Born and brought up until the age of nineteen in Falmouth, Markey often returns to Cornwall from his current home. His painting Falmouth 1998 was selected for the Falmouth Art Gallery exhibition 20 Years of Contemporary Art in 2000.
Markey was an art teacher at the Falmouth School of Art, and worked with the Cabaret Mechanical Theatre. He is considered to be the 'father' of the Falmouth automata makers, and brought many followers into the fold. His work is represented in the Falmouth Art Gallery Automata Collection.
Though listed as an artist in drawing and landscape in the 1851 Census for Cornwall, he is listed as living at either 1 Regent Square, Madron or 1 Morrab Place, Penzance. At the date of census he was 20 years old and unmarried, the Falmouth-born son of Mary Marrack, innkeeper. Later he became a victualler; there is no further information on George Marrack, artist, currently available.
Charles Marriott was born in Bristol in 1869, one of the younger sons of William and Lucy Marriott, his father being a brewer and maltster of comfortable means. For many years he worked as Art Critic for The Times, writing numerous books and articles about the British arts and crafts [See Open Library for list of publications]. In 1889 he came to Cornwall for the first time, and the county began to gain hold of his interest and imagination.
His 'Memories of Cornwall's Art Colonies' was published in the Cornish Review in Spring 1950, and at the time of writing the article he was living in Somerset, where he died (article reprinted in Hardie 2009). It was Charles Marriott who lived in Flagstaff Cottage, Lamorna,prior to moving to St Ives, thereby making way for the tenancy to be given to Samuel John Lamorna BIRCH, in whose family the house has remained to this day.
Marriott died in Somerset at Weston-super-Mare in 1957 (GRO).
A son of potter William MARSHALL who joined him in his new pottery, after the latter retired from the LEACH POTTERY.
From his earliest potting, he has regarded slipware and stoneware of equal importance, and has made both, alongside one another. 'He grew up surrounded, as it were, by Korean and Japanese potters, by figures such as Kosanjin as well as any number of unknown masters, not to mention his father William Marshall. He later studied in depth Flemish and German slipware, and Moravian country pottery alongside that made by such Japanese masters as Hakeme and Karatsui.' (Cornishman, 2011)
Marshall was born in Leeds but worked mainly from addresses in London, despite travels elsewhere to study and paint (primarily in watercolour). In 1868 he obtained a Travel Grant to view architecture in Britain and abroad, and also studied architectural drawing with Questel in Paris. He exhibited at the Paris Salons in 1889 and 1906, but primarily exhibited with the Old Watercolour Society in London.
Marshall became the Professor of Landscape Painting at Queen's College, London. Any artistic work that he achieved locally in Cornwall is not documented, although a mention in Whybrow suggests that he might have visited the marine painter Tollemache prior to St Ives becoming the destination for artistic spirits from about 1880 onwards.