Harold Harvey | A Resource of paintings by Harold Charles Francis Harvey - 20th century British painter
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Harold Harvey Painting

Harold Harvey Paintings 1921 – 1930
In the 1920s he achieved the full development of his ability and command of different subjects. Using clearly-defined drawing and strong colours he continued the series of interior views (eg ‘The Critics’ (1922) now at Birmingham), but he also created many notable outdoor scenes with either a landscape or seaside setting (eg ‘Girl on a Cliff’ (1926, at Penleee House, Penzance). He also began painting works with a religious theme. He received public recognition, and was selected to take part in the Venice Biennale of 1924. During the 1920s he ran a school of painting with his friend Ernest Procter (1886 – 1935).

 

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1921 - 1922 - 1923 - 1924 - 1925 - 1926 - 1927 - 1928 - 1929 - 1930

1921

Afternoon tea
O/c 20 x 18.  Sgd, dtd 1921.  Gertrude in a deckchair in a paved garden.  Lane P 20 July 1974 (272 ni); DMG Autumn 1974 (26 ni).

An interior
PEAG 1921. The Cornishman of 23 March 1921 said “A lady is standing in a room examining one of a number of coloured vases. The yellow jersey and colour scheme generally is admirably executed, while the light is perfect”. This may be The white room.
Blackberry gatherers
O/c 21.5 x 26.75.  Sgd BL, dtd 1921.  At left a woman walks to the right, holding a baby over her left shoulder; she is preceded by a girl with a walking stick in her right hand; at right stands a young woman facing the viewer, legs astride, in dark hat and a dress with very large lapels; behind is the sea and the coast in the distance. Done in a very clear style. Grosvenor Galleries 1921 (39); SL 10 Mar 1982 (101 illus); Lane P 28 Sep 1989 (578 illus, as Blackberry Pickers
CL 8 Mar 1990 (24a); WL.
Cottages in a landscape
O/c 13 x 17.  Sgd BL, dtd 21.  In the foreground is a row of cottages in pale tones; beyond at left are fields, and at right are trees.  SL 19 May 1982 (8 illus); PL 28 June 1982 (9, as Cottages near Dartmoor); WL.
Gipsies
Oil.  ISSPG 27th exhn 1921 (76).
Ploughing
O/c 25 x 30.  Sgd BR, dtd 1921.  The foreground is a ploughed field; at right a man walks behind a white and a dark horse moving right; beyond are farm buildings; set in a large and detailed landscape.  PL 18 Sep 1990 (26 illus); Lay P 10 Feb 1994 (313 illus); WL.
Portrait of a girl at Newlyn harbour
O/c 15.5 x 13.5.  Sgd BR, dtd 21.  Head and shoulder view of a young woman facing right, in a blue on white spotted dress and a red ribbon above each ear; behind her is a simplified view of Newlyn harbour with green dashes for the sea.  S Chester 20 Oct 1988 (3147 illus, as Faraway fancies, Newlyn harbour); Lay P 8 Dec 1988 (397 illus, as Portrait of a young woman in front of Newlyn harbour); DMG pub.V (67 illus); BITPI(63 illus, as Portrait of a girl at Newlyn harbour).
The balloon seller
O/c 20 x 24.  Sgd BL in red, dtd 21.  At left stands a woman with a plumed black hat, orange shawl, purple blouse and white skirt, holding a large basket containing coloured feathers over her right arm, her left hand on hip; in the centre foreground a woman (perhaps Gertrude) is shown half length in a patterned headscarf and whitish blouse, blowing into a blue balloon, with several other balloons before her; at right stands a man with his back to the viewer, with a brown hat, holding a broom in his left hand, and with a red-bordered carpet over his right shoulder; behind at left is a green-blue gypsy caravan and at right a bright yellow one.  The whole painting is highly coloured. PEAG 1921, as Gypsies. The Cornishman of 23 March 1921 said “the vivid colouring is a feature”.   C Glasgow 17 Nov 1994 (839 illus).
The boatyard
O/p 11.5 x 15.  Sgd BR, dtd 1921. At left and centre are two boats with cream upper hulls raised up for repairs, and a man sits on a trestle, painting the underside of one; at right is a white shed with a red roof.  PHGM 2001 (81). Barnes Thomas, Penzance 14 Feb 2011 (205 illus).
The white room.
RA 1921 (352). The Western Morning News of 3 May 1921 said “Plain cream walls, pepper and salt door, and a small mahogany table carrying some pieces of ornamental china are its attributes, and its more directly human interest is a pretty girl in a primrose jacket and red and grey check skirt, with a blue and red cap, who is engaged in dusting china”. Harris & Sons Plymouth July 1923.
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1922

A fisherman
Oil.  CIP 1922 (257).

