The idea originated from the in­creasing use that is made of cars on the various organised painting holidays in Britain and the success of several previous visits I had made touring and painting in Brittany, long recognized as an ideal artists' country.

A page from the sketchbook of Reg Gammon showing a street in Dinan

After a working lunch with Edward Swann I obtained his blessing to try out the idea with a private pilot scheme in May to collect relevant information for a Galleon Painting holiday in 1972.

Quite obviously a mobile party using their own cars and moving to several different hotels over the fortnight presented different problems from the usual stay in one hotel.

I decided that a small party would be more likely to ensure success and provide valuable reactions, so I approached several friends, and those who have been my pupils on previous Galleon parties with me, intending to limit the party to 10 plus myself and my wife.

Finally the party was 8 using 4 cars; two couples had to drop out at the last minute.

We decided that I was to act only as tutor, help with routes, mileage, the choosing of painting sites, be general 'major-domo' and arrange bookings for the first hotel at Combourg which l had previously used on several occasions and knew to be excellent in service and reasonable in price.

Equipment and materials are always to hand on a painting-motoring holiday. This traveller was obviously well-stocked

Each pair of friends assumed responsibility for everything to do with cars, tickets on the car-ferry, insurance, etc., and paid all their own expenses.

We agreed to keep the whole thing free and easy and to use demi-pension at hotels with picnic meals during the day, each pair buying what they fancied.

Two of us had provision for brewing up the inevitable 'cuppa', and if any pair wished to go off exploring they were free to do so; we could exchange notes and sketches in the evening.

Painting must now cease in order to honour the ubiquitous British custom of making tea

We travelled independently; six from Cherbourg and two from Le Havre and met for dinner at the hotel du Chateau, Combourg.

On May 10th Madame Chaudron herself received us and later placed a staggering menu before us which was expertly translated by several bilingual members.

At the end of two hours the success of the venture was assured. 'Entente Cordiale' was established and thereafter l had no doubts about the success of the venture.

Combourg is well placed for painting al Dinan, Mont St. Michel and villages inland, and avoids the sophisticated coastal area of Dinard.

We obtained permission to paint around a small chateau and farm at Lanrigan; were courteously received by the owner and family and spent two days there in quiet surroundings typical of pastoral Brittany.

Nightingales sang as we worked.

Portrait of a Trawler. Direct watercolour by Mr. G. Paton of Baltonsborough

After four days we tore ourselves away from Madame Chaudron's gastronomic marvels and sped across Brittany by different routes to Pont L’Abbe and the Hotel A La Tour D'Auvergne.

I had spent a week here previously and one of my friends also spent some time before, and so the proprietor welcomed us as old friends.

We had intended to try two hotels of Chateaulin and Audicrnc but it was obviously unnecessary: we were mobile enough to find all we wished to paint from Pont L'Abbe and avoid over-much packing and unpacking.

The front of the hotel looks onto a tree-shaded market place where a weekly fruit and vegetable market is held; a colourful scene where the local Breton costumes and tall starched white lace hats contrast with the younger generation in modern style.

At the rear of the hotel in Place de la Republique an enormous food and clothing market is held weekly – a scene of tremendous activity - and at the entrance to the covered market three or four old ladies sit in a row selling baby rabbits. These destined for the pot, not as pets - the Bretons are a practical and earthy folk.

Fruit Market at Pont L'Abbe. A direct and vigorous watercolour of the scene outside the hotel by Reg Gammon, tutor to the party

Loctudy, Lesconil, Guilvines are small fishing ports teeming with subjects, brilliant with colourful trawlers and at certain times swarming with Breton fishermen in blue or red overalls.

One evening we watched the unloading of dozens of boxes of fish and listened to the auction sale held immediately the catch is landed. An increasing volley of language pours out as the auctioneer ranges over the catch spread across the floor below.

The fish wives hand their men baskets to be filled with a favourite selection for supper.

The quayside, almost empty when the first boat arrived, soon became a teeming crowd to see the wide variety of fish offered for sale.

Cottages in Brittany. An oil painting by Mr. C. Dummon of Paulton, Shepton Mallet

We spent some time inland visiting several old villages and churches and feasting on delicious 'Crepes' cooked while we waited in an ancient kitchen in Locronan.

On our final evening two bottles of champagne were joyfully consumed. One bottle was gift of our host at parting; we considered a second should keep it company.

Houses at Lesconil. A felt-pen and wash study by Mrs. P. S. Lennard-Payne of Everscreech, Somerset

We made our individual ways home - two to Paris for the weekend: my wife and I south to the Cevennes, some back for a night at Combourg of pleasant memory.

We had blazed a trail, and proved that a painting­ motoring holiday could be both enjoyable and successful. It should come as no surprise if you see such a trip advertised in the 1972 brochures.

This article is taken from the September 1971 issue of Leisure Painter