Raymond Ray-Jones R.E., A.R.C.A.

Raymond Ray-Jones R.E., A.R.C.A.

b: 31 AUG 1886
d: 26 FEB 1942
Gifted artist constrained by accuracy. Loved France and Italy, Introvert, usually in his study, otherwise gardening, shot himself aged 56.
From the Stalybridge Reporter May 26th 1992:

The Stalybridge exhibition of Raymond Ray-Jones, born in Uxbridge St. Ashton... has become the focus of attention for ... Mr McDermott ... the nephew of the artist who went on to achieve international recognition. He was born after Ray-Jones left Ashton but still recalls his frequent visits. He said "when he visited Ashton I remember coming up to about half way up his dark tweed plus-fours, He as a tall man with a kindly deep voice."

He remembers an article in the Reporter, about 1931, about Ray-Jones being honoured by a commission from the then Crown Prince of Sweden.... He said "Today, 60 years on, the largest ever single exhibition of the artist's works has been assembled at the Astley Cheetham Art Gallery, Stalybridge, much to the credit of the museums department of Tameside Leisure Services.... there are works in oil, pencil, crayon, dry point, charcoal and etching, in which medium the artist excelled. (It) contains prints of most of the etchings accepted over 18 years by the Royal Academy of Arts in London (for hanging at the Summer Exhibition). Also most of the 20 entries accepted for exhibition at the Society of Painter-Etchers and Engravers. It is also possible to see prints of most of the nine etchings acquired by the British Museum and prints of most of the 12 acquired by the Victoria and Albert Museum. Some etchings of Paris feature photographs of the same subjects taken by the artist's eldest son, Alan Ray-Jones, at Easter. These show how exquisitely accurate the etchings are .....

He added that the V & A collection is notable for his work 'Lamplight', a presentation plate issued by the Print Collectors Club in 1925 and donated by the club to the museum, and the self-portrait, described as a study of a man, which featured in the Seventh Exhibition of Modern Masters of Etching at the Leicester Galleries, London, in 1922. The exhibition features a striking crayon head of Mrs Holroyd Chaplin, donor of Manchester Art Gallery's print of the self portrait.

Alan Ray-Jones writes:

Raymond Ray-Jones was presented with a medallion for the Prix Julian in 1911. The lettering on it reads:
Hommes & Dames
Atelier de Mr. J. P. Laurens
Prix 100f. (ex-aequo)
(Portrait Femme)
a Mr. Jones Raymond
1911
And around the edge: Academie Julian Sculpture Peinture.
The medal was passed by Raymond circa 1929 to his brother Samuel for his son Raymond, who kindly passed it to me in 1999.

According to my mother my father was very honest: Colnaghi sold some of his work on condition that the plates would be destroyed after fifty prints had been taken. Of course whether he did so or not was entirely up to him, and according to her many artists of the time cheated on this. But she said that my father destroyed them (scored them) though (she said) it broke his heart.

A blue plague in the porch entrance of the Library and Art Gallery (Ashton?) reads 'Raymond Ray-Jones 1886-1942. A highly talented artist born in Ashton-Under-Lyne. He was a student in this building when it was the Heginbottom School of Art. Unveiled by his son, Philip Ray-Jones 17th February 1996' Website: http://www.tameside.gov.uk/leisure/new/bp_37.htm

His grave at St Uny Church Lelant will probably remain unknown - because he committed suicide he was buried in the old churchyard in an unmarked grave. I wrote to the Vicar in 2005 for information and had the following reply from John Culver, Churchwarden and Treasurer (of Chy an Bora, Trevarrack Court, Carbis Bay, St Ives TR26 2SZ:

"Paul Pullen has passed your letter to me as I look after the churchyards at St Uny Church. Unfortunately I am unable to help you with the precise location of your father Raymond Ray-Jones' grave. Our burial register records that he was buried in what is now called our old churchyard, on the 2 March 1942. Although we have an old plan of this churchyard it does not show names of those interred. This churchyard is only cut in the Autumn of each year in order to encourage wild life so it is not easy to search for names on graves even if they are marked".


From the Catalogue of the Exhibition at Astley Cheetham Art Gallery Stalybridge 2 May - 3 June 1992 (written by Paul R B Sanderson):

Early Years

Raymond was born in Uxbridge Street, Ashton-under-Lyne on August 31st 1886, the eldest child of Martha and Samuel Shepley Jones. Samuel Jones was a cabinet maker by trade, and he actively supported the running of St Anne's Church, Ashton-under-Lyne, where he was the organist for over 50 years. Martha assisted in the St Anne's School, probably in a teaching capacity and, as a child, Raymond attended this School.

The whole family had an interest in music. Samuel also gave piano lessons and several of their children became proficient piano players.

Raymond's early interest in art was actively discouraged by his parents, so much so that, whilst still of school age, and in despair, he decided to run away from home to follow his calling. After the passage of a few days, he returned dishevelled, tired out and with no soles on his shoes. It was discovered that he had walked to Birningham to visit an art exhibition, and had only returned home because, according to his sister Dorothy, he had "heard a voice" urging him to do so.

Following this incident, Raymond's parents relented and, though his first position. following his school years was in the drawing office of the National Gas and Oil Engine Company, Ashton, he was permitted to follow his artistic interest. This was done in parallel with his training at Technical School night classes, which he started at the age of 14.

At this time (about 1890) the 'National' was expanding and developing the new technology required for the production of Diesel engines, as an extension to their gas engine range, and the Company was at the forefront of this technology. Highest professional standards were adopted and the discipline and technical skills gained in this environment were to be of great assistance to Raymond in his later years.

As his artistic ability started to predominate, Raymond became a student at The Heginbottom School of Art, Ashton-under-Lyne (now perhaps better known as the Central Library at the corner of Old Street and Oldham Road) where considerable advances were made under the direction of Mr J. H. Cronshaw. Numerous certificates catalogue Raymond's progress through the Art School during the period 1902 to 1907, and by 1905-6 his abilities were rewarded by the award of a Board of Education Free Studentship, a County Council Art Exhibition of £15 per annum for two years (noted as being "First on the List") and a Board of Education Local Scholarship of £20 per annum for 3 years.

Raymond wished to develop his career by gaining entry to the Royal College of Art in London. He was advised that he was attempting an almost impossible task. However, with considerable help and direction from Mr Cronshaw, and total dedication to work, Raymond achieved the required standard.

An acknowledgement of his success was given in the Certificate of Merit awarded by Ashton-under-Lyne Corporation Education Committee (Heginbottom School ofArt) for the Session 1906-07. It details the award given to Raymond as follows:

"Board af Education Royal Exhibition of £50 per annum & Free Tuition at the Royal College of Art, London, for two years."

Other awards gained included a Lancashire County Council Art Scholarship of the value of £60 per annum for 3 years, a Draper's Scholarship for £5 for 1907-08, and.King's Prize of £2 for freehand drawing.

Raymond entered the Royal College of Art at the age of 21, in 1907.

Royal College ofArt

At the Royal College of Art, Raymond's formal training continued under the direction of Sir Frank Short and Professor Gerald Moira. These two gentlemen were to have a strong influence in the formation of Raymond's abilities.

