DAVID CHARLESWORTH
An industry trained commercial artist and designer. David has huge experience in the print, newspaper, magazine and book industry and also in the Fine Arts, covering most mediums and subjects ranging from portraits to transport, pets and wildlife and even cartoons. He is also an illustrator, editor and a published author of several books related to Darjeeling and India.
He passionately believes there is still a valuable place for paintings, books and prints. Something that gives you time to think, time to reflect, something tangible that can be enjoyed for generations.
There is a unique beauty in the way a brushstroke or watercolour wash can excite the eye and convey movement, life and light on a flat surface. This almost accidental beauty is what makes people keep a painting on the wall for hundreds of years, while even the most magnificent photograph becomes boring after a few months. A picture or drawing should be seen as a genuine investment in pleasure.
A full member of the Guild of Railway Artists, his work is by no means confined to railway subjects. As an industry-trained professional artist and graphic deigner, he has produced considerably more non-railway pictures!
His work has been exhibited widely and more recently the author and producer of several books on the Darjeeling Himalayan Railway, reflecting his passion for India. He is also co-founder of the Darjeeling Himalayan Railway Society and the editor / producer of the Darjeeling Mail Magazine, which is seen by almost 700 members in 23 countries.
David is an industry trained commercial artist and designer. He has been working professionally in the print, newspaper, magazine and book industry for over 50 years and at the same time, also in the Fine Arts covering most mediums and subjects ranging from portraits to transport and including pets and wildlife and even cartoons. He is also an illustrator and editor and a published author of several books related to Darjeeling and India.
People around the world are obsessed with moving images, video, hi-definition DVD, but I believe there is still a valuable place for paintings, books and prints. Something that gives you time to think, time to reflect, something tangible that can be enjoyed for generations. There is a unique beauty in the way a brushstroke or watercolour wash can excite the eye and convey movement, life and light on a flat surface. This almost accidental beauty is what makes people keep a painting on the wall for hundreds of years, while even the most magnificent photograph becomes boring after a few months.I have always held the opinion that a picture or drawing should be seen as a genuine investment in pleasure and purchased solely on its merits so that even if your taste and décor ideas change after just a year, you will still have had great value for money. If you bought wisely you will be able to recover the original value or at the very least, especially in the case of family portraits, pass it on to the next generation.
People around the world are obsessed with moving images, video, hi-definition DVD, but I believe there is still a valuable place for paintings, books and prints. Something that gives you time to think, time to reflect, something tangible that can be enjoyed for generations. There is a unique beauty in the way a brushstroke or watercolour wash can excite the eye and convey movement, life and light on a flat surface. This almost accidental beauty is what makes people keep a painting on the wall for hundreds of years, while even the most magnificent photograph becomes boring after a few months.
Though I am a full member of the ‘Guild of Railway Artists, my work is not confined to railway subjects, as an industry-trained professional artist and graphic designer, I have produced considerably more non-railway pictures!
I started work in a large art studio at the age of 16 and benefited greatly from the aged principles of the company apprenticeship. Bound to the firm for five years, I served ‘under the wing’ of the studios’ elders and was thus educated, not just within the industry but in lifestyle too. Encouraged, and indeed pressured, to develop my art outside of the studio and bring work in for criticism. Staff within the art department had some very talented artists and modellers. My generation saw the last of Britain’s Litho Artist apprentices in the final days of the ‘closed shop’ and the SLADE union (The Society of Lithographic Artists, Designers and Engravers.)
My early exhibitions were with the Portland Group of Artists in Chesterfield, a group that was founded by members of the art department. I took over the organisation of this exhibition from the age of eighteen after the founder of the group died – he was 92 but had exhibited at the Royal Academy with Willam Russel Flint who had also been apprenticed as Litho Artist! Over fifty years on I am still honoured to have had the friendship and support of these artists and truly grateful for their teaching.
My work has been seen at exhibitions in several major towns and cities at home and abroad. I am still connected to the Railway Children charity where my paintings continue to raise money for the charity and reach even larger audiences with their range of Christmas cards.
Photography was part of my basic training and I am a keen enthusiast of India and her railways in particular. As a result, I became co-author and producer of a colourful book of India, entitled INDIA, ‘No problem Sahib’, the illustrator of a spectacular book on the Darjeeling Railway (North East India) called ‘Halfway to Heaven’, and illustrator and producer of ‘Chwedlau – Ffestiniog Fables’, a publication produced for the Festiniog Railway Company in Wales. My keen interest in Indian Railways has also led to my involvement in other publications as the author, designer and producer of several more books, the latest being “Up the Line to Darjeeling” published in December 2020. In addition, there is the Darjeeling Himalayan Railway Society as a co-founder and the editor/producer of the Darjeeling Mail magazine with almost 700 members in 23 countries.
My interest in railways, transport generally and industrial history has been lifelong. My daughter Lauren first visited the National Railway Museum at York when only twelve days old in 1985 and on every visit thereafter, Lauren has been photographed alongside the EM1 class locomotive 26020, one of my favourites from the days of seeing it at work in Sheffield in the 1960s. Lauren now continues this tradition with her own children.
My other interests include building a large model railway as a continuous project, doll houses for daughter and nieces, and a passion for powerful motorcycles and mending things!
David painting a mural at Arkwright Infant School while keeping a class of children interested during a one hour session.
David Charlesworth at Panchani Bridge on the Darjeeling railway, Siliguri, West Bengal.
David receiving an award from the Inner Wheel Club at The Elgin, Darjeeling in November 2018.
