Behind the unassuming, rather shabby exterior of a small, terraced house in Wentworth Road, Doncaster, lived James the artist, his wife Joan and Candy, the Corgi. And with them a hidden heritage of watercolour that only they knew existed.

We knew he was an artist; we knew he loved to paint, but we had no idea what lay behind those walls.

For over eight decades, James painted. Watercolour was his passion, plein air immediate loose, his style.

James Boldry, or Gentleman Jim, as he was known to fellow artists, was born in Doncaster in 1919 and painted until not long before he died in 2015. We have paintings dating back to 1933, when he was just 14 years old. Latterly, too old to get out and about, he painted from memory, at his kitchen table - 'doodles' as he called them.

He married in 1962 and brought his bride back to Doncaster, in fact, he only ever lived within a mile of his birthplace! But he did like to travel throughout the UK, as we see from many of his paintings.

James limped; a demeaning reminder of polio in 1928 and this hindered him going to war like his brother. Actually he was already serving his country as he worked at British Rail, a job he retained throughout the war years until his retirement in 1979, by which time he was Deputy Chief Expenditure Accountant.

So, his travel was aided by his Golden Pass; the privilege he had for the work he did. This meant he could travel by train, first-class anywhere in the country for nothing! A luxury he enjoyed into his old age. From his library of art, we see that his travels took him the length of the country, from St Ives to Kyle of Lochalsh , as you'll see as more of his beautiful work is shared.

Here we see him at work at Sandbeck Park Estate in Yorkshire with the subject in the background, along with a photograph of the final artwork. The photographs were likely taken by Joan.

His work was highly rated by his fellow artists, but he was a humble man, and though he was encouraged to, he wasn't striving for letters after his name so his work never became renowned, though it was worthy of it - "he was in it for the doing" said renowned UK artist, David Curtis, during a recent interview.

James was well respected by his peers and earned his name of 'Gentlemen Jim' by being just that, also, whatever the weather, James would be seen in jacket and tie - the true English gentleman!

He was a committee member of the Doncaster Art Club, and indeed the Yorkshire Watercolour Society, although usually they only accepted members who were professional artists.

We quote 'The Yorkshire Watercolour Society is the only true organisation representing Yorkshire watercolourists, where membership depends on strict selection by quality of work and residence in Yorkshire. Membership is limited to fifty, and there is a long list of applicants waiting to join...' despite this James was one of the fifty.

We see him here at a demonstration by Wm Watkins in 1953, along with a selection of booklets from his library.

David Curtis, one of the UK’s most successful and best known artists, knew James for many years and recently recalled the first time he met him in 1963, David arrived at the Doncaster Museum for his first art club experience, "Now then lad, let's see what you can do" Jim said!

Jim would often accompany David and other artists on 'paint outs' around the area. "The skill he had in 'seeing' skies", mused David, "he could interpret skies like no one else, he had a quickfire memory! But also it was 50, 60 years of constant practise. Skies were his forte and that style of painting was prevalent in the '40s, '50s, '60s, these days painting is much 'tighter' - why? - because they haven't got the skill!"

We love his little hens seen in a number of his paintings, but they're just a spludge, we said! "It's inordinate skill" said David, who took a leaf out of James' book when it came to figures - James told him, "they add scale to the painting". We see these little figures too, in many of his paintings - two people and a dog - James, Joan and Candy!

This painting of James is David's own work, in 1976.

Did you learn anything from him, we asked - "Yes! When painters are together, you're always in sight-shot of what others are doing - just watch, and wow! How did he do that!

Jim always advocated painting on the spot, he'd be 'on easel', underway before I'd even got my gear out!

If anyone deserved an exhibition, Jim did."