Alice Ellis-Bray is based in Lamorna, near Penzance. Working with painting, costume, performance and script, she explores the infinite possibilities of identity. Her work includes a series of self-portraits.
The artist lived in Notting Hill, London at Blenheim Crescent, and visited Cornwall. He exhibited paintings of St Ives Bay and trawlers, and was in attendance at the leaving dinner for William TITCOMB in 1905, when the latter was departing St Ives.
After studying at Hammersmith School of Art, Amy Elton won a scholarship to the Royal Academy Schools (1925-1930), winning the premier award for drawing a figure from life. She went on to create block-printed fabrics for Fortnum & Mason and other fashion and design houses. She worked in the Aran Islands, studied in Paris and first visited Cornwall in 1938 before travelling to India later that year. From 1942 to 1945 she worked as a war artist in India.
In 1953 Amy Elton returned to the UK, spending the rest of her life in Devon, but frequently visiting Cornwall to work and to visit friends and family. Along with Francis Evelyn MIDDLEDITCH and Clifford FISHWICK, she was a member of the Kenn Group, a society of professional artists which held annual group shows in Exeter College of Art or the Royal Albert Memorial Museum (RAMM).
While block-printing, painting and diamond-point glass engraving were her primary focus, she also taught part-time at Hammersmith School of Art, St Paul's Girls School (where she worked with Gustav Holst and A P Herbert on musical productions), at an approved school, Exeter Prison, a secondary modern, a convent and a teachers' training college, among others.
Elwes studied with both Stanhope FORBES and Samuel John Lamorna BIRCH, and in Switzerland. She exhibited work at Newlyn Art Gallery in 1909 under the name of C FORSYTHE, and was reported in the Cornish Telegraph (25 March 1909) as 'Mr'.
In 1932 she wrote Flower Painting in Water-colour. Her addresses were in Bournemouth and later as a resident in Oxford.
The artist stayed with his parents at Albany House, St Ives in 1892. He studied at University College, the Slade School and Julians Academy in Paris, and married Florence Crawford-Evans. They lived in London but travelled widely, and Frank was a special artist with the Manchester Guardian. He also wrote for the Architectural Review, being particularly interested in interiors and architecture in general, and was a Chief Examiner for the Royal Drawing Society.
He was the author of an article in The Studio: 'Concarneau, Brittany as a Sketching Ground'.
His painting A Kensington Interior was bought for the nation by the Chantrey Bequest in 1912. Most of his paintings were burned in a fire at his home in later life.
Emanuel was born in Bury, Lancashire, and though he did an apprenticeship in decorating and signwriting never formally studied art. He began to paint in his thirties, though not to exhibit, and in 1964 came to St Ives. He acknowledges the help at that time from Alexander MACKENZIE, Denis MITCHELL and John Clayworth Spencer WELLS among others, and took up membership in both the NSA (being Chairman 1977-78) and the Penwith Society of Artists.
He is primarily known for his nude studies, many of his long-time partner Janet AXTEN. The Tate St Ives commissioned him to create an etching for the opening of the gallery in 1993. His work is shown widely in mixed shows and solo exhibitions in the UK and abroad.
John works from the Porthmeor Studios, St Ives (2013).
In 2023 he was appointed as an honorary member of STISA.
Judi Emanuel was born in Plymouth and studied at Plymouth College of Art. She worked initially as a display artist and after moving to the Lake District spent five years undertaking commissions for children's portraits. She was a member of the Barrow-in-Furness Art Group. Having moved to St Ives, she spent ten years as a jeweller and ran her own gallery for over twenty years, painting and promoting young artists. Judi has now retired from the gallery and paints full-time.
Recorded as a member of STISA, his first Show Day having been in 1927. He lived at Rosebank, St Ives.
Jeanne Emery returned to her native Cornwall in 1982 and works from her studio near Par, producing still lifes and landscapes. In the former, she uses everyday objects and flowers to construct unusual compositions in a bold, expressive style.
Sir Frederick Rowland Emett was born in New Southgate, London. He was educated in Birmingham and became a student at Birmingham School of Arts & Crafts, after which he worked as a commercial artist designer. He later became famous as a cartoonist and for his whimsical kinetic sculpture.
During the 1930s he rented 'The Jew's House' in Polperro, using the old smoke house on the Inner Quay as his studio. He retained a base in Polperro until the late 1940s and in 1946 contributed a painting, 'Two Boats' to an exhibition in Liskeard.
After World War II his work featured prominently at the Festival of Britain (1951).
This artist exhibited what Wood describes as 'country scenes' at the RA in 1896, 1899 and 1900. His original sending-in address had been in Manchester (1883), and this was given again in 1899. However, between those years he gave an address in Bushey, Herts (in 1896) indicating study there also. He is known to have painted Cornish subjects, notably Polperro in 1908.
Whether or not he spent much time in the county is as yet unknown, but he exhibited mainly at Manchester (30).