A view of Mousehole.  O/c 16 x 24.  Sgd BL in red, dtd 22.  A sunlit view of the harbour, with four dinghies in the foreground and a red one in the middle distance; the horizon is formed by a terrace of houses above the harbour wall; at far left is the Ship Inn.  SL 12 Nov 1986 (41 illus); PL 6 Nov 1990 (60 illus, as Mousehole harbour); CL 22 Nov 2006 (262 illus); SL 11 Dec 2007 (77 illus). ; CL 4 June 2009 (32, as Mousehole harbour, as 16 x 23). WL.
A windy day. O/c 17 x 20.5. Sgd BL, dtd 22. An expansive landscape of rounded green hills with some trees; in the sunlit foreground at left two young women walk leftwards bent against the wind; above the high horizon the sky is dark grey. Stockholm Auktionsverk 28 April 2014 (937 illus).
Blackberries
O/c 28.5 x 36.  Sgd, dtd 22.  At right Gertrude stands full length facing right in profile, her arms raised to pick fruit from a tall bush; she wears a red patterned headscarf, a dark blue blouse, an orange skirt with red horizontal stripes, and black shoes. At left stands a young woman facing right in profile, her head turned down towards a fruit held up in her right hand; her left arm carries a basket; she has a white blouse and a grey skirt; her plaited hair is tied with a red bow; behind are rolling fields, and a big cloudless blue sky. Atkinson Art Gallery, Southport (ref. 320, bought 1928 for £42).
Chy-An-Mor
O/c 18 x 24.  Sgd BL in red, dtd 1922.  Much of the picture is of moorland; at TC is a row of farm buildings; at TR are a couple of green fields; above is a thin stretch of pale blue sky.  PL 10 Nov 1987 (16 illus); PL 14 June 1988 (17); DMG Winter 2000 (10 illus, as Near Zennor); CL 22 Nov 2002 (38 illus, as Near Zennor : Chy-An-Mor); WL.
Clara
O/c 24 x 18.  Sgd BR in brown, dtd 22.  A three-quarter length view of a young woman facing half-left standing leaning against a low stone wall, wearing a short sleeved blouse with vertical grey and dark brown stripes and a grey skirt; her left hand rests on the wall coping; her right hand holds a red rose with the flower turned down; her hair is parted but with a plait behind; beyond her is a brownish landscape with a slender blossoming tree at left and at right a mine head on the horizon; the sky is grey and cloudy; the down turned red flower may signify loss, and the white blossom hope, but in Cornish superstition red and white flowers are associated with death.  This image is a larger version of the ‘Clara’ done in 1923.  SOL 14 Sep 2006 (163 illus, unframed). CSK 14 Nov 2013 (113 illus) ; SL 15 July 2015 (69 illus); CSK 1 Dec 2016 (52 illus)
Lovers
Oil. Sgd BL, dtd 1922.  At right a man in a hat and suit with waistcoat or cardigan walks with a woman on his right who wears a beret, pale blouse and dark skirt; they move left towards a granite block stile in a turfed dry-stone wall; behind are farm buildings (or hayricks?). Grosvenor Galleries Winter 1922 (87); Drawing & Design December 1923 p.713 (illus) which commented “Mr Harvey has here painted for us a simple but accurate conception of the peace and quiet of the sunset hours.  So tranquil is the setting that we are almost startled by the intrusion of the two silhouetted figures”; British Empire Exhibition 1925 (Q.12) when an unidentified review described it as among works “that linger in the memory”; sold for £26-5s in December 1926 (Benezit); LG 1927 (5); Apollo 1927 said “as sentimental as any English painting of the eighties or nineties, but it combines a certain pre-Raphaelite acerbity with solid modelling and a subdued but engaging quality of tone”.  WL.
Man with a woman in a cart
O/c 21.75 x 27.  Sgd BL, dtd 22.  The setting is Mousehole.  In the foreground stands a cart with two large wheels, in which sits a woman in a black hat with a white feather and a grey-black shawl; she looks at a bearded man standing between the viewer and the cart, with a bowler hat and black waistcoat, a pipe in his mouth; he holds something in his hands; at left is a grey building with the sign ‘Ship Inn’, and behind lie more houses and a jetty.  The man is probably a fish-seller.  The Notebook refers to ‘The Donkey Cart (Barlow) 28 x 22’.  CL 10 Nov 1988 (55 illus); DMG Autumn 2000 (21 illus, as By the Ship Inn, Mousehole); WL.
Marazion marshes
Oil.  Grosvenor Galleries Summer 1922 (50); the Observer of 18 June 1922 wrote “it has the merit of serious formal interest together with colour”; RWA 1924 (663).  The Notebook refers to ‘Marazion Marshes 30 x 25’.
Marsh landscape
O/c 30 x 36. Sgd BL, dtd 1922. The foreground is a large expanse of watery marsh with yellowish reeds; at left in the water is a line of wired posts and at far left the grassy embankment of a road; in the distance are three groups of white cottages facing us, and more behind; beyond is a rounded hill with fields and at far right a copse of green trees; three ducks fly from right to left across the middle of the picture; the sky is cloudy pale blue. This work is similar to Marazion marsh (1923). BhL 1 March 2017 (67).

On the line
Oil.  Sgd BL, dtd 1922.  In a kitchen, an older woman (Gertrude) stands at left on wooden steps to hang blue and white striped washing on a line; she wears an open yellow jacket with dark edges, a yellow headscarf, and pale blue skirt; at right a teenage girl stands facing left, with very long hair platted down her back, in a pale blouse and dark skirt, leaning against a table watching her; on the shelves behind is much coloured crockery. RWA 1922 (price £84), when Konody in the Observer on 1 Oct 1922 wrote “a domestic scene in a Cornish cottage interior, is another instance of pleasing subject interpreted in terms of pure art.  He stands or falls by the strong emphasis of his pure colour notes set one against the other without intervening neutral passages of chiaroscuro, and yet sufficiently indicative of volume to escape the effect of poster-like flat decoration”.  Grosvenor Galleries Summer 1923 (125); Drawing & Design Dec 1923, p.711 (illus), which commented “In this picture Mr Harvey has managed to create an interesting and decorative piece of composition.  A dexterous treatment of light effects and the clever poise of both figures have chiefly contributed to this result”; City Art Gallery, Manchester 1927 (Living British Artists, no. 128, price £50); RHA 1928 (11); Brighton Autumn 1934.  Brighton & Hove Museums (acq. FA000333, bought in 1934 for £40).

Portrait of the artist’s wife, Gertrude
O/c 29.5 x 19.5.  Sgd BR, dtd 1922.  Full length view of Gertrude wearing a multi-coloured shawl, standing before a tall wardrobe with four levels of drawers; she stands on a pale carpet.  The Notebook refers to ‘Gert/Indian Shawl 30 x 20’. Lane P 27 June 1975 (45 ni); Lane P 5 Mar 1981 (235 illus, as Gertrude in a Japanese Kimono standing before an 18th century linen press); SL 16 Sep 1981 (21 illus).
St Paul
O/b.  Sgd BR in black, dtd 22.  Set in a choir stall at St Hilary. On a sea shore a tonsured monk kneels at left, hands raised, facing right towards a cowled monk who places a stone at the sea’s edge; behind them is a stylised shore landscape, and St Michael’s Mount is in the TR corner.
The critics
O/c 23.75 x 29.75.  Sgd BL in red, dtd 1922.  Two women sit at a round table, the nearest holding a piece of paper; behind her a woman in a red jacket stands with her hands on the shoulders of the seated woman; through the open door is the entrance hall of Maen Cottage.  The figures are Ella Naper, standing, and Gertrude Harvey, seated.  RA 1922 (11); PAEEG 1938 (423); PIN p.130-1 illus, no.77; Fox p.77 illus; PHGM 2001 (65); PCF Birmingham 2008 (p112 illus);   WL.  Birmingham City Museum & Art Gallery, (1922P169) presented 1922 by Sir Barry Jackson, who owned and built the Birmingham Repertory Theatre which opened in 1913.
The mackerel season, Newlyn
Oil.  ISSPG 28th exhn 1922 (194). Opie Gallery 1922, as Newlyn mackerel season. The Cornishman of 22 March 1922 said “here is a corner of the harbour cram full of fishing boats with their various coloured funnels, the men and the carts and everything that goes to the making of the busy scene at Newlyn on mornings when mackerel are landed”. Also noticed by The Western Morning News of 18 March 1922.
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1923

A billygoat
O/c 18 x 24.  Sgd BR, dtd 23.  A close-up view of a feeding goat standing facing right; at left is a small tree.  The paint is thickly applied.  Lay P 16 Apr 1982 (635 illus); Lay P 9 July 1982 (917 ni).

