A linocut, A Station of the Cross by this artist (numbered 27) was donated to the Charity Auction in aid of establishing the West Cornwall Art Archive in 2004.
Having trained as a geographer (FRGS 1896), and being a teacher of geography and history in Southwark, in 1913 he published a text-book of geography, reprinted in 1922.
As a rock-climber and mountaineer, his first contribution in 1899 was the route now called Andrews' renne on Storen in Norway.
In 1901, Arthur Westlake Andrews competed in Wimbledon where he was defeated 8-6, 6-2, 6-3 in the first round by P.G. Pearson who in the next round lost 6-4, 6-4, 6-3 to Herbert Roper-Barrett. The latter represented Britain in the first Davis Cup. Cf. John Barrett, !00 Wimbledon Championships. A Celebration, London: Willow Books/Collins 1986, p. 211, and Cf. Heiner Gillmeister, Tennis. A Cultural History, pp. 215-220.
He is remembered especially for two books he co-authored with J M A Thomson, including in 1909 the first rock-climbing guide-book to the cliffs of Lliwedd (Snowdonia) and for being the 'father' of Cornish sea cliff climbing, beginning with an early ascent of the Bosigran Ridge Climb in 1902, followed by Ledge Climb (also Bosigran) in 1905.
With E C Pyatt he later produced the first official (Climbers' Club) Cornish Climbing Guide in 1950. In later years he turned his hand to poetry, inspired by the scenery of West Penwith, Cornwall. His map-making was produced for publication, and his photographs were of both personal and geographical use. A large archive of photographs, glass negatives and other ephemera makes up the Andrews-Westlake Archive at the Hypatia Trust. He lectured locally on photography at STISA.
Colin Andrews is a sculptor in steel. His work incorporates many styles - some kinetic, some humorous, others thought-provoking - and many of them are functional.
The artist was born in West Newton, Massachusetts, and retained American citizenship throughout his life. He worked from the Meadow Studio in St Ives in the mid-1920s, and exhibited in all the local venues of the time.
In the 1929 St Ives Times, in reviewing the Lanham's Diamond Jubilee exhibition, mentioned 'it is recommended that the visitor should also visit Donald Angier's studio for unique decorative works'.
In passenger records of the ocean liners in the 1930s, his main occupation is listed as 'medical manufacturer' (Angier Chemical Co) which was the family business.
Annear was born in Exeter, Devon, and studied at Exeter College of Art in painting and printmaking. After obtaining a B Ed at Rolle College, Exmouth, Devon he lectured and became Director of Ryder's Gallery, Dartington College of Art, Devon. In 1988 he became a member of the Penwith Society of Artists, and the following year a member of the Newlyn Society of Artists, for which he later served on the Council of Management of NAG and a committee member of the NSA.
His solo exhibitions include shows in Cornwall, Germany, France, most recently at the New Millennium Gallery, St Ives (2007), and his group exhibitions many all over the UK and Europe. In 1991-92 he worked in Worpswede, Germany with the support of a DAAD scholarship and other awards.
A modernist in style, his work is said to show cubist influences, and he has stated that he finds the term 'abstract' too confining (Catalogue intro: New Millennium Gallery). He now lives and works on the Lizard Peninsula in a converted chapel, with his wife, the artist Judy BUXTON..
Jenny Annely creates two and three dimensional work inspired by industrial landscapes of the past.
Angela Annesley is a Pendeen-based artist who has combined a career in journalism with a passion for printmaking. Her work is shown regularly at STISA open exhibitions.
Jane obtained an MA in Fine Art at the University of Sunderland in 2003. In 2007 she was awarded a TEND 'Grants for the Arts' year-long residency at Trewidden Gardens near Penzance, under the auspices of the Arts Council (SW). She states: 'The starting point and subject matter for my work is always taken from a specifically chosen location, often referencing the wild or cultivated flora that evoke relationships with human experience.' Her work has been exhibited at a number of locations in the UK.
Jane has been a tutor at the Newlyn School of Art.
Gregg works around the North Cornish coast with his studios located just over from his Cornish home at Holsworthy, Devon. At college in Cornwall he studied art and design before launching out on his own with his unique glass-making ideas. He is always experimenting and produces both classic and modern domestic wall pieces and decorative pieces for display and the table.
He is a member of the Guild of Master Craftsmen.
