Katie Godden Green is a painter and printmaker living near Launceston. She is head of Art at St Joseph's School in Launceston.
Sarah studied art first at Middlesex University with a Foundation Course, followed by a BA (Hons) Degree Course at Loughborough University. A bursary awarded to her for her university thesis took her to Thailand, and on return she was a visiting lecturer at Loughborough, in Barntag Adult Arts Society and at the Grimsby School of Art.
Her first show of work in Cornwall came in 2001 when she exhibited at Badcocks Gallery, Newlyn and at the Mariners Gallery in St Ives. From that time her work has been in many group exhibitions and shows, as well as solo exhibitions at the Hypatia Trust, Penzance; the Lander Gallery, Truro and The Bay, Penzance. Her paintings and screens, vibrant, uncluttered and hovering finely between the figurative and the abstract, take inspiration and influences, she believes, from iconic artists, Sonia Delaunay and Georges Braque.
Sarah Goldbart and her partner, the artist-photographer, Phil Whiting live and work in studios in central Penzance.
She was selected as an exhibitor for the Open Art Exhibition held at NAG for the fourth annual Newlyn Arts Festival of 2010.
She was the illustrator of a book by her husband, S Teague, entitled Old Newquay, first published 1923.
This artist was the son of James Goldsworthy, a naval officer. He described himself as a 24-year-old artist of Frances Street, Truro, when he married Avis Scantlebury at Kenwyn Church on 5 September 1840. He was described as an artist in the 1841 census, which found him at Stoke Damerel near Devonport, and in the 1851 census when he was a visitor at Place House on the Roseland peninsula.
Goldsworthy died in 1856 and was buried in Falmouth. The death notice described him as 'well known as a portrait painter in the county'.
Gabrielle Goodchild is based in Launceston. She makes paintings and reliefs or assemblages using craft materials and processes.
The artist displayed and sold Watermeadows No.2 at the first Sketch exhibition at NAG in December 1895. No further information about this artist is available at present.
Juliet has for many years been a teacher of art, and exhibits her paintings widely in London and Cornwall. Her work has been shown at the Rainyday Gallery, Penzance.
Maggi Gooding is a ceramicist living in St Just. She specialises in porcelain white stoneware, glazed in a deep turquoise which is made from a family recipe.
The subjects of Jill Goodman's oil paintings include the Lynher Valley and Bodmin moor.
In 2021 she was awarded the first online residency at Terre Verte Gallery, Altarnun.
Roy Goodman is a painter and photographer. In 2007 he obtained an MA in the History of 20th Century Art from Falmouth University, followed by an MA in Photography from Plymouth University in 2012. His work has been exhibited widely in Cornwall and beyond.
The son of Nathaniel S Turland of Northampton, George had adopted the name Turland Goosey by the time he arrived in St Ives, although he reverted to the name George Turland in the late 1920s. Trained as an architect, he had gone to America and made a name for himself designing some of the early skyscrapers and no less than seven Roman Catholic churches.
Having already had success showing his etchings, his purpose in moving to St Ives in 1921 was to try his hand at painting. Although rarely practising as an architect whilst in the town, his highly regarded design for the cross on the War Memorial was an exception. He and his wife Minnie had spent six weeks in Polperro in 1913, during which time George painted a number of local scenes which were later shown in New York.
In the 1924 Show Day at St Ives, his principal picture was of Venice with old Adriatic boats anchored against the wall of a Doge's palace. Another was a view of the Rialto Curio shop at the foot of the Rialto bridge, and a smaller depiction of the Grand Canal. An array of other works included oils of The Island, Clodgy; Godrevy and the Bay from Knill Moor. George played an active role in the theatricals at the St Ives Arts Club, and was invited to join STISA in 1928. He returned to America as war loomed in the late 1930s and settled at Laguna Bay, California, where he developed an impressionistic style of depicting boats in the harbour, winning many admirers. It was there that he died, in 1947.
Mentioned in Whybrow's 1883-1900 list of artists in and around St Ives.
For a review of Cora's creative life, please see the entry for Jan GORDON.
The artist couple of Jan GORDON and Cora GORDON did not live permanently in Cornwall (or seemingly anywhere due to their numerous travels) but lived here temporarily and painted Cornish scenes in about 1919-1921. Jan had been a fellow student with Annie FEARON at the London School of Art, and he and his wife later stayed with Bernard and Annie WALKE at St Hilary.