A summer evening.   O/c 30 x 36.  Sgd BR in red between parallel lines, dtd 23; labels on frame.  A landscape with a man and woman at BL, walking right; he has his arm round her waist, and she wears a white dress; at centre two tall trees reach the top edge, with a burst of white sunlight shining through the foliage; beyond are green fields and trees and hedges seen contre-jour; the sky is green-blue; the overall tones are green.  New Chenil Galleries London (1920s?); CSK 9 June 2000 (135 illus, as A summer evening); CL 11 Dec 2008 (3 illus, as A summer night).

An interior
O/c 24 x 20.  Sgd BR, dtd 1923.  A woman sits in a rocking chair, wearing a black cardigan and white skirt; her back is to the viewer and she is talking to a woman at right perched on an armchair, in a red jacket, black hat and skirt, with a walking stick in her hands; behind is a wooden cupboard with china on it; a small dog is asleep before the armchair.  CL 7 Mar 1997 (171).
Blackberries
O/c 30 x 25. Sgd BR in red in a cartouche, dtd 23. Six children are shown; at centre a girl in a black dress faces us with a full panier of berries over her left arm and a pail handle in her right hand; behind her a boy facing left reaches up to pick berries; at left a small girl in a red and white dress holds a full pail of berries; at far left is an older girl in a blue dress and grey cap; at right is a girl in red, and at far right a girl with two plaits in a white spotted dress; in the distance are rounded hills and a green meadow, and at right a sapling. The central girl has been identified as the later Mrs G Luckwell, who in 1923 was Greta Pollard and 10 years old, who married Ivor Luckwell in 1937; she is said to have modelled for other works by Harvey and for Stanhope Forbes and Dod Proctor. Konody wrote (undated) “Among other pictures the Visitor to this year’s Academy should not miss”. Mais said in the Daily Graphic on 3 May 1924 “(it) represents a group of children with baskets and tins picking blackberries”. RGI 1924 (454); RA 1924 (629); RGG Modern British Painters 1986 (19 illus).
Clara
O/c 13 x 13.  Sgd BL, dtd 1923.  Head and shoulders view of a pensive young woman facing half-left, with straight dark hair parted over her left eye, in a boldly striped dress with sleeves and halter neck; behind is an indistinct landscape with a mine tower at BL; the sky is large and cloudy in dark tones.  A larger version of this image was done in 1922, also titled ‘Clara’.  The model was Clara Matthews to whom the Notebook records a later payment of £1-17-6d on 29 April 1928. Drawing & Design December 1923, p.710 (illus), commented “The background depicts a grey and cloudy sky, and its cold colouring does not attract the eye from the centre of interest – the expression on the girl’s face”.  Goupil Gallery exhibition of Modern British Art, Summer 1924 (202, price £26-5s); PHGM 2001 (55).
Drift valley
O/c 24 x 30.  Sgd BR, dated 1923.  A view across a wooded valley towards the opposite hillside, with large fields; on the left horizon are hills; on the right horizon are farm buildings. CIP 1925 (155); Apollo 1927 p.213 referred to it in ‘Living British Artists’ at Leeds, March-April 1927 (100, price £40).  Leeds City Art Gallery at Lotherton Hall, bought 1927, ref. 751/1927; PHGM 2001 (62). Oil Paintings in Public Ownership : West Yorkshire : Leeds. Pub. The Public Foundation, London 2004, illus page 97.   WL.
Janie
O/c.  Sgd BR, dtd 1923.  A young woman turned to the left occupies the whole height of the painting, facing the viewer with hands on hips; she wears a V-neck dress; behind her at right are rocks, with the sea beyond and the coast in the distance.  RA 1925 (4); RGI 1925 (125); SWS 9 June 1982 (1227 illus).  The Notebook refers to ‘Janie Kelynack 16 x 14’.  An unidentified reviewer wrote “a clean-drawn, clean-coloured portrait inclining to the early Italian style of Mr Brockhurst, but free from black shadows on the flesh”.  The Times of 4 May 1925 said “Janie, rather scornful of her Cornish landscape, does something more (than satisfy expectations of an accomplished painter) ... though here again ... the graduation of colour is a bit too easy for the bold contours”.  SPB Mais, in the Daily Graphic of 2 May 1925 said “Janie is a not unworthy companion to ‘The Model’ (by Dod Procter).  Here we have a brown eyed, buxom Cornish fisher girl, with dark brown hair blown about her face by the wind, dressed in a simple magenta dress, standing with hands on hips, against a background of grey seas and blue mountains.  The look in her eyes is that of Eve, rudely healthy in body, unwoken as yet in mind”.
Marazion marsh
O/c 24 x 30.  Sgd BR in red, dtd 23 (the 2 is indis). The foreground is green grass in a flat landscape; at right is a road with telegraph poles; at centre left are two groups of white farmhouses; at centre right is a rounded hillside with fields bordered by hedges; the cloudy sky occupies half  the canvas. PHGM 2001 (49). PCF C&SI p113 illus. Penlee House Gallery & Museum (1989.68).  WL.
Mousehole harbour
O/c 20 x 18.  Sgd BR in red, dtd 23.  A view of the harbour with town and hills beyond; in the left foreground a man in a red jersey pushes a wheelbarrow along the quay towards the right; two children sit on the wall; at BR the heads of two men sitting on a bench are visible above the wall; several fishing boats are moored in the harbour in four rows; the general tonality is dark. The Notebook refers to ‘Mousehole harbour PEAG 20 x 16’. CL 23 June 1994 (2 illus).  WL.
My kitchen
O/c 39.5 x 30.5.  Sgd BR in red, dtd 23.  A woman (Gertrude ?) with a black hat and black cardigan, sits at left holding a basket of fruit and vegetables on her lap; another woman in a white dress stands centre, her left hand resting on a kitchen table; the floor is of black and white square tiles.  RA 1923 (364); WAGL 1923 (67, price £157-10); PIN p.131 illus, no.78; BAL 37298; ; Hardie opp. p208 illus; WL.  Oldham Art Gallery (ref. OLDMS : 6.24, bought 1924 for £50).
The clay pit
O/cb 22.5 x 31.75.  Sgd BL, dtd 23.  In the foreground of a quarry two men in a cream and a red shirt push a laden rail wagon leftwards, helped by another man at the front, far, side of the wagon; beyond are cuttings and men working; the tonality is pale.  The scene is believed to be Leswidden china clay works near St Just; the pit closed in the early 1940s; some pencil underdrawing is visible. There is a separate pencil sketch showing the main figure moving right.  PL 7 June 1994 (11 illus); NACF Review 1995 (4225 illus); PHGM 2001 (95); PCF C&SI p191 illus; Amongst heroes, London 2013; WL. Royal Cornwall Museum, Truro (1995.29), acquired 2 June 1995.
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1924

A country girl
O/c 14 x 12.  Sgd BR, dtd 24.  A girl in a white shirt faces the viewer, her right hand supporting a bag carried over her right shoulder; beyond is a simplified landscape.  SL 25 May 1983 (55 illus); WL.