Professor Moira was born in London, a son of Portuguese parents, and is perhaps best known for his mural decorations in major buildings such as Lloyds Register, the Central Criminal Court and the England Providence Institute. Professor Moira was also a skilled artist in both oils and watercolours, and had an interest in buildings, recognised by the Royal Institute of British Architects, who made him an Honorary Associate. Much of Raymond's skills, which are so evident in his oil and watercolour pictures, were learnt under the guidance of Professor Moira, and it is probable that his interest in architectural subjects can also be traced to the same source.

Sir Frank Short was one of the most influential people in the artistic establishment at that time, and it is evident that Raymond and Sir Frank developed a close friendship which lasted long after Raymond's student days were over. It is interesting to note that like Raymond, Sir Frank Short had a background based in engineering and was until 1904 an associate member of the Institute of Civil Engineers.

A master of etching and engraving in his own right, Sir Frank is known to have assisted James McNeill Whistler in matters relating to technique and printing during the period 1888-1900. The influence of Whistler can be seen in some of Raymond's work, notably in the portraits and some of the industrial river scenes.

Sir Frank is quoted as saying in a lecture: "An artist must be a workman; and an artist afterwards, if it pleases God. "The technical skills required in the process of etching were imparted to Raymond and it is very evident that he was not only a workman and an artist, but also a superb craftsman, with a meticulous eye for detail. In 1910 he became as Associate of the Royal College ofArt.

Academie Julian, Paris

After the completion of his training at the Royal College ofArt, Raymond proceeded to Paris and entered the Studio of M Jean Paul Laurens at the Academie Julian in May 1911.

The Academie Julian was not an academy in the accepted sense, but an art school which furnished models and provided (not too close) supervision of its students' work. It was established in 1873 as a commercial venture by the astute M Rodolphe Julian as an open academy for foreign students, who would almost certainly be excluded from the free courses provided at the official Ecole des Beaux-Arts because of the extremely difficult entrance examination in the French language. This examination was part of a deliberate ploy engaged by the Ministry of Fine Arts to relieve the French taxpayer from the cost of providing free courses for foreign students without compromising the principle that, in theory, all State Art Education in France was free.

Using visiting professors from the Ecole des Beaux-Arts, M. Julian's enterprise was very successful, not only for himself, but also for the students. Later it was the reputation of the Academie Julian that drew foreign students to Paris, and they no longer bothered to present themselves at the Ecole des Beaux-Arts.

The regime which existed at the Academie can best be described as undisciplined, and part of the fame of the Academie was derived from the unruly behavious of its pupils, with their wild parades through Paris and practical jokes.

The pupils were left very much on their own with minimal interference from any teacher. The era was that of the belle epoque, a time of frivolity and festivity, which lasted until the Great War.

Raymond worked within this regime, nominally under the auspices of the now ageing Jean Paul Laurens (in 1911 he was 73 years old), an Academic Realist, who achieved high honours for conscientiously researched and naturalistic history paintings.

It is easy to understand how Raymond gained a great affection for France, however not all his time in Paris was comfortable or pleasant. There are reports of living in attic rooms without food and, in keeping with the tradition of the Academie Julian, he was at the receiving end of practical jokes. Painstakingly prepared etchings were used by fellow students for wrapping butter purchased from the local market.

By the time Raymond left Paris he had gained a detailed knowledge of the city, and of its many fine buildings. His draughtsmanship skills had reached maturity, and he was awarded Prix and Medal for portrait painting.

In the period before the outbreak of the Great War, Raymond travelled extensively and family legend has it that his drawings were so accurate and detailed that he was arrested in Venice as a spy, and spent some time in jail whilst the authorities checked his artistic credentials.

Change of Name

Raymond Jones worked under his name up to 1913, and following this period all his works are listed under Raymond Ray-Jones. The name change has caused a degree of confusion, and it is not clear in many catalogues and lists that the two names relate to the same artist. This point is illustrated in the Royal Academy of Arts exhibitor lists where he is catalogued, separately, as "JONES, Raymond" and "JONES, R Ray": both on the same page.

The reason for the name change has not been determined. According to Raymond's sister, it was in acknowledgement of an unknown benefactor who helped Raymond through the Art Colleges. His widow believes that it was the influence of Sir Frank Short, and the change was undertaken for strictly commercial reasons.

War Years

In 1914, Raymond was created an Associate of the Royal Society of Painter-Etchers and Engravers.
During the war he served with the Royal Horse Artillery in a clerical position, as his health was apparently not good enough for him to serve in France. He remained in the Army for two years after the war ended.
He continued to exhibit during this period, with one etching per year at the Royal Academy and several more at the Royal Society of Painter-Etchers and Engravers.

Post War

Raymond's works were exhibited extensively in the England and overseas, in places as far apart as Dresden, Toronto, Sydney and Dunedin. In 1920 he was one of the Foundation Members of the Society of Graphic Art.

In 1922 an exhibition entitled "The Seventh Exhibition of Modern Masters of Etching" was held at the Leicester Galleries in London, and Raymond's self portrait was described as one of the successes of the show, with all copies sold on the first day. Contemporary accounts note the picture as "one of the finest etched portraits of contemporary times': The etching was first prepared for the British Institute Etching Scholarship, probably as early as 1910, and has become Raymond's best known work. In about 1931 he received an order for a proof of this portrait from His Royal Highness the Crown Prince of Sweden. Copies of the print are held by The British Museum, The Victoria and Albert Museum (first state) and the City Art Gallery, Manchester (second state). One of the two copies at the Victoria and Albert Museum was apparently printed by Sir Frank Short.

Raymond was commissioned to produce the Print Collectors Club 1925 Presentation Plate, entitled "Lamplight'. The trial proof of this print is one of two of his prints held by the famous Ashmolean Museum in Oxford.

His abilities were acknowledged, and he was created a Fellow of the Royal Society of Painters-Etchers and Engravers (R.E.) in 1926.

Effie

In 1922 Sir Frank Short recommended that Raymond be selected to paint the portraits of a young barrister. This barrister, Edward Holroyd Pearce, who in later life became Lord Pearce, is perhaps now best known for the Pearce Commission into lan Smith 's UDI proposals for Rhodesia.

The recommendation resulted in the introduction of Raymond to Effie, Edward's sister, a remarkable woman in her own right. Effie was one of the first women students to undertake training to become a doctor at St Mary's Hospital. She completed 3 years of the 5 year course, and then transferred to the Middlesex Hospital to qualify as a physiotherapist.

Not an inconsiderable factor in her decision to change courses was the harassment she had suffered at the hands of the male establishment.

Effie and Raymond were married at Brighton Registry Office in 1926.

A number of etchings, paintings and drawings depict Effie as the model, including "Lamplight". Often, in Raymond's later works, one of the female figures within the scene is Effie.

The youngest child, Holroyd Anthony, was born in 1941, and it was apparently Tony who would inherit his father's artistic genius, though in a different field.

Before his untimely death from leukaemia at the early age of 30, Tony Ray-Jones had established himself as a photographer of considerable note. Tony was born on the 26th February 1941 and within a year, under very tragic circumstances, Raymond died suddenly.

The last known showing of one of Raymond's works occurred in Birmingham in 1943. In an exhibition entitled "Paris in Pictures" reference was made to an etching "Rue des Quatre Vents." This etching had previously been exhibited at the Royal Academy in 1922.

