Born in Taunton, Somerset, Giles was the son of an engine driver for the Great Western Railway. His first trips to Cornwall were in the leading carriage of the train which his father drove from Taunton to Penzance, and John Branfield (2005) describes in his personal memoir of his St Agnes friend, how excited Tony always was in being in Cornwall. Art was his favourite subject at school (Huish's) and when he left school he took up an apprenticeship as a cartographic draughtsman at the Admiralty Hydrographic Office near Taunton.
Dust jacket information: 'Giles's paintings were inspired by the way man has shaped the Cornish landscape. He painted railway tracks and viaducts, clay workings and mine buildings, harbours and chapels in a very lively, highly individual style.' Frank RUHRMUND (journalist/art reviewer, Cornishman & other newspapers) concluded that Tony Giles was 'one of Cornwall's most powerful and prolific, and strange as it may seem, still most under-rated artists.'
Sally Giles is a graduate of Falmouth School of Art. She worked for potters Emmanuel Cooper and Michael Leach and had her first studio in 1971. She makes porcelain and stoneware pots which are fired in a reduction kiln with wood ash glazes.
A London-based artist who was in temporary residence in Polperro during World War II. He had been born in Hackney and exhibited successfully at the Royal Academy for the first time in 1940 with three works. He continued to show his work there until 1969.
Jana Gilfillan is a ceramicist who uses local clay produced in St Agnes. She makes her own glazes and slips in order to avoid harmful chemicals.
Mentioned in Whybrow's 1911-20 list of artists in and around St Ives.
'Our Bread and Butter' (Falmouth Docks) (1973) by this artist is in the collection of the National Maritime Museum, Falmouth.
Educated at Bryanston and Princeton University, USA, Michael was first introduced to pottery in 1941 by Donald Potter (his teacher at Bryanston) and became a serious potter while still at school, exhibiting at the first Heals School Exhibition.
In 1943 he worked at the LEACH POTTERY. Returning home in 1949, after reading Chemistry at Princeton University, he potted at the Central Arts School with Dora Billington, and worked with Lucie Rie. Between 1950 and 1956 he traveled widely working in Copenhagen and Helsinki; he started a pottery in Kibbutz Sasa in Israel, and in Joan Metheys' studio in South Africa produced stoneware and porcelain. In Australia and NZ he built kilns and developed glazes.
From 1956-1966 he set up a pottery and craft centre for potters on behalf of the Ugandan Development Corporation. Back in England Michael taught pottery part-time, but from 1982-1984 he was invited to run a pottery for the Transkei development Corporation. Michael 'retired' in 1990, after a spell of Chemistry and Physics teaching, to manage fifty acres of woodland in Dorset and return to making his own pots. In 2005 he moved to Australia.
Ken Gill was born in Glasgow. He has been painting and sculpting since 1979 and is based in Newlyn. His sculptures, created from stone and glass, have been exhibited widely in Europe and the USA.
Known as Daisy, American-born Rosalie Gill arrived in St Ives in 1887. She spent much time in Newlyn, where she enjoyed the theatrical productions of the Newlyn artists, contributing an oil painting to the West Cornwall Art Union exhibition in Penzance in September that year. She eventually returned to St Ives in 1890, and exhibited a St Ives title at the 1893 Chicago World Columbian Exposition. She died in Paris in 1898.
Vivienne Gillard graduated from St Martin's College of Art in London with a BA (Hons) in Fine Art before returning to Cornwall in 2007 as a ceramicist. She works from The Old Bakery Studios in Truro.
Gillchrest moved to Cornwall in 1958, and began to paint 'enchanting pictures of Cornish harbours.' [John MILLER, from Leave Tomorrow Behind].She was included in the RWA Artists of Cornwall Exhibition at Birmingham in 1972-3.
In 1979, she presented a particularly attractive painting entitled The Newlyn School Exhibition to the Permanent Collection at the Newlyn Orion Gallery (repr Hardie 1995, col pl section). Another of her works forms part of the permanent art collection of St Michael's Hospital (SMH) at Hayle. Her biography, including reproductions of an immense range of her work, was launched at the Wren Gallery in Oxfordshire by the director, Gill Mitchell, who had handled Joan's work for several years and had become a close friend. Frank Ruhrmund in his review reports that Joan had agreed to Gill's writing of the book, but not while she was alive, and also that her story should be told mainly through her pictures, with a minimum of text.
There is further information about this independent-spirited painter in a recent biography of the artist Adrian RYAN, who was Joan's partner, off and on, for some years.
A craftworker who exhibited at the NAG Arts and Crafts Exhibition (1926) in an Unspecified category.
Gillick was born in Nottingham and then studied at the Nottingham School of Art under Thomas Meldrum. He had been a fellow student with the young Laura KNIGHT, who in her biography notes 'In the year 1896 I first tried to compose pictures. Ernest Gillick was quite enthusiastic about a picture I had painted out of my head, and he never knew what encouragement his few words of praise then gave me.'
In 1902 Gillick was awarded a scholarship to study at the RA Schools where he won a further travelling Scholarship to Italy, returning to begin exhibiting at the RA in 1904. In 1905 he married Mary TUTIN, who specialised in medallions. They were to collaborate on designs.
After WWI the couple worked from Riverside Studios in Lamorna, near Penzance, but also maintained a home in Knightsbridge (behind Harrods) where Laura KNIGHT and Samuel John Lamorna BIRCH sometimes stayed when visiting London (1930s). Gillick was a member of the Arts Club in London, and in 1928 he proposed Birch for membership - which SJ was pleased to take up. He exhibited regularly at the RA up to 1951, and was awarded the Royal British Sculptors' medal in 1935.