A tree at Trereife
O/c 20 x 16.  Sgd, dtd 1924.  PHGM 2001 (53).
Coastal landscape with three girls on headland path
O/c 14 x 16.  Sgd, dtd 1924.  Morphets Harrogate 10 Apr 1986 (220).
Girl resting on a flower strewn bank
O/c 14 x 12.  Sgd BL, dtd 1924.  A young woman seated facing left, looking at the viewer; she wears a dark jacket over a short sleeved dress.  Lay P 12 Dec 1985 (400 illus); BGL 1986 (13, as Girl in a meadow); BAL 37233 (as A Gypsy girl).
Midge Bruford
O/c 11.5 x 11.5.  Sgd BR in red, dtd 24.  A young woman rests her elbows on a table with both hands raised to support her chin; she gazes directly at the viewer; she has fair hair parted centrally and wears a dark blue pullover with long sleeves, and on the right little finger is a ring with a large red stone; the background is plain, divided vertically into dark and pale areas.
St Fingar
O/b.  Sgd, dtd 1924.  Set in a choir stall at St Hilary.  In a forest clearing, a well-dressed woman kneels at right beside a small pool; behind her a man holds the bridles of a black and a white horse; at left a dead stag lies on the ground, a dog standing beside it. 
Study of flowers in a garden
O/c 18 x 16.  Sgd, dtd 1924.  DMG Autumn 1974 (29 ni).
The donkey meadow
O/c 24 x 30.  Sgd BL, dtd 24.  In a garden with wicker fences, three women bend to gather anemones; the nearest woman wears a bright red skirt; behind stands a girl with long plaits holding a large, full basket on her hip, looking at the viewer; beyond is another garden, and trees in the distance. The scene is Rough Lea Flower Farm at Stable Hobba in Newlyn Coombe, and the work was commissioned by the owners, Basil and Barbara Bond.   PHGM 2001 (77); WL.
The road to market
O/c 43 x 50.  Sgd BL in black, dtd 24.  A jig drawn by a brown horse moves right along a country road, accompanied by three figures, in a landscape of fields and hills.  Konody wrote in the Observer of 4 May 1924 “ ‘The Road to Market’ is, in the order of hanging, the first example of a whole group of painters working in Cornwall, who have freed their palette from the greyness of the old Newlyn School, and revel in the brightness of pure, undefiled pigment used with a strong decorative sense of pattern, without transition of neutral tones.  I am rather hazy of the origin of this new Cornish school, but think its run is largely due to the example of Mr Harold Knight.  Mrs Dod Procter is the most intense member of the group”.   RA 1924 (307); RWA 1925 (price £100); SL 11 Mar 1992 (10, as Going to market); CL 5 Mar 1999 (75 illus); PHGM 2001 (60).
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1925

Ash trees at Drift, near Penzance, Cornwall
O/c 20 x 24.  Sgd BL, dtd 25. In the foreground are drinking troughs, and a boy sitting on a stone wall; behind is a row of tall trees reaching the upper edge of the canvas.  LG 1927 (15, as Ash trees, Drift); Lane P 15 July 1988 (285 illus, as Ash trees at Drift); Lane P 1 Dec 1988 (415).

Girl with basket of tomatoes
Mappin Gallery Sheffield 1925 (6).  The Sheffield Daily Telegraph on 28 Aug 1925 said “a small work of distinction”.

Girls outside Gaiety cinema, Newlyn
O/c 19.25 x 19.25.  Sgd BL in red, dtd 25.  Head and shoulders view of two young women with cloche felt hats and heavy coats; the left figure looks at the viewer, the right figure applies her lipstick; behind is a building. The models have been identified as Helen Francis aged 24 (lt) and her friend Winifred. The cinema was located in The Coombe, Newlyn and is now a restaurant.  Perhaps LG 1927 (13, as Matinee); PIN p.131 illus, no.79; PMAG May 1993 (64 ni, as Gaiety girls); PHGM 2001 (68); WL.

In the garden.  O/c 17.25 x 17.5.  Sgd BR, dtd 25; inscr ‘In the Garden’ on the canvas overlap. The Notebook  refers to ‘Gert in Garden 16 x 16’.  A woman sits in a garden, with a bright red skirt, blue-green short-sleeved top, and dark headscarf; her hands clasp her right knee. LG 1927 (38); CL 8 June 1989 (1 illus, as 1925); PGHM 2001 (76, as Portrait of Gertrude Harvey, as 15.5 x 17.5, undated).

