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Mountains picked out in greens and browns under a pale pink sky.

Unframed rectangular painting of rough seas breaking on a rocky shore. Painting has been photographed on an easel in the artists studio with a Kodak Colour Control Patch at the top.

An unframed oil painting of a mountain landscape with a boulder strewn field and trees picked out in autumnal colours. Painting has been photographed outside, in front of a whitewashed brick wall.

An unframed oil painting of a mountain landscape with a boulder strewn field and trees picked out in autumnal colours. Painting has been photographed outside, in front of a whitewashed brick wall.

An unframed oil painting of a mountain landscape with a boulder strewn field and trees picked out in autumnal colours. Painting has been photographed outside, in front of a whitewashed brick wall.

The gable end and sidewall of Salem chapel in Carneddi, Bethesda.

A dusty alley with children playing in the middle distance.

The backs of a row of cottages, possibly at Llaingoch, Holyhead Mountain.

Pencil and watercolour sketches of three badgers.

Three pencil and watercolour sketches of badgers.

A steeply sloping hillside (dotted with boulders and small trees) running top left to bottom right.

The railway bridge spanning the Mawddach estuary as seen from Barmouth.

A barn in the centre of the frame in the middle distance. On the right is a stand of poplars. This is the barn off Avenida John D Evans, Trevelin photographed in 4689/196 & 4689/198. It is also the barn mentioned in 'A Wider Sky' on page 194 "...and so I continued until, one day, I drew onto a canvas an old wooden barn that stood off the Avenida John D Evans. I started to paint and as I did the colours became grey and dull. It was my forty-fifth canvas and I knew the spell was broken. I never painted another picture of Patagonia."

This is the barn off Avenida John D Evans, Trevelin photographed in 4689/196 & 4689/198. It is also the barn mentioned in 'A Wider Sky' on page 194 "...and so I continued until, one day, I drew onto a canvas an old wooden barn that stood off the Avenida John D Evans. I started to paint and as I did the colours became grey and dull. It was my forty-fifth canvas and I knew the spell was broken. I never painted another picture of Patagonia." See also slides 4689/210-211.

A closer view of a dilapidated barn near Trevelin.This is the barn off Avenida John D Evans, Trevelin photographed in 4689/196 & 4689/198. It is also the barn mentioned in 'A Wider Sky' (Gomer, 1991) on page 194 "...and so I continued until, one day, I drew onto a canvas an old wooden barn that stood off the Avenida John D Evans. I started to paint and as I did the colours became grey and dull. It was my forty-fifth canvas and I knew the spell was broken. I never painted another picture of Patagonia."

Small barn silhouetted against an evening sky. Mountains are visible in the distance.

A bird flies over a desolate looking barn. This is the barn mentioned on page 194 of 'A Wider Sky' (Gomer, 1991) " ...one day I drew onto a canvas an old wooden barn that stood beside the Avenida John D Evans. I started to paint and as I did so the colours became grey and dull. It was my forty-fifth canvas and I knew the spell was broken. I never painted another picture of Patagonia."

The photograph is dominated by a dilapidated barn in the centre of the frame viewed from across a field. On the right is a stand of poplars. This is the barn off Avenida John D Evans, Trevelin photographed in 4689/196 & 4689/198. It is also the barn mentioned in 'A Wider Sky' on page 194 "...and so I continued until, one day, I drew onto a canvas an old wooden barn that stood off the Avenida John D Evans. I started to paint and as I did the colours became grey and dull. It was my forty-fifth canvas and I knew the spell was broken. I never painted another picture of Patagonia."

The base of the cliff where it meets the beach. The limestone has been smoothed and rounded by the actions of the sea.