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A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
351-360 of 4177

John BIGGS

West Penwith subjects.

Chris BILLINGTON

Billington is an abstract artist working from a studio on the Lizard peninsula. He has exhibited widely within the UK, USA, Germany and Spain, with work in museums and private collections worldwide. In summer of 2012 his work was selected for the Carousel Horses Project at the Hall for Cornwall.

Caroline BINCH

Binch's studio is based in Pendeen. For the past forty years her original, published illustrations have been inspired by Caribbean subjects, gipsy horses and the natural world. She has also written and illustrated children's books. 

James BINGHAM

1973—

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

Henry Harding BINGLEY

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.'

James George BINGLEY

1840—1920

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.'

H Etchel BINNS

1869—1945

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.

Constance Mary BIRCH

1865—1926

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).

Elizabeth Lamorna BIRCH

1904—1990

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, Augustus Edwin JOHN, 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 BIRCH

1869—1944

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.