Working through his glass making company, Craft Fusion Studios, Gregg creates fused glass artwork for the home or business, inspired by the rich colours of his Cornish homeland. He can be commissioned directly through his illustrated website at his Craft Fusion On-line Store.
Chris Anthem was born in Almondsbury, Bristol. He obtained a BA (Hons) in Fine Art from Liverpool Polytechic, and an MA in Painting from the Slade School of Art in 1998. He worked from Krowji Studios in Redruth from 2008 to 2012. After a spell in Beirut in 2013 he returned to Cornwall. His work has been exhibited in St Ives, both at the Millennium Gallery and the Plumbline & Orchard.
Lucy Apple studied at Falmouth College of Art, subsequently graduating from the Slade School of Fine art with an MA. Her work is inspired by the observation of people and their conversations.
The artist is listed as a member of NSA (2010).
Keith Appleby lived and worked in Cornwall for 40 years teaching photography, printmaking and art before moving to Oxfordshire in 2018. For the last ten years Keith has worked with wood, using turning as the basis for his sculptural work. His work has been shown extensively in Oxfordshire.
Arbuthnot was born in Surrey, his mother being a motivated amateur artist. He moved to the St Ives area in 1940, having been a keen photographer in earlier years (see Buckman), and remained locally for a decade. Known now mainly as a photographer, he was an accomplished painter of watercolors as well, especially landscapes.
Though he had studied under C A Brindley, J W Fergusson, W P Robinson elsewhere, in Cornwall, he became a pupil of Charles Walter SIMPSON and was elected to the Royal Institute of Watercolour Painters in 1942. Latterly he lived and worked at La Houle, Jersey.
Tony Copsey writes: Malcolm Arbuthnot (born Malcolm Lewin Stockdale Parsons, 1877, Cobham, Surrey- died 1967) was a pictorialist photographer and artist.
In 1907, he joined the Brotherhood of the Linked Ring, an organisation founded in 1892 by Alfred Maskell and others dissatisfied with the ethos of the Royal Photographic Society exhibitions, with the aim to promote naturalistic and aesthetic photography as an independent art. From 1914, Arbuthnot ran a portrait studio in London's New Bond Street, in the early 20th century photographing many celebrities including the actress Lillah McCarthy, the pianist Harriet Cohen and the poet Robert Nichols. His
studio, along with many of his works, was destroyed in a fire. He was a friend of George Bernard Shaw. Also in 1914, he was one of the signatories - the only photographer - to the manifesto of the Vorticism movement published in the first issue of the literary magazine BLAST. He combined his interests in photography and art by using gum and oil pigment processes, after joining the Linked Ring making increasingly controversial anti-naturalistic gum prints. After World War I, he gave up photography in favour of painting, working in oils, watercolours and gouaches. [See Wikipedia for notes on this information].
Armfield was born in Sanderstead, near Croydon, Surrey, but grew up in Somerset. He studied design and the history of architecture at the Royal West of England College of Art in Bristol, then from 1934 to 1939 was Assistant Art Director at Ealing Film Studios. A Quaker pacifist, he returned on the outbreak of World War II to the home of his parents in Axbridge, Somerset.
After a nervous breakdown, he moved to Polperro in 1942. He and his partner, George Bray, lived high above The Warren in their home, 'Tycara'. By 1945 he felt confident enough to take up painting as a full time professional career. His cousin, the painter and writer Maxwell Ashby Armfield, taught him the tempera technique, which Stuart developed and in 1958 published a book on the subject in the Artists Handbook series.
Armfield's principal subject matter was still life. Unusually, the backdrops were generally an infinite space, evoking sea or sky in such a way as to suggest the influence of surrealism. Reviews of his work on the exhibitions of the East Cornwall Society of Artists and Plymouth Arts Club in the 1940s and 1950s praised the skill of his tempera technique. The paintings included in his first STISA exhibition in 1950 attracted much favourable attention. In the summer of 1956 his solo show at Plymouth Arts Centre (opened by fellow Polperro resident Jack MERRIOTT) was highly praised.
