil, looking down from their elevated idyll on the north flank of Godlingston Hill, are some of this year’s offspring from Currendon Farm. Like young Tom

(22”x16”) limited edition fine art print, limewashed frame, with mount & glass - £465