The daughter of John Mathews Bodinnar, a cooper, and Ann Crews Bodinnar (nee Curnow), Gertrude was the eighth of ten children and was Cornish-born. Her first contact with art was as a model that included posing for her future husband Harold HARVEY, and the experience fascinated her. She made notes of how the painters worked, and she discovered in herself a talent for art and design.
She and Harold later married in about 1911. Gertrude used mostly oil on canvas, board, card or paper, but also tempera, gouache and sketches (sold at NAG), and also enjoyed needlework and clothing design. In the 1920s and 30s she exhibited her work at various galleries in London, including the RA and the Leicester Galleries. Often she showed work together with her husband in mixed and group shows. Her style has been likened to Alethea GARSTIN's.
Prior to her marriage she lived at Pembroke Cottage, Newlyn (1879-81), and by the 1891 Census she was at 49 Trewarveth Street, Newlyn. After her marriage she and her husband moved to Maen Cottage, Elms Close Terrace, Newlyn and she stayed there after his death (in 1941) until 1960 when she moved to the Benoni Nursing Home in St Just.
Born in Penzance on 20 May 1874 (GRO), the son of Francis McFarland Harvey, a bank clerk and Mary (née Bellringer). His primary education was at home, and then he studied art first with Norman GARSTIN, in Paris at Academie Julian 1894-96, and Academie Colarossi and Atelier Delecluse in 1896. On returning to Penzance in the late 1890s, he worked again with Garstin before he married the artist Gertrude Bodinnar HARVEY in 1911. He painted in both watercolour and oils depictions of Cornish life and landscapes, later changing to interiors and religious subjects set against local backgrounds. A full page detail from his painting St Just Tin Miners is included on page 130 of the Public Catalogue Foundation's review of oil paintings in public ownership (PCF, 2007) in Cornwall. It is held by the Royal Cornwall Museum in their permanent collection.
Together with Ernest PROCTER, his 'best friend', he ran one of the several painting schools in the area from 1920 . His residences in the area include 20 North Parade and 5 Trewartha Terrace, both in Penzance, up until his marriage, and then Maen Cottage at Newlyn until his death. Amongst his particular friends was the Vicar of St Hilary, Fr Bernard Walke, whose wife Annie FEARON was also an artist, and Harvey produced some paintings for the Church at St Hilary. Other close friends were Laura KNIGHT and Harold KNIGHT and the artists of the Lamorna Valley set. His conversion to Catholicism occurred later in life. He died on 19 May, 1941, age 67, in Newlyn, and he is buried in the RC section of the Heamoor Cemetery in Penzance.
The daughter of the artist John Rabone HARVEY and sister of Herbert Johnson HARVEY, her first visit to St Ives was at some time between 1900 and 1910. In 1905, at the age of fifteen, she began six years of study at Birmingham School of Art. From there she moved on to a silversmiths firm in Birmingham, before joining the London couture house, Mechinka, at the outbreak of WWI. She studied under Henry Tonks at the Slade, first part-time and then on a full-time basis, and in the early 1920s unfortunately caught paratyphoid fever on a trip to Paris that necessitated convalescence at St Leonards-on-Sea and two winters spent abroad.
By 1924 she had married Charles Meeke and was living in Birmingham again, and the birth of a son at about that time seems to have interrupted her career. She was a painter, printmaker and miniaturist on ivory. After divorce in the late 1930s she exhibited a work Holidays, later re-named Holidays in Cornwall, at the RA, giving her address as Verbena Cottage, St Mawes. Hilda moved to St Ives in about 1945, living at 6, Bowling Green Terrace. By 1950, however, she had moved to Yardley in Yorkshire.
John Harvey was born in Plymouth in 1935. After an initial career in printing and commercial art he studied at Camberwell School of Art and Crafts in London (1975-78) and then for a follow-up year at Brighton Polytechnic (1978-79). Subsequently he taught art at a Cornish school before retiring early to concentrate on his own painting.
He now lives in Penzance, drawing from the wide range of subjects around him. Most of his paintings are completed on the spot and, combined with drawings, frequently become studies for larger studio paintings.
The son of Victor Martin HARVEY, Martin grew up in St Mabyn and attended Falmouth School of Art from 1959 to 1963, studying under Michael Finn, Francis Hewlett, Derek Wiltshire, Peter Lanyon and Terry Frost. He then became a student at Hornsey College of Art (1963-1964). He has taught art in Hampshire, at Plymouth College of Art, Plymstock School and Launceston College. He is also a keen sailor.
His Figures cast in Iron won the First Prize in the Sculpture section of the Cornwall Polytechnic's Annual Exhibition in 1834 in Falmouth. The artist sent his work from Hayle. (He was possibly a member of the Harvey family that ran the iron Foundry at Hayle; Iron casting was not a "back shed practice".)
V Lander comments on her 'finely observed architecture of the cathedral [Truro] dominating the view from the river in a series of fine and delicate studies.' (2011)
Rebecca is originally from East Anglia. She was awarded an MA in Ceramics & Glass from the Royal College of Art in London. She employs a range of techniques, including soda firing, to produce attractive patterns and textures in her pots. While essentially domestic in function, her highly individual pieces reflect an interest in eighteenth century cream ware, Japanese ceramics and architectural designs. She has exhibited not only at London's V & A, but throughout the UK, as well as in Germany, the USA and Japan.