The exhibitor displayed leatherwork at the Summer exhibition of arts and crafts at NAG in 1928. Possibly this is Ethel HARVEY who also worked as a needlewoman for Crysede, together with Esther HOSKIN and Innes MATTHEWS from its first opening in 1920.
The daughter of John Mathews Bodinnar, a cooper, and Ann Crews Bodinnar (nee Curnow), Gertrude was the eighth of ten children and was Cornish-born. Her first contact with art was as a model that included posing for her future husband Harold HARVEY, and the experience fascinated her. She made notes of how the painters worked, and she discovered in herself a talent for art and design.
She and Harold later married in about 1911. Gertrude used mostly oil on canvas, board, card or paper, but also tempera, gouache and sketches (sold at NAG), and also enjoyed needlework and clothing design. In the 1920s and 30s she exhibited her work at various galleries in London, including the RA and the Leicester Galleries. Often she showed work together with her husband in mixed and group shows. Her style has been likened to Alethea GARSTIN's.
Prior to her marriage she lived at Pembroke Cottage, Newlyn (1879-81), and by the 1891 Census she was at 49 Trewarveth Street, Newlyn. After her marriage she and her husband moved to Maen Cottage, Elms Close Terrace, Newlyn and she stayed there after his death (in 1941) until 1960 when she moved to the Benoni Nursing Home in St Just.
The daughter of the artist John Rabone HARVEY and sister of Herbert Johnson HARVEY, her first visit to St Ives was at some time between 1900 and 1910. In 1905, at the age of fifteen, she began six years of study at Birmingham School of Art. From there she moved on to a silversmiths firm in Birmingham, before joining the London couture house, Mechinka, at the outbreak of WWI. She studied under Henry Tonks at the Slade, first part-time and then on a full-time basis, and in the early 1920s unfortunately caught paratyphoid fever on a trip to Paris that necessitated convalescence at St Leonards-on-Sea and two winters spent abroad.
By 1924 she had married Charles Meeke and was living in Birmingham again, and the birth of a son at about that time seems to have interrupted her career. She was a painter, printmaker and miniaturist on ivory. After divorce in the late 1930s she exhibited a work Holidays, later re-named Holidays in Cornwall, at the RA, giving her address as Verbena Cottage, St Mawes. Hilda moved to St Ives in about 1945, living at 6, Bowling Green Terrace. By 1950, however, she had moved to Yardley in Yorkshire.
Born in Penzance on 20 May 1874 (GRO), the son of Francis McFarland Harvey, a bank clerk and Mary (née Bellringer). His primary education was at home, and then he studied art first with Norman GARSTIN, in Paris at Academie Julian 1894-96, and Academie Colarossi and Atelier Delecluse in 1896. On returning to Penzance in the late 1890s, he worked again with Garstin before he married the artist Gertrude Bodinnar HARVEY in 1911. He painted in both watercolour and oils depictions of Cornish life and landscapes, later changing to interiors and religious subjects set against local backgrounds. A full page detail from his painting St Just Tin Miners is included on page 130 of the Public Catalogue Foundation's review of oil paintings in public ownership (PCF, 2007) in Cornwall. It is held by the Royal Cornwall Museum in their permanent collection.
Together with Ernest PROCTER, his 'best friend', he ran one of the several painting schools in the area from 1920 . His residences in the area include 20 North Parade and 5 Trewartha Terrace, both in Penzance, up until his marriage, and then Maen Cottage at Newlyn until his death. Amongst his particular friends was the Vicar of St Hilary, Fr Bernard Walke, whose wife Annie FEARON was also an artist, and Harvey produced some paintings for the Church at St Hilary. Other close friends were Laura KNIGHT and Harold KNIGHT and the artists of the Lamorna Valley set. His conversion to Catholicism occurred later in life. He died on 19 May, 1941, age 67, in Newlyn, and he is buried in the RC section of the Heamoor Cemetery in Penzance.
A pupil of the FORBES SCHOOL in 1935, perhaps with his daughter, Miss HARVEY.
A pupil of the FORBES SCHOOL in 1935, perhaps accompanying her father or brother.
V Lander comments on her 'finely observed architecture of the cathedral [Truro] dominating the view from the river in a series of fine and delicate studies.' (2011)
John Harvey was born in Plymouth in 1935. After an initial career in printing and commercial art he studied at Camberwell School of Art and Crafts in London (1975-78) and then for a follow-up year at Brighton Polytechnic (1978-79). Subsequently he taught art at a Cornish school before retiring early to concentrate on his own painting.
He now lives in Penzance, drawing from the wide range of subjects around him. Most of his paintings are completed on the spot and, combined with drawings, frequently become studies for larger studio paintings.
