Coming originally from Leamington, she was first proposed as a STISA member in October 1929 by Moffat LINDNER.
Born in Redruth, Cornwall, she was the wife of Reginald Francis REYNOLDS and specialised in colourful and decorative still life paintings of fruit and flowers in oils. Although based in London after her marriage, she returned to St Ives at intervals from 1916.
The studio the couple shared is featured in Francis John ROSKRUGE's 1929 version of the Map of St Ives Studios (see Tovey 2003 p14 for reprint).
The artist husband of Hettie Tangye REYNOLDS. Although based in London (Barnes), he seems, like his wife, to have visited Cornwall regularly, as his membership of STISA and exhibition subjects demonstrate.
He is noted as exhibiting watercolours of coastal scenes. His three exhibits at the RA in 1921 and 1923 were all Cornish landscapes.
An oil painting by this artist, Green Painting, is part of the collection housed by the Royal Cornwall Museum.
Medland Reynolds lives in St Ives. His paintings are created with natural materials which would have been used by cave painters. He has exhibited at Imagianation in St Ives.
Reynolds took her BA Hons degree in English Literature at St Catherine's College, Oxford before attending Goldsmiths College, London to receive an MA in Fine Art in 2002. Since that time to the present she has worked through a number of residencies, including a two year Leverhulme Trust Residency at the Oxford English Dictionary (2003-2005), a Jurassic Coast Artist/Scientist Residency at the Natural History Museum & Durlston Park, and an Artist Residency at UCL Museums and Collections. In addition she has been a part-time lecturer in art at The Ruskin School of Art, Oxford University.
In Cornwall, Reynolds and her partner Andy HARPER have a live/work studio and home called ASSEMBLY in St Just, Penwith. This doubles as a residential retreat for artists (all fields, literary and visual) and hosts events and seminars. Between London and St Just, the two artists research and develop their exhibition pieces.
Reynolds' interest in books prompts her collages and sculptures which are often composed of found photographs spliced to create fresh narratives. As a research strategy, she has created her own digital catalogue of the Guardian newspaper's picture archive. Her work is held in the Government Art Collection, Yale University Art Gallery, New York Public Library and many private collections. The clearest dialogue her work opens is with time.
In September 2014 Gallerie Raum-mit-Licht showed Reynolds' work at the Istanbul International Art Fair. In the same month, her short film 'Double Brass' premiered at The Inland Art Festival in Redruth.
In May 2016 Reynolds was awarded the prestigious BMW Art Journey Prize. She said: 'The prize allows me to make a journey to the lost libraries of the Silk Road. I plan to visit the sites of 16 libraries lost to political conflicts, natural catastrophes, and war, starting from the Eastern and Western end points and then travelling inwards as far as today’s conflict zones allow. I’ll travel across China, Uzbekistan, Iran, Turkey, Egypt and Italy. As I travel through the shadows of the libraries, under a working title of ‘The Ruins of Time’ I will gather representations of the libraries in various forms: 3D scans, 16mm film, photography, microscope imagery, written text, plans and cataloguing systems. Based on this I intend to create a cluster of book forms, prints, collages, and moving image works.'
Reynolds' film 'The Mother's Bones' is being shown in the autumn of 2016 at the Inland Art Festival in Penzance, Plymouth and London (Royal College of Art). Made in Dean Quarry on the tip of the Lizard Peninsula with St Keverne Brass Band, it is described as 'a representation of the quarry through a mythic lens'.
In 2017 she created a live performance piece, 'We Beat the Bounds' to celebrate the opening day of the new Tate St Ives on 14 October.
Reynolds' artwork Tre - a Window for Cornwall was unveiled in Spring of 2022 at Kresen Kernow, Cornwall's new archive centre in Redruth. This permanent work, four metres high, has been installed in an existing window space in the archive's library. It is created from a constellation of references that reaches back to the oldest Cornish texts.
In September 2024 Reynolds' construction Gregorian - There Should be Splendour will be installed as a permanent display at Longreach Psychiatric Unit in Redruth.
In January 2025 Reynolds announced that she had received ACE funding for a project with the Isles of Scilly Museum, in which she will be making glass from kelp and sand collected across all five islands by Scillonian communities.
Her book Elliptical Reading was nominated in 2025 for the Prix Bob Calle (European artists' book award).
Deborah Reynolds was born in Long Crendon, Buckinghamshire but moved to Cornwall in 2009, settling in the village of Foxhole, near St Austell. A 'memory' artist, she captures in her exuberant paintings the joy of the seaside, childhood and all things Cornish.
Her work has been exhibited at the Old Press Gallery in St Austell and in St Mawes, and is in private collections not only in the UK but as far afield as Australia.
An eminent embroiderer, the artist exhibited at NAG in 1924 with an embroidered panel of a C A Voysey design called The Vine. She was the wife of Sir William REYNOLDS-STEPHENS PRBS.