Instruction was given by Reginald Thomas DICK in enamelling in the same premises as used by the coppersmiths. Mrs Lionel BIRCH (Constance Mary BIRCH) said in 1907 '...in a quiet little quadrangle round a flower set court, in studios under the windows of which the surf dashes up and breaks - one finds the flashing beauty of sapphire and topaz and amethyst in the enamels of Mr Dick; and the ring of hammer on beaten metal as copper and silver and brass are fashioned into forms of quaint and beautiful designs under the direction of Mr John Drew MacKENZIE.'
The work of the Class was sold alongside Newlyn Copper. Newlyn enamels were available on the work of Newlyn Coppersmiths, but it is better known as jewellery. The jewellery is quite often of Art Nouveau design, with the most common motifs being shells, fish and flowers set in elaborate Art Nouveau silver mounts. Some pendants have fine handmade chains set with moonstones. Most, but not all, pieces are stamped NEWLYN or NEWLYN ENAMEL, and larger pieces such as buckles may be hallmarked.
By that time, however, the Art Nouveau style was out of date and many pieces were sold off cheaply at a sale at Pauls in Penzance(!); needless to say it is now eagerly sought by collectors. It is not known when production ceased, but as late as 1927 it was still being advertised as available.
Born in Boston, Lincolnshire (27 August, 1860 GRO), the artist was lodging in 1891 at 44 Trewarveneth Street (Olive Villa) in the parish of St Peters, Newlyn, in the same house as Henry Meynell RHEAM. Prior to coming to Cornwall he had lived in London and Boston in Lincolnshire.
He spent five or six years in Newlyn, and during this time had three paintings accepted at RA. He had considerable success in portraiture, with seven further RA exhibits. In 1904 he was assisting John Henry Alphonse DA COSTA in offering drawing, painting and pastel lessons for young ladies in Kensington. He died on 7 October, 1921, age 61, in London (GRO).
Alison trained in Printed textile design at Derby and Nottingham. She obtained a City & Guilds certificate in Appreciation of Colour and Design.
In 1998 she moved to St Just in West Penwith and purchased The Old Sunday School Studio two years later. Her partner, Clare Calder Marshall, managed the business side of the attractive and popular Gallery and teaching venue which they set up there. Alison exhibited widely and assisted often with community art projects.
Her illustrations were used, along with the designs of fellow artist Jack TROWBRIDGE, for the Millennium history of the town of Penzance, written by Melissa HARDIE and published by Penzance Town Council, to be distributed widely to all school children under 16 in West Cornwall. Her cover illustration for this book was an example of her interesting multi-media techniques of creating pictures with poured paper pulp. Another strong element of her art is built upon her natural wit and intelligence that literally 'burbles and pops' in many creative ways on cards, bookmarks, and other ephemera.
In about 2005, the partners moved to Lavenham in Suffolk, where they own and manage the Crooked House Gallery in the High Street.
Mary Kaun English is a ceramicist living at Kehelland near Camborne. She grew up in southern California but has spent most of her adult life in London and south-west England. At Goonzoyle Pottery she holds weekly drop-in ceramic workshops, and weekend speciality firing events.
Her work has been exhibited widely in Cornwall and throughout the UK.
Born in Keighley, West Yorkshire, Helen Entwisle (nee Green) was educated at Queen Mary's, Duncombe Park, Yorkshire and Wycombe Abbey. After five years of art college she worked as an art tutor on the Isle of Mull before her first marriage in 1972. She studied part-time at University whilst her children were growing-up, and now writes, paints and runs art classes in Yorkshire where she lives with her husband.
She is the author of Rock Pools & Sunshine, The Biography of Dorothea Sharp, An English Impressionist (2008). In carrying out the research for this book she has spent various spells in Cornwall, researching the beaches and stories of Dorothea SHARP's painting life.
Artist potter with Leach 1927-30.
In 1928 she exhibited her work at the Beaux Arts Gallery in Bond Street. After a fire at the Leach Pottery destroyed much of her work, she left St Ives to teach art at Cheltenham Ladies College, re-connecting with her interest in pottery by working with Michael CARDEW at the Winchcombe Pottery nearby.
In 1932 she married Edward BAWDEN who had been a fellow student with her at the Royal College of Art, a designer who later became a war artist, and they moved to Essex. She is mentioned in the article 'A Conversation with David Leach' in Ceramics Monthly (Jan 1997): "Very early on a woman named Muriel BELL from Canada worked at St Ives about the time I first joined the pottery. She went on to set up a pottery. Then just after Muriel Bell came Charlotte Epton who latter married Edward Bawden, the war artist. Neither of these women were there very long".
Edward Ertz was born in Illinois, USA. He started his artistic career in Chicago, aged 15, as an engraver. He then moved to New Orleans and subsequently to New York, adding etching to his skills.
In 1888 he left America to study in Paris. From 1893 to 1897 he was Professor of Watercolour at the Academy Delecluse, Paris. Here he met an English art student, Ethel HORSFALL, whom he married in 1894. The couple decided to settle in Polperro, where they opened the Polperro School of Painting. Polperro was the birthplace of their two children. Both husband and wife exhibited from there and at the RA. In 1902 Ertz contributed an illustrated article on the relatively new technique of monotyping to an edition of The Studio.
