Rachel Damerell studied initially at Bath Academy of Art, subsequently training in garden design. In 1981 she moved to Cornwall, where her practice is currently focused on exploring landscape through painting.
The son of Bristol artist Thomas DANBY (1817-1886), who in turn was the son of Francis DANBY ARA (1793-1861) and the nephew of the artist James Francis DANBY (1816-1875). All these men were landscape painters in both watercolours and oils, and painted wherever they travelled in Britain and on the continent.
Whybrow lists Thomas H Danby as being an associate of St Ives (1883-1900 painter list) and gives 26 Bowling Green Terrace and St Andrews St Studios as his addresses (p 210). He had studied at Bushey, and while in St Ives from 1899 he played both tennis and cricket, as Tovey reveals in his social history of the St Ives arts colony. His sister Helen Danby (as far as known, not an artist) was also active in the activities of the group, living locally.
Dawn Dance grew up in Cornwall and after studying at Falmouth School of Art, obtained a BA in Fashion & Textiles at Kingston upon Thames University. She taught art at secondary and further education level before returning to Cornwall in 2016. She retired from teaching in 2019 to focus on her art practice, which takes inspiration from the local landscape.
The artist was a Dutch-born painter who in 1657 came with his brother, Johannes, to work in England. He became Court Painter to Charles II. Danckerts travelled widely, and his most important commission for the King was to paint a series of twenty-eight canvases depicting various palaces and fortified ports.
A drawing of Falmouth Harbour may have formed part of this series, with its combination of seascape, landscape and topographical detailing. It would have been based on drawings executed on the spot, and shows the whole extent of Falmouth harbour, with the town on the right and a variety of shipping in the bay. The portrayal of figures in the foreground to the left is complemented by the sensitive rendering of sky and trees. The painting has been signed and dated 1678
Penlee House, Penzance holds a set of original pencil drawings for the Penzance and St Michael's Mount aquatints (produced in 1813) by Daniell for Richard Ayton's book A Voyage Around Great Britain.
In 1799 Daniell entered the RA Schools, following in the footsteps of his uncle Thomas DANIELL (1749-1840) who had become responsible for bringing up his orphaned nephew. This was after William had accompanied his uncle to India, where Thomas worked as an engraver after his own training at the RA Schools (1773) and exhibiting at the RA; hence William was already an experienced landscape painter.
In 1813 William embarked on a trip around the whole coast of Great Britain, and his resultant works are recognised as his greatest artistic triumph, and a high point in the history of aquatint engraving. He started his journey at Lands End, going up the northern coast of Cornwall, but did not complete his circuit of Britain until August and September 1823, when he did the southern coast of the county, taking in Looe, Polperro, Fowey, Mevagissey and Falmouth. By this juncture, he had been elected a Royal Academician (1822) - the final vote being between him and John Constable. (Tovey, 2021 - see below).
His brother Samuel DANIELL (1775-1811) was a topographical artist.
Julie Daniels lives and works in Falmouth. In 1994 she completed a BA (Hons) in Design (Textiles). Since then she has created designs for use in the fashion and home textile industry. Additionally, she has developed her own mixed media technique in order to create paintings which capture the movement of water and the power and beauty of waves.
Her sea art has been widely exhibited in Cornwall, and she is represented by St Mawes Gallery on the Roseland peninsula, Cornwall.
Originally a chartered surveyor in the family business, Dannatt was born in Blackheath, London. His artistic leanings were strong, and in the first instance related to music.
A self-taught painter, he was naturally energetic and eager to display his interpretations. His major geographical associations were with Dorset and Cornwall, where he concentrated his intense faculties on photography, geometric and abstract works. In retirement he lived with his wife in Wiltshire.
He has studied art and photography at the Slade School, London, and at Yale University, New Haven, and produces both photograhic work based on anthropological research in Africa and in Pre-Columbian sites and in Pacific cultures, as well as drawings and paintings. In Cornwall he has shown his work at the Falmouth Art Gallery and at St Mawes Castle.
Caroline Darke is a St Ives-based painter, printmaker and installation creator.
Jane Darke lives on the north coast of Cornwall. She describes herself as a 'wrecker, beach comber, film maker, writer and artist'.
