Work by this artist is included in the University College Falmouth Art Collection.

The son of James Bingley, a Brushmaker.  Bingley was a widower from Wellington, Surrey, and married Elizabeth Mary Harvey, daughter of Andrew Harvey (a Fisherman) at Paul Parish Church in 1874, giving his occupation as Artist on the Marriage Certificate. (The witnesses for the wedding were Henry Pearce Glasson and Mary James.)  Wood comments that he 'painted in an attractive impressionist style.'

An artist who settled in Cornwall during WWII, remaining in the county until the 1950s. His name is sometimes seen erroneously as Herbert Harding Bingley, due to information given in Jeremy Wood's Dictionary of neglected and overlooked painters. Further information has generously provided by a relation who is thoroughly researching Bingley's artistic career, and has given permission for the use of his paragraphs (following) from his website. Many thanks for this help.

'Henry Harding Bingley was a prolific artist who was born in London and lived for some time in Cornwall in the Perranporth area. During his working life he was an Associated Member of the British Watercolour Society (BWS), a member of the Royal Miniature Society (RMS) and a member of the Society of Miniaturists (SM). The earliest dated painting to be found so far is from 1912, the latest, 'Autumn "A woodland stream on the Avon, Hampshire"',  which was painted in 1971.  His paintings almost always include water and he is best known for watercolours of Cornish coastal scenes.  However there are pictures in existence that portray Devon, Wales, Scotland, Cumbria, Yorkshire, Dorset and London. Bingley also used oils but these pictures are far rarer. Most of his work consists of rural landscape or seascape but he has been known to paint interiors and still life. The quality of his work varies, from what professionals would call "pot boilers" quickly dashed off to satisfy the tourists and work of a much higher quality with excellent detail. He signed his paintings as H.H. Bingley in the earlier years as script and later in uppercase.'

Etchel Binns was born at Batley, Yorkshire.  He worked as a self-employed signwriter while studying art in the Sheffield area where he belonged to several societies of artists.  It is believed that he was a founder member of the Rotherham Society of Artists.

Immediately after WWI he began to visit West Cornwall and met members of the artists' colony at Newlyn and Lamorna.  He was greatly attracted to the unspoilt fishing cove of Penberth and in 1922 bought a small plot of land on the hillside in the Penberth Valley. In 1927 he moved permanently to Cornwall and though he never had done any manual work, he designed and built a bungalow.

Sadly in 1930 he was diagnosed with cancer of the larynx which required a lengthy stay in a London Nursing Home, and afterwards could only speak in a whisper. Though this curtailed his social life and interaction with fellow painters, he remained quite prolific in his work with oils, water colours and etchings. In the early 1930s until his death in 1945, he kept a studio at Porthgwarra in a disused seine loft rented from the St Aubyn Estate.  Most of his work was sold from there, though he also exhibited at the Passmore Edwards Art Gallery, Newlyn, as a member of the Newlyn Society of Artists.

John Birch studied Fine Art at the West of England College of Art (now part of the University of the West of England). Subsequently he worked as a graphic designer.

He moved to Portscatho on the Roseland peninsula in 2013. His semi-abstract seascapes have been shown locally at the Veryan Galleries, and he has also exhibited further afield, participating in group shows at the Arnolfini in Bristol and the Ikon Gallery in Birmingham.

Born in Genoa, Italy, the artist was the only child of Surgeon-General Sir John Harry Ker Innes KCB who was appointed an honorary surgeon to Queen Victoria.   She married the artist Lionel Lea Townley BIRCH in 1893 in London (GRO). At the Opening Exhibition of NAG in 1895 Mrs Birch exhibited Chrysanthemums, which was sold.  She did not exhibit often and the whereabouts of her work is currently not known.