Born in Detroit of British parents on 8 Aug 1862, the artist was educated in Germany and England, studying at the RA Schools in London from 1884-1887. There he won prizes in painting and sculpture. He exhibited at the Royal Academy from 1886-1942, but abandoned painting and worked solely as a sculptor after 1894. His paintings were of genre and literary subjects, often allegorical, and showed the influence of the Pre-Raphaelites and Alfred Gilbert.
As a designer, he made objects such as light shades, fireplaces and wall decorations, using floral and plant-like forms in Art Nouveau style. The Chantrey Bequest purchased The Royal Game in 1911. He exhibited a statuette in bronze, called Joy in 1924 at NAG. His wife, Annie REYNOLDS-STEPHENS, an eminent embroiderer exhibited in the same exhibition. The couple lived in St John's Wood in London. He was Knighted in 1931. He died at Tunbridge Wells, Kent, on 23 Feb 1943.
Born on Merseyside at Birkenhead (13 January, 1859 GRO), the artist studied in Germany, in London at Heatherley's, and in Paris at Julian's Atelier, working primarily in watercolour. He came to Newlyn from Polperro, where he first painted in c1890, but may have been present earlier than this.
Stanhope FORBES remarked wittily that Rheam had been 'imported' to bulk up the Newlyn cricket side. By the 1891 Census he was living at St Peters, Newlyn (aged 32 years) as a boarder, with Samuel Green ENDERBY boarding in the same house. A first cousin of Henry Scott TUKE, Rheam was so pleased with Newlyn that he remained for the rest of his life.
A staunch Quaker, his paintings were in a romantic, late Pre-Raphaelite style. At the Opening Exhibition of NAG (1895) a reviewer commented, "Among the watercolour men who choose figure subjects Mr Rheam is conspicuous; his Belle dame sans merci, which was sold, is as complete a realisation of the heroine of Keat's poem as any artist is ever like to give us." He also showed Wrecked, At the Window and Gorse. In that same year at the 'Sketch Exhibition' he showed seven pieces of work and sold them all, the best seller of the show.
In 1897 he lived at Boase Castle Lodge, Belle Vue in Newlyn, which he and his wife Alice Elliott Rheam took over from the Madderns (who gave up their lodging house after many years). In that same year, Rheam became the Hon Secretary/Curator of the Newlyn Society of Artists (NSA) and continued loyally in that post until his death.
In 1903, amongst other exhibits, he sold both Sketch for Pandora and Melisande to the then Bishop of Ripon. His curatorship meant quite arduous administration duties in addition to an active painterly and cricketeering life. The Rheams remained in Newlyn until about 1914 when they moved to West Lodge in Alverton (Penzance). Henry continued to visit Lamorna until his death in 1920.
Listed in the 1901 Census as a boarder at Draycott Terrace, a 30 year old Artist/Painter, born in Hertfordshire.
Tovey records her first exhibit at St Ives Show Day in1935. She was a devout Catholic, sharing a home with her great friend, Agnes E DREY for many years. Her homes were at 3 Seagull House, The Wharf and later at Chy an Eglos flats.
Worked from Porthmeor Studios and her works include a watercolour, Bunkers Hill St Ives.
Born in Conshohocken, near Philadelphia, USA, the artist studied at Philadelphia Academy of Fine Arts. In Paris, she took a studio and was elected Societaire of the Salon d'Automne. She had a solo show at the Baillie Gallery, London (1910), and exhibited there regularly thereafter. In 1911 her work was part of a show by the Women's International Art Club at the Grafton Galleries, causing Huntley Carter to remark in the pages of The New Age: "The fierceness of this canvas haunts one. It is impossible to forget it" (Vol. 8, p. 474).
In 1911-13 she was associated with the production of John Middleton Murray and Michael Sadler's magazine Rhythm, of which John Duncan Fergusson was the art editor. She was associated with Fergusson himself from 1904-1914, and he painted a portrait of her. She married Oscar Raymond Drey, the art and theatre critic and brother to St Ives artist Agnes E DREY, and was friendly with Murray's wife, Katherine Mansfield. Her portrait of Mansfield, which was painted in Looe, Cornwall, is in the collection of The Museum of New Zealand Te Papa Tongarewa. Rice and Mansfield stayed together in St Ives in 1918.
Rice has lived and worked in Perranporth most of his life, and has a great passion for wood. A particular art and skill is his wood-turning - and with this craft he creates vessels, bowls, boxes and art works for the wall.
Mary initially studied painting, and as an additional subject pottery. Her pots tend to be vehicles for her decoration, conveying her statement about colour and form, and the combination of certain glazes and lustres. Her designs are geometric, and she uses precious metal lustres of gold, copper and bronze for outlining. Each colour is applied freehand using a very fine brush, while each design is filled with other coloured lustres. Firing is a further creative part of the process.
