David Tovey (2013) adds to our entry with information about Bateman in St Ives:
Bateman is normally associated with Newlyn, but was part of the St Ives scene in 1888, if not before. Born in London, Bateman trained at the Slade School of Fine Art in 1881, and came to Newlyn in 1885. However, he took a house in St Ives in the autumn of 1886 and, in 1888, he gave his exhibiting address as 6, The Terrace, St Ives. Indeed, the Henry Massey version of the Stokes Chantrey Supper Menu reveals that he was a participant that evening - 30th August 1888, his signature on the Stokes copy being indecipherable. He also exhibited two St Ives subjects at the RBA in 1888. In 1889, he was back in Newlyn, living at Pembroke Lodge, having acquired, the previous year, a five-acre field on the hill overlooking Newlyn on the northern side of Trewarveneth Street, which became known as ‘Bateman’s Meadow’ or ‘The Meadow’. Here, he erected various glass-houses and studios which he gave, sold or let to artists, thus earning himself the sobriquet, ‘the Capitalist’ of Newlyn. He appeared as a Newlyn resident on the 1891 Census. but left for the United States soon afterwards, dying in California on 30 March, 1894, aged just 46 (Hanford, Kings County, California).
From her KROWJI studio in Redruth, Thomasina Bates makes wheel-thrown colourful vases, bowls and pots. She describes her work as experimental and intuitive, and is fascinated by heat and alchemy.
At the Annual Show (September) of the Royal Cornwall Polytechnic Society in 1846, the artist was awarded the Bronze Medal in the Oils Section for his Landscape. Wood notices a W Bath (fl 1840-1851) who may be the same painter, as a London landscape painter who exhibited at the RA, BI and SS. It was not unusual for professional artists outside of Cornwall to send-in for RCPS Exhibitions, but conceivably this could have been a county person of the same surname.
Jane Bath's work 'plays with media and surfaces' to create not only figurative paintings, but also three-dimensional and textile pieces. She lives and works in Ashton, west Cornwall.
Wood notices this painter with addresses at Bushey, Hertfordshire and London. She exhibited Pas Seul (1995) and Daybreak (1897) at the RA. And J & G add Croydon 1889 to that list, as residences.
Several variations in spelling exist of this artist's surname in the literature, and at this stage no firm information has been found separate from Wood's entry for BATSON.
A painting under the name of Bateson was sold at NAG in 1896 (July - October, 5th exhibition). A painting Early Spring by this artist was exhibited at NAG in 1898 and thought to be sold, but was cancelled. Later in the same year he sold Hay Crop at the Christmas Show (NAG).
Prior to arriving in Cornwall, Batson lived at Hungerford (1894) and by 1902 submitted work to the RA from Ramsbury, Wilshire. By 1910 he is no longer listed in the Year's Art, but Johnson & Greutzner extend his exhibition period to 1926.
A painting by this artist, entitled Padstow May Day (1961) is in the collection of the Padstow Museum.
A former school teacher, Batten was the person selected to take charge of the copper-works under the design supervision of John Drew MacKENZIE. He restarted the Newlyn Copperworks with Johnny Payne COTTON in the 1920s after the death of J D MacKenzie. The painting by Stanhope FORBES The Young Apprentice, Newlyn Copperworks depicts a young Johnny Payne Cotton being instructed by J D MacKenzie.
The Industrial Class ceased production in 1939 with the outbreak of World War II. Tom Batten died in 1949, while Johnny Payne Cotton restarted production in the 1950s with John C Laity at Morrab Studio, Penzance. He was assisted by Francis Charles CLEMENS in making the copper galleon on the roof of the Seaman's Mission at Newlyn in 1911, but WWI brought this 'golden age' of Newlyn copper to an end. Many Newlyn men enlisted, and a poignant reminder is the small plaque, made from a copper shell cap by Tom Batten while on active service, and inscribed 'Xmas, New Year Greetings, Balkans 1918'.
Fortunately Tom Batten survived and returned to Newlyn to continue the copper works with John Payne Cotton (under difficult circumstances). Shortages after the war meant that it was 1920 before they could buy copper again for their work. Much excellent metalwork continued to be made by them between the wars, but the production was now that of a commercial business, known locally as "Batten and Cotton's', without the educational function it had had in the early days. Copper was sold from their workshop in Wesley Place, along with Newlyn Enamel and artists' materials. By 1930, however, competition from cheap foreign imports affected them.
They also had to compete with machine-made souvenirs and could expect comparatively little income for long hours of skilled work. Ironically, this very skill prevented their work from reaching more prestigious markets such as the London stores, who supplied 'hand-made' goods to their discerning customers. When items of Newlyn work, notably a large plaque with a galleon design, made by Batten were taken to London by his sons (as late as 1950) the buyer at Harrods dismissed them as being 'too perfect' to be hand made (Berriman).
Joy Batten is an artist-photographer living in Newlyn with a wide range of specialties in her work - from portraits to sports events, animals, plant forms, and unusual landscape views of West Cornwall. Her photos are varied not only in size but also in purpose, from cards to poster in size, and personal to book publication.
The potter worked in the Leach pottery in the mid 1950s for a period of about two years.
A painting by this artist is entitled St Mawes Harbour, Cornwall (signed) oil on canvas board; nothing more is known currently.
Susanna lives and works in Mousehole. She produces abstract sculptural work using found natural objects, which are appropriated to incorporate crochet, weaving and stitching.
