Bernard Walter Evans (26 December 1843 – 26 February 1922) was a British landscape painter and watercolourist in the Romantic style, working mainly in Birmingham, Wales, London, Cannes and the North Riding of Yorkshire.

He was known for his arduous days of painting in the hard Yorkshire winters, with frozen water pots, little food, and only a paraffin stove to warm his hands.

[3] At St Luke's Church, Kentish Town, on 2 August 1870 Evans married Mary Ann Eliza Hollyer (Bloomsbury c.1832 – Knaresborough 1902),[1][nb 5] the daughter of an engraver and sister of Frederick Hollyer,[1][nb 6] and they lived in London, and at 20 Park Parade, Harrogate,[4] to which they moved in the 1890s,[2] and Evans stayed in Harrogate until around 1911.

[5][nb 7] Evans died at the home of his niece,[6] in Bedford Park, London, on 26 February 1922,[3][7] and was buried at Harlow Hill Cemetery, Harrogate, North Riding of Yorkshire, on 2 March 1922, alongside his wife Mary Ann Eliza.

[1][8] Evans started studying art under Samuel Lines in Birmingham when he was seven years old,[9][10] and there he "made copies of landscapes and ruins from the drawings of that artist".

[1][3][7] On 28 February 1922, the Aberdeen Press and Journal published an obituary, which included the following reminiscence from around 1890:[9] Mr Evans' association with Yorkshire is of particular interest to residents in the county.

It often happened that the nearest farmstead at which he could find a lodging for the night was five or six miles from the spot at which he was working, but he was indefatigable as a pedestrian, and could be seen tramping along, pipe in mouth, to his labours, heavily booted, carelessly attired, in kneaded wideawake and unstarched linen, with a fluttering neckerchief loosely knotted about a collarless throat.

Any humble little homestead which lay near a scene of beauty was good enough to find him a resting place, and his sole provision for a day's work – which, including the outward and homeward tramp, might extend over ten or twelve hours – was a bottle of new milk and a hard-boiled egg.

Luckily the artist and his van were for once within an easy distance of the commissariat; but even under these conditions the numbed hand stopped often, and but for a tiny portable paraffin stove the work would have been impossible.

In July 1898, two large paintings in his studio were named in the Pateley Bridge and Nidderdale Herald as: Cannes From Le Grand Pin and Gorge of the Saut de Loup.

Also in the studio were: On the Road to the Observatoire, Cannes, Knaresborough From the Castle Yard, The River Nidd Below Chappie Dam, Grasse From Above the Grand Hotel, The Valley of Desolation, Wharfedale, Fountains Abbey and other scenes and sketches.