Postscript

For many reasons, Raymond's works have remained in obscurity. Those held in public collections are not on display, and have not been so for almost 50 years. That an artist of such talent and ability should slip into almost total oblivion is almost unbelievable.

It is my sincere hope that this exhibition will start to bring due recognition to his genius.

END

He was noticed by the Ashton-Under-Lyne Reporter[?} in 1931 when he received an order from His Royal Highness the Crown Prince of Sweden at Kensington Palace, for a proof of an etching (self portrait) bought for the British Museum two years earlier.
Later: Astley Cheetham Art Gallery at Stalybridge held on 19 February to 27 March 1996 a 'Father and Son' exhibition which combined Raymond Ray-Jones's etchings and drawings with Tony Ray-Jones's photographs.


From autobiographical notes by Edward Holroyd Pearce (Lord Pearce) 1989:

"I was beginning [in Summer 1921 while at Oxford University] to be very keen on pictures. When my father gave me £15 as a present after Mods I thought I would spend it on commissioning two drawings of my father and mother. I asked Sir Frank Short, P.R.E., if he thought any good artist would do me something for so small a price. He had been a friend of my grand-father who had bought many of his etchings in earlier days and he encouraged me to spend the evening with him, looking at his etchings, and listening to his grave and measured utterances on art. He seemed an epitome of all that the oldest generation should be, a mixture of grey haired handsome dignity with twinkling tolerant humour. He sent me to Ray-Jones A.R.E., a fine artist, who never recovered after the war the artistic impetus or success that he had started to develop. To him my commission was a godsend. He had then been living, for some time, in an attic on one or two shillings a day. He did two slightly grim but finely drawn likenesses of my parents for me and my family, and friends bought many of his etchings.

I got a list of purchasers for an etching of Corpus, if he would do one, but artist-like he never did. So I could do no more at Oxford than to get some friends to buy proofs of his existing etchings. We persuaded Dawson, the handsome and popular Headmaster of Brighton College to sit for an etching, knowing that many would be glad to buy proofs of it. Unfortunately the Headmaster liked speed and success while Ray-Jones was slow, diffident and unconvincing. The length of the sittings for the drawing irritated the sitter, and this made the artist still more nervous. By the time the etching was finished, months, even years had elapsed. The handsome popular Headmaster looked in the etching like some grim tyrannous pedagogue, and all hope of selling any proofs disappeared.

Meantime I used, whenever I was in London, to go round to Ray-Jones' little studio, and gossip with him about art. We went to galleries and picture shows together Sometimes I watched him at work or helped him to print etchings on his press."


Alan Ray-Jones writes:

My father died when I was eleven, in 1942,, on a night I will never forget. Normally he was shut away in his studio and we saw very little of him, but two or three days before it happened he had been quite extraordinarily generous, giving me all kinds of small things including paint brushes and sweet smelling cigar boxes, all of which I kept for many years in his memory. I was in the bath, and suddenly there was a loud noise. My mother must have gone to investigate, because the next thing I heard was her distress, which was spine chilling. He was in our shed in the garden, and had shot himself in the head. His death affected my brother Philip badly - he became quite inconsolable. I suddenly found myself the man of the house, which may perhaps have helped me in a way, because I considered I had some responsibility for things. I think that in a way my childhood ended that night.

In her later years I saw a good deal of my mother, both when I lived in her flat at Notting Hill Gate from 1976 to 1988, and from 1988 to 1995 when I walked from my flat in Islington to hers at the Barbican to have breakfast with her in the mornings before work, but she talked very little of my father. I recollect that she told me only weeks after he died that his Catholic relatives and other Catholics she knew felt he had done a most reprehensible thing by taking his own life - pity was less evident from them than reproach. I think she said that two things had preyed on his mind: one was lack of money (in particular I suspect that he was unable to support his family and relied on help from her family), and the inaccessibility of France and Italy, countries he loved and which provided inspiration for his work, due to the war. There may have been another: my mother said that all her life she had loved a Dr Harris who became a Consultant at Barts - he had asked permission of her father to become engaged to her when she was 19, had been refused and had then gone to America for some years. Her mother told her of this only after her father died!

Uncle Jack (JAC Pearce) remembered:

"That when he was about 14 years old, in 1926, he was shown around the studio at Jubilee Place, with its impressive etching press, by my father. He said that he was a nice man, very kind to him, but reserved and rather timid, very accurate and slow, fearful of making a mistake and damaging the plate (for an etching). He was certainly not a showman, and was obsessively cautious. Unlike Eddy (husband of Effie's sister Phyllis) he wasn't showy and had no obvious eccentricity. His tutor at the Royal College of Art, Sir Frank Short, was a friend of Jack's grandfather, Holroyd Chaplin, and it was through this connection that my father came into contact with the Pearce family - in particular with Edward Holroyd Pearce and Effie, Edward's sister. Uncle Jack thought that the success of the Self Portrait and the medal he got for it, when he was still a young artist, had put pressure on my father to make any future picture even more successful, and thus increased his nervousness. It cannot have helped that Edward, in contrast to him, had a very self-confident personality. This seems quite credible to me, for I saw a good deal of my first cousin Bruce, Edward's son, when we were both children - Bruce was very confident and I was cautious! Uncle Jack also said that Effie was very opinionated, and that her riding accident 'when she was 16' had 'interfered with her development'.

He thought that Raymond was in the 17-21st Lancers during the 1914-18 war (I thought that he was in the Royal Horse Artillery), and that he had a lowly job looking after horses. He didn't enjoy it and was too sensitive for life in the army.

Uncle Jack thought there had been some problems after Effie and Raymond married in 1926, when they were living at Jubilee Place - that Effie had walked out for a week or so) - but she was over the moon when I was born in 1930. Raymond was perhaps not the best person to get married, and found children and their affairs distracting. Also, they were very poor when they lived at Woodham Walter, and Effie resorted to (for example) making tea from dandelions, though this may have been a preference as well as a necessity. They may have gone there because her aunt Ulla Chaplin was already there. She was one of the first women doctors, and my mother was strongly supportive of female emancipation. Later, my grandmother bought Middlemead, not far away.

When the family moved to Cornwall in the thirties and bought Wheal Speed (possibly with financial help from the Pearces), Raymond got together with other artist friends and the talk was quite erudite, of Bernard Shaw and socialism; and the life was Bohemian (large black hats and colourful neckties). A great friend of his, Job Nixon, had won the Prix de Rome for drypoint engravings (when RRJ had been at the Royal College of Art, Henry Rushbury and ? Brockhurst had been in the same group as him). Sadly, from 1925 on, etchings were going out of fashion, making the financial situation more difficult. Raymond was an active gardener at Wheal Speed, perhaps out of necessity. Jack had been told that the tax demand that tipped him over the edge in 1942 had been for £15 (a lot more in present day money of course). I asked Uncle Jack if he knew why my mother and her sister had both married artists, and he thought that women were very fearful, in the thirties, of 'being left on the shelf'!"

