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A conversation at an exhibition about details such as the positioning of rivets on the armour in one of his paintings (exciting stuff!), combined with the admission that, although rusty, Graham had learned to ride as a child, led to an invitation to go to a Destrier training session - to 'come along and play' - an opportunity he enthusiastically jumped at!

That introduction started a passion for jousting that has had a profound influence on Graham's work, but it would be two years after that first taste of what Destrier was involved in before he was proficient enough, and possessed of a suit of armour, to take part in his first competitive joust.

Initially Graham insisted that he couldn't possibly get involved as a jouster - they had just moved house and practical things like a new kitchen would have to take priority, certainly over the huge expense of commissioning a bespoke suit of armour. However, Anita pointed out that 'he wasn't getting any younger', and if he really was keen to pursue this amazing opportunity, then maybe the kitchen could wait.

In his search for an armourer who shared his enthusiasm and dedication in the quest for accurately conveying the past, Graham was fortunate to have come across William West at just the right time in both their lives.

With a background in engineering and many years experience of medieval re-enactment, William joined Destrier at the same time as Graham, and his decision to devote himself full time to his own armoury - 'The Englyshe Plate Armorie' - coincided with Graham's need for his own armour to progress his jousting career.

Rather than reproduce a Milanese or German style of harness (the term for a complete suit of armour), Graham decided to research and commission an armour in the English style - a style that would have been far more likely to have seen use during the Wars of the Roses.

Unfortunately, no actual 'English' armour of this period survives, so William's challenge was to recreate a fully functioning harness based on Graham's choice - the very detailed funeral effigy of Sir Ralph Fitzherbert, who died in 1483. William's skill and knowledge of armour production techniques, combined with his eye for shape and form, set his work apart and it is this ability, together with his enthusiasm and willingness to experiment, that convinced Graham that he was the man for this project.

Top Left: The effigy of Ralph Fitzherbert

Left: Graham's armour, and (above) his salet style of helmet

CLICK HERE to visit the ENGLYSHE PLATE ARMOURIE website

In June 2004, just weeks before his 40th birthday (mid-life cricis?), Graham made his jousting debut at Shane's Castle in Northern Ireland.

A week later and he was in Essex for his second joust, and later in the year he was taking victories at the Herstmonceux Medieval Festival - quite a whirlwind for a first season!

Above: Graham's first pass down the lists, Shanes Castle, 2004.

Left: Breaking wood at Hertmonceux Castle, 2004.

PAINTING DIARY

Graham's first jousting tournaments coincided with the creation of his painting of one of the greatest tournaments of the 15th Century - the Pas d'Armes de l'Arbre d'Or of 1468, and he recorded his experiences at the time in his Painting Diary, which followed the painting's development from a blank canvas to the finished work of art using step by step photos and Graham's commentary.

For an insight into the work that goes into one of his large scale medieval oil paintings, CLICK HERE to follow Graham's Painting Diary.

Right: Pas d'armes de l'Arbre d'Or (tournament of the Golden Tree) - held in the Market Place at Bruges in the shadow of the famous tower of the Market Hall. Original Oil Painting by Graham Turner (Click here for details)

Also available as a Limited Edition Print - CLICK HERE FOR PRINT DETAILS