A craftworker who exhibited at NAG 1937 in an Unspecified category.
Elisabeth Carolan was born and educated in Germany but settled in the UK after studying English. She began painting in 1999. She has exhibited at the Society of Women Artists (SWA) at the Mall Galleries and is based in Surrey. She has painted the landscapes and seascapes of Cornwall extensively during a very successful career.
The third daughter of Sydney CARR, born in St Ives, Cornwall, Irene grew up in the creative colony of St Ives artists and craftsmen, showing some artistic talent herself. In 1908 she exhibited miniature portraits on Show Day, and Tovey (2009) displays one of her small works: a portrait miniature of the artist Mabel Maud DOUGLAS (who painted in a similar style).
Irene Carr married Francis Edward Wintle in 1912 (formerly a Borough Surveyor, then a Prison Governor in Liverpool and subsequently on the Isle of Wight). Many of the artists were guests at the wedding, presenting paintings to the couple. The wedding service itself was conducted by the Rev Bernard Walke, the husband of artist Annie WALKE (sister of Hilda FEARON). It was the social event of the year, and a grand party was held at the Porthminster Hotel for at least a hundred and twenty friends.
Andrea Carr is an artist, fashion and theatre designer who lives and works in St Ives and London. She obtained a BA (Hons) in Theatre Design from Nottingham Trent University, followed by an MA at the Slade. In 2008 she set up an ethical fashion label, '21 Things I Love'.
She has created limited edition prints of the exotic birds at Paradise Park, Hayle.
One of five craftspeople exhibiting embroidery at NAG in July-September 1928.
Born in British Columbia of English parents, the artist studied in San Francisco, Westminster School of Art in London, Concarneau, Atelier Colarossi in Paris, at St Ives under Julius OLSSON, and at the Herkomer School in Bushey. The final 18 months of her sojourn in Britain (1899-1904) were spent in a sanatarium due to the decline in her health which began before her arrival in St Ives.
Olsson was not sympathetic to her need to avoid wind and glare on the beach, but in Algernon Mayow TALMAGE she found a mentor who understood the urges she demonstrated toward shade and forests: she painted in Tregenna Woods, a turning point in her artistic history. Anecdotal information about her 'guardianship' over another artist, Harold Milford NORSWORTHY, looking after him for his anxious mother and including him in cartoon sketches that Tovey (2009) reprints in his chapter on 'Student Life in the Colony' (p259), makes for amusing reading.
Her special friend in St Ives was Hilda FEARON. Virtually nothing remains of her British work except for sketchbooks, and she began to write about the forest landscape and fishing villages of the Canadian West after illness curtailed her painting.
Born in Lincoln, Carr was an artist of limited ability (according to Tovey) but likeable personality, and his family lived initially at 22 Bay View Terrace in Penzance in 1891. They remained in Penzance until at least 1896, Carr participating in both the Opening Exhibition at NAG (with Landscape), and in 1896 with Breezy Day. The latter painting was sent to London for its purchaser, and in that year the artist's sending-in address was in St Ives, as it had been since 1893 when they had taken up residence at Albany Terrace there.
By 1901 Sydney and his wife Mary Louisa (nee Ridley) and their daughters had moved to Halsetown nearby. They moved back into St Ives in 1902 when they took up residence at Arkleby, Talland Road. Meantime Carr kept a studio, the Blue Bell Studio, until about 1911, and turned to a variety of creative activities including bookplates, photography, silhouettes, and generally exhibiting 'a zany character' in his work.
Tovey (2009) comments that Carr was one of the artists who sported a particularly 'comic eye' over the artistic community of St Ives, and for that reason becoming an especially revealing teller of the everyday lives of the artists through caricature and humour. After the Whitechapel Exhibition in 1902, Carr's name does not appear in listings. Tovey also reveals that Carr gave up the studio in 1911-12, reportedly going abroad. However he moved to Teignmouth in 1913, where he later died.
[Updated entry from Hardie 2009]
A correspondent in 2019 has reported that she came across a snippet on Carr from 1891, when he was described as showing 'a certain vigour ... marred by evident carelessness' and was presumed to have depicted Penzance sands (already largely vanished) 'as they ought to be' ['Art Exhibition at Penzance', Cornish Telegraph, 24.9.1891 p.8 col.1].