In 1965 he opened a gallery on the quay in Looe. Between 1958 and 1970 he shot a series of films in and around Looe, some of which have been uploaded onto YouTube by Cornish Voices. In 1966 The Cornish Review was relaunched, and from then until 1970 Armfield was the portrait artist for the publication. In 1971 he held an exhibition at The Orangery, Saltram House, which was opened by Lady Trehane. In the same year he was involved in the renovation of the Jubilee Inn, Pelynt, creating an original design for its glazed circular staircase. The 1950s and 1960s marked the highest point of his career, with several exhibitions in the USA establishing a following there.
Plymouth Art Gallery held a major retrospective of his work in 1977. Two years later he moved there, converting a dilapidated building on the Barbican into a new studio and gallery.
He was born on 14 October 1860 at Clayton, nr Bradford, West Yorkshire. His specialty was in flower painting. From 1892, a Newlyn address (Gwavas Terrace) is given for the artist, but no records exist for exhibiting work locally. By 1896 he was living at 14 Alverton Terrace, Penzance, but disappeared from the general lists of artists thereafter. He died in Hounslow, London (GRO).
Catherine Armitage was born in Surbiton, Surrey and is married to the artist Paul FEILER. She studied at the Slade School of Fine Art at both undergraduate and postgraduate levels. She has exhibited in Paris, Germany and the USA in solo and mixed shows.
In Cornwall she has exhibited in various mixed shows, but also solo at the Salt House Gallery, St Ives and in the Jamieson Library of Women's History series in the 1990s. She has been a long-time member of the NSA.
Her studio at Newlyn/Paul is the original Newlyn school studio of Elizabeth Adela FORBES.
Armitage works from a studio set on a working farm near Lamorna. His work has been exhibited at Rainday Gallery, Penzance.
Born in Penge, London, she studied at the Slade School from 1912 to 1914, also in Karlsruhe, Germany. Her move to Cornwall in 1921 was to start working (briefly) with Stanhope FORBES. She was influenced by Algernon Mayow TALMAGE to paint in oil because he thought she was so bad at watercolours. She went on to develop an individual style of still life in the 1930s, and still later, under the influence of Ben NICHOLSON, this developed into an abstract style.
She married Henry Armstrong, a civil servant, and moved to Carbis Bay in 1921 whilst maintaining studio initially at 1 Piazza Studios, then at 9 Porthmeor Studios, St Ives. In their early days there, she and Henry acquired Rose Cottage, the former home of writers Edith and Havelock Ellis, which was to become their permanent residence.
At the March Show Day in St Ives (1924) she exhibited posters, book illustrations and a flower and fruit study. As Shearer Armstrong she exhibited regularly at the RA and also at the Royal Scottish Academy. Through her friendship with Mary PEARCE and her interest in the paintings of Bryan PEARCE she was to be the conduit for Pearce's first major show of work in 1959 (25 paintings) at the Scottish Gallery in Edinburgh, where he shared a three-person show with Armstrong and the St Ives artist Guy WORSDELL.
From 1926 she also exhibited at Newlyn, and in later years she gave art classes to the residents at St Teresa's Cheshire Home, Marazion. At this later stage she returned to a more traditional style of floral painting, of which there is an example in the permanent collection of the HYPATIA TRUST.
Born in Hastings, Sussex, John was the third son of a clergyman, and his early years were spent in West Dean, near Goodwood. He studied law at St John's College, Oxford and then St John's Wood School of Art in London before and after the 1914-18 war, enlisting in the Royal Field Artillery during the conflict. During WWII he was an Official War Artist.
In 1945, Armstrong moved to Oriental Cottage, Lamorna in Cornwall, which was a cottage belonging to his second wife, Veronica Sibthorpe. He remained engaged in painting surrealist murals for the London stage which he had been successful with, both for stage and film. Special friends were Elsa Lanchester and Charles Laughton.
In Cornwall he joined with John TUNNARD, Peter LANYON and others irritated by the division of art into categories of figurative and non-figurative by the Penwith Society, and began to show his work at NAG, becoming a re-invigorating force within the NSA which they all joined. Armstrong served on the organising Committee of the Newlyn Society of Artists until 1955 when he resigned from both the Society and the Committee, due to leaving Cornwall.
In the early 1950s when Armstrong had been commissioned to paint the ceiling mural for the Bristol Council House, he did this work on canvas in the lower front room of NAG (where administration offices are today) which he contracted to rent for a year (1954). The canvas was so large that it had to be wound around three giant rollers, from which it was unwound as needed and painted a section at a time. An assistant for the year was a young woman named Mary COLLETT, who has continued as a painter in her own right. Later the canvas was 'marouflayed' (stuck) to the Council House ceiling where it remains.