Kate
PEAG 1925. The Western Morning News of 9 July 1925 said “a portrait of a young girl, fresh and virile in treatment”.
The flight
O/c 30 x 25. Sgd BL in red, dtd 25. The Notebook records ‘The flight into Egypt 30 x 25’. A child in a white dress sits on a wall facing the viewer, his right hand raised in blessing; behind him his mother sits looking at him, leaning her left hand on the wall, wearing a blue short-sleeved dress; at right, the father in a white shirt feeds a donkey; at far left is an inn whose sign is a lamb; the sky is darkening, with stars visible. The Daily Graphic of 1 May 1926 wrote “The two outstanding pictures from the point of view of sheer power are ‘The back bedroom’ (594) by Dod Procter ... and ‘The Flight’ (550) by Harold Harvey ... a lusty mother in a blue gown is looking after her baby while her bearded husband is preparing the donkey for the flight from the inn that bears the sign of the Lamb.  Here is a Biblical subject taken out of its context and translated to a wild Cornish moor. There is even the anachronism of a sign post.  Yet one feels that if this picture is eventually placed in some church, as it ought to be, it will inspire devotion and reverence ..”  An unknown review described it as a “grave and dignified painting ... one of the few Biblical subjects treated both with modern freshness and an old-world seriousness.  It will not please everbody, but it deserves respect”. RA 1926 (550); Leeds City Art Gallery 1927 (Living British Artists, 84, price £50); PIN p.83 (ni); PHGM 2001 (90).
The flower gatherers
O/c 36 x 25.  Sgd BL in white/yellow, dtd 25.  Two women and a man walking left bearing baskets of flowers on their heads; the middle woman wears a red skirt.  Probably RA 1925 (562, as The flower farm), of which Konody wrote in the Observer on 17 May 1925 “ ‘The flower farm’ has many bright colours, but they are not coordinated, and the result is rather crude”.  SL 23 Nov 1994 (12 illus). WL.
The shoemaker, Newlyn
O/c 18 x 23.  Sgd BL, dtd 1925.
Woolwork
Oil.  Goupil Gallery Salon Winter 1925 (128, price £100).  Perhaps the same as ‘Coloured Wools’ (1919).
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1926
A summer evening
O/c 24 x 20.  Sgd BR, dtd 1926.  The whole height of the painting is occupied by the full-length portrait of a young woman; she sits on the wall of Vivian House in Newlyn, facing the viewer, looking slightly right; she wears a blue sprigged blouse, open over a pale green chemise with pink edging, and a matching blue skirt; her hands clasp her right knee, over which is draped a patterned shawl; beyond and below her, at right, is St Peter’s church, Newlyn and its lychgate, and other buildings below a rising hillside with fields and trees; at TR is a hazy Penzance; the sky is mainly yellow.  The lychgate has now gone.  The Notebook records payment to Miss Evelyn Cole in June/July 1925.  Mentioned in Apollo 1927.  The Connoisseur 1927 wrote “the colour was more a matter of pre-Raphaelite craftsmanship, of tinted pattern, than of pure flowing colour”.  The Morning Post on 8 February 1927 wrote it “appeals strongly”.  LG 1927 (16, as A summer evening (Evelyn)).  King & Chasemore Pulborough 13 July 1976 (11); PL 17 June 1986 (28 illus); W&H 1986 (14 illus); Lane P 30 June 1988 (454 illus); PHGM 2001 (73). Lane P 14 Mar 2013 (191 illus)
An interior
Undated.  In a bedroom a woman in a white headscarf and dark dress kneels at left beside a large circular tin bath; her right hand touches the water; at right a small nude boy sits on a towel on a wooden chair, ready to be bathed; in the foreground at left is a large ceramic jug; behind the figures is a large bed with tall, dark head and foot rests. The Times (undated) wrote “... Apart from its grace of reserved colour, this ... is noteworthy as one of the very few pictures which attempt the pictorial – as distinct from the literary – invention advised by Reynolds”.  The Cornishman on 31 Mar 1926 said “(it) pleases by contrast and the skill of the artist, who is in his prime”.   An unknown reviewer wrote of its “evidence of aesthetic as distinct from technical interest in the third dimension”. RA 1926 (124); RGI 1926 (218 illus); The Studio vol.92, July 1926, p.41 illus.  WL.
Anemones
O/c 28 x 36.  Sgd BL, dtd 26.  Two women seated amid flowers in a garden; the left figure wears a black blouse, white skirt and patterned headscarf and holds a posy of flowers in both hands; the right figure wears a white blouse and blue skirt and holds a red flower in her right hand.  The models are said to be Miss Clarry and Miss Howell.  RA 1927 (726); FAGH 1927 (143); Bradford 1928 (106); RHA 1929 (214); Lane P 20 July 1974 (155 illus); DMG Autumn 1974 (31 illus); Wortley p.269 illus; PIN p.35 illus and p.131 illus, no.80; SL 1 Oct 1997 (13 illus); PHGM 2001 (74); WL.
Girl on a cliff
O/c 41 x 36.  Sgd BL in black, dtd 26.  A young woman with blond hair is seated in an awkward pose upon a flat rock, her face turned to the viewer, and leaning on her left hand; she wears a pink short-sleeved blouse and a greenish skirt; beyond is a rocky outcrop and a blue-green sea; the horizon line goes between the eyes of her tilted face.  The model was Cressida Wearne, then aged 16, painted in her backyard sitting on an oil drum; Porthcurno and Logan Rock were painted in afterwards.  It appears she was painted again by Harvey as the Notebook records ‘Cressida on the Cliffs 50 x 40’ (a larger size than this work). Apollo 1927 described it as “full of light, solid form, distance and good design”. The Daily Sketch of 12 February 1927 (illus) wrote “this study on the Cornish coast is typical of the art of Harold Harvey, the Newlyn painter”. The Times on 4 February 1927 wrote it “lolls out of the canvas in the most precarious manner”. BH 1932 (as Youth), which The Times of 5 February 1932 described as “a fair girl sitting on a rock and leaning out towards the spectator, and this is managed with a good deal of skill”; F&R Bristol Sep 1932, as Youth. Western Daily Press Bristol 16 Sep 1932 p.5, and 8 illus, which described “a grace of outline in the figure, an arresting expression on the face.” PHGM May 1993 (65 ni); PHGM 2001 (75); PCF C&SI p113 illus; Under the open sky, by C Wallace, p60 illus; WL. Penlee House Gallery & Museum (1989.66).
Listening to the sea
O/c 18 x 18.  Sgd BR, dtd 26.  A young woman looks at the viewer, holding a shell to her left ear, the right hand with forefinger raised for silence; set against a beach with wave patterns in the sand.  The model may be the left girl in ‘On the sands’.  Perhaps LG 1927 (4, as The shell).  SL 25 May 1983 (54 illus); WL.
Logan’s Rock, Porthcurno beach
O/c 18 x 18.  Sgd BR, dtd 26.  A rocky headland, which visually almost reaches the pile of rocks at right; no figures are visible; the horizon is very high.  Perhaps LG 1927 (12, as Treryn Dynas (Logan Rock)), of which the Morning Post of 8 February 1927 said it “appeals strongly”.  CL 7 Nov 1985 (14 illus).
Mother and child above Zennor
O/c 18 x 18.  Sgd BR in red, dtd 26.  In the foreground a mother sits facing right, wearing a pink short-sleeved blouse and holding in her lap a young child wearing a blue short-sleeved dress and with bare feet; behind and below them is a farm with cows at TL and a lane at far right leading to the stile to the churchyard of St Senara. Perhaps the same as The mother (Zennor). PL 18 June 1985 (54 illus); SL 27 Mar 1991 (55 illus, as Mother and child); PHGM 2001 (89).  WL.
On the Cornish coast
O/c 17.5 x 17.5.  Sgd, dtd 26.  S Chester 7 Oct 1983 (1246 ni).
Rima
Oil.  The Notebook records ‘Rima 40 x 30’. Undated. A young woman kneeling half-left, arms outstretched, a parrot on her right hand, a snake lying before her; the background is leafy.  The Cornishman wrote on 31 Mar 1926 “You may be startled by his ‘Rima’, but you cannot deny the vitality of the flashing colours, the decorative charm of the brilliant birds, the arresting personality of the woman and the vivid background of green foliage”. Daily Sketch 23 March 1926 (illus) with caption “a very different conception from Epstein’s sculptural figure”.  Mentioned in the Daily Express on 1 May 1926. RA 1926 (408); RAI 1926 p.112 illus.
Seaweed gatherers
O/c 25 x 30.  Sgd BR in black, dtd 1926.  In the foreground are three horses facing right, with carts being loaded by two men; another man in a blue jacket stands smoking by the horses; a white dog lies at BL; at the right edge a white and brown horse move left, behind the others.  Perhaps LG 1927 (30, as Seaweed).  Lane P 10 June 1977 (83 illus); Lane P 27 Mar 1980 (93 illus); LWG Mar 1982 (38 illus, as Seaweed); PL 14 Nov 1983 (65 illus, as Collecting seaweed); SL 15 May 1985 (39 illus, as Gathering wrack); CL 12 June 1986 (91 illus, as Seaweed gatherers); CL 9 Nov 1989 (16, as Gathering seaweed); PL 17 July 2001 (13, as Gathering kelp at Newlyn); Lay P 18 Oct 2001 (450 as The seaweed gatherers); BAL 28541; WL.
Shellfish gatherer
O/c 15 x 12.  Sgd BR, dtd 1926. A young woman stands full length in profile facing right, in a long dress and brimmed hat, a basket over her right arm, holding a long implement with both hands; behind her is beach, sea and sky. Lane P 17 May 1996 (305 illus); Lay P 15 June 2004 (556 illus).
Summertime
O/c 20 x 18.  Sgd BL, dtd 26.  In a field a figure stands at left; beyond is a field of wheat (?) and farm buildings in a valley, under a large sky.  LG 1927 (19, as Summer); BH 1932.  Apollo in 1927 wrote “the girl’s red petticoat has been the colouristic motif”.  WL.
The girl (Zennor)
O/c 18 x 18.  Sgd BR, dtd 26; inscr ‘The Girl Zennor’ on the stretcher.  A teenage girl stands centre, facing left, her left hand carrying a pail; she leans back against a large boulder which occupies the BR corner; behind her is a landscape of cottages, bridge, allotments, and rocks set among grass; at centre left is the lane leading to the churchyard of St Senara; the background is not in full perspective and appears more as a flat pattern.  LG 1927 (21).  The Times of 4 Feb 1927 said “the ground- pattern is tilted to provide an interesting back-ground”.  CL 5 June 1992 (4 illus).
The parrot picture.  O/c 18 x 18.  Sgd, dtd 26.  The Notebook records ‘The Parrot Picture 18 x 18’.  LG 1927 (6).  Mentioned in Apollo 1927.  PL 12 Nov 1985 (126 ni, as Pretty Polly); PL 28 Jan 1986 (51 ni, as Pretty Polly); P Bath 8 Dec 1986 (96, as Pretty Polly).
The red shawl, Portrait of Miss Alison Rose. O/c 24 x 20. Sgd, dtd 26. Title inscr on stretcher. This may have been shown at LG 1927 (31) as Portrait of Miss Alison Rose. PL 2 May 1995 (76); Lane P 28 Sep 1995 (70 illus).
Tulip pickers. O/c 20 x 20. Sgd BL, dtd 26 in red. Three young women facing left bend to pick tulips in a field which gently slopes towards the coast; the nearest woman wears a dark blue skirt and white short-sleeved blouse; the woman behind her wears a headscarf and whitish blouse and skirt; the woman at right wears a yellow headscarf, blue blouse and olive skirt; in the far distance is Penzance; most of the scene is of red and yellow tulips in bloom; the subject and style are similar to ‘The donkey meadow’ (1924). CL 5 Mar 1976 (79 ni); SL 23 May 2013 (35 illus).
Vessels in a harbour.  O/c 18 x 18.  Sgd BR, dtd 26.  Several small boats on still water in a harbour.  S Chester 7 Oct 1983 (1247 illus); Lane P 5 Dec 1989 (380 illus, as Penzance fishing boats moored in Newlyn harbour).
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1927