Born in Carlisle, Cumbria, Wood notes that Carrick was a member of the Hogarth Club, where there was particular sympathy for Pre-Raphaelite ideas. Bednar viewed a framed picture of Newlyn harbour by the artist, which was stated to have been signed, inscribed and dated 1883 on the reverse when it was sold unframed at auction (Victorian Pictures, Phillips, New Bond Street, London, 3 June 1997, Lot 116). He travelled to France, Switzerland and Spain, and produced small, detailed studies and coastal scenes. He died in London, age 63, on 22 September, 1896 (GRO).
Carrick was a student at the Slade School of Art, whose summer class studies in St Ives in 1901 brought not only intensive work with landscape and marine painting but also romance and love. She had not in fact been able to study art until she was 25 years old because family responsibilities towards numerous younger siblings had kept her at home. In Cornwall she shared lodgings at The Cabin on Westcott's Quay with Hilda FEARON, Muriel COLDWELL, and Irma RICHTER, all of whom were also Slade students.
In St Ives she met the Australian artist, Emanuel Phillips FOX and they married in 1905, settling in Paris thereafter, before returning to Australia where their joint artistic careers took flight. Unfortunately she was widowed in 1915 and Ethel returned to Europe, giving an address in London from 1918.
Sculptor who studied at at Goldsmiths and Slade: 'The ideas I always return to are basicallly organic and to do with the world of nature. They are related to a primitive human need to explain my relationship with the environment...I am interested in horizons, seeing them not only as physically defining the land, sea mass and the sky, but also having a symbolic quality - the idea of what is beyond the horizon, an infinity - something outside our experience.'
In Cornwall he was Head of sculpture and fine art and vice-Principal of the Falmouth School of Art and Design (1976-91). His work was shown at the Penwith Gallery, St Ives, and at the Falmouth Art Gallery.
Described as 'another up-country artist' exhibiting a case of her fine leatherwork at NAG in 1924 (WMN), examples of her work were advertised in art journals and magazines of the period.
Several dictionaries of British artists make the erroneous suggestion that he was probably the son of H B Carter, the Scarborough artist who lived for a time at Torquay. R H Carter was born in Truro, Cornwall (19 March 1839, GRO), the son of John and Elizabeth Carter and baptised at Truro St Mary's on 24th July 1839. His father was a naval pensioner who had died by 1851 when R H was an apprentice stationer living at Fairmantle Street, Truro with his maternal grandparents, mother and siblings. By 1861 he was a clerk in the copper office and was living in Walsingham Place,Truro.
He painted scenes mainly in Cornwall and Scotland, his earliest recorded works being in 1864. He exhibited at RA and RI from 1864 and at other leading London Galleries. In 1866 he married Ellen Dunn at Truro and they were to have at least three children. 1871 sees him recorded as an accountant and artist living at Strangways Terrace, Truro. He illustrated J T Tregellas' book of 1879 Peeps into the Haunts and Homes .... of Cornwall. In 1881 while still at Strangways Terrace, he is recorded as an artist (landscape) and cashier, while his wife is a professor of music. He was still exhibiting from Truro in 1882 but by 1884 he was living in Falmouth.
By 1891 he and his wife had moved to London and in that year he held an exhibition entitled 'The Shetland Isles' at Arthur Tooth and Sons Galleries in The Haymarket. By 1894 he was exhibiting from Petersfield, Hampshire. At the 1895 Opening Exhibition at Newlyn he showed watercolours of Cornish coastal scenes. By 1896 he was exhibiting from an address in Plymouth and it would appear that his wife continued to live there as she was still there in 1901 while RH was living as a boarder with a fisherman and his family at Sennen Cove. In his later years he took to painting in oils and did less work in watercolour.
Carter was the fellow artist who set off with Walter LANGLEY in July 1904 for Holland, staying at Volendam on the Zuider Zee. There they joined up, and stayed for almost a month, with a flourishing colony of artists led by two younger members of the Hague School, Willy Sluiter and Albert Newhuys. A group (5) of his representative paintings are in the fine art collection of the Royal Cornwall Museum (RCM) at Truro. He died on 7 February, 1911, at Sennen, Cornwall (GRO) at the age of 71.
Work by Clive is part of the art collection to be seen at the Helston Folk Museum.
Yvonne Carter studied at Kingston Art School and the Royal College of Art. She has undertaken public commissions in London, Surrey and Cornwall.
