Name referred by Great Atlantic Map Works, St Just, as a painter-artist who exhibits with them. She was an Artist in Residence at Cape Cornwall over the years 2002-9, and now lives in Hereford.
Born in Nova Scotia of British parentage, she was the daughter of the Governor General of the province, A G Jones. She studied painting with Forshaw Day before marrying the landscape painter Hamlet BANNERMAN and coming to Europe with him. By 1891 they were living at Holbein, Alexandra Road, Penzance. She exhibited at both the RA and the RBA.
Her titles include Grandmother's Treasures (1891) and Edge of the Woods, both of which may have been painted in West Cornwall. Later she is reported as living in Great Marlow and in London, where she died.
Born in Marylebone, London, the 1891 Census lists him as an Artist Painter living in Penzance. Benezit notices only his work prior to this move to Cornwall, giving dates of fl 1879-81. By 1890 Bannerman and his wife were living in Great Marlow, Buckinghamshire. His style of social realism fitted well into the Newlyn style of story-telling paintings.
An oil painting of The Cathedral, Truro, executed in 1996, by this artist, is part of the collection housed by the Royal Cornwall Museum, Truro.
Hanna Barber grew up in north Yorkshire. After a career in nursing, she moved to Cornwall. where her love of the coast around Gwithian and St Ives finds expression in her paintings.
Born in Leicester, the artist is known to have worked in Birmingham and later in Chelsea, London. A Newlyn subject is found, dated 1884, by Bednar. Barber died in London on the 12 June, 1892, age 56 (GRO). His exhibition dates were given as 1880-89 (Graves). Tovey reports two of his paintings to be of St Ives subjects in his Study Day Notes (2006).
Portrait of a Boy (after John Opie) by Barber is part of the art collection at the Lawrence House Museum, Launceston.
He is listed as an Artist subscriber at NAG in 1920. No further information currently available.
Born in Edinburgh, he began work as an engraver, then became a student at the Royal Scottish Academy Schools in 1908, winning the Guthrie award (c1911) and a Carnegie Travelling Scholarship.
Barclay moved to Cornwall in 1935, living at Zennor, and was known for his decorative and mural paintings. "A sincere impressionist", French Impressionism was a great influence on him. He was a versatile artist, also producing woodcuts and book illustrations, and his work included landscapes, London parks, Cornish harbour and moor scenes.
Barclay rejoined STISA after WWII and was elected to its Council, becoming the Secretary in 1959 and retiring shortly before his death. When assisting Fuller at the St Ives School of Painting, he proved to be a kind critic and encouraging to newcomers.
Rachel Barclay was born in Falmouth and is known to have resided at Carenver, Stracey Road, Falmouth, in 1901. Earlier addresses include Helston, Carwinnion Cottage in Mawnan Smith, and Bideford (Devon). She had two sisters, Georgina and Isabella, the latter having been an art student.
Rachel first identified as an artist while staying in St Ives in 1911, and exhibited from then until 1916. She is known to have shown 98 paintings of gardens and landscapes at the Walker's Gallery, London.
According to the Falmouth Packet & Cornwall Advertiser, and the Royal Cornwall Gazette in September 1888, Rachel Barclay's ornamental flower designs were shown at the Royal Cornwall Polytechnic Society. She was also an accomplished needlework embroiderer, and her name is recorded in the Cornish Telegraph of September 1908 as having exhibited at the Royal Cornwall Polytechnic Society in Camborne.
The Barclay Home and School for Blind and Partially Sighted Girls was founded in Brighton in 1893 by Gertrude Campion, to provide industrial training for blind women. By 1905, there were nearly 40 residents.
The Barclay Workshops for Blind Women, a weaving industry, began in 1905 in premises in Praed St London in order to give employment to women trained in the Barclay Home in Brighton who wished to live in London. The Workshops occupied a number of premises before moving to 19-21 Crawford St in 1919. The Barclay Workshop was taken over by the London Association for the Blind in 1941. It is not known why or how these weavers came to be showing their work in Cornwall, or in what connection with the Newlyn Art Gallery.
Joseph Bard was an expatriate Hungarian writer known for a novel Shipwreck in Europe (1928) and short stories written in English, and as a literary editor. He settled in the United Kingdom where he was later known as Joseph Bard. His background was Jewish and Croatian. He was married to Dorothy Thompson from 1922 to 1927, and later married Eileen AGAR in 1940.
He was a friend and supporter of Ezra Pound, with whom he corresponded when Pound was confined to hospital. Recorded as staying at Lamb Creek, The Fal in 1937 in Surrealists in Cornwall (1937): gathered together were Roland PENROSE, Eileen AGAR & Joseph Bard, NUSCH & Paul ELUARD (whose wife Gala became the muse of Dali), Max ERNST and Lee MILLER (the photographer), Ady FIDELIN, Man RAY, Leonora CARRINGTON, and E L T MESENS.