The couple originally met in Paris, he the son of an English parson abroad (Malay States) and she the Derbyshire-born daughter of a GP and workhouse manager, from whom she needed to escape. They married in 1909 and lived, off and on when not travelling, in the artists' district of Montparnasse until 1932. Together they wrote travel books, painted, performed (madrigals), acted, broadcast and lectured together across Europe and America. For more information about this remarkable cultural phenomenon, see their website listed below (and newly updated 2013).
Born in Sheffield, Gosney first trained as an architect at The Bartlett UCL, specialising later in light and lighting. During her student days she explored colour psychology and took life drawing at the Slade. She became interested in the work of Barbara Hepworth when she 'discovered' Monolyth on Hampstead Heath and lived locally to the artists studio in Belsize Park. This fascination led a trail to Cornwall and the Hepworth Garden. The holes and hollows framing nature led to experimentation with forms and their shadows. This was initially with photography, then furniture with inset glass in holes folllowed, to explore light passing through solid. Since 1985 Gosney has regularly visited St Ives with her mother and has had a home in Penwith since the 1990s, where her sea view is her 'thinking space'.
Nellie GOSSE (nee Ellen 'Nellie' Epps) was a landscape painter and sister of Lady ALMA-TADEMA (Laura EPPS, 1852-1909), also an artist. Whybrow notes her presence in St Ives (STIAC) between 1901-10, although the author Edmund GOSSE had visited the Arts Club previously in the summer of 1889. The Gosses were friends of the Leslie Stephens family at Talland House, St Ives. Their own home, and Mrs Gosse's sending-in address, was in London. She exhibited in several major galleries and at Smith Street.
Their youngest daughter, Sylvia GOSSE (1881-1968), was a devoted friend and carer of Walter Richard SICKERT in his later years.
Born in Liverpool, Merseyside on 9 May, 1854, Caroline Yates studied at Heatherley's School of Art (1878), the Slade School of Art and at the Academie Julian, Paris (1880).
Caroline and her sister Esther (Ess) visited Newlyn in the summer of 1879, where Tom GOTCH visited her subsequently. She had met her future husband Thomas Cooper GOTCH, whilst studying at the Slade School, and also their good friend Henry Scott TUKE. Returning from Paris in 1881, she married Thomas on 31 August at St Peter's Church, Newlyn, and then returned with him to Paris to continue her studies.
They had one daughter, Phyllis Maureen GOTCH, who was born in France in Sept 1882, and they continued to spend time abroad until Caroline's ill health brought them back to England in 1883. They spent the summer of 1884 in Polperro. By 1887 they were living in Newlyn. Caroline continued to paint, but sparingly, and exhibited and sold work in the early years of NAG.
Caroline died on 14 December, 1945, age 90 (GRO) in Newlyn, surviving her husband by fourteen years. The full story of the couple's life of art and travel is told in The Golden Dream (2004) by Pamela Lomax.
Born on 6 September 1882 in Brolles, France, the daughter of Thomas Cooper GOTCH and Caroline Burland GOTCH, she grew up in the affectionate and loving circle of her family and the other Newlyn, Lamorna and Falmouth artist friends of her parents. She loved dressing up and organising all manner of entertainments and parties.
Her first husband was Ernest Doherty, whom she married in 1913. Ernest died in South Africa, 1918, leaving Phyllis & daughter Patsy to return to live with her parents. In 1922 she married Andre, Marquis de Verdieres. Her third marriage took place in 1936 to Jocelyn Bodilly (later Sir), grandson of Francis BODILLY, the artist.
The Bodillys returned to live in Newlyn, where the 'Marquise' as she was known, became active socially and politically with Newlyn again, leading protests against the re-development of Newlyn after WWII, and famously sailing with the Rosebud to Westminster Docks in support of retaining historic Newlyn harbour.
As Laura KNIGHT commented in her own memoirs, it was impossible to resist Phyllis: 'had she been a General she could have led millions to death and glory for a hopeless cause.' (p178) She wrote The Romance of A Boo-Bird Chick, Verses and Pictures by Phyllis M. Gotch (1903) London: R. Brimley Johnson. A moral tale in verse form, concerning scandal-mongering, amongst a group of colourful and characterful birds.
