Jacqui Pritchard has lived, taught and painted all over the world, in partnership with her husband's work for the British Council. Her prodigious talents for creative craft and art display in addition to her personal abilities to teach and bring together native groups, mainly of women and children, in such differing cultures as Ethiopia, Afghanistan, China and not least at home in 'Blighty' bring an international flavour to her own art which is arresting and attractive. Her international support work for educational charities and organisations abroad has mainly focussed on women and their need for opportunities to learn and work. For this purpose, art and craft and exhibition work has been a main tool.
For several years until she moved to France in 2005, Jacquie acted as International Coordinator for the Hypatia Trust, and organised exhibitions in Penzance for the Trust, as underwritten by the Millennium Funds. Prior to her departure, she held a solo exhibition of her watercolours at the Lamorna Cove Hotel.
The 1891 Census lists him as born in Thornbury, Gloucestershire, and living at Bassetts Wharf, Perranarworthal, Cornwall.
Born in Folkestone, she studied under Frank Marriott at Goldsmith's College, at Camberwell School of Art and at Redhill School of Art under William Todd BROWN. She started exhibiting in 1903 and her one success at the RA was in 1909, when she was living in Horley. Her career between then and when she joined STISA during the Second World War is a blank, although her study period with Todd Brown must have been between 1922 and 1940. By 1940 she was living in Mousehole, Cornwall, and she is described as a new associate member at the 1941 Autumn Exhibition. She contributed watercolours of local scenes to STISA shows for nearly 20 years.
Born in London and at the age of 15 came to Newlyn with her mother and brother, Gerard, to study at the FORBES SCHOOL. Elizabeth FORBES arranged their accommodation at Myrtle Cottage ('the Myrtage'), together with Tennyson JESSE and her cousin Cicely JESSE.
In 1910 both Ernest PROCTER and Dod Shaw attended the Atelier Colarossi in Paris, following which they married in 1912 at Paul Church. Their only son, Bill, was born in 1913, the same year as she first exhibited at the RA. In 1920 she and Ernest were commissioned to work on the decorations of the Kokine Palace, Rangoon. Both also made designs which were used for decorative etching on crystal. On their return to Newlyn, the couple took up residence at North Corner, Newlyn where they remained.
From that time she concentrated on painting mainly figures. Her most famous painting, Morning (RA 1927) caused a national sensation. It is a large portrait of a reclining Cissie Barnes, a local fisherman's daughter. This work was bought by the Daily Mail for the nation, and is today in the Tate collection. After Ernest's death in 1935, she travelled to America and Canada.
In 1938, deciding to move to Zennor nearer her friend Alethea GARSTIN, her style and technique changed direction under the influence of the latter, and she began to paint in a looser fashion.
In 1942, she was elected as a full Royal Academician.
In 1945 she illustrated (coloured frontispiece and line drawings) a story by Clare Collas, A Penny for the Guy.
With Jeanne DU MAURIER she holidayed in Tenerife in 1946, and in 1948 they went to Africa. During the 1950s she spent some time in Jamaica where she painted mainly children. At home she continued with still life, exhibiting regularly at the RA. She is buried at St Hilary Churchyard, with her husband, Ernest.
Born in Tynemouth, Northumberland, the son of a scientist, Ernest was educated at Bootham Friends' School in York and then came to Newlyn in 1907 to study with Stanhope Forbes. He quickly become recognized as the best student of the School. He acted as Assistant to Stanhope FORBES and Elizabeth FORBES and contributing significantly to the publication produced by Elizabeth FORBES and Tennyson JESSE, The Paper Chase (1908,1909). Ernest was well loved by all who knew him, and respected for his excellent teaching. He spent 1910-11 studying at Atelier Colarossi, Paris, marrying his fellow pupil and artist, Dod SHAW in 1912. He also loyally served on the Committee of the Newlyn Society of Artists for many years. During WWI, a committed Quaker, he worked for the Friends Ambulance Service in France (See pl 18 in WAR, Fine Art Society 2009).