Leach Pottery 1948-50
Baugh was born in Portland, Jamaica, WI and studied in England with the benefit of a British Council Scholarship. After his time at the Leach Pottery, the ceramist returned home to Jamaica where he built a studio in Kingston. His first one-man exhibition was held in 1950, and in 1953 HM The Queen was presented with one of Cecil's pots during her visit to Jamaica.
His work has also been presented to other notable figures around the world. As a ceramist, lecturer and consultant, Cecil helped to establish the first visual arts training institution in the English-speaking Caribbean, and has received many honours for his work.
In 1975 he was awarded the Order of Distinction by the Government of Jamaica, and in 1984 the Gold Musgrave Award for his book Baugh, Jamaica's Master Potter. A further edition of that book (1999) includes a chapter on the Jamaican potters that Baugh has influenced. In 1991 the National Gallery of Jamaica opened the Cecil Baugh Gallery of Ceramics as part of the development of the visual arts on the Island.
In 2004 he received The Gleaner Honour for Excellence in Arts and Culture. He died in Jamaica the following year.
This artist was selected for inclusion in the Looking West Exhibition of 1987, staged by the Newlyn Art Gallery with the Royal College of Art (London). His exhibit was entitled Palm Trees and Church, St Ewe (c1980). No details of time spent in Cornwall are known currently.
The Cecil Higgins Art Gallery at Bedford, Beds holds his Archive of work and can be contacted through their website referenced below.
Born in Streatham, London Bax married a Cornish girl (Nina Harry) in 1908 and brought up a family of eight. Of indifferent health as an asthma sufferer, Claude came to Newlyn after his childhood in Hampstead, and was a contemporary of the Procters (Ernest PROCTER and Doris Shaw PROCTER) at the FORBES SCHOOL of Painting. He spent two further years training in art in Switzerland, and later established a farm near Mullion, where he remained until he died. Painting latterly became of secondary importance.
The artist had a sending-in address of Claughton, Lancashire in 1897 until this was changed to St Ives, Cornwall in 1904. Tovey mentions Charles Baxter being from Liverpool, who was involved with the St Ives colony from 1901 to 1905. He exhibited on Show Day in 1901, when he was also listed in the Census of that year living in The Terrace. He also exhibited in the 1904 Show Day. From 1907 he had moved on to Winchelsea, Sussex.
Born in Cornwall, the artist exhibited in the Porthmeor Gallery's opening show in 1928. She initially lived at Dunvegan, Carbis Bay - the home of her parents and sister Iris COOKE. Norman COOKE, her father, was a stalwart of STIAC until 1940 (Tovey), and both of his daughters were artists with a studio in their home.
After her marriage in 1932, Dossie moved to Nancledra with her husband. Working mainly in 'black and white', her focus was on landscapes and still life. She exhibited with STISA in Brighton (1932), Birmingham & Cheltenham (1936) and also in the South African Tour of 1947.
Nicola Bayley studied at the Royal College of Art, and published her first book in 1975. She is both an award-winning writer (Kate Greenaway medal 2001) and both a landscape painter and illustrator. She lives in West Cornwall, not far from Land's End. Her fame locally was secured with her wonderful illustrations for The Mousehole Cat, published with Antonia Barber (text), an international bestselling children's book.
Annabel Bayly was born in Surrey. She graduated from Lancaster University in 1979 with a BA (Hons) in Sociology. During the 1990s she became a student at Chelsea School of Art, completing her degree in Fine Art at Falmouth College of Art. She works from a studio in Rosevine, Portscatho, and has been represented by the New Gallery Portscatho. Her still life paintings have also been shown in London at the Osborne Studio Gallery, Belgravia.
Comic illustrator who visited St Ives briefly with his sister, and entertained with the other artists at social events.
Referred to locally in source lists as detailed below, but with no additional information. He is reportedly a 'sand artist' [and we still have a bit of that around].
Muriel was a talented amateur painter who was a long-time member of the Lamorna Kerr Art Group, at Lamorna, though her home was in Penzance. She exhibited in all the mixed shows that the Group held annually at the Lamorna Village.
Her specialty was sea paintings. She continued with the Lamorna Group after Mornie KERR's death, and was noticed in the Cornishman last in 1996.
Bealing works from Trewarveneth Studios, Newlyn. Since coming to live in Cornwall in 1988 she has proved a popular and inventive artist, with the wit and skill to employ the unexpected and unusual in her figurative and abstract work.
The artist is listed as a member of NSA (2009). She exhibited in the Newlyn Arts Festival Open Studios 2010. Her work has also been shown at the Rainyday Gallery, Penzance.
Bridlington, Yorkshire was the birthplace of abstract artist, Frank Beanland. He studied first at the Hull college of Art (1952-57) and then the Slade School of Fine Art (1959-61). Following these periods, he won a Boise Scholarship which took him to Stockholm for a year abroad.
Returning to the UK, from 1962 to 1964 he worked in Cornwall, and exhibited with the Porthleven Group, that centred around the Summer Painting School of Michael CANNEY, and their exhibitions at the Porthleven Gallery, an old china-clay warehouse on the quayside which Michael had created. It was here, that one reviewer comments that he produced much of his best work. (www.redravenarts.com)
From Cornwall he moved on to lecture at the Swansea College of Art for a year, before spending a further year (1965-6) in Venice. Later on, he also spent a year in Nice (1973) as an artist-in-residence. All of this time, he built an 'an impressive exhibiting career, and received many commissions for screens and printed textiles for hospitals, churches, and private homes.' (Gallery17)