Edward Christian  Quayle
1872 - 1946
The most prolific Manx artist of the 20th Century.
Compiled by his grandson, Manx Radio presenter Bernie Quayle

The first E. C. Quayle studio was on Prospect Hill, Douglas, followed by the Villiers Chambers and then Allan Street in Douglas.  Photography was still quite new and parents thought nothing of having their children painted by leading artists.  The portrait on the right was acquired by local art dealer Allan Kelly and has since been sold on.  

Allan thought this portrait could have been one of the E.C. Quayle children, and if you look at the photograph of old Ned Quayle with Leo above, Allan may well be right, it is remarkably like Leo.
Note the signature, it is one of three ways he signed his paintings.  Most often he would sign, E C Quayle, or E Christian Quayle and on some, just simply his initials ECQ.

The Isle of Man was home to quite a colony of artists and writers in the early part of the 20th century.  They would often get together at pubs or reading rooms.  At one such meeting, in the Barrack Street reading rooms, (now "Outback" disco)  Quayle sketched caricatures of the following associates during their lively debate; Those included in the sketch were Percy Rigby, Frank Pritchard, Archibald Knox, John Holland, Peter Chisholm, Fred Leach, John Radcliffe, Noah Moore and others whose names were indecipherable on the sketches. This caricature was contained in an old portfolio my father showed me in the early 1980s.  When my parents sold their house and moved into a flat, the portfolio went missing and has never been found.  That old leather portfolio included the artist's studies of anatomy from his days at the Slade School of art.  Those sketches reminded me of the famous Leonardo DaVinci drawings.

Many of the UK's leading artists visited the Isle of Man and invariably, they would meet up with the local painters.  Most often it would be the old Reading Rooms in Barrack Street, just yards away from the home of Archbald Knox.  My grandfather often corresponded with them and I have reproduced an example here of a letter he received from Percy Davis.  (Click to enlarge)  Not only did Percy reply to granddad's letter, he even sketched on the letter.

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A popular venue on Sunday afternoons was fellow artist John Holland's home in Victoria Avenue where music was played on an imported American organ.  Many brought their own instruments such as flute and fiddle. The fun would continue long into the night.  According to my father these very talented artists would often go out on location together to capture the Manx scenery.  My father would be called on to drive a pony and  trap, hired for the day from the livery stable in Drumgold Street, later to become the Dogs Home pub.  Dad recalled a time when he drove EC Quayle, Butterworth and Holland to Niarbyl.  The three artists were left with their easels, a hamper of food and wine while Dad went off to Peel for the day.  At dusk he collected the party all of whom had consumed copious amounts of wine and they sang merrily all the way back to Douglas .  Dad commented on how all three artists had painted the same scene but their interpretations were all so different. Below, the artist at work in Niarbyl, photographed by his son Eddie.  On the right is EC Quayle's view looking South from Niarbyl to Bradda Head, another favourite location.

The Manx countryside was one of EC Quayle's great delights and he travelled countless miles on foot, train and even as a pillion passenger on EC junior’s “Flying Banana” Wooler motorbike.  But Quayle's first love was the sea and the magnificent coastline of the island.  He painted the Old Red Pier so many times it almost became his trade mark.  Samuel Norris, founder of Norris Modern Press, said of him in the Manx Year Book for 1939;  "he has painted more pictures of the Isle of Man than any other artist, living or dead."

Old Red Pier

As a child of eight, EC Quayle junior remembered the day he saw his father moved to tears, reading a telegraphed notice in the window of the post office - the steamship Ellan Vannin had sunk in the Liverpool Bar.  Many of those who died in the tragedy were close friends of the artist.  He retreated to his studio and didn't emerge until he had graphically captured the scene in oils.  The picture was displayed in the window of Bregazzi's on Prospect Hill  but was withdrawn a few days later by request of the Steam Packet Company out of respect for the grieving families.  Some years later it hung above the bar of the Prospect Hotel, in Douglas.  It's present location is unknown, if anyone has any clue to the whereabouts, please let me know.  It was hailed by many as one of Quayle's finest works, an example of his motto: "as you see it - paint it."

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The Archibald Knox Connection

	Archibald Knox was a close friend of Quayle, and was an inspiration to ECQ's third son Leo who sought the tuition of Archibald Knox.  Leo was proud to be told by that great artist "I've learned a great deal about watercolour technique from your father, he is one of the finest in the business."  On the left: EC Quayle by Knox On the right: Archibald Knox by Quayle    Click on the pictures to enlarge. Click below to visit the  Archibald Knox website

Many of Leo Quayle's paintings are around today, but few may realise that the well known logo of the Manx Viking Wheelers cycling club was designed by Leo at the request of his brother Eddie, a founder member of the club. On the left is a self portrait of the artist (click on it to enlarge) this was done at the request of his son Eddie in 1923, hence the signature "Yours truly."

E.C. Quayle was quiet by nature, never seeking publicity.  It took others to recognise his potential and promote his work.  A Southport art dealer along with Phillip Christian, arranged an exhibition of his work at the Villa Marina in 1922.  The exhibition featured 140 works in all mediums and was opened by the Governor, Sir William Fry.  Following this, there were exhibitions in Liverpool, Manchester and London. Exhibition poster

E.C. Quayle would carry a sketch pad with him wherever he went.  If a scene appealed, he'd sketch it, make notes and sometime later, paint it back in his studio. It could be the way the sun reflected on a building or the composition of a boat in the bay.  Below are two such sketches, Douglas harbour and bay.

Son Edward developed a similar habit, but he carried a camera wherever he went.
I have also created an album of my father's photographs click here.