Page 175 - Bulletin 9 2005
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                  having  “Wet  Towage”  accepted  by  the  Royal  Academy  and  hung  “on  the  line”  at
                  Burlington House. (Figs 4.3 & 4.4.)


                  1937 was also a watershed year in another sense as it was marked by Pilkington’s trip to

                  Tristan da Cunha. His fascination with this island is little known and is not documented in

                  any detail. It is something that, to the despair of some members of my family, I share with
                  him and I have a burning desire to go to Tristan. He went down as a passenger on the HMS

                  Carlisle which took the annual mail to the island. She also took working parties, a medical
                  team,  and  a  dentist  to  attend  to  the  islanders’  needs.  It  was,  I  believe,  the  dentist  who

                  arranged Pilkington’s trip but whether he was required to pay for this by being  a dental
                  assistant  is  unknown.  On  the  way  down,  he  became  fascinated  by  the  albatross,  one  of

                  which persistently followed HMS Carlisle for days on end. The grace, beauty and power of

                  the bird as it rode the air currents enraptured him, but capturing it in a sketch escaped him
                  until he drew an image of it in flight, cut this out in profile, and then positioned it on a

                  blank  canvas  before  painting  the  background  scene  of  the  sky,  to  produce  what  many

                  people will argue is his best work. (Fig. 4.5)


                  During  the  40s  Pilkington  continued  to  live  and  work  in  St.  James  and  many  of  his
                  paintings in this period were of boats and beaches and fishermen from Kalk Bay, and other

                  False Bay fishing areas, and St. James. (Figs 4.6 - 4.23.) He used as his studio the Old
                  Aquarium on the green in front of the St. James station. (Fig. 4.24) Here amongst the tanks,

                  which once contained fish, his easel stood surrounded by the paraphernalia of painting. As

                  a young boy, I was one of the few who were permitted to enter this sanctum. Why he chose
                  to put up with the inevitable childhood noise I don't know, but I had and still have a sense

                  of being honoured by this. I can’t remember what he painted while I was there as all of this
                  is on the very fringes of my earliest memories.


                  The year 1947 brought a Royal Visit to South Africa and the Royal Family arrived in Cape

                  Town in February aboard the HMS Vanguard. Pilkington was commissioned to record this
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