create new work. Later in July Wertheim travelled to meet Wood in Paris, to choose the paintings for a one-man show that would be the opening exhibition at her new Wertheim Gallery in October. While discussing the exhibition over lunch the day after her arrival, Wood issued her with an ultimatum: "I want you to promise to guarantee me twelve hundred pounds a year from the time of my exhibition, one hundred pounds a month being the least I can live on. If I can't have this sum I've made up my mind to shoot myself". When she complained, he begged her forgiveness, and they went to review the paintings again. Following his death in August the show was cancelled; it was eventually staged as a memorial show at another gallery. Personal life Wood was bisexual. In the early summer of 1921, Wood met José Antonio Gandarillas Huici (1887–1970), a Chilean diplomat who was the son of Chilean Senator José Antonio Gandarillas. Gandarillas, a married homosexual fourteen years older than Wood, lived a glamorous life partly financed by gambling. Their relationship lasted through Wood's life, surviving his affair with Jeanne Bourgoint. In 1927 his plans to elope and marry heiress Meraud Guinness were frustrated by her parents whereupon he required emotional support from Winifred Nicholson. (Meraud went on to marry Chilean painter Álvaro Guevara in 1929.) Wood also had a liaison with a Russian émigrée, Frosca Munster, whom he met in 1928. Death and commemoration By 1930, painting frenetically in preparation for his Wertheim exhibition in London, Wood became psychotic and began carrying a revolver. On 21 August he travelled to meet his mother and sister for lunch at The County Hotel in Salisbury and to show them a selection of his latest paintings. After saying goodbye he jumped under a train at Salisbury railway station, although in deference to his mother's wishes it was reported as an accident. Christopher Wood is buried in the churchyard of All Saints Church in Broad Chalke. His gravestone was carved by fellow artist and sculptor Eric Gill. Although his planned exhibition at the Wertheim gallery was cancelled on his death, a posthumous exhibition was held in February 1931. This was followed by an exhibition at the Lefevre Gallery in 1932. The 1938 Venice Biennale included some of his paintings, and later the Redfern Gallery (part of the New Burlington Galleries) compiled a major