The only writings I have from my father and others in the family are some postcards:

From Fanny (Frances?), no date or postmark: Dear Brother and sister, When you write to Ramond tell him to promise St Joseph something out of ever Pitcher he sell and he will find him customers for them, and send it to Mill Hill London. Wishing you a Joyful Eastertide, I remain yours, Fanny. [The reference above is to the Mill Hill Fathers, a charity, according to Bert McDermott in 2002]

To Mr and Mrs S Jones, 109 Uxbridge St, Ashton -u- Lyne, Lancs postmarked 27 Aug, year not legible [ Drawing on the back by Rosetti]: Dear Dad and Ma, Arrived quite safely about 2-30 and had a good ?. It is quite fine here, but grey, and I wondered if you were having the usual rain. With love, Ray.

To Mrs S Jones, 81 Uxbridge St, Ashton-u-Lyne, Lancs, postmark illegible: Dear Ma, Many thanks for parcel. I am glad you did not send ? etc - it is quite too hot now. I expect Jos will have arrived by the time you receive this and I hope it has done him good. With love, Raymond

[From Madge, eldest daughter of Samuel Shepley Jones] To Mrs S Jones, 23 Aug 1907: Dear Mother, I hope you all enjoyed yourselves at St Anne's. If the weather was like it is here you would have a lovely time. Tell Linda & Sammy I received their PC & was pleased to hear from them. I hope you have heard from Ray & that he is enjoying himself. I suppose Dolly and Fanny all enjoying themselves & Joe too. Did Dada[?] receive PC and is he good-tempered. Love to all. Mary Agnes

To Miss Dolly Jones, 109 Uxbridge St, Ashton-u-Lyne, Lancs, Angleterre [Drawing on the back by Durer]: Paris, Jan 1911 - Dear Dolly, I am so sorry to be late but I did not remember until to-day - nevertheless - Very many Happy Returns of your Birthday. From your loving Brother, Raymond. This little card wishes it you in FRENCH on the back.

To Mr S A Jones, North St Garage, Oldham Road, Ashton-u-Lyne, Lancs, Angleterre, postmark illegible [Illustration on the back of Le Fort Sainte-Andre a Villeneuve - Une Farandole Provencale]: Gd Hotel Nouvel, Avignon, Vaucluse
. How are things with you? It seems ages since I saw you or heard of you. Perhaps you can play this over. It was used much during the Revolution. How is Raymond ? progressing? I expect he is quite a giant by now. Best wishes, your affectionate brother, Raymond. It is nice and hot here byt expect to be leaving for ? in the North.

To Mrs Ray-Jones, Wheal Speed, Carbis Bay, Cornwall, Inghilterra, postmarked Dec 1937 [Sistine Chapel ceiling on the back]: Rome. I am posting this in the Vatican as I thought you might like the stamp for A. You were right about the weather - the sun is as hot as it is in England in July! I didn't know that this place issued its own money and stamps. Love, to all, R.

To Mme Ray-Jones, Poste Restante, Toulouse, Francia [Photo on back of Verona - Palazzo del Consiglio, 1476]: Venice, 14/9/38 I am writing again a few mins after getting your letter. I wrote to Avignon but you had evidently left, altho' I wrote same day your PC arrived. I hope this reaches you as I would much prefer that you got something in F (much better bargain) and if you do not see anything before reaching Paris you might try one of those shops between Dome & St Cecile - "catherine du jardin" is one, I believe. Do please get whatever takes your fancy up to limit of 178 or whatever it is on the day. Glad to hear that you have got some sunshine at last & trust it continues. Love, R. Regards to Ruth. Bruno sends salutations.

To Mrs Ray-Jones, Wheal Speed, Carbis Bay, Cornwall, Inghilterra - readdressed to 10 Cromwell Place, London SW3 [Photo on the back of Verona, Teatro Romano]: Sept 28/38, Piscina Venier, 843 (presso Vianello), Accademia, Venice. I have had to change my address once more and I wonder whether any letters have gone astray as I have not received anything since your return to England. Perhaps you have not written owing to lack of time, yet feel that you must have sent al least a PC and that it has not been forwarded. Did you receive the two enlargements of A's birthday party? It is very difficult to get anything done just now, owing to to ferment. Returning in two weeks, if not before! Love, R. Please keep this PC for me.
Biography
Gifted artist constrained by accuracy. Loved France and Italy, Introvert, usually in his study, otherwise gardening, shot himself aged 56. From the Stalybridge Reporter May 26th 1992:

The Stalybridge exhibition of Raymond Ray-Jones, born in Uxbridge St. Ashton... has become the focus of attention for ... Mr McDermott ... the nephew of the artist who went on to achieve international recognition. He was born after Ray-Jones left Ashton but still recalls his frequent visits. He said "when he visited Ashton I remember coming up to about half way up his dark tweed plus-fours, He as a tall man with a kindly deep voice."

He remembers an article in the Reporter, about 1931, about Ray-Jones being honoured by a commission from the then Crown Prince of Sweden.... He said "Today, 60 years on, the largest ever single exhibition of the artist's works has been assembled at the Astley Cheetham Art Gallery, Stalybridge, much to the credit of the museums department of Tameside Leisure Services.... there are works in oil, pencil, crayon, dry point, charcoal and etching, in which medium the artist excelled. (It) contains prints of most of the etchings accepted over 18 years by the Royal Academy of Arts in London (for hanging at the Summer Exhibition). Also most of the 20 entries accepted for exhibition at the Society of Painter-Etchers and Engravers. It is also possible to see prints of most of the nine etchings acquired by the British Museum and prints of most of the 12 acquired by the Victoria and Albert Museum. Some etchings of Paris feature photographs of the same subjects taken by the artist's eldest son, Alan Ray-Jones, at Easter. These show how exquisitely accurate the etchings are .....

He added that the V & A collection is notable for his work 'Lamplight', a presentation plate issued by the Print Collectors Club in 1925 and donated by the club to the museum, and the self-portrait, described as a study of a man, which featured in the Seventh Exhibition of Modern Masters of Etching at the Leicester Galleries, London, in 1922. The exhibition features a striking crayon head of Mrs Holroyd Chaplin, donor of Manchester Art Gallery's print of the self portrait.

Alan Ray-Jones writes:

Raymond Ray-Jones was presented with a medallion for the Prix Julian in 1911. The lettering on it reads:
Hommes & Dames
Atelier de Mr. J. P. Laurens
Prix 100f. (ex-aequo)
(Portrait Femme)
a Mr. Jones Raymond
1911
And around the edge: Academie Julian Sculpture Peinture.
The medal was passed by Raymond circa 1929 to his brother Samuel for his son Raymond, who kindly passed it to me in 1999.

According to my mother my father was very honest: Colnaghi sold some of his work on condition that the plates would be destroyed after fifty prints had been taken. Of course whether he did so or not was entirely up to him, and according to her many artists of the time cheated on this. But she said that my father destroyed them (scored them) though (she said) it broke his heart.