A corner of my garden
LG 1927 (10).  The Times of 4 Feb 1927 wrote “ a well-composed study of foreground detail”.  The Morning Post referred to the obvious influence of the pre-Raphaelite Brotherhood. 

A maid of all work
LG 1927 (11); RHA 1928 (3).
A Newlyn fisherman
LG 1927 (24).  Apollo in 1927 wrote “the painting of the fisherman’s hands should not be overlooked”.
A street in Newlyn
LG 1927 (39).
Boats (Newlyn harbour)
LG 1927 (7).  The Morning Post of 8 Feb 1927 said it “appeals strongly”.  The Notebook records ‘Boats Newlyn Harbour 18 x 16’.
Daffodils
O/c 24 x 20.  Sgd BR, dtd 1927. A young woman sits on a bank high above the coast; at BL is a shed which may be the Mousehole lifeboat station; she has a prominent nose and wears a blue and white dress with round neck; her right hand holds a bunch of white daffodils, her left hand rests in her lap; at BL is a basket of daffodils. Perhaps RA 1931 (387). SWS 25 May 2000 (2409 illus); DMG Autumn 2000 (26 illus); PHGM 2001 (71). WL
Ethel
LG 1927 (14).  Goupil Gallery Winter Salon 1927 (240, price £63).  The Notebook records ‘Ethel 30 x 20’ and payments to Ethel Green on 8 Sep 1923 and 26 Aug 1927, and to Ethel Chiffers in 1922.  The Connoisseur in 1927 referred to the “self-conscious brightness of its colours”. The Aberdeen Journal of 28 Oct 1927 recorded “a girl with a flower”.
Gertrude in the kitchen at Maen Cottage
O/c 30 x 25.  Sgd BR in red, dtd 27. Two labels on original stretchers. Gertrude stands facing left before the dresser on which many plates and bowls are displayed; she is drying a large bowl, and wears a green and black horizontally striped skirt and a dark short-sleeved blouse over it; the floor is black and brown tiles or lino; above her head cloths hang drying. Perhaps BH 1932 (40) as per label. PL 26 Nov 1996 (14 illus).  WL.
Greta
LG 1927 (40).  The Notebook records “Greta : girl with buttercups 20 x 22”.
Iris
LG 1927 (26).  Mentioned in Apollo 1927.  The Connoisseur 1927 referred to its colour.  The Morning Post of 8 Feb 1927 referred to the obvious influence of the pre-Raphaelite Brotherhood.
Jane
LG 1927 (25).  The Times of 4 Feb 1927 wrote “Jane is an excellent head”.
Josephine
LG 1927 (17).  The Notebook records “Interior with Guitar (Josephine) 30 x 25”.  The model was Gertrude’s niece, Josephine Legate (1906-1988).
Lilian
LG 1927 (22).  The Notebook records payments to Lillian Gilbert (Mrs Brood) in 1923 and 1925-7.  Dod Procter also painted a ‘Lilian’, RA 1923.  Apollo in 1927 wrote “he has the qualities of a portrait painter”.  The Morning Post of 8 Feb 1927 described it as being in “the Clausen-Forbes convention”.
Marigolds
LG 1927 (8).
Matinee
LG 1927 (13).  Perhaps the same as Girls outside Gaiety cinema, Newlyn.
Portrait of Miss Alison Rose
LG 1927 (31).  Alison Helen Rose was born in 1900 at Edinburgh and studied at Heatherley’s before coming to Newlyn; she attended the Harvey-Procter School from at least April 1922; she exhibited at Newlyn Gallery 1926/7 and elsewhere between 1924 and 1939; she died unmarried shortly after WWII. This may be the work titled The red shawl, portrait of Miss Alison Rose, dated 26.
Portrait of Miss Betty Rose
Elizabeth (Betty) Rose was born in 1903, married in 1930 and died in 1998. She attended the Harvey-Procter School from April 1924.  LG 1927 (29).  The Morning Post of 8 Feb 1927 said it “appeals strongly”.
Resting
LG 1927 (36).  Mentioned in Connoisseur Aril 1927 for its bright colours.
Schooner (Newlyn harbour)
LG 1927 (3).
Sea-weed
LG 1927 (30).