The couple returned to Newlyn in 1918, and with Harold HARVEY he founded a School of Painting called the Harvey-Procter School (1920) which ran throughout most of the 1920s. Meantime he also designed an altar screen for St Mary's Church, Chapel Street, Penzance (destroyed by fire 1985), and paintings for his friend Father Bernard Walke (called 'Ber') at St Hilary Church nearby, Visitation (1933) and Deposition (1935). In 1920 he and Dod were commissioned to decorate the Kokine Palace in Rangoon; the experience of working with Burmese, Indian and Chinese plasterers, gilders and carvers, and eastern art and design, had an influence on some of Ernest's later works.
In 1931, spurred on by receiving various commissions for industrial designs, he invented a new art form that he called Diaphenicons. These were painted and glazed decorations that provided their own light source, and he exhibited them at the Leicester Galleries.
In 1934 he was appointed Director of Studies in Design and Craft at Glasgow School of Art. The strain of his new role and the travel involved caused him to have a cerebral haemorrhage the following year (in North Shields) en route to resume his teaching duties.
[See Misc section below for greater detail by TFG Jones.]
A ceramist of great skill and wit, Debbie was born in Canada, but arrived in Cornwall with her mother Ann in 1981, to establish her own potteries, and latterly to extend this to hand-printing of posters, poetry and small books. She worked first from the Lizard near Mawgan, and then at Penhalvean Pottery, Redruth, and now is re-building her studios near Penzance on the A30 leading toward Land's End.
She was educated in England and studied ceramics at the West Surrey College of Art & Design, and at the Bath Pottery.
Her ceramics, whether useful small bowls, large platters, garden tables and barrel-stools, goblets or tiles all tell stories, and are referenced to classical and local history. The intense colouring in golds and yellows set a background for intricate paintings of Celtic design, people, animals, etc. making her work always distinguishable in any collection.
One tour-de-force commissioned locally was the story of the legend of Matthew Trewhella and the Mermaid of Zennor in more than 300 handmade tiles, which she created for friends Melissa HARDIE and Philip Budden, who installed them into a completely tiled bathroom.
Downsizing to a smaller studio has curtailed her ability to work with the very large objects (jardinieres and furniture) that she formerly produced, and though she continues to make and show smaller objects (Jamieson Library exhibition, summer 2009), in other venues. She has also produced some unusual printwork with wooden type and a large press.
She took part in the Andrew LANYON exhibition, Von Ribbentrop and St Ives, in London and at Kettle's Yard, Cambridge in 2011. In April 2012 she will be exhibiting her pottery at the Chelsea Arts Club, London.
An oil painting depicting Seals (mammals) by this artist, is part of the art collection of the Royal Cornwall Hospital.
Born in Norfolk, the artist was educated at Plymouth Grammar School where he received informal drawing lessons from the school's headmaster, Dr John Bidlake. He moved to London in 1802 to join John Britton (the antiquary), also making a tour of Devon and Cornwall making drawings which were to prove unsatisfactory for Britton's purposes.
His visits to Cornwall were recorded in 1802, 1806, and in the 1830s through the paintings and drawings that he produced. Until 1818 his primary exhibition subjects were of West Country architecture, coastal scenes and shipping. His great interest was architecture and detail of both man-made and natural lines of the environment. From 1819 his work reflected new interests after his first visit to the Continent, in the picturesque streets, market places and people of old French towns.
Later he also painted in Belgium, Germany and Italy. He was much praised by John Ruskin with the statement 'There is no stone drawing, no vitality of architecture like Prout's'. He died in London following a birthday party given for that critic and art historian.
A portrait of Henry Sewell Stokes (1808-1895), painted by this artist in 1891, is in the collection of Truro City Council. Also part of the same collection is the portrait of a former Mayor, Thomas Chirgwin (Mayor 1878-1879 & 1886-1892) painted in 1893.
David Puddifoot lives in Penzance. His ceramic sculptures 'explore the spaces between the representational and the abstract'.
