His painting, One Way to Porthleven, is in the loaned collection of the National Maritime Museum, Cornwall. Further information for this artist would be welcome.
Barrie Briscoe was born in Gloucester but grew up in western Canada. He was educated at Washington State University, the University of Pennsylvania, and Yale. An architect, draughtsman, designer, and occasional painter, he returned to the UK in 1972 and settled in Cornwall a year later.
In the year 2000 Briscoe created a mural on the back wall of the Acorn Theatre facing onto the Greenmarket car park, complementing the interior of the theatre when it re-opened after renovation that year. His idea was to support a competition every year for people to come up with a new design.
This American-born artist is recorded as showing two paintings at the St Ives Show Day in 1911, Moment Poetique and Evening, both of which he exhibited at NAG Winter Exhibition later the same year (which indicates they were not for sale).
He is noticed by Tovey as the occupant of the Mine Engine House studio on Pednolver Point until that year (p133).
Born in Plymouth, the son of Charles Edward BRITTAN (Snr), the artist exhibited at the 1895 Opening Exhibition at Newlyn, showing Near Princetown, Dartmoor. His father was also his teacher, and their work was highly prized.
He lived mainly in Devon, at Yelverton (1907) and Horrobridge (1928), and later in North Wales, and is primarily known as a master painter of his beloved Dartmoor. Pages dedicated to his work can be found on the website devoted to 'Legendary Dartmoor', which also shows a range of his work.
Brittan was born in Devonport, but by 1841 the family had moved to Madron, near Penzance, and by 1851 to Truro. His paintings focussed on bird and animal subjects. From this artist, only works on paper are known, the most famous being The Antler'd Monarch of the Waste which was exhibited at Suffolk Street in 1858.
He was the father and teacher of Charles Edward BRITTAN (Jnr) (born Plymouth 1870), who specialized in landscapes. Brittan Snr began exhibiting in the mid-1850s with the Royal Polytechnic Society in Falmouth, and won a number of medals and citations for unnamed works. Later he was to become one of the judges of the Annual Exhibitions in Falmouth. In 1863 Brittan Snr married Isabella Tripe (1839-1877) and they moved to Plymouth. After Isabella's death in 1877 he married again, but died prematurely in 1888.
The artist was a Canadian born in Cambridge, England, who visited and exhibited at St Ives between 1911-1912 where he also became engaged to a fellow Canadian artist, Henrietta HANCOCK, who had travelled with him from Canada. They returned to Canada in 1914, and Harry contributed a painting (A Rocky Coast) to the Patriotic Fund in Toronto, together with other artists supporting the war effort.
His style, as seen in his paintings Serenity and Mending (a fisherman mending his nets), is strongly evocative of the storytelling genre paintings of Newlyn. His portrait was painted by his wife Henrietta Britton, and his likeness (c1920s) can be seen on-line at North Shore Canadian Art. The couple settled in Nova Scotia, and both are considered distinguished Canadian artists.
Originally a publican by trade, it was not until 1801 that he showed an interest in topography and began producing books in partnership with Edward Brayley. Their first publication was entitled The Beauties of Wiltshire, and was the first in a long line of topographical publications, including Devonshire and Cornwall Illustrated (1832).
Britton appeared to lose interest in the 'beauties' series after seven volumes. He was succeeded by J C Smith (1778 - 1810), another topographical draughtsman, and Britton continued to supply illustrations for the guides produced. A self-made editor he called the artists that he gathered together 'scientific artists'. He later finished an enormous biography that was completed and released seven years before he died at the age of 86.
Broad was born in Liskeard, where his family ran a grocery business. He was a pupil of the FORBES SCHOOL in the period 1906-10, later becoming an exhibiting artist in his home area of Liskeard, and also a member of the British Watercolour Society.
He fell in love with Polperro at an early age, and spent a great deal of time in the fishing port indulging his passions for art and photography. During the 1890s and early 1900s he befriended a number of artists there.
He was the initial president of the Liskeard Art Club when it was formed in 1944. Three years later this became the East Cornwall Society of Artists, which is still flourishing in Polperro today. In 1946, the year before his death, he wrote for the Cornish Guardian two long articles, 'Polperro Pictures and Painters', which provided some fascinating insights into the life of its early artist community.