Pip Barfield has lived in Cornwall since 2018, when she embarked on a BA in Fine Art at Falmouth University. Since graduating in 2022, she has exhibited her work widely in Cornwall.
A ceramicist based in Penzance, Katharine Barker creates abstract sculptural pieces which evoke coastal themes.
In 1977 she graduated from art school with a degree in Textiles and Fashion Design, and worked for most of her career in textile conservation. During this time she gained a BSc from the Open University. In 2013 she joined a ceramics class, later purchasing her own kiln. Currently she is developing a range of small ceramic sculptural pieces following coastal themes.
Her work has been widely shown in Cornwall and Warwickshire.
West Penwith subject. No further information available at present.
The artist moved to Newlyn in 1947 and remained six months before moving to nearby Zennor on the north coast. He returned to London at the end of 1948, and then moved to USA where he stayed 1949-53. In 1953 his address was Petworth, Sussex.
Born 25 May 1858 at Wolverhampton, the artist exhibited two paintings at Birmingham in a RBSA exhibition that indicates his having visited in Cornwall, possibly in 1895 (Bednar). These were Church Lane, Newlyn (1896) and The Lizard Point from Kynance (1897). He worked as a sub-postmaster in Birmingham, and subsequently died there on 19 May, 1911, age 53 (GRO).
Ben Barker is a ceramicist working from a pottery in Cusgarne, near Truro. His current work is mainly hand thrown, reduction fired porcelain, and is both functional and decorative.
Barker offers Raku workshops.
Worked in Porthleven during the period of the Summer Painting School administered by Michael CANNEY, and the Porthleven Group's exhibition at the Porthleven Gallery, an old china-clay warehouse on the quayside (c1965-6).
The Manchester-born artist, with a father of the same name, was one of five sons and three daughters. He trained in Paris (where he also exhibited at the Salon), Belgium and Holland. At the age of 24 with the intention of furthering his artistic studies in Rhode Island he sailed to America, where he also met his future wife, Elizabeth Johnson; he took out US citizenship in 1887. In 1891 he married Elizabeth Johnson, and the couple had two sons. The Barlows lived first at Holly Dale in Lamorna for a year, then at 9 Barnoon Terrace (1894-), Carrack Dhu (1898-) and 25, The Terrace (1901-1908) successively in St Ives (Tovey 2009, p42).
His style was to paint atmospheric landscapes in the Barbizon tradition, and was much influenced by Corot. He tutored many painters at Lamorna from 1893 - 1917, and partnered Louis GRIER in managing the St Ives School of Art. Amongst his pupils were Charles Walter SIMPSON and Charles Garstin COX. He continued to exhibit at the RA and the RWA till the end of his life. He died in Penzance.
A painter born in Colombo, Ceylon (Benezit). A recent correspondent (2014) has provided further information and retains a number of her paintings (in the family). She worked from the Puffin Studio, St Ives, in later life, and died in Bromley, Kent. Her strengths and interests were in marine paintings and landscapes.
Daniel Barnard is a sculptor and installation artist who works from Porthmeor studios in St Ives. His work involves 'reclaiming, empowering, re-inventing that which is thought to be disposable, not wanted, unsound or not deemed worthy'.
Barnes raised four children before turning her full attention to art. She studied at the Sidney Cooper School of Art, Canterbury, and at Heatherley's. In 1936 Garlick became a pupil of Walter Richard SICKERT in Thanet, Kent, and exhibited with him at Margate (Buckman). She moved to Cornwall an the outbreak of WWII, where she lived in Karenza Cottage, Hellesvean, St Ives and worked from The Loft Studio.
She was an active member of the NSA, and served on the Hanging Committee. Her interest in the arts, including those of the garden and poetry as well as painting, continued to the end of her life. Her twin sons, both strongly interested in the history of film-making, ran a Theatre Museum in St Ives for many years, and published books on the subject of Victorian Cinema.
Monica and her husband Des Barnes moved from London to Cornwall in the 1950s. In her obituary it is noted that the couple settled in Marazion, where Des was a cabinet maker, and Monica a teacher and artist. They had one daughter, Joanna. Special mention is made in her obituaries of her interest in gardens and natural history, and her known paintings are landscape in subject.
A recent correspondent from the Netherlands (2011) has written of a gouache painting purchased in Cornwall in 1977 at a charity auction, which they have taken home with them as a much-enjoyed and lovely memory of Cornwall - early evening around Venton Farm in West Cornwall.
A painting by this artist, Ludgvan from Marazion (oil on board, signed), was donated to the Charity Auction to establish the WCAA in 2004.
