Patrick Wilz

Patrick Wilz

The incompetence of the UK Border Agency has cost me thousands and, ultimately, seen me deported. Even their own staff concede they don’t know what they’re doing

The UK Border Agency’s woeful inefficiency means that visa applicants are stuck in the country, without a passport and unable to work, for months on end

The politically incoherent Anonymous ‘hacktivists’ are causing more harm than good in the dispute in Borneo

The US army’s “catch and release programme” in Afghanistan puts allied troops in grave danger and is destabalising in the long term.

The Pleasure of Thinking is a window on the eclectic library and well-oiled mind of Theodore Dalrymple

X-rays of Francis Bacon’s paintings have revealed Nazi figures — and further research establishes him as a “latter-day history painter”

On December 16, Quentin Blake will turn 80, his illustrious career as an artist and illustrator having begun in the pages of Punch in 1948-the year of London’s last Olympic Games. If this was truly a year of celebrating Britain, one could not do much better than end it with Quentin Blake. Yet the work on display at Marlborough Fine Art in London from December 12 is not a retrospective but a bold, new departure for the artist and his enduring genius. 

“It’s about five or six ways of doing things,” Blake says of the exhibition, which ranges from lithography to watercolour. The pieces are also very recent, having been painted, sketched or etched in the past year. None of them is an interpretation of a literary work.