Having apprenticed with the old Crowan Pottery, Helston, which was famous for running its equipment by water-wheel, Mary opened her first pottery in Falmouth, and founded her present pottery near Truro in 1970. She is one of the gallery artists of the Stour Gallery, Shipston-on-Stour, Warwickshire.
Listed in the 1891 Census for Marazion as a 62 year old married Artist In Hair, born in Helston and living at Steer Villa, Marazion.
(This could refer to lockets, etc with hair mounted in the setting or a hair dresser. No further information is known at this time.)
American-born artist who exhibited a Newlyn title in 1878 whilst spending time living and travelling in Europe - Florence, Rome, Paris and presumably Cornwall - prior to his return to the United States.
Born in London and having studied at Kingston School of Art (1943-46), Richards and his wife set up the Arch Pottery in St Ives (1950), making slipware, subsequently moving to Cripplesease Pottery at Nancledra near St Ives.
They also worked with Len MISSEN in establishing the Penzance Pottery, until Len's death in an auto accident at Long Rock nr Penzance in 1955.
With the help of a family researcher we have been able to identify the Welsh-born painter Edith Richards, as the same artist who spent some years between 1910 and 1921 in Cornwall. We were able to do this through the sending-in addresses given for Edith in the broken run of The Year's Art held by the WCAA compared with known family addresses in the Richards family.
The daughter of David Richards, a hatmaker and hosier, and his wife Margaret, the impression is that she received early art training in Cardiff, remaining there living with her family (No 1, St Andrews Rest,) until at least 1891 (Census) and may have trained in London later on. The first sending-in address for her was from Epsom, Surrey (family), where relatives lived, and the painting was sent to Liverpool. This was to become a major exhibition site for her work over the years.
Edith was born in Cardiff, and is listed in the known index of Welsh painters/artists, but with no specific information as yet. Recorded addresses for this artist include Cardiff (with her family) when she was employed as an art teacher, Epsom, Surrey (1909), Edgbaston (1910), Penzance (1910 - 1921) and London (1924). She exhibited at NAG (untitled) in the summer exhibition of 1921, with her address given as 'Porth Enys, Penzance' for several years running.
She died in Islington, London in 1955, at 87 years old.
The artist was born on 18 September, 1863, in Birmingham (GRO), and his address remained there in 1883 and 1887. He also worked from Lulworth, Dorset (1885), Newlyn (1892), London (1897), Wareham, Dorset (1902) and Bournemouth (1917).
In the 1890 exhibition at Dowdeswells, that indicates his presence in Newlyn sometime before, Richards showed 6 sketches and watercolours, including Sketch for Cornish Courtyard, Something for Father and The Way to the Laundry-Newlyn.
In an article for The Studio (1895) - 'Newlyn as a Sketching Ground' - he wrote that he had been in and around Newlyn for five years and knew it under 'all its various changes and aspects, according to time of year and weather...' Frank Richards died in Bournemouth on 12 October, 1920 (GRO).
Recent communication (2013): I work at the Russell-Cotes Art Gallery & Museum in Bournemouth and we hold a number of paintings by Frank Richards. I have just discovered a letter in our archives that gives the birth/death dates of the artist Frank Richards to be 18.9.1863 to 12.10.1935. The letter was written by his daughter to the museum in 1959.
This would seem to dispute that we have the correct date of death in our files (despite having a death certificate as above). Was there a duplicate artist named Frank Richards?
Born in Penzance, his parents running potteries in St Ives and Nancledra, meant that Paul was taught by his father at an early age, and studied formally at Falmouth Art School. He worked with Jess Val Baker in her studio pottery for a period, but prefers making functional pottery that is meant to be used and handled on a daily basis. This principle follows the philosophy passed on by his father that if you are making a pot, be it for special exhibition or for everyday use, you make it as well as you can.
He is based in Penzance.
Anthea Richards was born in the Lake District. From 1958 to 1960 she was a student at the Slade School of Fine Art. Later she spent 3 years studying at West Surrey College of Art. From 1969 to 2000 she taught Visual Studies in Further and Secondary Education, and between 1969 and 1989 she was also an art examiner for the Cambridge Board. In 2000 she moved permanently to St Ives.
She says: 'My recent painting and prints have been inspired, in part, by the sea and the conditions of light in the Penwith landscape, but also by visual phrases from literature. The poem “The Four Quartets” by T.S. Eliot has philosophical ideas that are important to me, and it is also full of wonderful poetic phrases e.g. “Hints of earlier and other creation”, “Sea Howl”, “The vast waters”, which release a freedom in me to explore the visual language for new imagery. My work is built up in layers: gestural marks, combined with carefully drawn and placed shapes in the rectangle. Colour plays a dominant role in my decision making. The image is complete when the idea works in a new way and if I were to carry on working on it, it would become another idea.'