Along with her husband, architect and fellow painter William Joseph PIERRE-HUNT, Edith contributed greatly to Polperro society, exhibiting at the exhibitions of the East Cornwall Society of Artists and the Plymouth Arts Club. They were married in 1936 and subsequently moved to Polperro.
Edith was the leading figure initially in the Polperro Art Group, which was formed in the winter of 1963-4. For the rest of the decade, exhibitions were held annually in the summer in 'The Foresters' Hall'.
Georgia Parkin Jones lives in north Cornwall. She obtained a BA (Hons) in Photography from Plymouth University.
Noticed as exhibiting first at the RA in 1915, from an address in Walthamstow, Essex, the artist entered two paintings, Low Tide, Mousehole and Back of Duck Street, Mousehole at NAG in 1937.
The artist's work is included in the art collection of University College Falmouth (UCF).
The son of an Army Commander, he was born at Blackheath, London. Principally a marine painter he worked in watercolours and oils. He was educated privately before studying art at Blackheath and Rochester.
He first came to Cornwall and exhibited with RCPS in 1896, living at St Ives, exhibiting again the following year at Falmouth. He studied further under Louis GRIER at St Ives. In 1905 he advertised that he would hold a watercolour and oil painting class during July, August and September at the East Kent School of Landscape Painting, Sandwich.
Later (c1907) he returned to live in St Ives, his first show being in 1908. His home was at Richboro', Barnoon, St Ives and he worked from the St Eia Studio until after WWI. In later years he moved to the Lizard, opting for more tranquil scenes, being particularly renowned for his ability to depict sand.
Catherine Parmenter works from her studio at home in Roserrow, north Cornwall, close to Polzeath beach.
David Tovey writes (2012): Parr was a prolific artist, who painted watercolours of picturesque corners of fishing villages in Cornwall and Devon, but, he is not listed in any of the standard dictionaries and very little was known about him. Auctioneers/dealers have given widely divergent dates for his career, with many believing, due to the type of subject that he depicted, that he started to flourish as a painter as early as 1880, some seven years before his true birth date! The Exeter art historian, April Marjoram, has solved the mystery.
Parr was born on 13th November 1887 in Exeter. His father, Frederick William Parr, was a tailor, also Exeter-born, whilst his mother Rosa (née Chalk) had been born in Martock, Somerset. At the time of the 1871 Census, a Mary Cornish was staying with the family at their home, 24 Blackall Road, St David’s, Exeter, and so the artist’s forename ‘Cornish’ was probably a family name. By the 1891 Census, three year old Frederick had two younger siblings, Lillie aged 2 and Stephen aged 8 months. In 1903, both Frederick, then living at 32 Blackall Road, and his brother, Stephen, still living with their parents at 24, Blackall Road, won prizes in a local drawing competition. Indeed, it was Stephen who first embarked on an artistic career, as, in the 1911 Census, he is recorded as a lithographer. Frederick, then aged 23, was working as a railway clerk, having started as an apprentice at the goods department in Fore Street, Exeter in 1902. He married Hyacinth May, in 1910, and had a young daughter, Inez Beatrice (m.1934, d.1967). He resigned from the railway service on 24th November 1914, presumably to serve in the War, although his service record is unknown.
During his time as a railway employee Frederick may have been able to make use of the railway network to do some sketching in Cornwall. His painting career seems to have started after WWI and there are references to him exhibiting paintings at Eland’s Gallery, Exeter (a stationer’s shop that held art exhibitions twice a year) in 1922 and 1924. Although he rarely dated his work, one painting is dated 1929, and presumably he worked on into the 1930s. One note refers to him sharing an Exeter attic studio with Herbert William Hicks (1880-1944) for a time. Parr’s St Ives subjects tend to suggest that he was working there in the 1920s. Wharf Road has been built and the dress of the fishermen looks post-War. Invariably, he included in his subjects locals at work, placing them in the vicinity of quaint old buildings, whilst in the background can be seen glimpses of activity in the harbour. In St Ives, therefore, favourite scenes were Westcott’s Quay, Bethesda Hill, Fish Street, and Pudding Bag Lane. He also painted in Norway Square and The Digey. He also produced a number of paintings of Polperro. His interest in old buildings and the days of sail, rather than the newly motorised fishing boats, has probably led to his work being dated earlier than it was. Though verging towards the ‘chocolate box’ subject, Parr nearly always made his views contain something of social historical interest and are far better executed than similar subjects by T H Victor/W. Sands, Garman Morris, Arthur White, and others. Presumably, because he was contracted to sell all his work under the name of Parr through a particular outlet, he occasionally used a pseudonym, F.BENI.