In 1955 he returned to London, divorcing from Sibthorpe, remarrying thereafter to this third wife, Annette. Armstrong was made an Associate of the RA in 1966. He also painted murals for the Royal Marsden Hospital. Precise but muted in colour, his symbolist qualities are keynotes of his style, and always his work was abstract, upon occasion surrealist.
In 1989, a painting by John Armstrong, from the Permanent Collection of NAG, Veronica as Harlequin, was chosen for the Cornwall County Council Exhibition, 'A Century of Art in Cornwall 1889-1989' in which 140 paintings executed in Cornwall over the 100 year period were shown. The painting had been given to NAG by Frankie FREETH, another artist who had served with Armstrong on the NAG committee, and a close friend and partner to his ex-wife Veronica.
Mentioned in Whybrow's 1921-39 list of artists in and around St Ives.
Joe Armstrong grew up in London and was a student at Epsom School of Art & Design for five years. After working in advertising in London, Joe moved to Cornwall in 1986, and has worked as a self-employed graphic designer ever since. He now paints professionally full-time. He has led workshops at Truro Arts Company (2018).
His work has been exhibited throughout Cornwall.
Hermina Arndt (known as Mina) was born on 18 April 1885 at Thurlby Domain, the family property near Arrowtown, New Zealand. Early in 1907, following the example of artists such as Edith COLLIER, she left for London with her mother and her two sisters. There she attended art school where her teachers included Frank BRANGWYN. She may have attended classes at the Slade. With German printmaker, Hermann Struck, she studied etching in Berlin, first in 1907, as Arndt had family ties there and spoke German, while many of her compatriots were studying in Paris. In late 1907 or early 1908 she joined the FORBES SCHOOL in Newlyn, Cornwall. Here, she met the Samuel John Lamorna BIRCH family, Harold KNIGHT, Laura KNIGHT and others in the NAG circle. She shared the Newlyn School's interest in depicting peasants, and her portraits of Cornish peasant women from that time echo the Cornish work of Edith Marion Collier.
Arndt exhibited two works at NAG in Newlyn (March 1914) just before the Gallery closed for the duration of WWI [no record]. She was back in Germany by August that year and when WWI was declared she and her sister Edith were briefly interned, then released as part of an exchange of women prisoners. After returning to New Zealand in 1914 Arndt lived in Wellington, renting a studio. In 1915 she exhibited 93 of her European drawings, oils and etchings to mixed reviews. She married Lionel Manoy, a widower, in a Jewish ceremony in Wellington (1917). They had one son, John.
In 1924 she was awarded a medal at the British Empire Exhibition, Wembley. Following her death, Arndt was largely ignored until the 1960s when her place in New Zealand art gained further recognition. In 1960 her son and stepdaughter initiated a retrospective exhibition at the Bishop Suter Art Gallery in Nelson, and in 1961 the New Zealand Academy of Fine Arts held a retrospective exhibition in Wellington. Since then an interest in women artists and the development of modernism in New Zealand art have contributed to an increased awareness and appreciation of her art. Her work is represented in private collections and galleries in New Zealand, and in galleries in England, Australia and France.
Born in Penzance, Cornwall, the artist appears on a List of Illinois Artists. He died in Buffalo, New York. No other details currently available.
Cindy Arscott is a freelance illustrator who studied at Plymouth College of Art and Design. She lives in Millbrook in east Cornwall.
Established at Falmouth in 1852 ‘in connection with the Polytechnic’ (RCPS).
Its aim was to promote the sales of both pictures and photographs. In relation to the Annual Arts Exhibition sponsored by the RCPS, the Art Union was responsible for the presentation of the Medals and Prizes to the outstanding artists, draughtsmen and craft workers, the finance for which came from friends and subscribers.
Artists from Newlyn (and throughout Cornwall) exhibited and entered their paintings and sculpture in the annual shows of work in Falmouth. Periodically, the Art Union sponsored its annual exhibitions around the county. One example was in September of 1887, when the exhibition was held in Penzance at the Art School and Museum. Some artists, such as Norman GARSTIN and others also acted as judges and sometime invited speakers to events sponsored by the Art Union.