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Born and brought up in Sunderland, it was there that he attended the College of Art, and met his future wife, Patricia. He was also the brother of the artist Eric SCOTT.

A familiar and much-missed figure of the Penzance arts community, Colin kept his studio in the town centre, close by the Penzance School of Art in which he taught and inspired hundreds of students through the years. His prodigious talent meant that he could create paintings in all genres, and excelled in all. His encouragement to pupils was legendary, and at the Penzance Arts Club, and the Penzance School of English (where he also tutored for many years) his talents as a teacher were always noted and appreciated.

For some years he was a principal partner in the artists' exhibiting circle at the Victoria Studios. He also exhibited at Rainyday Gallery, Penzance.

Gunnis notes that his tablets are carefully carved and carried out. Examples of his work include those commemorating James Pascoe 1813 and Philothea Thompson 1825, at Gulval; William Nicholls 1815 at Madron; Mary Harrison 1820 and John Rogers 1821 at Helston.

There are dates for a John Scott (1802-1885) who may have been the artist who painted the 19th century image of Lanyon Cromlech near Penzance.  However that John Scott was born and died in South Shields, and worked there most of his life.  He was known as a landscape and marine painter who specialised in sailing ships.  However he may also have sailed in these and painted on lands where he stepped ashore.  Lanyon Quoit is the name of this assemblage of stones in the present day, and the relative formality of the title given to the painting indicates this John Scott was probably a visitor.

Nevertheless, this is only conjecture, as the painting as seen gives no other clues except the signature and title written verso. Alternatively the artist may have been a talented amateur with that fairly common name.

See May DAVIS