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| Artist Graham Ovenden convicted of historic child sex offences | Artist Graham Ovenden convicted of historic child sex offences |
| (about 1 month later) | |
| An internationally renowned artist and photographer, whose work has included portraits of nude children, has been convicted of historic sex offences against young girls dating back 40 years. | An internationally renowned artist and photographer, whose work has included portraits of nude children, has been convicted of historic sex offences against young girls dating back 40 years. |
| Graham Ovenden, 70, whose early tutelage was under Sir Peter Blake, the "godfather of pop art", was found guilty at Truro crown court of six charges of indecency with a child and one of indecent assault. | Graham Ovenden, 70, whose early tutelage was under Sir Peter Blake, the "godfather of pop art", was found guilty at Truro crown court of six charges of indecency with a child and one of indecent assault. |
| Ovenden, who at the height of his commercial success exhibited at the Victoria and Albert Museum and the Tate in London, and at the Metropolitan Museum of Art in New York, was acquitted of two charges of indecent assault and found not guilty, on the direction of judge Graham Cottle, of three further charges of indecent assault. | Ovenden, who at the height of his commercial success exhibited at the Victoria and Albert Museum and the Tate in London, and at the Metropolitan Museum of Art in New York, was acquitted of two charges of indecent assault and found not guilty, on the direction of judge Graham Cottle, of three further charges of indecent assault. |
| The artist, who described himself as creator of "some of the best portraits of children in the last 200 years", had denied the charges relating to four girls who were aged between six and 14 years at the time of the offences, which occurred between 1972 and 1985. The court heard these children sat for him during photographic sessions when he "posed them indecently". | The artist, who described himself as creator of "some of the best portraits of children in the last 200 years", had denied the charges relating to four girls who were aged between six and 14 years at the time of the offences, which occurred between 1972 and 1985. The court heard these children sat for him during photographic sessions when he "posed them indecently". |
| He was not in court to hear the verdicts, having been taken ill at the weekend. | He was not in court to hear the verdicts, having been taken ill at the weekend. |
| Ovenden, of The Garage in Barley Splatt, near Bodmin Moor, Cornwall, whose work has hung in some of the world's finest galleries, had rejected claims he had a sexual interest in children. | Ovenden, of The Garage in Barley Splatt, near Bodmin Moor, Cornwall, whose work has hung in some of the world's finest galleries, had rejected claims he had a sexual interest in children. |
| But the prosecutor, Ramsay Quaife, told jurors during the five-week trial that he was "a paedophile". His portraiture was part of a ruse to abuse young girls, making them dress in Victorian clothing before removing it and committing indecent acts. The incidents took place at his former home in Hounslow, London, as well as in north Cornwall, where he had a studio. | But the prosecutor, Ramsay Quaife, told jurors during the five-week trial that he was "a paedophile". His portraiture was part of a ruse to abuse young girls, making them dress in Victorian clothing before removing it and committing indecent acts. The incidents took place at his former home in Hounslow, London, as well as in north Cornwall, where he had a studio. |
| Ovenden had denied the abuse ever happened, telling the court he had taken pictures of children – including those in various states of undress – but said they were not indecent. | Ovenden had denied the abuse ever happened, telling the court he had taken pictures of children – including those in various states of undress – but said they were not indecent. |
| From the witness box, he quoted biblical and literary works to justify his use of naked children as part of his "state of grace" body of work. He argued: "We're not born with trousers, skirts, shirts and shoes. One of the great qualities of art is to go back to the great point, the Garden of Eden." | From the witness box, he quoted biblical and literary works to justify his use of naked children as part of his "state of grace" body of work. He argued: "We're not born with trousers, skirts, shirts and shoes. One of the great qualities of art is to go back to the great point, the Garden of Eden." |
| He told the court: "I have to say the absolute witch-hunt which is going on at the moment – and the idea of a child naked as something to be frowned upon – is absolutely abhorrent." | He told the court: "I have to say the absolute witch-hunt which is going on at the moment – and the idea of a child naked as something to be frowned upon – is absolutely abhorrent." |
| The artist, who had been tutored by Lord David Cecil and Sir John Betjeman, attended the Southampton School of Art and graduated from the Royal College of Art in 1968, before embarking on a career in which he catalogued life on the streets of London and produced acclaimed countryside landscapes as well as portraiture of children. | The artist, who had been tutored by Lord David Cecil and Sir John Betjeman, attended the Southampton School of Art and graduated from the Royal College of Art in 1968, before embarking on a career in which he catalogued life on the streets of London and produced acclaimed countryside landscapes as well as portraiture of children. |
| In 1975, he founded the artistic movement the Brotherhood of Ruralists – artists who had left the city to live in the countryside. | In 1975, he founded the artistic movement the Brotherhood of Ruralists – artists who had left the city to live in the countryside. |
| He had since sold his home at Barley Splatt, though he remains on the sprawling estate, living in a converted outbuilding, but he described it as a place where writers, musicians and artists would gather. | He had since sold his home at Barley Splatt, though he remains on the sprawling estate, living in a converted outbuilding, but he described it as a place where writers, musicians and artists would gather. |
