Images Dated 2019 November

The wreck of the collier Bessie, with all that remains of the wrecked Vulture in the surf beyond, Carbis Bay, Lelant, Cornwall. 1893

A view of the Bessie wrecked at Carbis Bay, broadside to the surf, with the machinery of the Vulture beyond. SS Bessie (ON 49984) was an iron three masted brigantine rigged steamer of 287 tons gross, built in 1865 for the busy Hayle to Bristol trade and launched by Harvey and Company of Hayle. She was sold in 1889 to James Richards of Penarth and ran aground at Carbis Bay on 18th November 1893 while carrying coal from Cardiff to Portland, under the command of Captain David Moloney. Cintra and Vulture were wrecked on the same occasion. On page 84 of Cornish Shipwrecks, by Clive Carter, is a description of the days events: On 17th November 1893 came the Cintra Gale'. It had been a particularly stormy month, and soon after the 418-ton iron collier Cintra of Liverpool left Newport old dock for Dartmouth on the night of the 15th the wind again freshened from the ESE. It increased, and at 4pm next day Captain Henry Green of Brixham anchored in seven fathoms a mile off Carbis Bay. A few hours later another collier fled for shelter, the 345-ton Vulture of Cardiff, Hole master, and likewise bound for Dartmouth. At dusk they were joined by none other than the Bessie, whose anchor clattered down only half a mile from where she had grounded in 1866. She was bound from Cardiff to Portland under the command of Captain David Maloney. Captain Green of the Cintra prepared to slip and steam seaward, but huge seas were already smashing on board. Stanchions were buckled, ventilators snapped off, and at 2am the windlass seized up, jamming the anchor chains solid. As dawn broke the gale made its final shift to NNE; the Cintra was ready to sink at anchor, and men who tried to cut the fouled chains with hammers and chisels were driven back to shelter of the bridge. Captain Green hoisted a distress signal and gave orders for the lifeboat to be lowered but it capsized as it touched the water, and chief engineer Rogers, fire-man Summers and two able seamen disappeared in the surf. As Cintra lurched on to the sands it was every man for himself. Captain Green, steward Jones, two engineers and a fire-man jumped overboard, but able seaman Ash of Brixham, though handed a lifebelt by the captain, stayed behind, hoping the collier would ebb dry. The others were dragged ashore by coastguards and rocket men, but the chief engineer and the fireman died half an hour after rescue. Meanwhile, the crew of the Vulture, all of whom came from St Ives and Hayle, were landing by breeches-buoy. A few minutes after Captain Hole came ashore the Cintra, which lay only 100 yards away, suddenly broke up, drowning able seaman Ash. The Bessie's crew were also soon rescued, though the gale at this time was sufficient to stop dead both morning trains a mile from Carbis Bay, where the GWR branch line from St Erth crossed the exposed dunes. Later in the day the 936-ton iron screw steamer Rosedale of London, Dickenson master, in ballast from Southampton to Cardiff, wallowed past St Ives pier and went broadside on to Porthminster beach'. Photographer: Unknown

© From the collection of the RIC

Monday, Bryan Pearce (1929-2007)

Oil on board, 1959. Bryan Pearce was born in St Ives in 1929 and suffered from the then unknown condition Phenylketonuria, which affects the normal development of the brain. Encouraged by his mother, the painter Mary Pearce, and then by other St Ives artists, he began drawing and painting in watercolours in 1953. His regular walks around St Ives, where he lived all his life, have been the inspiration for his subject matter, unconsciously recording the town's subtle changes. In this synthesis of imagination and reality, Pearce paints the world as he commands it; a sanctuary with an ever-present sun, bathing the streets and houses in the subtlest of colour harmonies. He worked slowly, but consistently, producing around twelve oil paintings a year. Often compared to Alfred Wallis, the late Peter Lanyon said of him: Because his sources are not seen with a passive eye, but are truly happenings, his painting is original'. His particular experiences of his hometown were captured with unique clarity. Pearce's artistic developments, his simple renditions of space, colour and light, evolve from a sophisticated understanding of composition. He had a career which spanned over fifty years, his paintings seem to evoke a serene sense of place, which seems at once personal yet archetypal. He is now recognised as one of the country's foremost naive painters, through the re-examination of familiar views and landmarks, Pearce offers us his profound, extraordinary experience of St Ives

© RIC

Still Life, Walter Langley (1852-1922)

Oil on board, Newlyn School, late 19th / early 20th century. Walter Langley was born in Birmingham, the eighth of eleven children of William Langley, a tailor, and his wife, Mary Ann. He was enrolled at the age of ten in evening classes at the Birmingham School of Design. He was apprenticed to lithographer, August Heinrich Biermann, and through lithography was introduced to the use of watercolour. Attracted to the medium, he set about learning to paint. He finally abandoned lithography to take up painting as a profession in 1879. In 1880, Langley visited Newlyn briefly and in the following year spent periods in both Brittany and Newlyn. He settled in Newlyn in 1882, one of the first artists to arrive there. His humble beginnings and his struggle for artistic recognition gave him a sympathetic insight into the hardships faced by the Newlyn community in its attempts to gain a livelihood from the sea. A study of a fisherman's widow, Time Moveth Not, Our Being Tis That Moves, submitted to the Dudley Gallery's Spring 1883 exhibition, caused a sensation and led to his membership of the Institute of Painters in Watercolour. Apart from a return to Birmingham in 1866-1867 and brief excursions to the continent, Langley remained for the rest of his life in Cornwall. He was honoured in 1886 by an exhibition of watercolours at the New Art Gallery in Birmingham and received international recognition through the award of a gold medal for watercolours at the Paris Exhibition of 1889. The fact that this still-life study (dedicated to his friend and fellow artist Ralph Todd) is painted in oils makes it an unusual addition to Langley's canon of work

© RIC