In 1902 she loaned a portrait of Alexandra Forbes Forbes to the Spring Exhibition at the Whitechapel Art Gallery, together with most of the West Cornwall artists from Newlyn and St Ives. In 1909 she exhibited Echoes from Olden Time, also at NAG. She was the author of Stanhope A FORBES, ARA, and Elizabeth Stanhope FORBES, ARWS (1906), which was reprinted for the first time in 2005 (Cornish Classics). This book, partly authored by Elizabeth FORBES (chapters within the book in her own words) is one of a scarce number of contemporaneous accounts of the artistic life of the area. Constance Birch died in Ottery St Mary, Devon on April 13 1926, aged 61 (GRO).

Born in Flagstaff Cottage, Lamorna  (the eldest daughter of Samuel John Lamorna BIRCH and Houghton VIVIAN), she was often painted by the artists of the Newlyn colony and their visitors (such as Laura KNIGHT and Harold KNIGHT, Thomas Cooper GOTCH, Lionel Lea Townley BIRCH, etc).   Mornie and her sister Joan both showed handicrafts, along with their mother, at the Newlyn Art Gallery in the 1920s and 30s, and both were to develop talents in watercolour and oils.   Her beloved Lamorna featured regularly in her work, and she also specialised in flower painting. She was educated at Badminton School, Bristol, taking some classes at Bristol School of Art.

In 1939 Mornie and her husband Jimmy (James Lennox Kerr, the writer) returned to Cornwall from Scotland where they had settled, and where she was taking further art lessons in Paisley. Following her mother's death in 1944, she and Jimmy ran the family home of Flagstaff on the cliffs above Lamorna Cove, looking after her father there until his death in 1955.

A friend to many artists of her father's circle, including a lifelong friendship with Laura KNIGHT, she exhibited regularly in mixed shows at Newlyn.  She was Chairman of Council (1953-5), becoming Hon President following her father's death that same year. 

Jimmy died in 1963, and she continued painting, setting up a teaching and painting circle which continued under her supervision until her death at Lamorna in 1990.

Their work was displayed annually at the Lamorna Village Hall, where the series continues to the present day.  An E L Kerr Archive is kept in the WCAA, gathered for a small Retrospective mounted at the Jamieson Library, Newmill by friends in 1990. Carn Gloose was exhibited at Penlee (2002), and Still life with Jug was sold in 2004 at the Queens Hotel, Penzance Auction for the WCAA Establishment Fund.

A biographical memoir, In Time & Place, Lamorna, was published in 1994 by her friend and pupil, Melissa Hardie, and is based upon her long life among the artists of the West Cornwall area.  It is largely abstracted within Artists in Newlyn & West Cornwall: Dictionary and sourcebook (2009). She is buried near her father and her friend Pog YGLESIAS in the burial ground at Paul.

Her son Adam KERR, and his artist wife Judith KERR, keep the artistic traditions of Flagstaff Cottage, Lamorna alive for the area, with Adam serving as President of the Lamorna Society of Artists who work and exhibit together in the Valley.  Many of Mornie's former pupils are working today.

Houghton was a daughter of the prominent local mine-owning family, the Vivians of Camborne, and was born there. She was educated in Truro and qualified in London as a nursery nurse.   Returning to Cornwall, she wrote asking Samuel John Lamorna BIRCH for painting lessons (1902) and then married him in August of the same year. He gave her the affectionate name of Mouse. Her paintings were mostly in watercolour and contain detailed studies of rocks, trees, landscapes and coastal scenes.

She was mother to Joan Houghton BIRCH and Elizabeth Lamorna BIRCH, both also painters, and made and exhibited crafts and the occasional painting at the Newlyn Art Gallery (with her husband and daughters), and two landscapes at the St Ives Society of Artists (1935).  In 1937 at NAG she exhibited a painting Carn Barges. A work in pencil, Cottage at Lamorna (Private Collection), was exhibited at Penlee House (2002).  An outlet for her craftwork and that of her daughters and their friend, Pog YGLESIAS, was their 'craft shop' set up - mainly during the summers - at the bottom of the drive leading up to Flagstaff Cottage in Lamorna. It was more a creative venture than a lucrative one, adding to the sense of community Lamorna always engendered.