Jim Carter was born in Worcestershire and studied at Falmouth University, obtaining an MA with distinction in Art & Environment in 2013. A member of the Newlyn Society of Artists, his work has appeared in 'About Place Journal','Unpsychology' and 'Earthlines' magazine. He says: 'I like to tell animal stories through words and sculpture. More often than not, they are about English wildlife and a sense of its power and vulnerability in relation to humankind.'
Janette Carter is a painter who has moved to Cornwall from Totnes.
Theo Carter-Weber is an artist and art educator who works from Trewidden Studios, Penzance. His work reflects an urge to explore how ancient spiritual teachings resonate in today's world. He is a tutor at Newlyn School of Art (2019).
Originally from Cumberland, the artist first came to Newlyn from her London home to visit her brother, Joey CARTER- WOOD, a talented student at the FORBES SCHOOL. Harold KNIGHT painted her - Portrait of Florence - during her visits (1909-1911), and many others were to follow. She decided that she too would take up landscape painting and attend the Forbes School.
In the Newlyn-Lamorna circle she met Alfred James MUNNINGS, marrying him on 19 January 1912 in Westminster. He painted her frequently, four times on horseback. Seemingly unhappy in their marriage from the beginning, despite their shared love of painting and equestrian activities, Florence died by her own hand of cyanide poisoning on 24 July 1914 at Mrs Jory's Cliff House Hotel (now the Lamorna Cove Hotel), where she and AJ were staying. Her death was the source of Laura KNIGHT's cryptic comment in Oil Paint and Grease Paint, that 'Suddenly the death of a much-loved member of our colony put an end to all joy.' She is buried in Sancreed Graveyard.
In attendance at the FORBES SCHOOL of Painting (1901-2), along with sister, Florence Edith CARTER-WOOD (Blote). In 1909 he exhibited a painting, Trevyder, at NAG while living at Penzer House. He was killed in action on February 1 1915, and his Obituary was not printed until the close of the war and the re-opening of the series of The Year's Art.
Ella Carty is a painter and printmaker who works from Krowji Studios, Redruth. Her work is loosely concerned with sensation and expression, often reflecting upon remembered feelings, people or places.
Jay Caskie is a printmaker working from Krowji Studios, Redruth. He grew up in Canada and completed his BFA at NSCAD University in Halifax, Nova Scotia.
He works mostly in relief printing.
He is a regular exhibitor at STISA open shows.
According to each census, William Casley was born at Mullion and it appears likely that he was born towards the end of 1852. Although born at Mullion his family appear to have strong links with St Just in Penwith for in 1861 he is to be found living with his grandparents, William and Celia Casley on their farm at St Just. It is not clear who his parents were.
He was living in Penzance, as a boarder with the Wallis family in 1881 and described as an artist, and in the parish of Landewednack in 1891 (Census) at age 37 as a lodger in the home of the Triggs family and registered as an 'artist from Mullion'. Later in 1891 he married Harriet Ellen Richards in Truro.
According to a statement by his grandson, found on the internet, he had tuition from Walter Langley who gave him one of his own watercolours of a fisherwoman.
At the Opening of the Newlyn Art Gallery in1895 he showed and sold The Lizard Headland, a watercolour of a Cornish coastal scene .
In 1901 he and his family were living at 7 Beacon Terrace, The Lizard and he was still at The Lizard in 1911 when his daughter was a pupil boarding at Truro High School.
Cornish Times of June 23 1910 reported that W Casley, artist at the Lizard, was summoned to court for committing an assault, but no details are known. Over one hundred watercolours have passed through the sale and auction rooms since 1991, some of them bearing the same titles related to paintings of Mount's Bay, the Lizard, Kynance and Land's End.
In 1912, his sending-in address moved to Liverpool and he continued to exhibit. Some of his work may be viewed at Lanhydrock in Cornwall, where the landing outside the principal bedrooms display a collection. His son, Leonard CASLEY, also painted landscapes and exhibited from Pentreath on the Lizard in 1924 at Birmingham.
It is possible that he died in 1918 as a registration in the Helston District which includes The Lizard records the death of a William Casley aged 65.
Son of artist William CASLEY, who also exhibited from the Lizard, and later in Birmingham. Still to research.
After twenty years on the west coast of Scotland, Katherine Castle moved to St Ives where she creates landscapes and seascapes working 'en plein air'.
She is a regular exhibitor at STISA open shows.