Siesta. 
O/b 26 x 24. Sgd BL, dtd 27.  At right a young mother with short dark hair, in a white sleeveless blouse and dark skirt, leans left over a baby in white clothes lying on a cot with white bedding, resting its head on a red cushion; the background is plain white; the overall tonality is very pale. The mother has been identified as Elizabeth Jane Faull (1902-1987) and the baby as Joan Faull (b.1925).  RA 1928 (681).  The Evening Standard of 4 May 1928 wrote of “the tender joy of the mother and child”.  Royal Leamington Spa (A7.1928, donated 1928).

The bather
LG 1927 (2).
The bracken carriers
The Notebook records “Bracken Gatherers 24 x 20”.  LG 1927 (32).  Mentioned in Apollo 1927.  The Morning Post of 8 Feb 1927 mentioned its “Pre-Raphaelite realism and a touch of Jean Francois Millet’s non-conformist poetry”.
The dresser
LG 1927 (9); City Art Gallery Manchester 1927 (Living British Artists, no.136, price £50); RHA 1932 (308); BH 1932 (4).  Mentioned in Apollo 1927.  Mentioned in an unidentified review of 1932 as among his most striking successes.  A letter to Harvey from Sir George Clausen says “I liked much the Kitchen Dresser”.   Perhaps Kitchen Still Life, attributed to Gertrude Harvey, 16x13 o/c, in Laporte : A History in Art 2000, illus. p43, which shows a dresser with 3 shelves above the cupboard top, laden with coloured plates, jugs and cups hung on hooks, and a soup tureen; PL 1 Oct 1996 (77 ni, as by Newlyn School). 
The marsh at Marazion
Perhaps the 1923 work.  LG 1927 (37).  The Times on 4 Feb 1927 wrote “an almost heart breaking pre-Raphaelite appeal to anybody who knows the place”.  The Connoisseur in 1927 wrote “the good sense of atmosphere shown ... was a matter of colour”.
The mother (Zennor)
LG 1927 (1).  The Times on 4 Feb 1927 referred to its “half-way house between realism and decoration”.  The Morning Post of 8 Feb 1927 wrote “But all three contributory influences meet and merge to form the beauty of ‘The Mother’.  In sentiment, design and colour this picture is most attractive, and it is painted with rare skill and charm”.  Perhaps the same as Mother and child above Zennor.
The old bridge, Newlyn
LG 1927 (23).
The scarecrow
LG 1927 (18).
The two bridges (Winter morning)
LG 1927 (35); perhaps RSA 1930 (288, as The bridges).  The Notebook records “The two bridges 20 x 34”.
Through the mirror.  LG 1927 (34); perhaps BH 1932 (as The mirror picture).  The Morning Post of 8 Feb 1927 referred to “the charming glimpse”.
Tol Carne.  Tol Carne is an area in the north of Newlyn.  LG 1927 (28); RHA 1928 (48); BH 1932.  The Connoisseur in 1927 wrote “the latter the least worthy exhibit of all the forty included being rather like a coloured picture postcard”.  The Times on 5 Feb 1932 mentioned its fidelity.
Zennor.  The Notebook records “Zennor 40 x 30”.  LG 1927 (33); NEAC 1927 (195); BH 1932.  The Connoisseur 1927 mentioned its drawing.  The Times on 5 Feb 1932 mentioned its fidelity.
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1928

Mounts Bay, Cornwall
O/c 17 x 15.  Sgd, dtd 28.  Bearnes Torquay 10 Jan 1990 (249).

On the sands
O/c 20 x 30.  Sgd BL, dtd 1928.  Two girls lying full length on a yellow sandy beach, with sparkling sea and cliffs beyond; the right girl lies on her front reading a red-covered book; the left girl lies on her back looking at the other.  SL 13 May 1987 (130 illus); CL 27 Mar 1997 (169); WL.
Rainbow over rocks
O/c 26 x 20.  Sgd BL, dtd 1928.  A very rocky coast looking out to sea, with waves breaking; two tiny figures stand at BR.  Lane P 15 Aug 1985 (232 ni, as dated 1929, as The rainbow); SL 22 July 1987 (6 illus); SL 2 Mar 1988 (20 illus); WL.

Rocky tor with heather in the foreground
W/c 10 x 12.5.  Sgd, dtd 1928.  Lay P 20 July 1974 (279 ni).

Sennen Cove
O/c 19.75 x 29.  Sgd BL, dtd 1928.  At left is a large pile of rocks; in the centre, sea washes a sandy beach; beyond is a headland.  Lane P 28 Nov 1985 (50 ni, as Cornish coastal scene in Spring time); Lay P 4 Dec 1986 (283 illus); PL 15 Sep 1987 (35 illus); PL 18 May 1988 (35 illus).
Silver sands
Goupil Gallery Winter Salon 1928 (218, price £60).
The church bridge, Newlyn
O/c 20 x 16.  Sgd BL in black, dtd 28; title inscr on the stretcher.  A view down the stream with a bridge at TR cut by the frame; at right foreground a man sieves into a barrel; on the bridge a woman in a red dress stands by a man with a blue shirt sitting on the parapet; at left are the stream bank, trees and St Peter’s church.  BH 1932.  PL 8 Mar 1994 (9 illus); PL 7 June 1994 (5 illus); WL.
The empty tomb
Newlyn 1928. The Cornishman of 28 March 1928 said “we find ourselves in sympathy with the bereaved who form the figures in the painting”.
The Spanish guitar
Oil. In a sitting room with a sideboard at left and a round table at right, a young woman sits facing us in a rocking chair; she holds a guitar on her lap and her right hand plucks the strings while her left hand adjusts the tension; the upper end of the guitar rests on a tall support; she wears a jacket, blouse, skirt and shoes; at BR a cat lies in a circular basket. RA 1928 (526); WAGL 1928 (251); F&R Bristol Sep 1932; Western Daily Press Bristol 16 Sep 1932 p.5, and 8 illus, which said “the colouring is rich but well toned.”
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1929

Titbits
O/c 24 x 20.  Sgd BR in black, dtd 1929.  Two women stand in a dining room; at left Gertrude wears a cloche hat and and checked skirt, a small multi-coloured bag over her right arm; she removes a glove from her left hand; the right woman wears a multi-coloured scarf (in a Crysede fabric) and pink coat and leans against a chair and offers food to a small brown and white dog seated before her.  PIN p.131 illus, no.81; Berriman pl.36; SWS 15 Dec 1982 (1502); PL 25 Mar 1986 (69 ni); Lane P 14 Apr 1988 (451 illus); PHGM 2001 (69); BAL 16592; WL.