Graham Pullen is a printmaker who lectured at the London College of Printing during the 1970s, before developing a career in IT and the travel industry. After moving from Cambridge to St Ives, he became involved in working on commissions for textile pieces based on artworks by Sandra BLOW and Terry FROST.
He runs introductory workshops on different aspects of screenprinting.
Little is known of his early life or career, but he was probably the brother of Phyllis M PULLING, with whom he exhibited at 3 Piazza Studios in the 1930s. He was living in Fittleworth in 1913, Pall Mall in 1914-17, and exhibited in St Ives in 1930. In 1932 his address was Restormel, Carbis Bay. He is known to have travelled extensively.
The daughter of a barrister, she was born and educated in London and studied at the London School of Art where she won a scholarship for life drawing. She also went to St John's Wood School of Art and South Kensington. She worked in tempera and watercolours, and painted decorative panels and posters.
In 1927 she was living in Whitestone, near Exeter, but by the early 1930s, had moved to St Ives. Unusually, she moved to London during WWII, providing decoration for bomb-damaged shop fronts.
A type of stone work/ceramic used for garden ornaments and pots. Mr and Mrs DICK (Reginald Thomas DICK & Ellen S DICK) often exhibited items made of this material in craft sections at Newlyn. The material is also known as Devon Pumcetto.
Siobhan Purdy was born in Redruth and studied at Falmouth College of Art in the 1990s. She works from Krowji Studios in Redruth. Purdy has exhibited widely in Cornwall and beyond. Her paintings, which evolve from memory, have a dreamlike quality.
Ian's early life was spent in the Midlands. He is married with two daughters. Purchased a holiday house in Boscastle in 1998. Art influences- Dali,Constable,Caravaggio. Graduated in 2004 with BA (Hons) Fine Art. A member of LSA -Lemington Studio Artists before moving to Linkinhorne in Cornwall 2010. Currently a member of 'Drawn to the Valley' and represented by Tayt Morden gallery.
Dan Pyne was born in London and studied art at East Ham College of Technology. In 1990 he obtained a BA (Hons) in Art & Design, specialising in Scientific Illustration, from Middlesex University.
He works from Trewidden Garden Studios in Buryas Bridge, near Penzance.
Pyne is a tutor at Newlyn School of Art (2021).
In 2016 Pyne was elected as a member of the Newlyn Society of Artists (NSA). Since 2017 he has been an NSA committee member and currently (2018) is Vice-Chair of the Society. He has curated the 2018 NSA shows 'Drawing Explored' and 'On View' at Tremenheere Gallery. His work has been shown in both these shows, and also in the 2017 show 'Borders'.
Born on 5 February 1846, Penzance (GRO). He is known to have exhibited paintings with Newlyn titles in the West Cornwall Arts Union exhibition of 1877, giving a Penzance address as home.
In the 1881 Census, Richard Quance's wife is recorded as living in Penzance (he may have been away on the counting day). He is known to have acted as Secretary to the Penzance School of Art, Morrab Road, 1884, on behalf of Penzance Town Council.
Quance exhibited 1885-6 in Penzance, and at that time the artist was also a Town Councillor. In the 1891 Census Richard, along with wife Emily Jane (nee Vingoe) and their three children Richard (b 1873), Ethel Maud (b 1878) and Violet Vingoe (b1882), are listed as living together in Penzance (where all five were born) at 10 Victoria Place.
In 1892 he and his family emigrated to South Africa on the Spartan. Though the passenger list identifies Quance as an artist, and due to Bednar he is now listed in various arts dictionaries devoted to art in South Africa, his death certificate records that his occupation was as a Steward at the Victoria Falls Power Station. He died aged 75 at the Government Hospital at Boksburg.
A feature published in The Cornishman (1883), entitled 'The Painting School of the Royal Bavarian Academy, Munich' was credited as 'by Richard Quick, a Cornish Student at the Academy' . The dates and references are correct to assume that this is a Bristol-born painter (J&G) who studied at South Kensington School of Art and the Munich Academy (4 Years).
