Bill and Annie Vanderbilt, who have accompanied me many times, were unfortunately unable to travel on these particular journeys. They nonetheless were always on hand as my U.S. basecamp, and available for advice, support, and an occasional gin and tonic. We are told that in order to “sell” a concept you need an “Elevator Pitch.” Somehow that always eluded me, but I was grateful that all concerned had sufficient confidence in me to run with the idea until its form became clear. Visits to my studio during its progress by museum staff, friends, advisors and collectors helped enormously to steer the concept and offer guidance on my career generally. I am deeply grateful to Jim Ballinger, Graham Beal, Michael Engl, Holly Knapp, and Gail Severn. They volunteered their expertise to steer me correctly when my destination was fogged in. Duncan Robinson CBE (1943–2022), former director of Fitzwilliam Museum Cambridge and master of Magdalene College, offered me my first exhibition in the U.S. in 1985, when he was director of Yale Center for British Art. He gave me unstinting advice and guidance throughout my career. His death was a great loss to the museum world in the UK and U.S. and to me personally. Once all were on board, the organization began to take shape. Kristin Poole, a friend and collaborator since 1998 and artistic director of The Foster Museum, took the central organising role and liaised with Jerry Smith in Dayton, Ohio. Anne Baxter and Eileen Howard as joint directors held the ring for The Foster Museum in California. Tessa Jackson OBE became the UK organiser, offering sound on-the-spot advice and liaising with Bryony Robins in Truro and with Jill Leman and Fay Brown at the Royal Watercolour Society in London. Organising and touring an exhibition of this complexity takes considerable skill, tact, and attention to detail. Alisa Eagleston-Cieslewicz is new to her role as executive director of The Foster Museum. I look forward to working closely with her in the future. I am fortunate that all these relationships ran smoothly thanks to the professionalism of everyone involved. The photographer Paul Mounsey took enormous care in photographing the paintings — he is a true perfectionist, as are the framers. Dave Cowan and his team at Stable Arts, my local framers; Simon McDonell and Frances McDonell at Harten Framers in Bollington, Cheshire, have framed my work for many years. I trust them implicitly. This catalogue was beautifully designed by Dan Saal with his usual flair and imagination. I could not travel to make my paintings without a secure basecamp. Knowing that I can return to my community and friends in Tywardreath, and that my administration is in the safe hands of Sally Cannon gives me the security I need. I am eternally thankful that Ann, my wife of 57 years, gives me the strength to leave home and the desire to return. — Tony Foster | Tywardreath | Spring 2025 In my 45 years working in the backcountry I have probably lived in a North Face Tadpole tent for 7 or 8 years so I know to expect exhaustion and delight, balmy days and frozen nights, barbequed fresh trout and un-rehydrated slop, butterflies and bugs’ bites, starlight and pouring rain, conversation and a hot rum toddy round a campfire. — TONY FOSTER Ann and Tony Foster are at home in Tywardreath, England, April 2019. 13
