The artist was born at Bridgetown, Barbados. She studied at the British Institute in Florence (1983) before studying for a Fine Art diploma at Newcastle University (1983-4) and continuing her studies in Anthropology at Durham University (BA Hons 1985). For five years she was a Manager of the Maas Gallery, London, before spending another year in Italy and working with china and glass in London.
In 2002 Nicky moved to St Ives, Cornwall in order to paint full-time. Here she found much inspiration and lists her favourite haunts as St Ives, Gwithian, Porthkidney, Zennor, Trencrom, Marazion and St Mawes (Recent work Exh card, 2008, Penhaven Gallery, St Ives). She returned to London in 2007 due to her marriage, and she further comments 'it is perhaps understandable that after five years living in St Ives, Cornwall remains my primary inspiration and provides the subject matter for much of the work in this show' (2008, St Ives, Penhaven)
One of four artists from the MA Course in Art and Environment at UCF contributing to the exhibition, 'Sensing Earth, Art and Environment' at Kestle Barton (6-11 September, 2011).
His website is www.tombaskeyfield.carbonmade.com
Born in the West country, Sarah now lives in Penzance, where she paints mainly subjects in natural history and landscape. She is also a trained potter, and worked in ceramics prior to her return to Cornwall.
She graduated from Ravensbourne School of Art in painting and pottery.
Sam has taught illustration at B.A. level at Bournemouth Arts Institute where he ran sessions preparing graduates for a career in industry.
Here in Cornwall he has been worked Newlyn Gallery art projects including Possessed Possessions, and exhibited locally at Belgrave Gallery (St Ives), Orchard Gallery, Millennium Gallery as well as further afield.
Bassett has been a tutor at Newlyn School of Art since 2011.
Bassett works from Porthmeor Studios in St Ives (2013).
Sally is mainly based in Mousehole. Her Cornish connections go back to her great-grandfather, a Cornish tin engineer at Downgate on the Tamar. The essence of her work is its energy, vitality and colour. Sally's work usually commences with observational sketches and drawings collected in a tiny sketch book where she notes down in line, colour and words that which engages her. Extensive walks around the dramatic coastline of the Penwith peninsula and the Lizard provide inspiration for her art. Her subjects are mainly the wild seas, fishermen and boats, but can also include landscapes and flowers. Sally's wild wave paintings are an effort to catch the essence of the movement, the splash, drip and roar of the waves on the shore or over rocks.
'His name indissolubly linked to the phrase 'plein air' Bastien-Lepage is usually held culpable for the work of any late Victorian artist who took an easel out of doors or picked up a square brush. His few works on display in Britain are therefore worth noting.' (phryne)
The artist first came to the attention of the public and critics with a painting of his grandfather that was exhibited at the Paris Salon in 1874. He had tremendous influence on the Newlyners and their genre paintings of fishermen and their life-style, much more so than on the mainly landscape and marine artists of the St Ives Group. 'Bastien Lepage was their [Newlyn] most powerful influence and it is surprising to note, how strongly they considered his importance, when with hindsight we do not regard him as such a significant figure. George CLAUSEN is probably thought of as the chief exponent of this kind of painting in this country, but some may feel that Stanhope FORBES and Newlyn were more worthy disciples.'
The so-called 'square brush' technique employed by a number of the Newlyn painters at the beginning of this period concentrated description upon tone and value; outlines were blurred, the effect and purpose was to suggest a kind of atmospheric envelope. This brushwork tended to disappear as the Newlyn School emerged.' [Brewster]
The year 1879 was of great importance in his life as in that year he exhibited The Potato Gatherers to enormous acclaim, making him the 'king of the Paris Salon'. He visited London - for the first time abroad - and upon his return to France was inducted into the Legion of Honour, receiving its decoration. Immediately he set to work on his next great work, Jeanne d'Arc.
The credo to which he worked, and to which the Newlyn colony paid homage (especially in its early years), was 'truth to nature'. "There is only one to be admired" said Bastien Lepage, "that is Nature. There is only one art and that is to reproduce Nature." [quoted in Cartwright] Lepage died at the age of 36 from tuberculosis, never having come to Cornwall but having made a visit to London where, though not speaking a word of English, he spent his last day there making a drawing of the Prince of Wales. Though he never married, his close friend, who was with him when he died, was the famed diarist, Marie Bashkirtseff.
Very little is known about this artist, who was possibly a sign writer in Saltash. He was born in the 1800s but his place of birth is unknown, as is the date of his death.
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.