A blue plague in the porch entrance of the Library and Art Gallery (Ashton?) reads 'Raymond Ray-Jones 1886-1942. A highly talented artist born in Ashton-Under-Lyne. He was a student in this building when it was the Heginbottom School of Art. Unveiled by his son, Philip Ray-Jones 17th February 1996' Website: http://www.tameside.gov.uk/leisure/new/bp_37.htm

His grave at St Uny Church Lelant will probably remain unknown - because he committed suicide he was buried in the old churchyard in an unmarked grave. I wrote to the Vicar in 2005 for information and had the following reply from John Culver, Churchwarden and Treasurer (of Chy an Bora, Trevarrack Court, Carbis Bay, St Ives TR26 2SZ:

"Paul Pullen has passed your letter to me as I look after the churchyards at St Uny Church. Unfortunately I am unable to help you with the precise location of your father Raymond Ray-Jones' grave. Our burial register records that he was buried in what is now called our old churchyard, on the 2 March 1942. Although we have an old plan of this churchyard it does not show names of those interred. This churchyard is only cut in the Autumn of each year in order to encourage wild life so it is not easy to search for names on graves even if they are marked".


From the Catalogue of the Exhibition at Astley Cheetham Art Gallery Stalybridge 2 May - 3 June 1992 (written by Paul R B Sanderson):

Early Years

Raymond was born in Uxbridge Street, Ashton-under-Lyne on August 31st 1886, the eldest child of Martha and Samuel Shepley Jones. Samuel Jones was a cabinet maker by trade, and he actively supported the running of St Anne's Church, Ashton-under-Lyne, where he was the organist for over 50 years. Martha assisted in the St Anne's School, probably in a teaching capacity and, as a child, Raymond attended this School.

The whole family had an interest in music. Samuel also gave piano lessons and several of their children became proficient piano players.

Raymond's early interest in art was actively discouraged by his parents, so much so that, whilst still of school age, and in despair, he decided to run away from home to follow his calling. After the passage of a few days, he returned dishevelled, tired out and with no soles on his shoes. It was discovered that he had walked to Birningham to visit an art exhibition, and had only returned home because, according to his sister Dorothy, he had "heard a voice" urging him to do so.

Following this incident, Raymond's parents relented and, though his first position. following his school years was in the drawing office of the National Gas and Oil Engine Company, Ashton, he was permitted to follow his artistic interest. This was done in parallel with his training at Technical School night classes, which he started at the age of 14.

At this time (about 1890) the 'National' was expanding and developing the new technology required for the production of Diesel engines, as an extension to their gas engine range, and the Company was at the forefront of this technology. Highest professional standards were adopted and the discipline and technical skills gained in this environment were to be of great assistance to Raymond in his later years.

As his artistic ability started to predominate, Raymond became a student at The Heginbottom School of Art, Ashton-under-Lyne (now perhaps better known as the Central Library at the corner of Old Street and Oldham Road) where considerable advances were made under the direction of Mr J. H. Cronshaw. Numerous certificates catalogue Raymond's progress through the Art School during the period 1902 to 1907, and by 1905-6 his abilities were rewarded by the award of a Board of Education Free Studentship, a County Council Art Exhibition of £15 per annum for two years (noted as being "First on the List") and a Board of Education Local Scholarship of £20 per annum for 3 years.

Raymond wished to develop his career by gaining entry to the Royal College of Art in London. He was advised that he was attempting an almost impossible task. However, with considerable help and direction from Mr Cronshaw, and total dedication to work, Raymond achieved the required standard.

An acknowledgement of his success was given in the Certificate of Merit awarded by Ashton-under-Lyne Corporation Education Committee (Heginbottom School ofArt) for the Session 1906-07. It details the award given to Raymond as follows:

"Board af Education Royal Exhibition of £50 per annum & Free Tuition at the Royal College of Art, London, for two years."

Other awards gained included a Lancashire County Council Art Scholarship of the value of £60 per annum for 3 years, a Draper's Scholarship for £5 for 1907-08, and.King's Prize of £2 for freehand drawing.

Raymond entered the Royal College of Art at the age of 21, in 1907.

Royal College ofArt

At the Royal College of Art, Raymond's formal training continued under the direction of Sir Frank Short and Professor Gerald Moira. These two gentlemen were to have a strong influence in the formation of Raymond's abilities.

Professor Moira was born in London, a son of Portuguese parents, and is perhaps best known for his mural decorations in major buildings such as Lloyds Register, the Central Criminal Court and the England Providence Institute. Professor Moira was also a skilled artist in both oils and watercolours, and had an interest in buildings, recognised by the Royal Institute of British Architects, who made him an Honorary Associate. Much of Raymond's skills, which are so evident in his oil and watercolour pictures, were learnt under the guidance of Professor Moira, and it is probable that his interest in architectural subjects can also be traced to the same source.

Sir Frank Short was one of the most influential people in the artistic establishment at that time, and it is evident that Raymond and Sir Frank developed a close friendship which lasted long after Raymond's student days were over. It is interesting to note that like Raymond, Sir Frank Short had a background based in engineering and was until 1904 an associate member of the Institute of Civil Engineers.

A master of etching and engraving in his own right, Sir Frank is known to have assisted James McNeill Whistler in matters relating to technique and printing during the period 1888-1900. The influence of Whistler can be seen in some of Raymond's work, notably in the portraits and some of the industrial river scenes.

Sir Frank is quoted as saying in a lecture: "An artist must be a workman; and an artist afterwards, if it pleases God. "The technical skills required in the process of etching were imparted to Raymond and it is very evident that he was not only a workman and an artist, but also a superb craftsman, with a meticulous eye for detail. In 1910 he became as Associate of the Royal College ofArt.

Academie Julian, Paris

After the completion of his training at the Royal College ofArt, Raymond proceeded to Paris and entered the Studio of M Jean Paul Laurens at the Academie Julian in May 1911.

The Academie Julian was not an academy in the accepted sense, but an art school which furnished models and provided (not too close) supervision of its students' work. It was established in 1873 as a commercial venture by the astute M Rodolphe Julian as an open academy for foreign students, who would almost certainly be excluded from the free courses provided at the official Ecole des Beaux-Arts because of the extremely difficult entrance examination in the French language. This examination was part of a deliberate ploy engaged by the Ministry of Fine Arts to relieve the French taxpayer from the cost of providing free courses for foreign students without compromising the principle that, in theory, all State Art Education in France was free.

Using visiting professors from the Ecole des Beaux-Arts, M. Julian's enterprise was very successful, not only for himself, but also for the students. Later it was the reputation of the Academie Julian that drew foreign students to Paris, and they no longer bothered to present themselves at the Ecole des Beaux-Arts.

The regime which existed at the Academie can best be described as undisciplined, and part of the fame of the Academie was derived from the unruly behavious of its pupils, with their wild parades through Paris and practical jokes.

The pupils were left very much on their own with minimal interference from any teacher. The era was that of the belle epoque, a time of frivolity and festivity, which lasted until the Great War.

Raymond worked within this regime, nominally under the auspices of the now ageing Jean Paul Laurens (in 1911 he was 73 years old), an Academic Realist, who achieved high honours for conscientiously researched and naturalistic history paintings.

It is easy to understand how Raymond gained a great affection for France, however not all his time in Paris was comfortable or pleasant. There are reports of living in attic rooms without food and, in keeping with the tradition of the Academie Julian, he was at the receiving end of practical jokes. Painstakingly prepared etchings were used by fellow students for wrapping butter purchased from the local market.

By the time Raymond left Paris he had gained a detailed knowledge of the city, and of its many fine buildings. His draughtsmanship skills had reached maturity, and he was awarded Prix and Medal for portrait painting.