Edwina Broadbent spent her early childhood in South America. Her father was Trevor Waymouth, mother Sybil Waymouth (nee Hancock), brother Nigel Waymouth (artist). After studying at Harrow School of Art and Middlesex Polytechnic, she taught art and design at The Broxbourne School and Haileybury College in Hertfordshire till 1997, then began to paint full-time.
She moved to Cornwall in 2002. Painter of semi abstract landscape and still life, with energetic, but sensitive use of colour and form. Drawing is usually the starting point, but the paintings are developed intuitively. She attended painting classes with renowned art teacher Robin Child.
Edwina has long-standing personal and family connections with West Penwith (Eleanor HUGHES, nee WAYMOUTH, from Lamorna). Influenced by modern twentieth century artists such as Ivon Hitchens, Richard Diebenkorn, and Henri Matisse.
The artist was born and lived in Liverpool, and studied at the Liverpool School of Art, London and Paris (Julian's), exhibiting prolifically. His primary shows of work were in Liverpool where he exhibited up to 200 works. It is probably in Paris, or in Grez where he also painted, that he met artists working in St Ives. Whybrow mentions him only as a visiting artist, and there is no evidence of his work here in Cornwall (as yet).
An oil painting by this artist, entitled Cove-Cliffs-Clouds-Cornwall, is in the permanent fine art collection of the Royal Cornwall Museum, Truro.
The daughter of a monumental mason from Newlyn, Winifred (nee Snell) was married to a fellow artist, William Brocklebank, in 1926. She was known for her portraits and landscapes.
Formerly a London-based artist, Broderick with his delightful dog, Doris, has purchased the Grade II listed Old Methodist Chapel in Gulval, near Penzance. He lives and works in the studio accommodation created from the quarters allocated to the previous clergy, and uses the Chapel (with its tiered pews) as a massive showing space. In 2009 at the turn of the year Michael STRANG, also of Gulval held a solo exhibition there, and in 2010 Romi BEHRENS exhibited her recent work as a preview to her projected London show in 2011.
Broido was an artist and teacher. London-born, he was taken to South Africa as a baby and spent twenty years living there before returning to work in Britain. From 1956 he lived in Cornwall on the north coast of the peninsula, taking up part-time gardening for the artist Patrick HERON at Eagle's Nest, Zennor, near St Ives. For a couple of years he worked in a studio at Eagle's Nest, then worked for the sculptor Barbara HEPWORTH in St Ives until 1962, also teaching art (though he was self-taught) at Truro Art School for twenty years.
He showed his paintings regularly with the Penwith Society of Artists, and also exhibited at the Fore Street Gallery, St Ives. For some time Alan LOWNDES, the artist, shared the Piazza Studio with Broido.
Michael Broido died in Lewes, Sussex on 2 November 2013. [We have recently been informed by a friend.]
Benezit notices a Frederick Bromley as a London engraver, who exhibited from 1856-1860 at the RA and SS. Graves may be listing a later artist. F Bromley exhibited at the Walker Art Gallery in Liverpool in 1885 from an address in Penzance.
London-born, he studied under his father, the artist William Bromley [in turn the grandson of the engraver William Bromley (1769-1842)]. His sending-in addresses were London (1880,1888), Rochford, Essex (1885) and St Ives, Cornwall (1897).
He moved to St Ives in 1897 and joined the Arts Club, constructing Quay House for his own use. His works show views of the town and harbour life of St Ives and neighbouring fishing ports. He was married to Selena M WING in 1899 in Penzance, she being an artist who had exhibited at Newlyn from the Opening exhibition in 1895. John M BROMLEY is one of the signatories of the Glanville letter, a document which establishes the presence of some of the artists within the art canon of St Ives (complaining about perceived over-development of the town). The couple lived in St Ives until 1901, when they moved on to Torquay, Devon; it appears from records, however, that he maintained his membership in STISA until his death in 1939.
Selina Wing was a London-born (Tooting) painter who exhibited at NAG's Opening exhibition in 1895, and in the same year exhibited at Liverpool (acc to Year's Art) from her address in Higher Tooting. She had been a regular visitor to West Cornwall since about 1890-1, and Tovey believes that she had probably settled in St Ives in about 1893.