Born at Lamorna, the second daughter of Samuel John Lamorna BIRCH and Houghton VIVIAN, Joan also appears with Mornie as a model child in paintings by the Newlyn artists. She herself painted landscapes and coastal scenes in oil and watercolour, and married John Paxton-Petty in 1934, the same year in which she submitted a painting to the RA, which was accepted.

Her earlier years were spent in Lamorna, where she worked together with her mother and sister on crafts and toys that they sold in the summer months at the 'shop' at the bottom of their driveway. She emigrated to Australia with her husband in 1946, and was visited by her father in his Australasian travels. She died there, three years after her sister's death in Lamorna.

Born in 1858 at Bramshall, nr Uttoxeter, Staffordshire, Lionel and his wife Constance Mary BIRCH built their own home 'La Pietra' in Newlyn. The artist assisted with tuition in the early days of the Forbes School of Painting. Crozier (1904) noted: "An important feature of student life at Newlyn is the sketching class, which meets on three afternoons a week, under the able direction of Mr Lionel Birch, himself an artist of no mean repute and a frequent exhibitor at the Royal Academy."   

Birch also served as the Vicar's Senior Warden at St Peter's Church, Newlyn, and wrote a feature for the Parish Magazine called 'Notes from the Studios'. In the NAG exhibitions over the years he exhibited well, and in October 1898 sold two paintings to the Bonham Carter family staying at the Queens Hotel in Penzance. The couple moved to Whimple in about 1911, and later Ottery St Mary in Devon. He died, age 71, on April 16, 1930, in Ewell, near Epsom, Surrey (GRO), his wife having predeceased him.

Born in Wallasey, Wirral, Merseyside (GRO) on 7 June, 1869, Birch grew up in the Manchester area and is recognised as the 'father' of the Lamorna colony.  In 1892, he moved to Cornwall, living first at Boleigh Farm.  Stanhope FORBES and others suggested further training in France, and in 1895 he spent some months at Atelier Colarossi. Apart from this brief sojourn with lessons, Birch was wholly self-taught. 

From his marriage to Houghton VIVIAN in 1902 until his death in 1955, he lived at Flagstaff Cottage, Lamorna, and painted the surrounding lands, cliffs, streams and terrains that he visited and loved. In many ways he was 'the man for all seasons' and is now acknowledged as the 'father of the Lamorna colony of artists' with his home, Flagstaff, serving as the centre and gathering place for artists and writers coming to the area. The many visitors would find him either working in his painting studio by the stream, or fishing in it; art and fishing were his passions and played 'equal first' in his life alongside his family.

Lamorna Birch, having selected the name Lamorna to distinguish him from friend Lionel Lea Townley BIRCH, also painting in Newlyn at the time, was an extremely prolific artist, taking every opportunity to travel to patrons and to paint to commission. Earning a living from painting, and tutoring was notoriously difficult, Birch was not one with inherited or family money as many of the gentleman-artists were. His work is represented in numerous public and private collections world-wide, and his picture St Ives, Cornwall (1938) was selected by the Chantrey Bequest and is in the Tate Britain Collection. In his lifetime he showed more than 500 paintings at the Fine Art Society, which reprinted many of them for commercial purposes.

Elected to the RWS (1914), an ARA in the 1920s and RA in 1934, Birch was the first RA to work in New Zealand, where he had travelled also to visit his daughter Joan Houghton BIRCH who had settled there (1937), receiving generous receptions from museum and gallery curators who purchased his work. The full story of his life is told masterfully by the author Austen Wormleighton, in A Painter Laureate, Lamorna Birch and his circle (1995). In 1997 the Falmouth Art Gallery mounted a retrospective exhibition which also toured to Plymouth. His work was selected for the RA's exhibition in 1988, The Edwardians and After, and the painting chosen was Our Little Stream, Lamorna. The scene remains the same today. The journal of The Lamorna Society is named The Flagstaff, and Birch's grandson, Adam KERR, is the Hon President of the working group of artists.