People around the world are obsessed with moving images, video, hi-definition DVD, but I believe there is still a valuable place for paintings, books and prints. Something that gives you time to think, time to reflect, something tangible that can be enjoyed for generations. There is a unique beauty in the way a brushstroke or water colour wash can excite the eye and convey movement, life and light on a flat surface. This almost accidental beauty is what makes people keep a painting on the wall for hundreds of years, while even the most magnificent photograph becomes boring after a few months.
Though I am a full member of the ‘Guild of Railway Artists, my work is not confined to railway subjects, as an industry-trained professional artist and graphic designer, I have produced considerably more non-railway pictures!
I started work in a large art studio at the age of 16 and benefited greatly from the aged principles of the company apprenticeship. Bound to the firm for five years, I served ‘under the wing’ of the studios’ elders and was thus educated, not just within the industry but in lifestyle too. Encouraged, and indeed pressured, to develop my art outside of the studio and bring work in for criticism. Staff within the art department had some very talented artists and modellers. My generation saw the last of Britain’s Litho Artist apprentices in the final days of the ‘closed shop’ and the SLADE union (The Society of Lithographic Artists, Designers and Engravers.)
My early exhibitions were with the Portland Group of Artists in Chesterfield, a group that was founded by members of the art department. I took over the organisation of this exhibition from the age of eighteen after the founder of the group died – he was 92 but had exhibited at the Royal Academy with Willam Russel Flint who had also been apprenticed as Litho Artist! Over fifty years on I am still honoured to have had the friendship and support of these artists and truly grateful for their teaching.
My work has been seen at exhibitions in several major towns and cities at home and abroad. I am still connected to the Railway Children charity where my paintings continue to raise money for the charity and reach even larger audiences with their range of Christmas cards.
Photography was part of my basic training and I am a keen enthusiast of India and her railways in particular. As a result, I became co-author and producer of a colourful book of India, entitled INDIA, ‘No problem Sahib’, the illustrator of a spectacular book on the Darjeeling Railway (North East India) called ‘Halfway to Heaven’, and illustrator and producer of ‘Chwedlau – Ffestiniog Fables’, a publication produced for the Festiniog Railway Company in Wales. My keen interest in Indian Railways has also led to my involvement in other publications as the author, designer and producer of several more books, the latest being “Up the Line to Darjeeling” published in December 2020. In addition, there is the Darjeeling Himalayan Railway Society as a co-founder and the editor/producer of the Darjeeling Mail magazine with almost 700 members in 23 countries.
My interest in railways, transport generally and industrial history has been lifelong. My daughter Lauren first visited the National Railway Museum at York when only twelve days old in 1985 and on every visit thereafter, Lauren has been photographed alongside the EM1 class locomotive 26020, one of my favourites from the days of seeing it at work in Sheffield in the 1960s. Lauren now continues this tradition with her own children.
My other interests include building a large model railway as a continuous project, doll houses for daughter and nieces, and a passion for powerful motorcycles and mending things!
Though I am a full member of the ‘Guild of Railway Artists, my work is not confined to railway subjects, I have produced considerably more non-railway pictures – as an industry-trained, working professional artist and graphic designer my work covers every subject (including portraits) and most mediums. My generation produced the last of Britain’s Litho Artist apprentices in the final days of the ‘closed shop’ and the SLADE union. (The Society of Lithographic Artists, Designers and Engravers.)
Starting work in a large art studio at the age of 16, I benefited greatly from the aged principles of the company apprenticeship. Bound to the firm for five years, I served ‘under the wing’ of the studios’ elders and was thus educated, not just within the industry but in lifestyle too. Encouraged, and indeed pressured, to develop my art outside of the studio and bring work in for criticism. Staff within the art department had some very talented artists and modelers.
My early exhibitions were with the Portland Group of Artists in Chesterfield, a group that was founded by members of the art department. I took over the organisation of this exhibition from the age of eighteen after the founder of the group died – he was 92 but had exhibited at the Royal Academy with Willam Russel Flint (knighted in 1947) who had also been apprenticed as Litho Artist! Over fifty year on I am still honoured to have had the deep friendship and support of these artists and truly grateful for their teaching.
My work has been seen at exhibitions in several major towns and cities at home and abroad. I am still connected to the Railway Children charity where my paintings continue to raise money for the charity and reach even larger audiences with their range of Christmas cards.
Photography was part of my basic training and I am a keen enthusiast of India and her railways in particular. As a result, I became co-author and producer of a colourful book of India, entitled INDIA, ‘No problem Sahib’, the illustrator of a spectacular book on the Darjeeling Railway (North East India) called ‘Halfway to Heaven’, and illustrator and producer of ‘Chwedlau – Ffestiniog Fables’, a publication produced for the Festiniog Railway Company in Wales. My keen interest in Indian Railways has also led to my involvement in other publications as the author, designer and producer of several books more books, the latest being “Up the Line to Darjeeling” published in December 2020. In addition, there is the Darjeeling Himalayan Railway Society as I am a co-founder and the editor/producer of the Darjeeling Mail magazine with almost 700 members in 23 countries.
My interest in railways, transport generally and industrial history has been lifelong. My daughter Lauren first visited the National Railway Museum at York when only twelve days old in 1985 and on every visit thereafter, Lauren has been photographed alongside the EM1 class locomotive 26020, one of my favorites from the days of seeing it at work in Sheffield in the 1960s. Lauren now continues this tradition with her own children.
My other interests include building a large model railway as a continuous project, doll houses for daughter and nieces, and a passion for powerful motorcycles and mending things!
I have always held the opinion that a picture or drawing should be seen as a genuine investment in pleasure and purchased solely on its merits so that even if your taste and décor ideas change after just a year, you will still have had great value for money. If you bought wisely you will be able to recover the original value or at the very least, especially in the case of family portraits, pass it on.