| Children, he said, would regularly discard their clothing when they were playing at the home, often accompanied on visits by parents. | Children, he said, would regularly discard their clothing when they were playing at the home, often accompanied on visits by parents. |
| The court heard that the complainants only came forward as adults after 2000 – although two had returned to Barley Splatt years afterwards to have their picture taken by Ovenden and to attend an exhibition there. | The court heard that the complainants only came forward as adults after 2000 – although two had returned to Barley Splatt years afterwards to have their picture taken by Ovenden and to attend an exhibition there. |
| Witnesses in the trial described how Ovenden would take the complainants into his studio before removing the Victorian-style clothing. It was alleged that Ovenden covered the girls' eyes with tape and tricked them into taking part in oral abuse. He was accused of getting into a bath with one model and asking her to wash his penis. | Witnesses in the trial described how Ovenden would take the complainants into his studio before removing the Victorian-style clothing. It was alleged that Ovenden covered the girls' eyes with tape and tricked them into taking part in oral abuse. He was accused of getting into a bath with one model and asking her to wash his penis. |
| One complainant told the court: "I would then be made to take my clothes off and put on some kind of gown. I would have my eyes stuck down with black tape. We would have to go through this strange ritual." | One complainant told the court: "I would then be made to take my clothes off and put on some kind of gown. I would have my eyes stuck down with black tape. We would have to go through this strange ritual." |
| Asked why she did not tell anyone what had happened, she said: "I'm sure I won't be the first or last kid to keep some horrible secret from people." | Asked why she did not tell anyone what had happened, she said: "I'm sure I won't be the first or last kid to keep some horrible secret from people." |
| Explaining why she did not complain about Ovenden at the time, another complainant said: "It was just what we were told to do. That's what we did. You didn't question it. You didn't question a grown-up." | Explaining why she did not complain about Ovenden at the time, another complainant said: "It was just what we were told to do. That's what we did. You didn't question it. You didn't question a grown-up." |
| A mother told the court she had been "content" for her daughter to be photographed by Ovenden: it was "just how life was" at Barley Splatt. Years later, when her daughter told her she had been abused, she had thought about confronting Ovenden but decided not to. She had been a coward, she said. | A mother told the court she had been "content" for her daughter to be photographed by Ovenden: it was "just how life was" at Barley Splatt. Years later, when her daughter told her she had been abused, she had thought about confronting Ovenden but decided not to. She had been a coward, she said. |
| A second mother of a complainant said: "I thought if I went to police ,she wouldn't be believed; if I went and confronted Graham myself, he would have flatly denied it. I thought there was nothing to be achieved but a lot of stress for my child." | A second mother of a complainant said: "I thought if I went to police ,she wouldn't be believed; if I went and confronted Graham myself, he would have flatly denied it. I thought there was nothing to be achieved but a lot of stress for my child." |
| Asked about a photograph of one of his complainants with her legs parted, Ovenden said it was all about the rhythm of the image. Questioned about an image of a girl on a stool with her legs parted, he said it was the natural way to pose when sitting on such a piece of furniture. | Asked about a photograph of one of his complainants with her legs parted, Ovenden said it was all about the rhythm of the image. Questioned about an image of a girl on a stool with her legs parted, he said it was the natural way to pose when sitting on such a piece of furniture. |
| He had denied abuse, and said a blindfold used in one of his works had a religious significance – being removed to "show the revelation of Christ through light". | He had denied abuse, and said a blindfold used in one of his works had a religious significance – being removed to "show the revelation of Christ through light". |
| Ovenden accused the prosecution of being "neurotic" about nakedness in children and claimed that he had sent off a file of his own to the attorney general on how Scotland Yard had investigated his case over the years, warning there would be a "reckoning". | Ovenden accused the prosecution of being "neurotic" about nakedness in children and claimed that he had sent off a file of his own to the attorney general on how Scotland Yard had investigated his case over the years, warning there would be a "reckoning". |
| He insisted he did not find children sexually attractive, but believed they were "sensual" in the same way the bark of a tree is sensual. | He insisted he did not find children sexually attractive, but believed they were "sensual" in the same way the bark of a tree is sensual. |
| Ovenden was convicted on charges relating to three of the four women who made complaints against him. He was acquitted of an allegation of indecent assault made by the fourth woman. The judge adjourned sentence on a date to be fixed at Plymouth crown court, and Ovenden was released on bail. | Ovenden was convicted on charges relating to three of the four women who made complaints against him. He was acquitted of an allegation of indecent assault made by the fourth woman. The judge adjourned sentence on a date to be fixed at Plymouth crown court, and Ovenden was released on bail. |
| After the verdict, Detective Inspector Paul Maddocks, of the Metropolitan Police Service, said: "I would like to thank the victims, who, as children, trusted Mr Ovenden, a trust he breached by taking advantage of their vulnerability. | After the verdict, Detective Inspector Paul Maddocks, of the Metropolitan Police Service, said: "I would like to thank the victims, who, as children, trusted Mr Ovenden, a trust he breached by taking advantage of their vulnerability. |
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