 

  

 

 

Jenny Birchall's paintings on wood take a lighthearted look at summer visitors to Cornwall in all their diversity.

Colin Birchall creates powerful, heavily textured abstract works on canvas and wooden panels. These attempt to convey the experience of being in the landscape of west Penwith as a participant rather than a detached observer.

Born in Muswell Hill, London (30 March,1864 GRO), she studied at the Slade School before briefly attending the Academie Julian in Paris in 1889. She was recorded as a Newlyn resident in the 1891 Census, living at Church Lane, Mount Vernon, and exhibited at the Dowdeswell Exhibition of 1892 with the Cornish painters.

In Newlyn she shared a studio with another woman artist, Amy ATKINSON, but also continued to exhibit from her home in Haywards Heath, Sussex. She died in Cambridge on 11 September, 1948, age 84 (GRO).

Author on arts-related topics.

Originally a wood engraver and book illustrator who took up watercolours to paint rustic subjects, he did a steel line engraving of St Michael's Mount in c1850.

Throughout the study of the history of the Newlyn school, researchers find references to the Birmingham Art Circle, the Royal Society of Birmingham Artists, and to the Edgebastonia, the newsletter-cum-journal of the Birmingham community of artists. One artist who remained a resident of Birmingham all his life, but visited Cornwall regularly and showed Newlyn pictures there, was Ernest HILL, and he was later Vice President of the RBSA.

It is useful to know that the original members of the Birmingham Art Circle were Oliver BAKER, William Arthur BREAKSPEARE, S CURRIE, William Banks FORTESCUE, John FULLWOOD, E S HARPER, Edwin HARRIS, John KEELEY, Walter LANGLEY, W S LLOYD, F MERCER, C MORGAN, W J MORGAN, Henry Martin POPE, W F RODEN, Harry S THOMPSON, William John WAINWRIGHT and Charles Henry WHITWORTH.

Those indicated associated with or visited in Newlyn, and have entries in this Index.  All of these artists were known to each other, even if some did not travel to Cornwall.

 

See www.birtall.co.uk for further detail. Simon Birtall was Falmouth-based and remained working there for ten years after his studies were completed. Now he is both a free-lance illustrator and a painter (mainly in acrylics on canvas) and website designer, based in the Wirral in north-east England.

He graduated from Falmouth Art School in illustration and has produced designs for greetings cards, book covers, and advertising of all variety, working for clients such as Hallmark Cards, Random House publishing and BBC World Service. He continues to provide a range of stock illustrations and these can be seen on his website.

Simon's painting includes both landscape and portraiture.

Bishop was born in London and subsequently studied at the Slade, in Paris, Brussels and Pittsburg, USA. He also travelled in the Middle East.  In 1888 he was one of the founder members of the St Ives Arts Club. His exhibiting career was extensive and primarily involved showing at the NEAC and the RA.   The Chantrey Bequest bought his painting Shakespeare's Cliff, Dover in 1933, the year following his entrance as an Associate to the RA.

Lizzie Black is a painter based in Mousehole.

John Blackburn has lived and worked in Cornwall since 1969. His subjects include landscapes, seascapes and portraiture.

Pamela Blackburn moved to Cornwall from Hampshire in 1969. She began painting in the 2000s and lives in Helston. She describes herself as largely a traditional and representational watercolourist.

Keith first came to Cornwall in the early 1980s and has visited regularly ever since. In the 1990s he lived for a time in Newlyn and also at Cadgwith.

Keith's father was a sculptor. His own art studies were begun at Wakefield College of Art and continued at Neville's Cross in Durham. This he followed up by teaching arts and crafts for several year in the North of England.

Bednar has identified this artist as being born in Chester on 14 April, 1864 (GRO) who lived at 112 Fore Street, Newlyn for a decade from 1890. The 1891 Census lists him as S K M Blackburn, an Artist Painter, born in Cheshire lodging in the home of Eliza Trahair and her daughters, the latter being milliners and dressmakers. A fellow artist sharing the lodgings was Frederic MILLARD.