He went on to become the Curator of the Bristol Art Gallery and the curator of the Russell-Cotes Art Gallery and Museum, Bournemouth (1921-32). His addresses were in London & Munich (1882), after which the above article was published in Penzance, and from Wolverhampton in 1889.
Hilda Quick was born in Penzance, the only child of Richard Hichens Quick and Gertrude Webb Ball. She then trained in art at the Central School of Arts and Crafts, London. Her great interest was in woodcuttings and she specialised in wood engraving becoming a pupil of Noel Rooke and then pursuing this study also in Paris. From this period in her student life come illustrations of Normandy and Brittany which she exhibited both in London and in Newlyn at NAG. At home in Penzance, she lived with her parents, from childhood at 10 Penrose Terrace, and latterly at Clarence Cottage at the top of Clarence Street.
The Minutes of the Newlyn Art Gallery in September 1925 record that Miss Quick's 'tint' was to be used as the wall colouring in the Exhibition rooms. In 1936 she was co-opted to the Arranging Committee for the Cornish Loan Exhibition of that year.Her exhibition piece at NAG for 1937 was Amalveor Downs.
Locally she is known to have created designs and wood engravings for the Minack Theatre programmes, and worked directly with Rowena CADE, who created the Minack Theatre at Porthcurno. They also worked together on the Arranging Committee for the Loan Exhibition mentioned above. A story panel at the Theatre museum gives an account of illustrations that she created for the posters and programmes, and full size replicas of some.
In 1948, her book Marsh and Shore, which she both wrote and illustrated with wood engravings, became a bestseller. She also produced studies of workers at the Newlyn Fish Market and other local community activities.
In 1951, following the deaths of both her father (1947) and her mother (1951), she moved to the Scillies and lived at Priglis Cottage, St Agnes, where she was to remain for the rest of her life. She continued to produce wood engravings, illustrations of bird life and annual Christmas cards. In 1964 her book, Birds of the Scilly Isles was published. Her sending-in address for exhibitions in London and elsewhere was St George's Galleries, London. She continued to produce work until her death at the age of 83 (1978).
In 1980, John HALKES and some of her faithful friends put together a small touring exhibition, which was made available upon request around Cornwall in aid of the projected Gallery extension project of the day (NAG). This must have been a rather ad hoc arrangement because her exhibition is not listed in the Gallery programme for that year, though there is correspondence on file proving that it occurred as a show at NAG. It was transported and shown on the island of St Agnes, supervised by her friend Daphne Gould from Hampshire (deceased 2003), who had a summer home there. This was picked up by the Area Museum Council for the South West and made part of their touring exhibitions for loan in 1982-83. It comprised a series of original prints mounted on panels for wall hanging and required about 50 linear feet.
St Ives-born, Kenneth Quick was one of the last of the Cornish apprentice potters taken on by Bernard LEACH, straight from the local school. He showed himself to be one on the most promising of the younger St Ives potters, subsequently spending many years at the Leach Pottery (1945-1955 and 1960-1963).
He was a production thrower of standard ware, but his work soon showed a distinct individuality (which is what Bernard Leach looked for in his students), and when he was fully trained Kenneth taught many of the overseas students to throw. In 1955 Kenneth opened his own workshop - Tregenna Hill Pottery in St Ives - producing items for the kitchen and table, working in stoneware and red earthenware with his own pottery seal. After five years of running a successful one-man venture he took a six month instruction and teaching post in America.
On his return to Cornwall Kenneth asked Janet LEACH and Bernard if he could resume work at the Leach Pottery, to which they readily agreed. He and Bill MARSHALL were mostly responsible for the training of the new influx of pottery students from art colleges who were engaged on a two-year work-trainee basis. After a further two years of working at the Leach Pottery, Bernard and Janet, anxious to encourage the young man in his further development and exploration of pottery, helped him to realise his ambition of going to Japan to study with Phil Whiting. A month before coming home he was tragically drowned in a swimming accident, news which devastated the Leachs.
He studied at Birkenhead School of Art and also Liverpool School of Art, moving from Birkenhead to Little Sutton, Cheshire, in the early 1930s. By 1936 he was living in St Ives.