Born on 10 December 1854 in Kettering, Northamptonshire (GRO), Gotch first studied at Heatherley’s then Antwerp. He moved on to the Slade School in 1879, where he developed a friendship with Henry Scott TUKE, and met a fellow student who became his wife, Carolyn Burland YATES. Thomas and Caroline Burland GOTCH were married in Newlyn in 1881. Their daughter Phyllis was born the following year. During 1883 the couple visited Australia without Phyllis, and on their return the family spent the summer of 1884 in Polperro. They returned to live in London later that year, taking a house and studio in Chelsea. He met Stanhope FORBES in 1885, and settled in Newlyn with his wife and daughter in 1887. Gotch painted in oil, water-colour and pastel, and etched portraits, landscape and genre.
As early as 1888 he was exhibiting An Artist of the Newlyn School in the autumn show of the Manchester City Art Gallery, demonstrating the ambitious idea of Newlyn recognisable as a colony and ‘school of artists’ in which he was always prominent. His experiences during a holiday in France in 1891 initiated a change in his style of painting. At the NAG 1895 Opening Exhibition he showed A Golden Dream and The Reading Hour, the latter sold.
He was on the provisional committee of artists when NAG opened, and was closely involved in the Newlyn Industrial Class Project. O’Donnell (Hardie 1995 p 26-7) remarks in her essay on the four copper plaques that represent earth, air, fire and water: ‘It is interesting that both John Drew MacKENZIE and Thomas Gotch acted as designers for the plaques, for Mackenzie as the designer for the copper workshops was quite capable of working on such a commission on his own. However, he must have felt the need for some more imaginative and artistic input into their conception, and the contribution made by Gotch working closely with him must have had a considerable impact on the final outcome of the design. The subject chosen for the plaques was…a relatively abstract and biblical subject that must have appealed to both artists. They chose to treat the subject in both a figurative and symbolic manner with a combined approach that reflects very clearly their two different styles of work at this time…’
Throughout his working life, he and Phil Whiting and their daughter Phyllis Maureen GOTCH, despite travelling far and wide, were an integral part of the Newlyn community of artists, as has been well documented by Lomax in her recent researches. In July 1926, A Garden; Evening and Harvest - Mount's Bay were his titles, demonstrating his continued close interest in the area.
The highly esteemed Gotch died on 1 May, 1931, age 76, in London of heart failure, while there for an exhibition. Forbes, who was in London at the same time, was able to let Caroline know that Tom had gone in to hospital, and she came from Cornwall to his bedside in time to be with him when he died. His body was brought back to Cornwall, and he was buried in Sancreed Churchyard.
His portrait of Mrs Sherwood Hunter (oil on canvas, Private Collection), wife of a Newlyn fellow painter, was included in the 2005 Faces of Cornwall Exhibition at Penlee House, Penzance. In Cornish collections are Girl in a Cornish Garden (Penlee) and Sharing Fish (RCM, Truro), and in private collections are many, including The Lantern Parade (c1910) and Mount’s Bay, Autumn (1905).
His Allelulia (c1896), a major demonstration of his Pre-Raphaelite style, was purchased for the nation by the CHANTRY BEQUEST, and hangs at the Tate Gallery. His painting The Golden Dream was used in 1995 as the theme for the celebratory activities surrounding the 100th anniversary of the Newlyn Art Gallery (NAG), and the Birthday Dinner held at the Queen's Hotel, where the original NAG Opening Banquet had been held in 1895.
It appears that Gould exhibited the following works at the Spring Exhibition, The City Art Gallery, Leeds in the years listed, indicating his presence in Cornwall previous to those dates. 1897 Off St Ives, Cornwall; 1898 Moonlight, Cornish Fishing Boats
The artist was born in Bristol on 10 July 1852 (GRO), and studied at Bristol Government School of Art and the RA Schools (South Kensington).
He is known to have had Newlyn titles in the 1890s. In 1894 he exhibited The Cornish Sea (1894) at the RA. Later he travelled in Australia and New Zealand. He lived in Bath and Bristol and died, age 80, on 10 August 1932 at Bridport, Dorset (GRO).
Jan Gowthorpe is a painter living in Cornwall who exhibits with Drawn to the Valley.
Carole Ann Grace works from a secluded garden studio in Penzance.