Her first film 'The Wrecking Season' was made with her husband, the late Nick Darke. This and her subsequent 'The Art of Catching Lobsters' were shown on BBC4. She is also curator of the St Eval Archive, a collection of the recorded memories and photographs of her local community. This is based at Tregona Chapel, St Eval, owned by her partner Andrew Tebbs, sculptor.
Her latest film, made in conjunction with Tebbs, celebrates the life and work of Cornwall's well-loved poet. 'The Poet Charles Causley' was shown on BBC4 in 2017.
Darke studied Printed Textiles at Middlesex University and the Royal College of Art. While studying for her BA and MA degrees, she drew and painted her life with Nick Darke. From 1985 to 2002 she worked exclusively as a painter, and continues to do so, though her film making and writing has since taken priority.
A former member of Taking Space, a collective of contemporary women artists exhibiting in Cornwall for some twenty years since the 1990s. She uses her paintings to express a close connection with the wildness of nature.
Little is known about the artist, who exhibited only once, at the Royal Society of British Artists in 1897. Her address was then given as 59 Oakley Street, Chelsea.
Three of her watercolours are held in the Metropolitan Museum of Art, New York. Two are interior studies of a room at Kirtlington Park, painted in 1876 and 1891.
Susan Dashwood was the thrice great-granddaughter of Sir James Dashwood, 2nd Baronet of Kirtlington Park (1715–1779).
At the 1924 Show Day at St Ives, this painter showed Early Summer in the Woods (an oil), and also exhibited some 'most interesting' needlework pictures, which reminded the reviewer of Mrs DELANY's paper reproduction of flowers (now carefully preserved in the British Museum): 'Miss Davenport shows some exquisite needlework designed by herself, and is experimenting in lacquer and papier-mache work.'
In the Christmas Show of 1926, she is listed as exhibiting Crafts at Newlyn.
As late as 1937, she held a joint show of imaginative works in St Ives with the painter Enraght MOONY. In his Social History of St Ives (2009) Tovey recounts some anecdotes about Davenport and her behaviour in relation to her tenancy of one and then two of the studios at Piazza, which lead one to conclude that she must have been mentally unstable. Both John PARK and Herbert TRUMAN had reason to complain bitterly of her antisocial behaviour, as did the fishermen in the netlofts on site. Eventually in 1939 she was evicted from both No 6 and No 7. (Tovey, pp161-4)
Lynn Davey is listed as a regular exhibitor at the Lander Gallery, Truro (2011).
The artist was born in London, and studied under the Victorian watercolourist John Absolon (1815-1895). From 1844 he exhibited a considerable number of watercolours in London but, as he rarely signed his work, a great deal may have been re-attributed. After his marriage to Ann, he is recorded as living at Redhill, Surrey for about thirty years before moving to 3 Mansion House, St Buryan, Cornwall in 1880. They were the parents of the artist Charles Topham DAVIDSON, also a landscape painter, who worked locally and elsewhere.
From 1882-84 Davidson lived in Falmouth. In 1891 his address was Trevena House, Melville Road, Falmouth, and then Perranporth in 1898, after which he returned to Falmouth, remaining there until his death.
Most of his paintings were exhibited at the Old Watercolour Society (over 800 of his works were shown), and he also exhibited at the RCPS Jubilee Exhibition in 1882 at Falmouth.
A painter of figures with an address in Liverpool in 1885, she was sending-in from a London (Kensington) address in 1892 (RA In the Shade).
She exhibited at Nottingham Castle with the Cornish Painters in 1894, indicating that she may have spent time in the district during the interim period.
With thanks to researcher, April Marjoram, it appears that Jessie Young Davidson was born and baptised in Edinburgh, the daughter of the Rev Peter Davidson and his wife Mary Young. Davidson was at the time the Minister of Eyre Place U P Church, Edinburgh. The 1891 Census shows that at the enumeration she was living with her brother John W, an accountant, and his family at Liscard Wallasey in the Wirral, which would have been logical for exhibiting her work in Liverpool.
The artist son of Charles Grant Davidson. Still to be researched.
In 1901 at NAG the artist displayed The Braes of Balqulidden. The following year at NAG he sold two untitled pictures to a visiting Canadian (who also purchased from Ethel Louise RAWLINS and Alfred Joseph Warne BROWNE), as well as showing A Surrey Common.