In the period before the outbreak of the Great War, Raymond travelled extensively and family legend has it that his drawings were so accurate and detailed that he was arrested in Venice as a spy, and spent some time in jail whilst the authorities checked his artistic credentials.

Change of Name

Raymond Jones worked under his name up to 1913, and following this period all his works are listed under Raymond Ray-Jones. The name change has caused a degree of confusion, and it is not clear in many catalogues and lists that the two names relate to the same artist. This point is illustrated in the Royal Academy of Arts exhibitor lists where he is catalogued, separately, as "JONES, Raymond" and "JONES, R Ray": both on the same page.

The reason for the name change has not been determined. According to Raymond's sister, it was in acknowledgement of an unknown benefactor who helped Raymond through the Art Colleges. His widow believes that it was the influence of Sir Frank Short, and the change was undertaken for strictly commercial reasons.

War Years

In 1914, Raymond was created an Associate of the Royal Society of Painter-Etchers and Engravers.
During the war he served with the Royal Horse Artillery in a clerical position, as his health was apparently not good enough for him to serve in France. He remained in the Army for two years after the war ended.
He continued to exhibit during this period, with one etching per year at the Royal Academy and several more at the Royal Society of Painter-Etchers and Engravers.

Post War

Raymond's works were exhibited extensively in the England and overseas, in places as far apart as Dresden, Toronto, Sydney and Dunedin. In 1920 he was one of the Foundation Members of the Society of Graphic Art.

In 1922 an exhibition entitled "The Seventh Exhibition of Modern Masters of Etching" was held at the Leicester Galleries in London, and Raymond's self portrait was described as one of the successes of the show, with all copies sold on the first day. Contemporary accounts note the picture as "one of the finest etched portraits of contemporary times': The etching was first prepared for the British Institute Etching Scholarship, probably as early as 1910, and has become Raymond's best known work. In about 1931 he received an order for a proof of this portrait from His Royal Highness the Crown Prince of Sweden. Copies of the print are held by The British Museum, The Victoria and Albert Museum (first state) and the City Art Gallery, Manchester (second state). One of the two copies at the Victoria and Albert Museum was apparently printed by Sir Frank Short.

Raymond was commissioned to produce the Print Collectors Club 1925 Presentation Plate, entitled "Lamplight'. The trial proof of this print is one of two of his prints held by the famous Ashmolean Museum in Oxford.

His abilities were acknowledged, and he was created a Fellow of the Royal Society of Painters-Etchers and Engravers (R.E.) in 1926.

Effie

In 1922 Sir Frank Short recommended that Raymond be selected to paint the portraits of a young barrister. This barrister, Edward Holroyd Pearce, who in later life became Lord Pearce, is perhaps now best known for the Pearce Commission into lan Smith 's UDI proposals for Rhodesia.

The recommendation resulted in the introduction of Raymond to Effie, Edward's sister, a remarkable woman in her own right. Effie was one of the first women students to undertake training to become a doctor at St Mary's Hospital. She completed 3 years of the 5 year course, and then transferred to the Middlesex Hospital to qualify as a physiotherapist.

Not an inconsiderable factor in her decision to change courses was the harassment she had suffered at the hands of the male establishment.

Effie and Raymond were married at Brighton Registry Office in 1926.

A number of etchings, paintings and drawings depict Effie as the model, including "Lamplight". Often, in Raymond's later works, one of the female figures within the scene is Effie.

The youngest child, Holroyd Anthony, was born in 1941, and it was apparently Tony who would inherit his father's artistic genius, though in a different field.

Before his untimely death from leukaemia at the early age of 30, Tony Ray-Jones had established himself as a photographer of considerable note. Tony was born on the 26th February 1941 and within a year, under very tragic circumstances, Raymond died suddenly.

The last known showing of one of Raymond's works occurred in Birmingham in 1943. In an exhibition entitled "Paris in Pictures" reference was made to an etching "Rue des Quatre Vents." This etching had previously been exhibited at the Royal Academy in 1922.

Postscript

For many reasons, Raymond's works have remained in obscurity. Those held in public collections are not on display, and have not been so for almost 50 years. That an artist of such talent and ability should slip into almost total oblivion is almost unbelievable.

It is my sincere hope that this exhibition will start to bring due recognition to his genius.

END

He was noticed by the Ashton-Under-Lyne Reporter[?} in 1931 when he received an order from His Royal Highness the Crown Prince of Sweden at Kensington Palace, for a proof of an etching (self portrait) bought for the British Museum two years earlier.
Later: Astley Cheetham Art Gallery at Stalybridge held on 19 February to 27 March 1996 a 'Father and Son' exhibition which combined Raymond Ray-Jones's etchings and drawings with Tony Ray-Jones's photographs.


From autobiographical notes by Edward Holroyd Pearce (Lord Pearce) 1989:

"I was beginning [in Summer 1921 while at Oxford University] to be very keen on pictures. When my father gave me £15 as a present after Mods I thought I would spend it on commissioning two drawings of my father and mother. I asked Sir Frank Short, P.R.E., if he thought any good artist would do me something for so small a price. He had been a friend of my grand-father who had bought many of his etchings in earlier days and he encouraged me to spend the evening with him, looking at his etchings, and listening to his grave and measured utterances on art. He seemed an epitome of all that the oldest generation should be, a mixture of grey haired handsome dignity with twinkling tolerant humour. He sent me to Ray-Jones A.R.E., a fine artist, who never recovered after the war the artistic impetus or success that he had started to develop. To him my commission was a godsend. He had then been living, for some time, in an attic on one or two shillings a day. He did two slightly grim but finely drawn likenesses of my parents for me and my family, and friends bought many of his etchings.

I got a list of purchasers for an etching of Corpus, if he would do one, but artist-like he never did. So I could do no more at Oxford than to get some friends to buy proofs of his existing etchings. We persuaded Dawson, the handsome and popular Headmaster of Brighton College to sit for an etching, knowing that many would be glad to buy proofs of it. Unfortunately the Headmaster liked speed and success while Ray-Jones was slow, diffident and unconvincing. The length of the sittings for the drawing irritated the sitter, and this made the artist still more nervous. By the time the etching was finished, months, even years had elapsed. The handsome popular Headmaster looked in the etching like some grim tyrannous pedagogue, and all hope of selling any proofs disappeared.

Meantime I used, whenever I was in London, to go round to Ray-Jones' little studio, and gossip with him about art. We went to galleries and picture shows together Sometimes I watched him at work or helped him to print etchings on his press."


Alan Ray-Jones writes:

My father died when I was eleven, in 1942,, on a night I will never forget. Normally he was shut away in his studio and we saw very little of him, but two or three days before it happened he had been quite extraordinarily generous, giving me all kinds of small things including paint brushes and sweet smelling cigar boxes, all of which I kept for many years in his memory. I was in the bath, and suddenly there was a loud noise. My mother must have gone to investigate, because the next thing I heard was her distress, which was spine chilling. He was in our shed in the garden, and had shot himself in the head. His death affected my brother Philip badly - he became quite inconsolable. I suddenly found myself the man of the house, which may perhaps have helped me in a way, because I considered I had some responsibility for things. I think that in a way my childhood ended that night.