Correspondent Bill Curnow sent a message using the contact form at
http://cornwallartists.org/contact, with the following message: 'There's more to this artist's story. On 14 May 1898 Ernest Robert Ireland Blackburne (34, artist, of Newlyn, son of John Ireland Blackburne, wine merchant) married Mildred Emily Perkins (19, of Newlyn, daughter of Thomas Norwood Perkins). What adds a bit of spice and color to the story is the fact that young Mildred's father was the Vicar of St. Peter's, Newlyn, where the marriage took place.'

With the Cornish painters he exhibited at Dowdeswells (1890) and at Nottingham Castle (1894). At the 1895 opening at NAG: 'Mr Ireland B is represented by one of his Academy canvases, The Song of the Sea Birds and a new picture of Marazion Marsh, which is quite in his best manner.'  Though no sales appear for the artist in the Sales Record of the Newlyn Art Gallery, Blackburne took part in 1902 exhibition organised for those associated with the Cornish colonies at Whitechapel Art Gallery in 1902, with his painting A Wind-swept Wessex Valley.

From Newlyn he moved on to Dorset, living near Poole in the village of Lilliput, where he died, age 83.

An art student working in the St Ives colony in the late 1890s (Tovey), who 'captivated local audiences with his mandolin playing.'  He worked from Back Road Studio and contributed frequently to the social entertainments in the St Ives community. A colour plate of his Boat by the Wharf, St Ives (1897) is published in Tovey (p243). His sending-in address was nearby Lelant. Later he lived at Merlewood in Bournemouth, Hampshire.

 

Born in Sunderland, in 1872, William Kilbride Blacklock was the second son of John Blacklock, a painter, and his wife Eleanor KIlbride, who were married at Sunderland in 1770. In the 1881 Census, William was an 8 year old living at 5 Hudson’s Buildings, Bishop Wearmouth, Sunderland with his parents and his two siblings, all born in Sunderland. His father died in 1886 and in 1891 young William was an 18 year old lithographer’s apprentice living at 10 Corporation Road, Rickersgate, Carlisle where his widowed mother was a publican. They had moved by 1901 to 4 Dixon Street, where William, still a lithographer, lived with his mother who was described as a ‘boarding house keeper’.

He then studied at the School of Art in Edinburgh and the Royal College of Art in London and became a painter in oil and watercolor.  Living in London, he married at Chelsea in 1909, [Nellie] Ellen Eliza RICHARDSON. He seems to have added ‘Kay’ as his middle name when he took up as an artist. Nellie, a painter in her own right who exhibited at the RA, was also his model for a series of paintings from 1910 to 1917. William probably also painted in Holland, as the subjects and titles of his paintings suggest, and his subject matter and style is akin to that of Elizabeth FORBES.

 In the 1911 Census Blacklock is listed as a 41 year old artist painter at 46 Gunder Grove, Chelsea with his wife, and a one year old daughter Eleanor Irene, who had been born in Chelsea.  By 1912 they had moved to 'The Barn' Walberswick, where there was an active artists' community. In 1916 they were still living there. In 1921 their address was 152 Fosse Road, South Leicester, but they moved on to Liskeard, Cornwall. Blacklock died in Polperro, Cornwall in 1924.

 

This entry was updated thanks to information received from a correspondent in 2017.

Initially a potter, Clive turned to painting full-time in 1984. The artist was born in Kingston upon Thames, Surrey and attended Twickenham and Kingston Schools of Art. He came to Cornwall at the age of 20 in 1960, and concentrated wholly upon the potters' arts in both porcelain and stoneware.

As a painter he has worked steadily between France (Provence) and Cornwall, where he lives near Helston. Buckman lists a partial exhibition record, the WCAA keeps an ongoing list of current exhibitions in London and elsewhere. In 1992 he was included in the Artists from Cornwall Exhibition at the RWA. 

The artist is listed as a member of NSA (2009).

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