Illustrator of a book, The Magic of Cornwall, by author Frederick I Cowles, possibly her husband. The book was published in 1934, and dedicated by the author to his wife, 'In remembrance of a Cornish holiday.' The book jacket was taken from a poster designed by E McKnight Kauffer for the Great Western Railway (GWR).
Michele Cowmeadow is a ceramicist based in Cornwall. She became a member of STISA in 2023.
Potter with Bernard LEACH, dates as yet not confirmed. She moved [back to] Canada where she helped to set up a pottery in Ontario.
The family name of the artist Garstin Cox, was at the time of his birth Cock, but by the time of the birth of his younger sister four years later in the 1890s, she was also identified as Cox. It appears that Garstin was also named for his father, i.e. William (Census 1901), but his death notice is in the name of 'Garstin Norman Cox' honouring his great admiration for the work of Phil Whiting.
The son of the amateur artist William COCK, Garstin Cox began his studies at Camborne Art School, then briefly studied with Stanhope FORBES and in St Ives with John Noble BARLOW. It was while he was touring with Barlow in 1910, that his father, was able to secure a studio in St Ives on St Andrews Street, for them both to employ on painting trips to the town from their home in Camborne. They called it the Beach Studio, and added to it the following year by taking a lease on the 'Ocean Wave Studio' next door at No. 6.
His first painting at the RA was The Coming of Spring in 1912 (at the early age of 19), and he also exhibited at the Royal West of England Academy and Guildhall, London. Later he worked from the Atlantic Studio, the Lizard (1930). Golden Autumn (1914), an oil on canvas, is part of the fine art collection of the RCM, Truro.
When he married Dorothy Charlotte Caroline Pike in 1920 his name was recorded as William Norman Garstin Cox and the couple had a son, Garstin T Cox, born in 1921.
He died of bronchial pnuemonia and influenza on 28 February, in the 1933 influenza epidemic during which he had been helping to nurse his ailing father. His father survived him, dying in 1939.
Cox works at Trevelloe Cottages, Lamorna TR19 6NX. More information available at http://www.findingpatterns.info/
William Cox changed his family name from Cock to Cox at some time arround 1900. For further detail see the entry under William COCK. He was the father of the artist William Garstin COX.
Falmouth-born Cox never attended art school and trained as engineer. Unfit for active service during WWII due to a perforated ulcer, he started painting seriously c1942 whilst at Taunton. (Buckman, however, says that he studied art in London, France and Italy.)
He moved to Cubert near Newquay in 1944 and exhibited in St Ives in 1946 at Show Day in Borlase SMART's studio (an admirer of his work). The Times (March 1946) noted that his landscapes were characterized by "a certain grey misty effect that never obscures his object but gives [them] an atmosphere all his own"
Cox moved to St Ives in 1947, and took over Smart's Porthmeor studio after Smart's death, sharing it with Leonard RICHMOND; Bernard Fleetwood WALKER also used the studio occasionally.
Cox developed a more Impressionistic style focused on young semi-nude girls and portraits. As Secretary of STISA he organized the Touring Exhibition (which attracted 1,900 visitors) and the Full Touring Show in 1947, which took in Newquay, Fowey, Falmouth and Truro. He left St Ives in 1950 to move to Essex where he ran his own art school for several decades.
Cox is listed as an exhibitor in the Inspire 2 catalogue (1987), by organiser Marion Whybrow, with the statement that he 'is interested in art as a kind of sympathetic magic, (like the first artists), that works creatively to counterbalance technological forces that he sees as potentially destructive...' His photo is included, but no statement of what his work actually was/is.
Probably Miss Mary CRABTREE, later of Redhill, Surrey (1906) and Tadworth, Surrey (1919). She exhibited, and was the first artist to sell a painting, in the 20th Exhibition at NAG in 1902.
Ann Cracknell works from Krowji studios, Redruth. She was nominated for the British Contemporary Art Awards in 2024.
An artist by this name sold Homeward Bound at NAG in March 1910. Nothing further is currently known.
London-born (3 April, 1856) Craft was the son of John Craft, formerly of Milton, Kent. Educated privately, he then attended University College London, and studied art at Heatherley's and the Slade under Poynter and Legros (Gold and Silver medalist).