In her later years I saw a good deal of my mother, both when I lived in her flat at Notting Hill Gate from 1976 to 1988, and from 1988 to 1995 when I walked from my flat in Islington to hers at the Barbican to have breakfast with her in the mornings before work, but she talked very little of my father. I recollect that she told me only weeks after he died that his Catholic relatives and other Catholics she knew felt he had done a most reprehensible thing by taking his own life - pity was less evident from them than reproach. I think she said that two things had preyed on his mind: one was lack of money (in particular I suspect that he was unable to support his family and relied on help from her family), and the inaccessibility of France and Italy, countries he loved and which provided inspiration for his work, due to the war. There may have been another: my mother said that all her life she had loved a Dr Harris who became a Consultant at Barts - he had asked permission of her father to become engaged to her when she was 19, had been refused and had then gone to America for some years. Her mother told her of this only after her father died!

Uncle Jack (JAC Pearce) remembered:

"That when he was about 14 years old, in 1926, he was shown around the studio at Jubilee Place, with its impressive etching press, by my father. He said that he was a nice man, very kind to him, but reserved and rather timid, very accurate and slow, fearful of making a mistake and damaging the plate (for an etching). He was certainly not a showman, and was obsessively cautious. Unlike Eddy (husband of Effie's sister Phyllis) he wasn't showy and had no obvious eccentricity. His tutor at the Royal College of Art, Sir Frank Short, was a friend of Jack's grandfather, Holroyd Chaplin, and it was through this connection that my father came into contact with the Pearce family - in particular with Edward Holroyd Pearce and Effie, Edward's sister. Uncle Jack thought that the success of the Self Portrait and the medal he got for it, when he was still a young artist, had put pressure on my father to make any future picture even more successful, and thus increased his nervousness. It cannot have helped that Edward, in contrast to him, had a very self-confident personality. This seems quite credible to me, for I saw a good deal of my first cousin Bruce, Edward's son, when we were both children - Bruce was very confident and I was cautious! Uncle Jack also said that Effie was very opinionated, and that her riding accident 'when she was 16' had 'interfered with her development'.

He thought that Raymond was in the 17-21st Lancers during the 1914-18 war (I thought that he was in the Royal Horse Artillery), and that he had a lowly job looking after horses. He didn't enjoy it and was too sensitive for life in the army.

Uncle Jack thought there had been some problems after Effie and Raymond married in 1926, when they were living at Jubilee Place - that Effie had walked out for a week or so) - but she was over the moon when I was born in 1930. Raymond was perhaps not the best person to get married, and found children and their affairs distracting. Also, they were very poor when they lived at Woodham Walter, and Effie resorted to (for example) making tea from dandelions, though this may have been a preference as well as a necessity. They may have gone there because her aunt Ulla Chaplin was already there. She was one of the first women doctors, and my mother was strongly supportive of female emancipation. Later, my grandmother bought Middlemead, not far away.

When the family moved to Cornwall in the thirties and bought Wheal Speed (possibly with financial help from the Pearces), Raymond got together with other artist friends and the talk was quite erudite, of Bernard Shaw and socialism; and the life was Bohemian (large black hats and colourful neckties). A great friend of his, Job Nixon, had won the Prix de Rome for drypoint engravings (when RRJ had been at the Royal College of Art, Henry Rushbury and ? Brockhurst had been in the same group as him). Sadly, from 1925 on, etchings were going out of fashion, making the financial situation more difficult. Raymond was an active gardener at Wheal Speed, perhaps out of necessity. Jack had been told that the tax demand that tipped him over the edge in 1942 had been for £15 (a lot more in present day money of course). I asked Uncle Jack if he knew why my mother and her sister had both married artists, and he thought that women were very fearful, in the thirties, of 'being left on the shelf'!"

The only writings I have from my father and others in the family are some postcards:

From Fanny (Frances?), no date or postmark: Dear Brother and sister, When you write to Ramond tell him to promise St Joseph something out of ever Pitcher he sell and he will find him customers for them, and send it to Mill Hill London. Wishing you a Joyful Eastertide, I remain yours, Fanny. [The reference above is to the Mill Hill Fathers, a charity, according to Bert McDermott in 2002]

To Mr and Mrs S Jones, 109 Uxbridge St, Ashton -u- Lyne, Lancs postmarked 27 Aug, year not legible [ Drawing on the back by Rosetti]: Dear Dad and Ma, Arrived quite safely about 2-30 and had a good ?. It is quite fine here, but grey, and I wondered if you were having the usual rain. With love, Ray.

To Mrs S Jones, 81 Uxbridge St, Ashton-u-Lyne, Lancs, postmark illegible: Dear Ma, Many thanks for parcel. I am glad you did not send ? etc - it is quite too hot now. I expect Jos will have arrived by the time you receive this and I hope it has done him good. With love, Raymond

[From Madge, eldest daughter of Samuel Shepley Jones] To Mrs S Jones, 23 Aug 1907: Dear Mother, I hope you all enjoyed yourselves at St Anne's. If the weather was like it is here you would have a lovely time. Tell Linda & Sammy I received their PC & was pleased to hear from them. I hope you have heard from Ray & that he is enjoying himself. I suppose Dolly and Fanny all enjoying themselves & Joe too. Did Dada[?] receive PC and is he good-tempered. Love to all. Mary Agnes

To Miss Dolly Jones, 109 Uxbridge St, Ashton-u-Lyne, Lancs, Angleterre [Drawing on the back by Durer]: Paris, Jan 1911 - Dear Dolly, I am so sorry to be late but I did not remember until to-day - nevertheless - Very many Happy Returns of your Birthday. From your loving Brother, Raymond. This little card wishes it you in FRENCH on the back.

To Mr S A Jones, North St Garage, Oldham Road, Ashton-u-Lyne, Lancs, Angleterre, postmark illegible [Illustration on the back of Le Fort Sainte-Andre a Villeneuve - Une Farandole Provencale]: Gd Hotel Nouvel, Avignon, Vaucluse
. How are things with you? It seems ages since I saw you or heard of you. Perhaps you can play this over. It was used much during the Revolution. How is Raymond ? progressing? I expect he is quite a giant by now. Best wishes, your affectionate brother, Raymond. It is nice and hot here byt expect to be leaving for ? in the North.

To Mrs Ray-Jones, Wheal Speed, Carbis Bay, Cornwall, Inghilterra, postmarked Dec 1937 [Sistine Chapel ceiling on the back]: Rome. I am posting this in the Vatican as I thought you might like the stamp for A. You were right about the weather - the sun is as hot as it is in England in July! I didn't know that this place issued its own money and stamps. Love, to all, R.

To Mme Ray-Jones, Poste Restante, Toulouse, Francia [Photo on back of Verona - Palazzo del Consiglio, 1476]: Venice, 14/9/38 I am writing again a few mins after getting your letter. I wrote to Avignon but you had evidently left, altho' I wrote same day your PC arrived. I hope this reaches you as I would much prefer that you got something in F (much better bargain) and if you do not see anything before reaching Paris you might try one of those shops between Dome & St Cecile - "catherine du jardin" is one, I believe. Do please get whatever takes your fancy up to limit of 178 or whatever it is on the day. Glad to hear that you have got some sunshine at last & trust it continues. Love, R. Regards to Ruth. Bruno sends salutations.

