Julian Christophers was born in west Cornwall. He has been creating art in Cornwall since 1982. Today he lives and works in Penryn. He is a painter in the naive tradition, best known for his pictures of trawlers from Newlyn, Falmouth and Fowey. His work is represented by the Tyler Gallery in Mousehole.
Anne WATSON was born in India, and was married in 1958 to the artist John Christopherson, who died in 1996. During their working life they lived in Blackheath and in Greenwich, later returning to Blackheath. These locations provided subject matter for many of their paintings.
The couple, aside from being artists themselves, were collectors of modern art, especially 1950s/60s works by St Ives artists. Since John was of Cornish ancestry, they regularly visited St Ives, which had an influence on their art practice.
Donations from their collections have been made to both Tate Modern and Tate St Ives. Mrs Christopherson, now retired, lives at Portscatho on the Roseland in Cornwall.
Anne was especially known and admired for her paintings, 'riverscapes' of the Thames and Greenwich, depicting the early industrial scenes of the Isle of Dogs, and the river transport carrying cargo to and fro. Some of her works can be found in auction houses today.
In 2010 paintings from their collection by Peter LANYON and by Alfred WALLIS were featured on the popular BBC1 Antiques Roadshow (May 2). Previously one of Anne's own paintings had been taken along to a programme in the series held at Greenwich, and it had been valued highly.
The Road to Higher Bal (1967) is the title of a painting by this artist, which is held in the collection of the St Agnes Museum, Cornwall.
The artist is listed as a member of NSA (2010). From internet searches it is clear that she has been working in the area for a few years, and has a well-rounded body of work including sculpture, installation, drawing and paintings. Her work has been shown at the Salt Gallery, Hayle, and on-line in the Art Cornwall Magazine (Rupert WHITE, editor), and also at Badcock's Gallery, Newlyn, prior to its recent closure on site (still operational on-line).
She has taken part in a number of mixed shows with the NSA.
New work by this artist was included in the 2009 exhibition at the Leach Pottery, St Ives, entitled 'The Flower Show' which focussed on ceramic vessels for the art of flower display.
One early rudimentary school, where drawing was taught, was run by a certain Betsy Clancey, who is mentioned as having held classes in a room off Queens Square, Penzance, during Napoleonic times. More information is needed.
Born in Zululand, Natal, South Africa, Arderne and his siblings returned to England at an early age with their mother after abandonment by his father. Educated at Rugby School (1896-1899), he entered Exeter College, Oxford in 1901. From there he went on to study art in Paris, and under Frank BRANGWYN, who possibly helped him establish his links with St Ives, though this was not until much later.
He also went on a 'Grand Tour', enhancing his art education and developing a love of travel. Between 1908 and 1912 he exhibited various eastern scenes, although he was based in Kensington. In WWI he served in France as a 'sharp shooter'. Although he painted in all media, he was particularly known for his etchings, watercolours and portraits. He married twice, firstly just after WWI, settling in Sandbanks in Dorset, and secondly in 1938 when he and his second wife, Valerie, settled in Salisbury.
His association with Cornwall was through joining STISA in 1936 and taking part in summer shows and touring shows (1936,1945) in St Ives. Whether or not he established a studio or temporary home in St Ives is not known currently. The greatest amount of detail, and a black & white print of Valerie Feeding the Geese can be found in Tovey (2003) p210. The photograph was provided by a step-grand-daughter, Nicola Tilley, a member of STISA at time of publication.
Mentioned in Whybrow's 1921-39 list of artists in and around St Ives. Further information required.
John was born in New Cross, London, and studied at the Woolwich Art School, the Camberwell School of Art and the London School of Printing. He arrived in St Ives in 1965, and has remained since, collaborating with Roger HILTON on his book Night Letters (1979). His attitude is one of independence from mainstream groups and styles, and prefers an eclectic approach to art, with mixed media and found objects being incorporated in his pieces.
He continues to exhibit in St Ives in group shows and at the Belgrave Gallery.
Paul Clark moved to Cornwall in the 1980's and worked as a picture framer for an art shop in Truro. He now has his working studio at his gallery in Charlestown which he owns with his partner Liz HACKNEY.
Before moving to Cornwall, he studied illustration at the Bournville College of Art. He has exhibited his paintings in a number of galleries in Cornwall, showing his distinctive 'naive' work based on Cornish harbours. In recent years he has also been showing his work at a gallery in Cirencester, concentrating on the market days and the architecture of that town. His work has been purchased by private buyers from Kuwait, USA, Australia and Europe.
Martin Clark grew up in Devon but moved to Cornwall, the home of his maternal ancestors, in 1975. His career path has included a wide range of teaching roles including that of art teacher, art therapist, and the training of leadership consultants.
Since 2006 Clark has dedicated himself to the development of his art practice.
His work has been exhibited widely in Devon and Paris and is held in private collections in the UK and abroad.
Amongst the students who had their works accepted for the Art Class Teachers' Certificate in Cork, Ireland 1891, was Lizzie Clarke, who went on to exhibit views of the Cork coastline at the RHA from 1894 until 1905. She then moved to St Ives in Cornwall. No further information is currently available.
Lesley Clarke is married to Norman Stuart CLARKE. Like her husband she is a glassblower. She was born in St Ives and has exhibited at the Waterside Gallery in St Mawes.