He was an early arrival in Newlyn (in 1885), and later was intimately involved in the setting up and organising of the Newlyn Industrial Class Project with his wife Alice Elizabeth TIDY, who led classes in needlecraft. They were both exceedingly generous with their time and artistic gifts, and played focal roles in the life of the both artistic communities at Newlyn and St Ives. Craft involved himself with all of the Newlyn theatricals, and served on the Provisional Committee of NAG when the new institution opened on 22nd October 1895, becoming its Honorary Secretary.
Flanagan (2010) notices his arrival to the village of Buckden, Huntingdonshire in 1899 in her review of Artists along the Ouse, where the couple remained for six years in the first instance, then returning for a period during WWI. A local newspaper commented 'Few people have left behind them at Buckden a happier memory than Mr and Mrs Craft.' (p44) This was due to Craft's continuing enthusiasm for musicals, pantomimes and theatricals which won popular interest, as they had in Newlyn. Thomas Cooper GOTCH and his family turned up in the district of the Ouse river at around the same time, as did another old friend who had been at Heatherley's and the Slade with him, George Jacomb-Hood (1857-1929).
Craft continued to exhibit at NAG, showing A Good Hand in 1902 after leaving Cornwall in the late 1890s. Over the following twenty years he was the organising Secretary of the Royal British Colonial Society of Artists (RBC) that he ran with Gotch and Jacomb-Hood, and the first Honorary Secretary (and part founder) of the Imperial Arts League. He was the Organizing Secretary of the Fine Art Section of the British Empire Trade Exhibition in Buenos Aires in 1931.
Percy Craft died on 26 November, 1934, age 78 in London (GRO), his wife having pre-deceased him in 1932.
In the Exhibition Programme of Pictures and Crafts for July-September 1928 at the Newlyn Art Gallery, a group of eight leatherworkers showed their work.
B Craig was one of the eight, the others being E DENYER, E M DOBITO, E M HARVEY, E MATTHEWS, M G NEWMAN, M A RICKARD and E A SEAWARD. This exhibition was particularly praised by the Western Morning News reviewer for the fine examples of arts and crafts in Cornwall shown at Newlyn.
Craig lived with the painter Hannah Gluckstein GLUCK, whom she had met at the St John's Wood School of Art. Together they spent summers in Lamorna and winters in a Finchley Road (north London) flat, visiting Lamorna regularly from 1915 until they gradually drifted apart by 1936.
A likeness of Effie, Portrait of Miss E M Craig, 1920 by Gluck is footnoted 'The pernicious influence?' (Gluck's mother's judgement). Effie earned a meagre income from her designs and illustrations, and was largely supported by the independently wealthy Gluck in the early days. Craig was to become totally blind in middle age, which truncated her artistic career. They remained friends until Craig's death in 1968.
Sources for Jonathan Craig's abstract drawings include patterns and structures in nature, archaeology, ancient cultures and music.
Linda is a member of the collective of artists who run the Cowhouse Gallery in Perranuthnoe and also set-up the artists' co-operative known as the New Street Gallery opposite the Exchange Gallery in Penzance. Linda studied Ceramic design and Printmaking at Ware and Watford Art Schools in the early 1990s, previously having worked in Community Development in London and the South East helping to set-up various projects, notably The Courtyard Arts Centre in Hertford. She worked as artist in residence at Pishiobury Park, Hertfordshire creating a site specific ceramic slab built sculpture. Since relocating to Cornwall she has worked as a slip caster for Lamorna Pottery and currently teaches ceramic workshops at Sancreed House Retreat Centre. She works from her studio at Bejowans Farm near St Buryan.
Linda Crane is a Penzance based artist. She is a regular exhibitor at STISA open shows.
Trevor Crawley is a member of the 'Absurdists' of north Cornwall. His work is a combination of wit, layered meaning and paradox.
The collection of the Isles of Scilly Museum includes Puffin, a work in acrylic on board, painted by this artist.
This may be the artist Emily Grace CRESWELL from Leicester, who specialised in miniature portrait painting. She is listed in Johnson & Greutzner, and is possibly, by dates, an exhibitor at the time, despite addresses in Leamington Spa (1926) and London (1933).
An artist of this name exhibited a 'homely study' at NAG in July 1932, when a special show of Thomas Cooper GOTCH's paintings was being held in memory of the artist, then recently deceased. No other E G Cresswell or Creswell exists in the records, though there is an American painter, Elizabeth Cresswell (later born and later arriving in France) listed in Benezit.
An exhibitor of metalwork at NAG in the summer and December of 1926. At the former exhibition he showed with the Art Metal Industry (NAMI), and at Christmas individually in the Craft Section.