The little farm.
O/c 24 x 22. Sgd BL, dtd 29. A sunny coastal hillside strewn with boulders; in the centre is a farmhouse with outbuildings; a woman feeds chickens and washing hangs to dry in a ruin; the blue sea is visible at upper right. Towneley Hall Art Gallery & Museum, Burnley (paoil263).
Gertrude in an interior
O/c 30 x 24.  Sgd BL in red, dtd 29.  Gertrude stands facing left, adjusting her skirt of horizontally striped fabric in green and purple; she wears a purple headscarf, and a green blouse or cardigan; at left is a tallboy and at right a chair; below a window is a dressing table with mirror; the carpet is green.  CL 28 Nov 1996 (158 illus); CL 6 Nov 1998 (119).
Mother and child
Oil.  70 x 60.  Sgd BL, dtd 1929.  A seated woman facing left, in an embroidered cape, holding on her lap a baby in a long white dress; behind is sunny pasture.  RA 1930 (617); RAI 1930 p.109 illus; perhaps Goupil Galleries c1930 when Wilenski wrote “ ‘Mother and Child’ as “a neo-Renaissance ‘Madonna of the Bridges’ is intelligently planned and painted, and has an unassuming charm”.
The toilet
O/c 21.25 x 18.  Sgd BR in red, dtd 29.  A woman seated in a rounded wooden armchair facing front-left, with both hands raised to her hair which has a yellow ornament over her left ear; she wears a white sleeveless chemise and dark skirt; before her, at BL, is a fragment of dressing table; behind at TL is a round table bearing two books.  An unknown review (of 1932 ?) said “It is in ‘The Toilet’ that he most closely approaches the solidity and firm plastic modelling of Mr Harold Knight”. BH 1932; RHA 1937 (105); PL 29 Jan 1991 (33a illus, as The toilet); PL 7 June 1994 (129 illus, as La toilette); PL 17 June 1997 (17 illus, as The dressing table); PHGM 2001 (94, as The dressing table). WL.

Two young girls with a butterfly.
O/c 24 x 22.  Sgd BL in red, dtd 29.  Two young teenage girls kneel facing each other in a sunlit hill-top meadow; the right girl wears a white short-sleeve dress and has bare feet, and holds a red and black butterfly in her outstretched hands; the left girl wears a reddish blouse matching her hair and a creamy skirt, and she looks at the butterfly; beyond are green hills and at far right a patch of coast; the sky is cloudy with blue patches. CL 7 June 2007 (137).

Cottages beneath the hills.
O/c 19.5 x 23.5.  Sgd BL, dtd 29.  At BL two cottages lie in the dip of a grassy field; the middle distance is mainly leafy trees, with green hills beyond.   CL 7 Nov 1991 (3); CL 1 July 1993 (38 illus); WL.
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1930

A summer afternoon
RSA 1930 (275).

After the fair
PIN p.41 (ni), which dates it 1930 and comments “the return of a family from a fair laden with balloons and gifts”.

French crabbers
O/c 18 x 21.  Sgd BL in red, dtd 30.  Label on reverse ‘BH HH 31 Ex 33’.  In the foreground are several rows of small fishing boats with Penzance numbers, lined up in threes; behind them a boat leaves harbour, and above rises the town; the water is flat calm; done in a rather crisp style.  RHA 1931 (177); perhaps BH 1932; PHGM 2001 (82). PCF C&SI p113 illus.  Penlee House Gallery & Museum (2002.L5P).

Harbour scene. 
O/c 20 x 24.  Sgd BL, dtd indis 30. A label on reverse gives title as ‘Harbour Scene’ and another (later) as ‘The Harbour at Newlyn, Cornwall’.  A sunny view of Newlyn towards the Old Harbour, with the hill of Fore Street at right; at the jetty is a two-masted boat beside which is a cart pulled by two horses, and a dinghy on the jetty surface; the sea is blue and calm, and the sky is mostly blue with white cloud gathering on the horizon.

Kitchen interior
O/c 21 x 18.  Sgd BL, dtd 1930.  Gertrude stands at left, in a patterned headscarf and a dark jacket over a white blouse; she works at a table, pouring into a bowl from a jug in her left hand, and mixing the bowl’s contents with her right hand; on the near edge of the table lies a large fish, and behind it are several bottles and bowls; on a shelf above the table are several cups, jugs and plates. DMG, as Gertrude in the kitchen.

Kitty
Oil.  Sgd BL, dtd 30.  A young woman sits on a dining chair, facing front, in an open-necked shirt, with hands clasped in her lap holding a daisy. RA 1931 (738); RAI 1931 p.95 illus; BH 1932; F&R Bristol Sep 1932; Western Daily Press Bristol 16 Sep 1932 p.5; PIN p.83 (ni). Frank Rutter in the Sunday Times 1931 said it “has an intensity and vital quality sadly lacking in most of the larger portraits”. The Times of Feb 1932 wrote “a charming head”. The Western Daily Press Bristol 16 Sep 1932 p.5 described it as “one of the most outstanding” of the life studies, with “a wonderful life-like expression.” The Notebook records “Kitty Batten 24 x 18”. She may have modelled for Rima and for the maid in The young menage.

Newlyn bridge
O/c 19.5 x 19.5.  Sgd BR, dtd 1930.  The stream leads towards the bridge, on which several people stand; at left are buildings, at right a road with railings by the stream edge; beyond the bridge are more buildings. PHGM 2001 (87).

Peter Kitchen
O/c 18 x 18.  Sgd, dtd 30.  The subject may be related to Sarah Kitchen painted by Jill Garnier.  BH 1932.  The Times of 5 Feb 1932 wrote “an excellent painting of a boy eating an orange by Newlyn harbour”.  SWS 22 Oct 1985 (2823 ni).

Portrait of a seated gentleman
O/c 25.5 x 21.5.  Sgd, dtd 30.  Lay P 9 May 1985 (57 ni).

The flower painter
O/c 22.5 x 27.  Sgd BR, dtd 1930.  Gertrude sits at right, wearing a headscarf and dark clothes over a creamy blouse, holding a painter’s brush in her right hand and palette in her left, facing a painting on an easel; in the foreground is a green table with a bowl of flowers placed on a mirror.  RA 1930 (47, as The flower painter); PL 12 Nov 1985 (125 illus, as Gertrude painting); SL 13 May 1987 (129 illus); WL
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