Rebecca is originally from East Anglia. She was awarded an MA in Ceramics & Glass from the Royal College of Art in London. She employs a range of techniques, including soda firing, to produce attractive patterns and textures in her pots. While essentially domestic in function, her highly individual pieces reflect an interest in eighteenth century cream ware, Japanese ceramics and architectural designs. She has exhibited not only at London's V & A, but throughout the UK, as well as in Germany, the USA and Japan.
This artist, unknown to us until recently (2013), was found by Debra Meister, who researches and authors visual catalogues of the works known as CORNISH LITANY items, primarily produced by known artists as souvenirs for the village of Polperro in Cornwall. Though not mentioned in the standard art dictionaries, Meister has also found on-line references to oil paintings of harbour scenes, and one specifically known as 'Porth Leven Harbour'. A recent correspondent (2015) has noted the following: 'On 22nd July 1974, I purchased a pastel scene of Port Leven Harbour from the Cornwall Society of Artists in Polperro.'
2016: A correspondent has provided a cache of information about Victor Martin Harvey, and a visual image of one of his drawings, which we only knew by initials previously. She draws our attention to the biography of Harvey which is posted by the Goldmark Gallery (on-line as listed below). Born and brought up in Leytonstone, east London, his apprenticeship to Curtis Brothers Advertising meant that he could attend St Martin's School of Art part-time for several years. In addition to making medical drawings for an East End hospital surgeon, he joined G S Royde's Advertising Agency as a commercial artist.
By 1942, Harvey was posted to Cornwall in the war-time fire service working in Bodmin. Deciding to remain in Cornwall after the war, be took up teaching duties at Wadebridge Community College, while continuing with his own work as a commercial artist and signwriter. His son, the artist Martin HARVEY, grew up in St Mabyn, where the family lived.
By the 1960s Harvey was living on the proceeds of his art work, and became a founder-member of the Camel Art Society, Wadebridge. Wadebridge Town Council hold examples of his work. In 1962 he painted a mural, depicting the construction of the bridge at Wadebridge, for the Bristol & West Building Society. After the closure of the Building Society, the mural was given to the Town Hall, where it remains in situ.
A retrospective was mounted by the Camel Art Society in 1981, which travelled in part to St Ives, the RWA and the East Cornwall Societies of Artists.
The son of Victor Martin HARVEY, Martin grew up in St Mabyn and attended Falmouth School of Art from 1959 to 1963, studying under Michael Finn, Francis Hewlett, Derek Wiltshire, Peter Lanyon and Terry Frost. He then became a student at Hornsey College of Art (1963-1964). He has taught art in Hampshire, at Plymouth College of Art, Plymstock School and Launceston College. He is also a keen sailor.
Born in Hampshire, Catherine Harvey Jefferson studied art at Falmouth and Winchester School of Art, where she obtained a BA (Hons) Degree in Fine Art. Her formative years were spent sailing the coasts of Cornwall, Brittany and Ireland. Catherine is descended from the HARVEY family, so her links with Cornwall go back three generations.
The artist has exhibited widely in Cornwall and beyond, and her works are held in private collections in London and New York. She works from the Beehive Gallery in Penzance.
Harwood paints bright, bold portraits of animals. She moved to Cornwall in 1995, opening a ceramic studio in Liskeard in 2001. After taking a course in Art and Design she began to produce 'cow portraits', which were sold out when first exhibited in 2003. She now paints full-time from a studio in Dobwalls.
Sue Haseman trained originally as a graphic designer in Birmingham. Currently she lives and works in Mullion. Her painting, which focuses on family portraits and still lifes, represents an attempt to express the human condition. She has exhibited at the Lander Gallery in Truro and Falmouth Art Gallery.
Haslehust is the illustrator of the series (undated) published by Blackie & Son Ltd. entitled 'Beautiful England'. The text for The Cornish Riviera is by Sidney Heath, and 12 coloured plates of Cornwall taken from original paintings are listed below. No detail is currently known about this artist.
She was born 10 April 1839, London and died there on 16 April, 1926, age 87 (GRO). A very active artist who exhibited widely, she was a member of the Society of Lady Artists. Bednar has noted a Newlyn title by her in 1885.
The Dover Museum website (dover.gov.uk) records Thomas Hastings as a well-regarded amateur etcher who was published, though little is known of him. They hold a pencil sketch of the Pharos (Roman lighthouse) by him from 17 July 1824.
When the Cornwall Polytechnic Society of Falmouth first opened its range of activities in 1833, the purposes outlined were for the encouragement of Arts and Industry. An Annual Exhibition, when prizes would be awarded, was set up for the display of scientific inventions, marine innovations and technical drawing, and for fine arts and handicraft. Submissions were invited from all over Cornwall. The first prize for an oil painting was won by T Hastings, Esq with his title Falcon: a painting of Lord Yarborough's yacht. In the second Annual Exhibition, T Hastings was again the First Prize (Silver medal) winner with his painting Dutch Port. It is clear, in the second show, that Hastings was classified as an amateur painter, because for the first time a separate class of Professional Artists was set up to receive awards. These references may, of course, be related to two separate artists by the name of T Hastings.