By 1905 the family had moved to Devon, where they set up a painting school in Yealmpton, and later one near Kingsbridge. This was followed by a move to Pulborough in Sussex. Ethel died from a stroke in 1919 and in 1929 Edward remarried. He died in Petersfield in 1954.
German-born (1 Sep 1859) artist and teacher of art, Eschke was a landscape painter who worked from Berlin. His father was a Professor in the same city.
Bednar references information from the State Museum of Berlin, including an image of his 1884 Newlyn picture A Market Day in Newlyn. Between 1881 and 1885 he showed work at the RA and the RBA. He had exhibited the painting at the RBA, London in 1884. He died on 1 March 1944 in Juterbog, Brandenburg, Germany.
A former wages clerk for J & F Pool Ltd in Hayle, Eustace returned to work after a long illness to find that he had been replaced. At the age of fifty-nine, necessity forced him to turn a hobby into a livelihood and he became a full-time copper craftsman. Born in Market Street, Hayle, he had married Elizabeth there in 1900. They had thirteen children, nine of whom survived into adulthood. Though he had no copper work experience, he was aware of Poole's Cornish Hand-Wrought Copper products, and also familiar with the work of the Newlyn copper art industry.
In a 1938 News Chronicle article, 'Craftsmen of the West' profile, he states "I have seen the craft die out locally and I am trying, in a small way, to do something to revive it". From taking up the craft in 1935, Charles Eustace successfully made a significant quantity and variety of hand-beaten copper articles, and it became the major contribution to his income after that time. He also developed the making of cane-ware baskets and trays. He was again self-taught, and they sold "like hot cakes" - though they did not offer the artistic satisfaction that copper work had.
When Eustace began copper making, John Drew MacKENZIE's original designs for the Newlyn Industrial Class were still being used alongside new and original designs at Newlyn. J & F Pool's products had been based on the fashionable Art Nouveau styles of the early twentieth century. Eustace produced his own interpretation of these designs, and in addition produced many others that were distinctly his own; as his work was influenced by past copper making in Hayle, it often has a similarity to - and can be confused with - earlier examples of Hayle copper.
Penzance-born, the artist began to study art at the Penzance School of Art aged fourteen, and then continued at the Royal College of Art.
He was living with his widowed father at 2 Regent's Terrace, Penzance, in 1891, and gave this as his sending-in address in 1893. In 1895 he exhibited in the Opening Exhibition of NAG (although a newspaper account misspells his surname as Evo).
In 1898 he married Sophie Frederica Martin (b.1872) in Kensington. At the 1901 Census they lived at Cranbrook Road, Chiswick, with their daughter Ursula Eva, aged 1, and Charles' brother Herbert Eva (aged 17).
Charles Eva became Acting Principal of the Hammersmith School of Arts & Crafts, and subsequently Headmaster of the London County Council School of Art, Hackney. He was an Associate of the Royal College of Art, and exhibited at the Royal Academy.
He died at age 78 on 21 July 1945 in Sherborne, Dorset.
The son of an artist, he was born at home (7 September 1859 GRO) at 16 Great Chapel Street, Westminster and lived in London and studied at the RA Schools. His father was also an artist, Henry McNamara Evans, born in Ireland c 1832. His mother was Bridget Delaney (late Mason) born in Ireland c 1823.
Frederick began his working life as a bookbinder while studying at the Schools of the Royal Institute of Painters in watercolour, and in the Royal Architectural Museum. His mother now dead, he and his father moved house to 12 Arlington Square, Islington. When his father remarried, FME took up residence in Newlyn living in Gwavas Lane, though he continued to give his father's London address for sending-in purposes until 1894. The following year his father died, and Frederick was in attendance at the first meeting of the new Newlyn Art Gallery in Cornwall. A Message for Nurse and Offer of Marriage were exhibited at the RA in 1892, by which time he was already closely associated with the Newlyn Art colony.
By1901 Census FME was boarding at 5 Coulsons Terrace, Penzance with the Ficklin couple there. Ten years later his address is given as The Penzance Club, Morrab Road which continued until 1914. For the duration of WWI he was living and working in London, but returned to Cornwall thereafter. In 1929 he was lodging at 1 Redinnick Terrace, Penzance. He died following a long illness in West Cornwall Hospital, and is buried in Penzance Cemetery in a recorded by unmarked grave near that of Harold HARVEY.
In 1914 he also exhibited work in the March Show Day at St Ives. From 1895 . In The Cornishman (1926) report of the Summer Exhibition that year, he was listed as 'F M Evans', 'a gifted veteran who still exhibits memorable work.' Despite little personal information, and only comments in-passing in others' biographies, Evans remained associated with the Colony longer than most, and died in Penzance, aged 69, on 27 August, 1929 (GRO).
In attendance at his funeral amongst the crowd, were Stanhope FORBES, T C GOTCH and J C UREN who had with him exhibited at the first exhibition of the Newlyn Art Gallery. Amongst the tributes was one "In affectionate remembrance and esteem from his old friends and colleagues of the Newlyn Society of Artists." Unlike many of the Newlyn artists who apparently came from wealthy families he was clearly influenced his more modest background, supporting himself by selling the portrait heads for which he became noted. His hobbies were given as billiards and bowls.