Born in Essex, the artist gained a BA(Hons) degree in glass and ceramics at Middlesex Polytechnic (1976). In the early 1980s, Norman Stuart Clarke and his family moved from London to West Cornwall. He had been working with the glass-blowing studios of Peter Leyton and others in the East End.
His first studio was established at Praze an Beeble near Camborne, where he set up his kilns, demonstrated his work on open days and exhibited his beautifully blown and coloured art glass. The beautiful effects he was able to achieve reminded of Tiffany and beyond into creations avidly collected by aficionados of handmade-blown glass, vases, bowls, paperweights and sculptures. By the 1990s Clark moved his studio to nearby St Erth, turning out an impressive volume of work, and taking student-apprentices.
He was always generous in his willingness to display the techniques he employed, and also in his gifts to charitable auctions and sales of work. Norman left Cornwall in 2004 to live and work in France, and since that time has moved again, the latest notice being Romania.
Lady Edna Clarke Hall has a work in the permanent collection at the Falmouth Art Gallery entitled 'Denis and Laura BOWDEN, Gillan Creek', which is a watercolour and pencil, 31 x 26 cms. and depicts a girl with her young brother from a rear (lying) view as if the children are reading something together, in the sun and sand. You will find it on the net at FAMAG 2006.37 (http://fag.looksystems.net/Collection/2006.37).
In 2006, an exhibition of her watercolours, entitled 'Cornish Summers at Gillan Creek 1915-1925' was held at Abbott and Holder, 30 Museum Street, London. The entire exhibition is recorded on line at www.duffdoodles.com/clarkehall06/clarkehall.html
In 1853 this artist painted an oil on canvas view of St Michael's Mount (18 x 32 inches), a dramatic seascape in stormy weather, clearly demonstrating Turner's influence. No further information available, but this appears to be the same artist (listed separately) as Clarkson STANFIELD, a name he may have used alternatively.
Born in London, the son of a Danish painter and sculptor, Clausen attended evening classes at the South Kensington Schools whilst training with a firm of decorators by day, and did not become a full time painter until 1871, when he acted as assistant to the painter Edwin Long.
In 1882, Clausen was painting in Quimperle at the same time as Stanhope FORBES, and like many others was much impressed by Bastien-Lepage, who he met and about whom he wrote. He was also much influenced by his work with the Hague School. In 1886, Clausen was one of the 'discontents' [fed-up with the fustiness and in-crowd at the RA] who, including several of the Newlyn colony, joined together to create the New English Art Club. The Chantrey Bequest purchased his work The Girl at the Gate (1889) for the Nation, marking the highpoint of Bastien-Lepage's influence upon him.
'A much younger [than Frederic LEIGHTON] but still eminent artist who is not of the Newlyn School sent 3 small pictures to the opening exhibition of NAG in 1895, two being works and studies of a boy and girl, charming, fresh, pure, as far removed as possible from conventional insipidity, and the third, Study of sky, an artists' picture, seemingly painted under the influence of Moré.' (Hardie 1995)
He expanded his repertoire, allowing for new influences and directions, continuing with rustic subjects but tackling larger scale work, murals and latterly moving strongly into watercolours. In the post-WWI poster art revival for the rejuvenation of the London Underground and railways, Clausen, along with Samuel John Lamorna BIRCH and Cayley ROBINSON, contributed designs and landscape art for advertising hoardings and other popular presentations. He became Master and Professor of Painting at the RA Schools.
The artist was born near Bilston, Staffordshire and married Louis Augustus SARGENT. They lived at Tallandside, St Ives, and her portrait in miniature was painted by Mabel Maud DOUGLAS and displayed at the St Ives Show Day of 1920. Otherwise it is known that she exhibited at the RA (8) and also in shows at the Society of Women Artists. She maintained a sending-in address in London during the decade in which she showed her work.
A pupil of the FORBES SCHOOL in 1927. This is not Katherine Evelyn Clayton as suggested previously, as by this year KE was already married to Louis Sargent and living elsewhere.
Addresses for this artist are listed by Johnson & Greutzner as in Liverpool (1891 and 1916), Cemaes Bay, Anglesea (1907) and Wallasey, Cheshire (1928). It appears that a primary exhibition location was Liverpool where he showed work on 42 occasions.
A watercolour by Clayton titled Newlyn was found for sale at Elford Fine Art, Tavistock in 2005. But no information as yet is found for time spent in Cornwall.
Caroline Cleave lives in Port Isaac. Her popular designs, based on themes of sustainable fishing, coast and countryside, are licensed by Emma Ball and distributed nationally.
Beach Scene (acrylic on canvas), an abstract painting of the sea and horizon by this artist, is part of the collection at the Royal Cornwall Hospital.
Margritt Clegg was born in Bremen, Germany and moved to the UK in 1965. During the 1980s she obtained degrees in Fine Art and Printmaking from the Wimbledon School of Art and moved to St Ives in 1994.
She has exhibited widely, including the Royal Academy Summer Exhibition. Local exhibiting venues have included the Rainyday Gallery in Penzance and the Millennium Gallery in St Ives. Her work has been featured in various publications including 'Another View : Art in St Ives' by Marion Whybrow.
Her work, St Ives, Cornwall, is mentioned by F Ruhrmund in his review of the 2011 NSA exhibition, 'Uncharted Landscapes', held at the Mariners' chapel gallery, St Ives.
The artist is listed as a member of NSA (2009 list). She was selected as an exhibitor for the 2010 Open Art Exhibition, which launched the 4th annual Newlyn Arts Festival.