Bouverie HOYTON
Born in Lewisham, he studied etching under Stanley Anderson at Goldsmith's College. In 1926 he won the coveted Prix de Rome and spent the next three years at the British School in Rome, travelling widely in Italy, France, Greece and Spain. In the early 1930s, Devon and the West Country were a source of subjects for his works, although by 1933 he was living in the London area.
He became Lecturer in Engraving at Leeds College of Art in 1934, and in 1941 was appointed Principal of Penzance School of Art. He retired in 1965 to concentrate fully on his etching, and became Vice-President and Chairman of STISA, eventually stepping down in 1981.
Although he also painted in oils and watercolours, his etchings are considered his finest works. His wife, Inez, also an artist and teacher, first came to West Cornwall in 1942.
media
Painter and etcher
works and access
Works include: The Causeway, Marazion; Tresco, Isles of Scilly; Nanjizel Beach Cove; Ground Swell, Scillies (1943); Rocking Stone, Isles of Scilly (1942); and etched portraits of Graham Sutherland and Naum Gabo, Mussolini and the Pope; Newlyn Old Harbour (signed);
Access to work: British Museum; V&A, London; University of Wales, Aberystwyth (215 etchings, 6 woodcuts and 66 watercolours and drawings,1920-1980)
Penlee House Gallery and Museum, Penzance: Portraits of Canon Buckley (c1912-1960) and Guy Gibson VC (1918-1944);
Norway Gallery, St Ives (a collection of his Cornish etchings)
exhibitions
RA (11) 1925 (his first show) until 1933
STISA 1925-33, 1951 Festival of Britian Touring Show
Tony Sanders New Gallery
University Wales, Aberystwyth
memberships
National Society 1931
RS 1931
RBA 1936;
NSA Council (Chairman) 1940s, 1952 (Hon Life Member)
FRSA 1958
STISA 1951-88 (Vice President and Chairman)
misc further info
references
Hardie (1995) 100 Years in Newlyn: Diary of a Gallery;
Tovey (2003) Creating a Splash
Waverly (2003) Penzance School of Art 1853-2003
WCAA Exhibition records
Public Catalogue Foundation (PCF) Cornwall & the Isles of Scilly: Oil Paintings in Public Ownership