Gallery

The Gallery contains a selection of our traditional and impressionist oil paintings, watercolours and drawings. Please click on the thumbnail image to view a larger illustration.

Pictures are listed alphabetically by artist`s surname.

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Click to Enlarge Thomas Bush HARDY, RBA (1842 - 1897)
Shipping off the French Coast
Watercolour. Signed. Inscribed. Dated 1895.
11” x 15½” (27.9 cm x 39.4 cm)


Click to Enlarge Harold Charles Francis HARVEY (1874 - 1941)
Home from the Fields
Oil on canvas. Signed and dated ’07.
The only principal member of the Newlyn School to have been born in Cornwall, Harvey painted scenes of everyday life with an intimate, personal knowledge of the area and its people. He was taught firstly by the Penzance-based artist Norman Garstin and then studied in Paris at l’Atelier Julian. He was influenced by the French rural realism of Jules Bastien-Lepage and, on his return from Paris, recorded the day-to-day lives of working Cornish people, painting out of doors, in the fields and country lanes, by the harbours and on the beaches near his home. Harvey exhibited at the major galleries throughout Britain, including 55 works at The Royal Academy. A modest, retiring person, he was popular among his fellow artists and is regarded today as one of the most important painters of the Newlyn School.
12” x 16” (30.5 cm x 40.6 cm)


Click to Enlarge Arthur HAYWARD (1889 - 1971)
Morning Light, St. Ives
Oil on board. Signed.
9¾” x 13¼” (24.8 cm x 33.7 cm)


Click to Enlarge Arthur HAYWARD (1889 - 1971)
High Tide, Mousehole
Oil on board. Signed.
9” x 11½” (22.9 cm x 29.2 cm)


Click to Enlarge Arthur HAYWARD (1889 - 1971)
Low Tide, Mousehole
Oil on board. Signed.
Inscribed verso: “Afternoon, Mousehole Harbour. A. Hayward, Shore Studio, St. Ives”.
11½” x 9½” (29.2 cm x 24.2 cm)


Click to Enlarge Charles Napier HEMY, RA RWS RI ROI (1841 - 1917)
Barking the Nets, St. Mawes
Oil on card. Signed with initials and dated 1913.
Also signed, dated and inscribed by the artist verso: “Summer 1913, Barking the nets, St. Mawes”. The natural fibres used in fishing nets a century ago were susceptible to rot through constant exposure to salt water. To protect them, the nets were treated in a boiled solution, made initially from tree bark and later from catechu, an extract from Indian acacia trees. The fishermen heated the mixture in a cauldron over a furnace for several hours and then soaked or “barked” their nets before hanging them to dry.
17½” x 26½” (44.5 cm x 67.3 cm)


Click to Enlarge Charles Napier HEMY, RA RWS RI ROI (1841 - 1917)
Over the Waves
Watercolour and bodycolour. Signed with initials and dated 1910.
Also signed and inscribed by the artist verso.
17½” x 26½” (44.5 cm x 67.3 cm)


Click to Enlarge Frances Mabel HOLLAMS, SWA (1877 - 1963)
A Bay Hunter
Oil on panel. Signed.
12¾" x 17½" (32.4 cm x 44.5 cm)


Click to Enlarge George Henry JENKINS (1843 - 1914)
Off The Breakwater, Plymouth
Watercolour. Signed.
9¼” x 15¼” (23.5 cm x 38.8 cm)


Click to Enlarge George Henry JENKINS (1843 - 1914)
Devonport Dockyard and The Hamoaze from Mount Edgcumbe Deer Park
Watercolour. Signed.
19¾” x 14½” (50.2 cm x 36.8 cm)

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