Eleanor Mary Hughes. 1882-1959.
Cornwall Etchings
Cottage -- front view. c.1937. Etching. 3 5/8 x 3 3/8 (sheet 5 1/16 x 5 1/8). Printed on cream-colored laid paper with a partial watermark. A fine impression. Stamped signature. $75.
Cottage -- front view..1937. Etching. 3 5/8 x 3 3/8 (etching sheet 13/16 x 4 5/8; calendar sheet 9 x 7 1/8). The etching is hinged onto a backing board. A sheet of parchment paper is the front mount; a 1937 calendar is affixed to the parchment paper. An orange ribbon, tied in a bow, holds the front and back mount together. Stamped signature. $125.
Cottage With Trees. c.1937. Linoleum cut. 7 1/8 x 8 1/8 (sheet 10 x 15 3/8). Printed on Japanese mulberry paper with deckle edges. Stamped signature. The artist's linoleum cuts are extremely rare. $300.
Four Sycamores: Farm in the Distance. 1939. Etching. Second state. 5 15/16 x 3 11/16 (sheet 8 1/2 x 8 9/16). A rich impression on cream-colored wove paper with deckle edges on two sides. Stamped signature. $125. Another proof. Etching with 1939 calendar affixed to the sheet (12 7/8 x 8 3/4). Stamped signature. $175.
Four Sycamores: Farm in the Distance. Etching with 1939 calendar affixed to the sheet (12 7/8 x 8 3/4). Stamped signature. $175.
Mill Wheel with Sycamore. c.1937. Etching. 7 7/8 x 5 15/16 (sheet 11 7/16 x 9 1/8). Printed on the full sheet of laid paper with deckle edges. Stamped signature. $150.
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Old Watermill. c.1937. Etching. 2 5/8 x 3 7/16 (sheet 3 1/4 x 4 3/8). Three working proofs, printed on cream wove paper. Stamped signature verso. $300 for the set of three:
a. Before the addition of the tree on the left; hint of conte crayon to suggest smoke over the roof, and faint outlines of another tree between the two on the right.
b. Before the addition of the tree on the left; conte crayon over the crees and roof on the left, and faint outlines of another tree branch between the two trees on the right.
c. With the addition of the tree on the left; conte crayon outlines of another tree between the two on the right.
Old Watermill. c.1937. Etching. 2 5/8 x 3 7/16 (sheet 9 3/16 x 6 7/8). Final state with the addition of the tree on the left and an additional branch on the next tree to the right. Printed on the full sheet of pale cream-colored wove paper with deckle edges. Tied to a separate support board with a brown ribbone tied in a bow. Preparatory for a calendar. Stamped signature. $125.
Old Watermill. c.1937. Etching. 2 5/8 x 3 7/16 (sheet 9 1/4 x 6 7/8). Final state with the addition of the tree on the left and an additional branch on the next tree to the right. A 1938 calendar is affixed to the etching sheet. Printed on the full sheet of pale cream-colored wove paper with deckle edges. Tied to a separate support board with a brown ribbon tied in a bow. Stamped signature. $175.
Pendant Branches. Etching. 9 7/8 x 7 13/16 (sheet 15 1/2 x 10 5/8). Printed on the full sheet of laid paper with deckle edges. Stamped signature. $200.
Penzance Church from the Harbour over Dry Dock. c.1937. Etching. 7 1/2 x 7 1/8 (sheet 12 1/2 x 9 1/4). Printed on the full sheet of cream laid paper with deckle edges. Stamped signature. $175.
Quarry. c.1937. Etching and drypoint. 6 3/4 x 7 3/4 (sheet 9 1/8 x 12 1/2). Printed on the full sheet of pale cream-colored laid paper with an "F.G. Head & Co." watermark. A rich impression in excellent condition, on the full sheet with deckle edges. Stamped signature. $175. s
Rookery. 1939. Etching with 1939 calendar affixed to the sheet 3 3/8 x 4 7/8 (sheet 10 7/8 x 8 3/4). Stamped signature. $125.
Tall Trees. c.1937. Etching. 9 3/4 x 7 3/4 (sheet 13 7/16 x 9 7/8). Printed on the full sheet of cream-colored laid paper with deckle edges on three sides. Stamped signature. $175.
Three Trees. c.1937. Etching. 4 15/16 x 5 7/8 (sheet 6 1/4 x 10 3/8). Printed on wove paper with deckle edges. Stamped signature. $175.
Woodland Farmyard. Etching and drypoint. c.1937. First state, before additional drypoint on the buildings and trees. 7 7/8 x 5 7/8 (sheet 12 5/8 x 9 11/16). Printed on the full sheet of "Arc[hes]" laid paper with deckle edges. Stamped signature. $175.
Eleanor Hughes is best known as a leading painter of the Newlyn School of artists. She has remained largely unknown as an etcher until the recent discovery of her estate. Born in New Zealand to Cornish parents, she came to England to study in London. In 1907, she became a pupil of Stanhope and Elizabeth Forbes at Newlyn, Cornwall. In 1910 she married a fellow Newlyn painter, Robert Hughes, and they settled at Lamorna. In 1912, they designed and built a house at Chyangweal near St.Buryan, where they were to spend the rest of their lives. Eleanor owned a studio in the Lamorna Valley, about a mile from the house. There she worked and kept her etchings.
In 1911 she began to exhibit at the Royal Academy and later at the Royal Institute of Painters in Watercolours. In 1933 she was elected to full membership of the R.I. By the time World War II broke out, she had exhibited 34 works at the Royal Institute, 37 at the Royal Academy, 7 at the New English Art Club, 9 at the Glasgow Institute, 6 at the Walker Gallery, as well as at other locations. In addition, she was an active organizer of the Newlyn and St. Ives exhibitions.
In the late 1930s, she took up etching. She maintained a studio in the Lamorna valley, where she etched local stone buildings at Trewoofe and Boleigh Farm,as well as the surrounding trees, especially the Cornish elms. She also etched several plates abroad in the Alps and the Pyrenees. In 1940 she sold her studio and essentially ceased painting and etching. She is to be the subject of a major biography and a large retrospective exhibition in her native country of New Zealand.
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