As a sculptor, Gillick is well known for his memorial works; however he also produced busts, statuettes, reliefs and decorative objects as well as medallion commissions. Regular commission work came from the Royal Mint., and he was commissioned to design and produce the RA prize medal of 1936.
The artist studied at the Royal College of Art in 1905 and specialised in medallions. She married the sculptor Ernest George GILLICK in 1905, and the couple lived in Chelsea, London and also in Lamorna, Cornwall after the Great War. They already had old friends in Cornwall such as Laura KNIGHT and Harold KNIGHT, and made many new friends among those artists of the Lamorna Valley and Newlyn.
After a long and successful career as a commercial artist working in Fleet Street, Gillingham retired to St Ives in the 1940s. Although quite elderly, he continued to work daily in his studio that was near his Porthmeor residence.
Shortly before his death in his eighties, he contributed some illustrations to a children's annual, More Adventures of Buffalo Bill. He painted principally in watercolours and was fond of depicting French crabbers in the harbour.
Mentioned in Whybrow's 1883-1900 list of artists in and around St Ives.
Victoria Gillow is based in Falmouth. She has a BA in Fine Art, a PGCE in Art and an MA in Illustration Authorial Practice.
Keran Gilmore was born in Cornwall. She obtained a diploma in Fine Art from Falmouth School of Art, followed by a BA (Hons) in Studio Ceramics. Her paintings can be seen at Art House, Island Road, St Ives.
Karen Gimlinge obtained an MA in Art and the Environment from Falmouth University. She says: 'My work reflects and unifies ideas of environmental awareness'. Currently her work is concerned with the loss of life at sea, in particular the treacherous and often tragic journeys made by refugees escaping repressive regimes.
In 2012 she undertook a residency at the Eden Project.
The artist was born in Cannes, South of France. A visitor to Cornwall from Hampstead, London in the early 1920s, Ginner returned upon occasion later. He was known to have been painting at Porthleven c1922, and exhibited regularly in the London Salon. Two of his paintings, The Mullion Wireless (1921) and St Just in Penwith (1923) show a modern realist approach to landscape painting and clarity of colour thickly applied. These two were included in the 1987 Looking West Exhibition sponsored by NAG and the RCA.
Originally a railway engineer, Girleston had been Chief Engineer to the Bristol Dock Estate before taking up painting in his later years, and spending time in both Norway and Cornwall. The artist is mentioned in the biographical essay prepared by the family of Brian HATTON, as one of the artists which Hatton visited in Cornwall in 1903 in order to obtain critical comment upon his work.
John worked from the St Eia Studio up until 1911, and showed a number of Norwegian scenes in watercolours on the Show Day of that year. The St Ives Times reported his death with the headline 'Sudden Death at Carbis Bay' when he died at his home, 'The Nest' at Carbis Bay at the age of 71.
Oonagh Glancy lives in south-east Cornwall, near Callington. After obtaining a BA (Hons) in Fine Art from University College, Falmouth, she gained an MA in Contemporary Practice, in 2012.
Mentioned in Whybrow's 1921-39 list of artists in and around St Ives.
Recorded as a member of STISA in 1932, living at Hillside Bungalow. No further information available at present.
A student mentioned in Whybrow's 1921-39 list of artists in and around St Ives.
A painting with the signature of R Glover (oil on canvas) depicting and entitled Geevor Tin Mine is part of the Royal Cornwall Hospital collection.
She was born in Hulme, Manchester, and brought up and privately educated in Sussex. She started painting at the age of 12 and studied at St Martins School of Art. In 1927 she married the much older Major Joseph Cuthbert Mullen, and in 1939 they were living, with her mother, in Talland, near Looe. He died the following year. She remained living in Talland and showed her work at the 1949 local 'Foresters Hall' exhibition to considerable acclaim.
In 1952 she married Dr William Edward Glover in Aberdeen. They remained in Talland until 1959 when they moved to Stoke, Plymouth. She exhibited widely and won silver and gold medals at the Paris Salon in 1964 and 1965. She was widowed again in 1969 and became a leading light in the Plymouth Arts Club.
On her death in 1995 she left over £1 million to the RNLI, and a lifeboat was acquired and named after her.
Painter of landscapes, portraits, flowers and figurative subjects, Gluck was born into the wealthy Lyons family in London, and visited and worked in Lamorna from 1916 until her death. Gluck brought her friends with her from London, and made a few close friends in West Cornwall, though her distinctive mannish character curtailed this to large extent. She was especially keen on Ella Louise NAPER who simply accepted her for what she was: a bohemian who affected male clothing and had love affairs with women as well as being a good artist.
Gluck worked closely with Samuel John Lamorna BIRCH for a time, and lived at Letter Studio and then at Dolphin Cottage, as well as in London. She was mainly active in Cornwall between 1915-37, and an occasional visitor until 1975.
While a number of her paintings depicted the Cornish landscape, Gluck's work was seen mainly in London, at the Fine Art Society, where she was able to enjoy solo shows. Her first exhibition there took place in 1926, with one reviewer commenting that her work was 'aggressively modern and terribly iconoclastic'. Her second Fine Art Society show was held in 1932, for which she designed the whole exhibition space, creating an integrated frame/wall setting. On this occasion it was considered that her work displayed 'real genius' and was 'astonishingly clever'. A 1937 exhibition at the same venue elicited admiration for her architectural skill in creating a harmonious layout to display her artworks. 1973 saw her final Fine Art Society show which was a great success.
Nowadays she is best known for her portraiture, and for the commercial campaign she fought to ensure consistent quality control in artists' oil colours.
The 1891 Census Return states her occupation as Art Needlework, born in Helston, Cornwall. No further information available at present.