Other titles sold at NAG include Penzance & Rye (1903), Moonlight and Landscape (1906), The Avon at Brent and Hoar Frost (1909), Roses (1910), and in 1913 The Flower Market and The Valley of the Avon. From Newlyn in 1905 he moved on, giving an exhibiting address in Devon (1907), in Garelockhead, Scotland (1914) and London by 1920. But he clearly returned work to Newlyn to be exhibited for more than a decade and up until 1913, when his final showing at NAG indicate two paintings were shown.
Davie was born in Grangemouth, Scotland and studied at the Edinburgh College of Art from 1937-1940. After the war (his service was in the Royal Artillery) he exhibited first at the Edinburgh Bookshop, before becoming a professional jazz musician. He married the potter Janet Gaul (1948) before setting out on his travels that included Europe (shows in Venice and Florence) and then returning to teach at the Central School of Arts and Crafts in 1950.
Alan Davie was aided by Patrick HERON in finding a cottage at Treen, Crean Bottom, near Lands End when he and his wife arrived in West Cornwall after years spent in St Lucia, West Indies. Referring to himself in the third person in soft Scottish accents, he and his late wife Bili (until her death) have remained in the cottage, though also living in Hertford.
The collater of the Paisnel Gallery catalogue (2009) remarks on Davie's interest in Zen Buddhism, and how this inspired his spontaneity and intuition - with many of his paintings 'having no pre-considered composition or even titled until completed.'
His obituary, published 8 April 2014 comments 'Davie was never appreciated as much in Britain as abroad' one his most influential supporters being the art collector Peggy Guggenheim. 'His paintings from the mid-1950s to the early 1970s are among the very best of European abstract art.'
John Davie moved to Cornwall in 1986 with his partner, Jill Neville, and together the couple set up Gwynhelek Productions, an independent film and television company. They produced documentary and short drama works for UK television networks and other major international channels. John worked as producer, writer and director until returning to full-time painting in 2008. Awards have followed from Cornwall Film, UK Film council, and the Arts Council of Great Britain. This year (2012) John has put on-line the collection of images on which he has been working, entitled the Darent Suite in which he engages with the work of artist Samuel Palmer and the interface of thought and meaning in art. [See www.johndavieartist.com ]
His studies in art commenced at the Wimbledon College of Art and continued at the Royal College of Art and the University of York. Research and lecturing followed both at York University and St Mary's, Cheltenham, where he also took up the Headship of the Creative Arts College of St Paul & St Mary (now University of Gloucestershire, Cheltenham). In Cornwall he has been a Visiting Lecturer at Cornwall College while maintaining advisory and examining roles in Bournemouth and Leeds Metropolitan. He has also served as a Council Member of NAG and a Trustee of the Gallery.
He was born on 27 November 1866, in Leicester and subsequently died there on 13 July 1912, age 45 (GRO).
In 1893 he exhibited two paintings - Street in Newlyn, Cornwall and Stormy Weather - at Suffolk Street (RBA) . Nothing is known to date about the time he spent in Cornwall.
Australian-born (Ballarat) and educated in France, the artist studied art in Melbourne and at Julian's Academie, Paris where he stayed for fourteen months in 1893.
According to James MacDonald who wrote a book about Davies, he spent eight months in 1901 working with the artist who was then living at Lelant, 'a leafy little village at the extreme head of St Ives Bay and across the narrow strip of water from the little town of Hayle. At this point the land rises abruptly from the sea, and for as far as St Ives itself (to which it sweeps without a break except for Carbis Bay) is varied and picturesque.'
While in St Ives, Davies served on the Hanging Committee for Lanham's Gallery, and exhibited with the Cornish artists at the Whitechapel Exhibition in London [Exhibition catalogue repr in Hardie (2009)].
Work by this artist is included in the art collection of the University College Falmouth (UCF).
A former member of Taking Space, an exhibiting group of women artists.
Work by this artist is included in the art collection of University College Falmouth, and institutions where Davies has held residencies.
See the artist's website at http://www.brucedaviesartist.com/ for extended detail on arts training and exhibitions.