The marriage of Miss Wing (at age 44) to Phil Whiting, a year younger, took place in Penzance in 1899. Whybrow notes Selina Marion Wing as Mrs J M Bromley and living at 8 Bellair Terrace and 6 Draycott at St Ives prior to marriage. By 1901, the couple were boarding at Torquay, Devon, but had returned to St Ives by 1905 when they purchased some dilapidated houses in Quay Street, St Ives (Downalong) and created the lovely family home of Quay House (See Tovey 2009 p77 for before and after prints). They remained there for the rest of their lives.
An artist who is know to have exhibited in Birmingham (1883) and in London (1938). A Bonham's Auction (2005) exhibited for sale his painting An August Day-Cornwall, signed and dated 1890.
Working from her studio in Rock, north Cornwall, Nina Brooke creates paintings of the sea which capture a unique aerial perspective. She was born in Cornwall and attended school in Dorset, before taking up studies at Oxford Brookes and Falmouth Art School. She has also attended courses at Newlyn School of Art.
The 1901 Census records her as 38, an Artist (Painter) Architect, born in Leicester and living at Clyz Cottage, Ayre, St Ives with her husband Frederick Brooke of Suffolk and their two daughters.
Brooke was an artist-painter, an architect and later a Captain in WWI. He was born in Sibton, Suffolk, and the son of a Magistrate and landed proprietor, and his wife (born in Buenos Aires). He and his wife Gwendoline had two daughters when they arrived in St Ives, thought to be in 1895 (from a painting of the town dated in that year). Their address, as provided to the RA was Ayr Cottage, St Ives, and with them came a governess for their daughters, and two domestic servants, including a cook from Madron.
The RA lists 4 paintings sent in to them from 1895-1899 and in 1902 he exhibited three paintings at the Whitechapel Exhibition of Cornish Artists, London, giving St Ives as his reference. The family had previously lived in London (1886) and Suffolk (1887).
Brooke was the lead signatory and provided the covering letter from the St Ives Arts Club artists to Mr Glanville of the St Ives Town Council in 1898, which voiced the concerns of many artists about plans for redevelopment and changes to the town.
It is not known when they departed St Ives, but further art records do not record further exhibited work. Internet records list him as Captain Frederick W Brooke who died in Popscott, Witham, near Braintree, Essex only weeks short of his 92nd birthday. His elder daughter, Gladys predeceased him, dying at her villa in Monaco in 1946, and his second daughter, Mrs D Huxley and his wife survived him.
Maureen Brooke was born in Holland in 1962. At a young age, she and her family moved to the Caribbean. On leaving school she became a deckhand, travelling widely on sailing yachts before returning to Europe to study horticulture. After marrying, she moved to Cornwall, and in 1990 undertook a City & Guilds in ceramics.
Romaine Brooks, born Beatrice Romaine GODDARD in Italy, was an American painter who worked mostly in Paris and Capri, specialising in portraiture. She is best known for her images of women in androgynous or masculine dress, including her self-portrait of 1923, which is her most widely reproduced work. While living in London between 1902 and 1904, she spent some time in St Ives, where she developed a palette of fine gradations of grey. From then on her paintings were dominated by grey, white and black. She painted very little after 1925 and died in Nice aged 96.
Flo Brooks is based at Krowji Studios, Redruth. She is primarily a painter, using acrylic on wood, but her practice extends into collage, publishing, social engagement and installation.
In 2023 she created a large-scale painting for Clapham. 'Inner Bark Out' centres on Clapham Common as a unique site of gathering, exploring the social, political and ecological threads encountered and generated in public parks and commons. The piece is installed at Bridge underpass, Bedford Road, Clapham North, SW4, 7EF.
William Brooks is the artist providing the earliest title in the Penlee House collection in Penzance, Cornwall. Entitled Mount's Bay (1794), nothing is known about the artist himself.
There is also an artist named William Henry Brooke (1772-1860) who painted Lanherne Bay, Nr the Nunnery, Cornwall (1819), a painting that Tate Gallery, London holds. This may or may not be the artist that Penlee House records. Woods lists several artists with William as first or second name and Brooke or Brooks as surname.
Libby Brooks is a sculptor based in Launceston. After obtaining a BA (Hons) in Fine Art Sculpture from Chelsea School of Art, she went on to gain an MA in Sculpture at the Royal College of Art. During this time she was awarded two residencies, one in Caracas, the other in Paris. Her work is inspired by the philosophical understanding of 'non-duality'.