[Review in Cornishman] 'PHOTOGRAPHY AND THE MAGIC LANTERN' being the title of a popular Lecture by Barnett: 'Mr A K Barnett's lecture on photography, on Monday evening at the Penzance Institute was well attended, and enjoyed by all present.
'The lecturer first traced, the historic development of the art from the time when the crude negatives were framed on account of sensitized paper not having then been invented. Some most excellent illustrations of the perfection to which the "black art" has been brought were afforded by numerous photographs of outdoor scenes and figure studies hung on the walls, the work of the lecturer, who is an enthusiastic amateur. Mr Barnett then photographed one of the audience, and developed the picture, but owing to the rapidity of the manipulation it was not as great a success as he wished.
'The most interesting part of the lecture was that illustrated by magic-lantern photos thrown on a screen. These were brought out most distinctly, and many were scenes familiar to those present. For the sake of contrast Mr Barnett threw a couple of pictures of the old cast-iron attitude stamp upon the curtain. The subjects with crossed legs and arms bent in triangular shape, looked more like wooden blocks than human beings. The lecturer said it was a custom for the amateur photographer to include his friend with a silk hat and walking stick in the picture of some delightful sylvan scene, thereby ruining the entire effect. Only the most rustic figures should be included. He then showed the opposite to the foregoing pictures, in the shape of a group of children with a lovely rural background, the attitudes being most natural. Some instantaneous pictures were effectively reproduced and the lecturer showed how these were sometimes not the most artistic and natural to our eyes because the minute emotions are caught by the camera in a hundredth part of a second, whereas the eye can, only catch the general effect in a longer space of time. He deprecated the use of photography, which brought the art into disrepute, by unskilled men bringing out the feet larger than the balance of an individual's body by bad posturing. The lecture closed with a hearty vote-of-thanks, proposed by Mr George B Millett.'
The artist was born into a wealthy family in St Andrews, Fife, Scotland. Much against parental wishes she decided to study art. From 1932-37 she attended the Edinburgh College of Art, establishing her own studio there until taking up an Andrew Grant Travelling Fellowship, first arriving in St Ives on 10th March 1940. From that time until her death, her working year was divided between times in St Andrews and St Ives, maintaining home and studio in each place, and travels abroad on painting trips with companions.
Her close circle of artist friends locally included Norman GARSTIN (of Edinburgh originally), Borlase SMART, Barbara HEPWORTH, Ben NICHOLSON, Bryan WYNTER, Guido MORRIS and Naum GABO amongst others in the modernist camp. Willie was a member of the CRYPT GROUP who exhibited work not found acceptable to the more traditional members of the St Ives Society of Artists, and therefore they could only obtain the crypt of the Society's Gallery, situated in a former church.
In 1949 she married the writer David Lewis (dissolved 1963), who later determined to train as an architect at Leeds School of Architecture. For one year (1956-7) Willie took up a teaching post at Leeds School of Art, at the end of which contract she returned to St Ives, living separately from Lewis from that time. Her work grew in abstraction the longer she lived, and her artist statement from her biography defines that stand: 'Abstraction is a refinement and greater discipline to the idea: truth to the medium perfects the idea.'
Willie held strong opinions about the difficulties of women artists 'in a man's world' and frequently complained of being overlooked and crowded-out by male artists with large egos (and often, in her words, of lesser talent). In later life, she relied heavily on her companion and friend, Rowan James, as driver, cook, and framer of her work, as these were everyday nuisances which she had never learned (nor wanted) to do.
Though ultimately her achievements in draftsmanship, colour and form were increasingly recognised, and with this progress her forthright confidence grew, it seemed often to be never enough to satisfy Willie's need for recognition. Both the award of the CBE for her services to art, and her four Honorary doctorates late in life, at St Andrews, Falmouth College of Art, Plymouth University, and Herriot Watt, Edinburgh, gave her great pleasure; Dr Willie was an active and generous patron and member of the Hypatia Trust (1996-2004). In her will she framed the plans for the Barns Graham Memorial Trust, which operates from her former home at Balmungo, St Andrews, Scotland. It is set up to preserve her work, but also to provide working studio space and financial aid for young artists. The Trust can be contacted at: www.barns-grahamtrust.org.uk .
Ben Barrell is a sculptor based in Falmouth. As a child living near Bude, he began working with plaster and concrete casts, and an early love of sailing and surfing fuelled his creativity. A breakthrough came with the commissioning of pebble seats for a show garden at the Chelsea Flower Show. The material he uses is a unique mix of concrete and Cornish granite, resulting in an almost mirror-like tactile finish. Since then his pieces have been shown at Tremenheere Sculpture Gardens. His 'Wave' sculpture can be seen at the St Moritz Hotel in north Cornwall, and the Godolphin Arms in Marazion.
Barrell's work has been commissioned for projects all over the world and includes monumental sculptures for public places, bespoke work for private gardens, and exquisite bronzes for interior spaces.