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 Heatherly'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). From 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 1920 (14 November, age 61, GRO).
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).
Listed in the 1901 Census as a boarder at Draycott Terrace, a 30 year old Artist/Painter, born in Hertfordshire.
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.
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.
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.