The artist was born Thomas Montague Crick in Leicestershire in 1872. He was married to Jessie Anne McTurk and the couple lived in Norwich. They had one son, Rupert, born 1903.
The artist exhibited three paintings at the RA before 1904, and is noted by Whybrow among the early visitors to St Ives. His known address was in Norwich, Norfolk. No further information is currently available at this time.
David Crimmen is an ex-navy helicopter pilot who works from a studio on the Lizard. He takes inspiration from the coastal landscape and the perspective in some of his works is suggestive of a bird's eye view.
An important addition to the staff of Cryséde at St Ives (c1926) was the fashion designer George Criscuolo from London, who created many beautiful new styles and was to remain a lifelong friend of the Walker family, Alec George WALKER and Kathleen WALKER (nee Kathleen EARLE). The fashionable garments which he and the other designers created were as important to the firm as the fabrics themselves, and by 1930 the range available included beachwear and jackets in printed linens (a new innovation which started a fashion), silk blouses finely styled with pin tucks, tennis dresses in ivory silk, and striped silk pyjamas, as well as the latest 'frocks'.
More modest items, such as scarves, ties and handkerchiefs, could also be purchased. Dress fabrics were available by the yard for making-up at home, 36"-40" wide, ranging in price from 5/6d for plain ivory silk to 15/6d for hand block-printed crepe-de-chine. These were available by mail order or from the growing number of branch shops, which by 1930 numbered eighteen.
This Camborne-born artist is perhaps Cornwall's earliest and most important artist aside from John OPIE, though the two each excelled in his own medium.
According to the art historians, Richard and Samuel Redgrave, Joshua Cristall was born in Camborne. His parents, Alexander Cristall, a mariner and Elizabeth Batten, the daughter of John Batten, a Penzance merchant, were married at Madron on 29 April 1767. Evidence points to Joshua having been born between December 1767 and April 1868 when he was baptised at St Botolph Without, Aldgate, London. Joshua grew up in the Greenwich and Rotherhithe areas but trips to Cornwall to visit family at Penzance were possibly frequent as one of his sisters (Ann) and his brother (Joseph) were both baptised at Madron.
The young Cristall was apprenticed to a china dealer at Aldgate, and then became a painter of porcelain in Shropshire at Thomas Turner's porcelain factory. Despite the protests of his father, but with the blessings of his mother, he returned to London in 1792 and suffered many privations in order to attend the Royal Academy schools under James Barry. He was noticed by a major benefactor of the time, Dr Thomas Monro, and with a number of other young artists began the work that was to inspire his life.
His one and only known trip to Cornwall occurred in 1794 presumably to visit family, and a small group of topographical drawings by him exist at St Michael's Mount and one of Mounts Bay at RIC, Truro. However, his sister, Anne Batten Cristall, published her Poetical Sketches in 1795, and at that stage she was described as 'the sister of Joshua Cristall, figure and landscape painter of Camborne' hence his presence there must have been widely known.
By 1802 and 1803 Cristall was established on the London art scene and made his first sketching tours to North Wales at times in the company of John and Cornelius Varley. He then exhibited an oil portrait at the Royal Academy. In 1804 the Society of Painters in Watercolour (Old Watercolour Society, becoming RWS in 1881) was formed and a year later Cristall was one of sixteen artists who showed work at their first exhibition (1805), and is credited with being 'an important figure in the development of the English watercolour school.'
1805 saw him touring the Lake District and in 1807, following a period of ill health, he went to convalesce at Hastings.1814 saw him touring the Lake District again and in 1818 he visited Scotland. He was first elected President of OWS in 1816, again in 1819 and for a third time in 1821, remaining in that post for ten years until 1831.
In 1822 Cristall and his wife Elizabeth (nee Cozens) left London for Goodrich in Herefordshire where he found inspiration in the local scenery and painted the local people especially the fern burners on Coppet Hill. He returned to London in 1841 following his wife's death in 1839 and continued working and exhibiting until his own death in 1847. He was buried alongside his wife in Goodrich.
It was not until 1975 that a comprehensive exhibition devoted to his work was held at the Victoria & Albert Museum (selected and catalogued by Basil Taylor) which included approximately 300 works from the V&A and other public collections. The historian of Cristall, W G S DYER, made his private collection available to this historic exhibition. Garfield DYER also wrote the accompanying pamphlet for the exhibition of Cristall's work at the Camborne Public Library in 1962.