To Mrs Ray-Jones, Wheal Speed, Carbis Bay, Cornwall, Inghilterra - readdressed to 10 Cromwell Place, London SW3 [Photo on the back of Verona, Teatro Romano]: Sept 28/38, Piscina Venier, 843 (presso Vianello), Accademia, Venice. I have had to change my address once more and I wonder whether any letters have gone astray as I have not received anything since your return to England. Perhaps you have not written owing to lack of time, yet feel that you must have sent al least a PC and that it has not been forwarded. Did you receive the two enlargements of A's birthday party? It is very difficult to get anything done just now, owing to to ferment. Returning in two weeks, if not before! Love, R. Please keep this PC for me.
Facts
  • 31 AUG 1886 - Birth - ; 81 Uxbridge St., Ashton-Under-Lyne, Lancashire, England
  • FEB 1942 - Burial - ; Lelant Churchyard, Cornwall
  • APR 1911 - Census - ; Unknown
  • 26 FEB 1942 - Death - ; Wheal Speed, Chyangwheal, Carbis Bay, St. Ives, Cornwall, England. Death certificate is in Penzance Book 5c, Page 537 fo
  • 1929 - Residence - ; London
  • ABT 1930 - Residence - ; Woodham Walter, Essex
  • FROM 1933 TO 1942 - Residence - ; Carbis Bay, St Ives, Cornwall
  • 1913 - Alias -
  • 1914 - Societies -
  • FROM 1914 TO 1918 - Military Service -
  • 1916 - Medical -
  • 1920 - Societies -
  • 4 FEB 1926 - Societies -
  • TO AUG 1900 - Education - St. Anne's School, Ashton under Lyne ; Ashton-Under-Lyne, Lancashire
  • 1907 - Education - Royal College of Art ; Kensington, London
  • MAY 1911 - Education - Academie Julian ; Paris
  • Occupation - Painter-etcher
  • 1929 - Residence - ; London
  • ABT 1930 - Residence - ; Woodham Walter, Essex
  • FROM 1933 TO 1942 - Residence - ; Carbis Bay, St Ives, Cornwall
Ancestors
   
Frederick Jones
13 FEB 1825 - 16 JAN 1895
 
   
  
  
Elizabeth Shepley
BEF 1 SEP 1826 - 19 FEB 1894
 
Raymond Ray-Jones R.E., A.R.C.A.
31 AUG 1886 - 26 FEB 1942
  
 
  
George Hulme
5 DEC 1830 - 1901
 
 
Martha HULME
15 APR 1861 - 1927
  
  
  
Ellen Sharrock
ABT 1833 - 1901
 
Family Group Sheet - Child
PARENT (M) Samuel Shepley JONES
Birth1862
Death1932 Hospital at Preston, funeral at Ashton, Lancashire, England. Death certificate is in Preston, Book 8e, Page 646 quarter
Marriage9 FEB 1886to Martha HULME at St Mary's Church, Ashton Under Lyne, witnesses David Jones and Esther Gratton
FatherFrederick Jones
MotherElizabeth Shepley
PARENT (F) Martha HULME
Birth15 APR 1861Ashton Under Lyne, Lancashire, England
Death1927 Ashton Under Lyne, Lancashire, England
Marriage9 FEB 1886to Samuel Shepley JONES at St Mary's Church, Ashton Under Lyne, witnesses David Jones and Esther Gratton
FatherGeorge Hulme
MotherEllen Sharrock
CHILDREN
MSamuel Anthony Jones
Birth18 MAR 189781 Uxbridge Street, Ashton Under Lyne
Death1980
Marriageto Lillie
MJoseph Jones
Birth1 OCT 1893
Death31 OCT 1976Romiley, Cheshire, England. After mass in St Christophers Church, to Dukinfield Crematorium
Marriageto Cathleen Maud Wright
FElizabeth (Linda) H Jones
Birth1890
Death1968
FFrances Jones
Birth1891
Death1971
FDorothy (Dolly) Jones
BirthABT DEC 1901
DeathABT 16 AUG 1988Ashton-Under-Lyne, Lancashire (the last remaining sister of Raymond Ray-Jones)
FMary Agnes JONES
Birth8 APR 1888
Death8 DEC 1980Blackpool,,,,ENGLAND,30 Poulton road
Marriageto Richard W McDERMOTT
MBernard Jones
Birth
Death
FWinifride Jones
Birth25 SEP 1896
Death
MRaymond Ray-Jones R.E., A.R.C.A.
Birth31 AUG 188681 Uxbridge St., Ashton-Under-Lyne, Lancashire, England
Death26 FEB 1942Wheal Speed, Chyangwheal, Carbis Bay, St. Ives, Cornwall, England. Death certificate is in Penzance Book 5c, Page 537 fo
Marriage12 FEB 1926to Effie Irene Pearce at "In Brighton, quietly, Raymond Ray-Jones RE, ARCA to Effie Irene Pearce, eldest daughter of Mr and Mrs J.W.E Pearce of 2
Family Group Sheet - Spouse
PARENT (M) Raymond Ray-Jones R.E., A.R.C.A.
Birth31 AUG 188681 Uxbridge St., Ashton-Under-Lyne, Lancashire, England
Death26 FEB 1942 Wheal Speed, Chyangwheal, Carbis Bay, St. Ives, Cornwall, England. Death certificate is in Penzance Book 5c, Page 537 fo
Marriage12 FEB 1926to Effie Irene Pearce at "In Brighton, quietly, Raymond Ray-Jones RE, ARCA to Effie Irene Pearce, eldest daughter of Mr and Mrs J.W.E Pearce of 2
FatherSamuel Shepley JONES
MotherMartha HULME
PARENT (F) Effie Irene Pearce
Birth18 AUG 1899Yarth House, 93 Fitzjohns Avenue, London NW3, England
Death26 JAN 1996 Royal London Hospital Whitechapel (Tower Hamlets), London, England
Marriage12 FEB 1926to Raymond Ray-Jones R.E., A.R.C.A. at "In Brighton, quietly, Raymond Ray-Jones RE, ARCA to Effie Irene Pearce, eldest daughter of Mr and Mrs J.W.E Pearce of 2
FatherJohn William Ernest Pearce
MotherIrene Kate Chaplin
CHILDREN
Private
Birth
Death
Marriage25 JUL 1953to Private at Castleton Church, Sherborne, Dorset, England.
MHolroyd Anthony Ray-Jones
Birth7 JUN 1941At Wookey Hole, near Wells, Somerset
Death13 MAR 1972Royal Marsden Hospital, London
Marriageto Anna Coates
Private
Birth
Death
Marriage1959to Joanna Baring
Marriage16 SEP 1967to Private
Picture Gallery
 
Evidence
[S10968] Birth Certificate obtained from the General Register Office through the Family Records Centre, London
Descendancy Chart
Raymond Ray-Jones R.E., A.R.C.A. b: 31 AUG 1886 d: 26 FEB 1942
Effie Irene Pearce b: 18 AUG 1899 d: 26 JAN 1996
Holroyd Anthony Ray-Jones b: 7 JUN 1941 d: 13 MAR 1972