Beverley Edwards, an artist and art instructor, died November 18 at the age of 87 after a period of declining health. Ms. Edwards, a former resident of Waquoit, had most recently been living in Bourne.

Born Beverley Ann Quillian in Atlanta, Georgia, she was the only child of Virginia Turman and Ralph Randolph Quillian. She received her art training at the High Museum of Art, Emory University and the University of Georgia.

After moving to Cape Cod in 1959, she began to teach at the Institute of Contemporary Art in Boston as well as at the Falmouth Artists Guild, for which she served as president in 1973, and later taught the art and techniques of monotype printing at the Cape Cod Conservatory, among other instruction, and served as the museum school director at the Fuller Art Museum in Brockton from 1972 to 1984.

She founded the Monotype Guild of New England and worked as first president of the organization from 1985 to 1989. The “Tenth Anniversary Exhibition” was dedicated to her at the Fuller museum in 1995, by which time it had grown to nearly 200 members, and exhibitions had been held in venues such as Provincetown Art Association Museum; the Art Complex Museum, Duxbury; Midwest Museum of American Art in Indiana; the University of New Hampshire; as well as an exhibition that traveled to Australia and was there presented in five different locations.

In an interview of Ms. Edwards in the Enterprise on that occasion she was described during her then-30 previous years as a “prolific painter” with “great inventive capacity, boundless energy, and charismatic presence” and it was noted that she had “richly expanded the artistic and cultural arena of the greater Cape.”

In the mid-1990s she became director of The Boat Yard Gallery in Mashpee on Seconsett Island when it opened at Little River Realty, where she also worked. During the opening of the gallery, a reviewer said of Ms. Edwards’s acrylic painting “Clown Fish and Anemones” that the artwork featured “an interesting composition and a truthful rendering of tropical marine reef life.”

A retrospective of 25 years of art by Ms. Edwards was on view at the Falmouth Community Television Maser Gallery early in 1999. Her works in drawing, painting and printmaking from two series, “Pacific Dreaming” and the “Black Florilegium,” executed in acrylic, pastel, charcoal and monotype showed lush tropical landscapes, floral studies, and underwater scapes of tropical fishes from the Pacific and Indian Oceans and the Coral Sea. All in these series were inspired by the artist’s travels throughout Australia, Polynesia and England.

An art reviewer for the Enterprise said: “In 1986 Beverley Edwards made a tour of Australia with her late husband, George Currier. One of the most outstanding features of the Australian outback is a red monolith called Ayer’s Rock. Ms. Edwards’s pastel of this monolith captures the color of this geological outcropping. By using a low horizon, the pastel stresses the flat surrounding landscape and gives her rendering of Ayer’s Rock a particular mystery.”

Ms. Edwards executed another major series in the early 1990s, “The Country Club,” that consisted of large-scale portraits of award-winning country musicians in charcoal.

Ms. Edwards had more than 35 solo exhibitions throughout New York City and New England, and her work was included in more than 100 group shows across the country. Among her awards was Best in Show at the 1991 Cahoon Museum of American Art trustees juried art show for her monotype “Black Lily.”

Her works are in numerous private, corporate, and museum collections including the Museum of Modern Art in New York City, Duxbury Art Complex Museum, the Christian Science Church of Boston and Tufts University in Boston.

Originally interested in architecture, Ms. Edwards’s early art works included neon and fluorescent light sculptures, helium-inflated sky sculptures, large abstract paintings and minimalist prints. Her affinity for architectural shape and bright color continued in her abstract expressionist painting and printmaking that followed.

Influenced by Japanese philosophy and her love of nature, her later works sought to depict dreamlike and timeless images of sea and landscape in a style she called “poetic realism.”

Ms. Edwards taught for more than 45 years leading courses and workshops in drawing, painting, print-making and paper-making for students and artists throughout the Cape and South Shore, as an instructor at the Plymouth Abstract Workshop, and frequent instructor at the Cape Museum of Fine Art.

She also followed her interest as an organic gardener, and had presented a program called “Garden by the Moon,” for Mashpee Garden Club in the 2000s.

She leaves her children, Randall Edwards, Sam Markham Edwards and Ashley Edwards; her stepson, Geoff Currier; 12 grandchildren; and seven great-grandchildren.

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