Elizabeth Parr was born in Horsham, West Sussex and studied at Horsham School of Art. She has spent most of her life in the West Country, including 30 years in Coverack on the Lizard peninsula. She now lives in a village near Tavistock. She has exhibited at the Veryan Galleries on the Roseland peninsula.
Oliver Parrish's art is based on a fascination for geometrical patterns and tessellations. He divides his time between Cornwall and west Sussex.
The artist was recognised for her specialisation in the painting of gardens, and was known to have painted extensively at Trebah in West Cornwall.
She studied at the RA Schools, and her addresses given for sending-in work were Peckham, London (1889), Hampstead, London (1901) and Watford, Herts (1907).
A native of Bristol and son of Dr John Parsons, GP, he visited Cornwall on working holidays to see his brother, the vicar of Crantock, near Newquay. In 1908 the artist became a founder-member of the Bristol Savages.
A painting by Parsons of Polperro was hung at the Bristol Fine Art Gallery in 1890.
The landscape and flower painter Alfred Parsons is not known in any specific way to link to Cornwall; one of his paintings (The Pear Orchard) is in the possession of Falmouth Art Gallery, through which his name comes into our data-base. He was a member of a number of societies including the RWS, the Royal Scottish Society of Painters in Water Colours, the Royal Miniature Society (honorary), the RI, the NEAC, the Gallery Club as well as being elected an associate of the RA (1897) and a full member in 1911. Through any and all of these groups he would have been part of circles that included the main artists of St Ives and Newlyn art colonies.
Born in Somerset, he exhibited widely from 1871 at all the main venues in London and elsewhere, and is included in the list of those covered in the University of Glasgow's J W Whistler's Correspondence Project. In the late 1890s he joined the Society of Illustrators, and was responsible for the illustrations for the publication by the famed Cornishman Sir Arthur Quiller Couch, entitled The Warwickshire Avon.
More research and/or further information may reveal when/if he is more tightly connected with the Cornish artistic scene of his times.
One of two assistants who had helped Henry Malcolm GEOFFROI as student-teachers, Pascoe was an assistant teacher at the Penzance School of Art when Phil Whiting was Headmaster (1901-1907).
Born on 31 July, 1848, Penzance, Lavin was his mother's maiden name. In 1879 his address was in Newlyn, and he began to send paintings in to the RCPS: Newlyn - fresh breeze (1879), Trawlers, Gwavas Lake (1884) and Penzance (1888).
At NAG in 1897 he exhibited and sold Mackerel Season, Mts Bay. Within the sales records, Pascoe's name is often found as a purchaser of works from the earliest exhibitions. On 28 September, 1908 the artist died, age 60, at Mylor near Falmouth (GRO).
Terry Pascoe was born in Redruth and was educated at the grammar school there. He became a student at Falmouth Art School and then the Central School of Art in London.
Lynn Pascoe's paintings have been exhibited at Trelissick Gardens. Her love of the Cornish landscape is reflected in her work.
Born at East Stonehouse, Plymouth, Devon on 8 August 1819, his birth was
recorded by the minister at How Street Baptist church in 1837, son of William
Pascoe, carver and gilder, and his wife Elizabeth. An animal and equestrian
painter making his living by taking commissions from horse owners and
travelled around the West Country, his work includes 'Shire Horses' dated
Richmond 1845 and a portrait of a Devonshire Bull, dated 29 December 1855. He
married at Charles the Martyr Church, Plymouth in 1862, Sarah Jane Rogers and
moved to East Anglia where their son William Claude Lorraine (1867-1961) was
born at Rose Cottage, Mill Hill, Newmarket on 25 December 1867, and a second
son, Edward Albert was born at Fulbourn, Cambridgeshire in 1869. He painted
several pictures during this period including a study of a blue and white
greyhound with a hare, dated 1863, 'Hippia and a Bay Filly in a Stable'
inscribed 'Newmarket' dated July 1867, and J.D.Wragg's 'Favourites'. In 1871
a 51 year old animal painter & gilder living at 2 East Road, St. Andrew the
Less, Cambridge, with his 30 year old wife Sarah J., a 9 year old daughter
Rosa J. R. and two sons 3 year old William C. L. and 1 year old Edwin A; Rosa
Jane Rogers was born at Plymouth in 1862. The family then moved to 46 Grant
Road, Battersea, London where Sarah Jane died in 1876, aged 34, and in 1879
William married again at Wandsworth Registry Office, 22 year old Charlotte
Filmer (1859-1944) and in 1881 a 54 year old animal & landscape painter
living at 45 Tunbridge Road, Maidstone, Kent with his 22 year old wife