Sybil Hastings specialised in watercolours - landscapes, scenes and flowers, but also painted in oils. Her studies were under John Noble BARLOW and Norman GARSTIN. She also attended the Byam Shaw and Vicat Cole School of Art.
She was born in Wells-next-the-Sea, Norfolk and lived in Woodbridge, Suffolk. Her main exhibiting took place from 1923 to 1936. A recent correspondent (2012) has written that many of her paintings went to the USA.
In 2011 Ren Hathaway is listed as a regular exhibitor at the Lander Gallery, Truro.
Terence Hattie's works are triggered by old war footage and discarded photographs. He is a regular exhibitor at STISA open shows.
Born in Hereford, the son of Amelia and Alfred Hatton, his interest in art was clear from the early age of two, and at 8 ½ he was awarded a Bronze medal for his exhibit at the Royal Drawing Society (RDS). The relationship between man and horse ran throughout his work. Due to ill-health, he was sent for recuperation to Wales, and began lessons at the Swansea School of Art. He won a Gold Star from the RDS in 1898, and praise and friendship came to the boy painter from G F Watts. He continued entering exhibitions and winning medals, and Watts and his family continued an interest in him and his work, introducing him and giving advice.
In 1903 he spent some weeks in Carbis Bay, with the express purpose of showing his work to the artists of the St Ives and Newlyn colonies; these included Norman GARSTIN, Stanhope FORBES, George Sherwood HUNTER, Russell DOWSON and a Mr GIRDLESTON (probably John Ward GIRLESTON). They praised his horses and his seas, but felt his landscapes needed great improvement, as his colouring was not strong. Lucy Elizabeth KEMP-WELCH complimented his pen & ink and pencil work.
When Watts died in 1904 he left some ultramarine and rose madder to the youth. At Trinity College, Oxford Hatton studied Mythology, although he continued to study modelling and painting with a branch of the Slade; from this time comes The Turnip Cutters, now held in the British Museum Print Room. Over a number of years he painted and studied in Scotland, London, Holland, Paris (at Julian's) and Egypt, and worked from his home studio in Hereford. His life was lost during WWI in the Egyptian campaign, with most of his regiment.
Originally from London, he spent some of his early life in India. He moved to West Cornwall in 1948, describing his discovery of St Just as a magical experience and the turning point of his life. Although he left Cornwall in 1951, he returned each year for thirty years, his paintings wholly concerned with the area. He then taught at the Central School of Arts and Crafts until 1984. A recent correspondent (2012) also contributed the following memory: 'David also taught at Winchester School of Art where he once set out in a series of small drawings in my sketch book the nature of cubism.'
In 1979 he held a solo exhibition at the Newlyn Art Gallery, and participated in the Happy Returns Exhibition there in the winter of 1984. His paintings were selected for the Looking West Exhibition of 1987 held at the Royal College of Art, with the National Trust, to underline the NT campaign to save as much of the Penwith coastline as possible from developers. The exhibition was opened by the broadcaster and journalist Gerald Priestland, and the paintings exhibited by Haughton were Tregeseal (1958), Cape Cornwall Road (1973-78), and St Just from Carn Bosavern (1979).
His work was also selected for the exhibition in Truro to celebrate the Centenary of Cornwall County Council, A Century of Art in Cornwall 1889-1989, that was organised by Newlyn Orion Gallery on behalf of the county, and sponsored by Barclays Bank.
Initially trained as an architect, Haughton turned to fine art. His subjects are the land, sea and spirit of the place, as stated by Wallace in her review of the show Juxtaposition, held at the Open Space Galleries, Penryn in April 2009.
Haughton was born in Devonport, Devon and graduated from the West of England College of Art in the 1960s when Paul FEILER was the head of painting there, and visiting tutors included Peter LANYON, William SCOTT and Karl WESCHKE. For twenty-five years he was a primary school teacher alongside his artistic endeavours. His abstract style, according to his own statement, is rooted in his personal experience of landscape, and his painted relief constructions incorporate found objects from boatyards and the seashore.
Becky Haughton took a BA (Hons) in Fine Art Drawing & Printmaking at University College Falmouth in 2001. An artist, teacher and technician, her work has been widely shown throughout the UK and in New York.
Nigel Haward grew up in the fens of East Anglia, where he gained an early appreciation of nature. His painting developed out of an academic background in the natural sciences, in particular geological and marine science. From his studio in Ludgvan he specialises in watercolour paintings, alongside his work as a professional framer.
She lived at Trewarveneth, Newlyn in 1911, and possibly studied with Stanhope FORBES (Green). By 1922 her sending-in address was in London.