Catherine Mawer (1803 - 11 April 1877) was an architectural sculptor who worked alongside her husband Robert Mawer, then following his death in 1854 she ran the family stone yard as a master sculptor at Great George Street, Leeds, West Yorkshire, England, until 1859.
The other master sculptor in her 1854–1859 company, which was known as Mrs Mawer, was her nephew William Ingle who supervised the stone yard and onsite works from 1854.
Her apprentices were Matthew Taylor, Benjamin Payler, and her son Charles Mawer.
All the apprentices later had independent careers as sculptors.
After her son came of age in 1870, she continued working alongside Charles and her nephew William in the partnership Mawer and Ingle at the same address.
Catherine was a founder member of the Mawer Group, which comprised all of the above Leeds architectural sculptors.
During her lifetime, the Mawer group produced some strongly lifelike and often unflattering portraits, full of movement, including portraits of men with overhanging moustaches and cavernous mouths.
These portraits continued after the deaths of Robert Mawer and William Ingle, but stopped appearing at her death in 1877.
It is therefore reasonable to conclude that this style of work was her own.
Catherine Mawer (1803 - 11 April 1877) was an architectural sculptor who worked alongside her husband Robert Mawer, then following his death in 1854 she ran the family stone yard as a master sculptor at Great George Street, Leeds, West Yorkshire, England, until 1859. The other master sculptor in her 1854–1859 company, which was known as Mrs Mawer, was her nephew William Ingle who supervised the stone yard and onsite works from 1854. Her apprentices were Matthew Taylor, Benjamin Payler, and her son Charles Mawer. All the apprentices later had independent careers as sculptors. After her son came of age in 1870, she continued working alongside Charles and her nephew William in the partnership Mawer and Ingle at the same address. Catherine was a founder member of the Mawer Group, which comprised all of the above Leeds architectural sculptors. During her lifetime, the Mawer group produced some strongly lifelike and often unflattering portraits, full of movement, including portraits of men with overhanging moustaches and cavernous mouths. These portraits continued after the deaths of Robert Mawer and William Ingle, but stopped appearing at her death in 1877. It is therefore reasonable to conclude that this style of work was her own.
Catherine Mawer