Charlotte, born Peckham Rye, 11 year old Edwin and his 17 year old
sister-in-law Annie Filmer. They emigrated to the United States of America
arriving in New York on the 'Persian Monarch' in October 1883. In America he
carried on his painting, following the racing circuit, and where he had a
further daughter, Ida, born at Covington, Kentucky in 1884. He travelled
widely in America; at Lexinton where his painting included 'The King' (1884)
for owner Judge H. M. Whitehead and in Kentucky including 'King Alfonso'
(1884) for A. J. Alexander also had commissions in Chigago, Long Island,
Saratoga and Covington, but on returning to England seems to have been in
poor financial situation in 1890 when requesting financial aid from the 3rd
Earl of Morley. In 1891 was living in lodgings at 23 Clifton Street,
Brighton, Sussex, with Charlotte and Ida. He died at 8 Pentonville Road,
Brighton on 31 December 1892. In 1901 Charlotte and Ida were living at 3
Hazelwood Terrace, Herne Bay, Kent. He exhibited at the Royal Academy in 1842
'View on the Caddiver River, Dartmoor' and at the British Institution for
Promoting the Fine Arts 'View of Gretton Bridge, near Launceston of the River
Tamar, Cornwall' exhibiting in both in the two following years. The picture
of J. D. Wragg's 'Favourites' has inscribed on the canvas 'by E. W. Roscoe of
Newmarket and Chesterton Road, Cambridge. July 1869' and maybe a different
artist but I have found no other at Cambridge.
[With many thanks to Tony Copsey, of the Suffolk Artists' Index]
An earlier William PASCOE (1), from Plymouth, is listed by Graves as painting landscapes between 1842-44 at RA, SS, and BI, however the Pascoe referred to here is mentioned by Green as a contemporary of the Welsh student Carey MORRIS, and was a pupil at the FORBES SCHOOL c1905.
Pascoe lived at 6 Wellington Terrace, Penzance. He exhibited and sold The Embroiderer at NAG in July 1906. In 1907 C Lewis Hind published Days in Cornwall (Methuen & Co) and William Pascoe provided sixteen coloured illustrations for the book with such subjects as Lanyon Quoit, Newlyn Slip, St Michael's Mount, A Night View of the Island, St Ives and Trencrom Hill. Whether or not these illustrations were reproductions of paintings for exhibition, is not known. Photographs were also provided by a number of national and locally based photographers such as Herbert LANYON (St Ives), GIBSON (Penzance) and Francis FRITH amongst others.
In the permanent collection at Falmouth Art Gallery is Portrait of a Man, attributed to William Pascoe as active 1905-1912.
Listed in the 1841 Census for Falmouth as a 45 year old Artist, not born in the County and living in Killigrew Street.
One of his pupils in London was Terry FROST, whom he advised against studying art formally - but to go and study shapes and paintings in the national galleries. He visited St Ives in 1950, and following this 'he flirted with abstracted appearances again.' (P Fuller 1988).
Lisa became a full-time painter in 2007. Her paintings follow the spirit of the 1930s and Japanese block printing. Her images contrast the beauty of unkempt nature with domestic buildings, churches and old mine buildings. Shapes and contours are used to create a strong composition, coupled with rich colours, shadow and light.
The artist works from one of six studios at Pydar Gallery & Studios in Truro.
The daughter of a solicitor, Emily Paterson was born in Edinburgh in 1855 and studied at the Edinburgh College of Art, as well as in Paris. She lived at Albyn Place, Edinburgh before moving to London in 1917, having travelled widely between 1909-1934, visiting the Netherlands and Italy on a number of occasions.
Her favoured subjects were landscapes, architecture and botany. She was elected member of the Royal Scottish Watercolour Society, Scottish Artists' Society and the Society of Women Artists.
Emily had a special affection for the west country and loved painting the sea. She worked in Polperro in c.1932. An exhibition review described her pictures of Polperro as 'delicate, sensitive studies, in which the subtle greens, greys and blues of evening and of dull mornings are seen and successfully reproduced, sometimes in a manner which suggests the work of Whistler.'
Just before her death she was elected to STISA. Emily died in London on the 23rd July, 1934 - a memorial exhibition was held at Walker's Gallery, London later the same year. The painting St Ives (undated) was sold at Christies, London, South Kensington on 27 January 1999.
Born on 28 March 1867 in London, the artist exhibited a Newlyn title at the Institute of Painters in Oil Colours in 1892, sent from her working address in Bexley, Kent.
Known exhibiting dates for Patey are 1891-94. She died on 2 January, 1940, at Lelant, near St Ives.