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Waddington was born in Buckinghamshire, and moved with his family to Cornwall in 1971. His foundation work in art was at the Falmouth College of Art (1978-9) and his degree from Dyfed College of Art.

He taught O and A level art in Braintree, Essex and worked on Roman and Iron Age archeological sites before moving back to Cornwall in 1983. Since that time he has exhibited widely and become well know for his paintings and woodcuts often employing a favoured motif, the crow. He also creates sculptures from found objects.

Cathy WADE

Wade graduated from Falmouth College of Art in 1992, and then went to work as a ward orderly in Sheffield, Yorkshire.  From this working experience she is able to 'draw reference from the biological body, cellular structure, chemical properties and the periodic table' (artist's statement: Falmouth 2000).

Current to 2000 she was continuing research into painting and installations, studying for the Integrated MA Degree at Falmouth, alongside teaching part time at Cornwall College (in Art History and Art Practice).

An update on her work would be welcome.

Karen WADE

An art student at Falmouth College of Art, Karen Wade went on to work at Exeter Museum, and as a graphic artist.  She lives in Cornwall with her husband and two children. Her paintings are inspired by the landscape of Cornwall.  While abstract, they possess a sculptural quality and have been praised for their 'poetic sensibility'.  She has been represented by several commercial galleries in Cornwall, exhibiting also in London, Oxfordshire and Warwickshire. For further information see http://karenwade.com/ 



Wadsworth was born in Great Yarmouth, and undertook his art studies at Ipswich College of Arts (Art and Design) and then at Falmouth College of Art (Fine Art).

Paul's work is well represented on the web, where images of his paintings are available. He has exhibited extensively and travelled widely (especially in the Middle East)  to produce an impressive body of work. Paul works from studios in Trewidden Gardens, Penzance and Porthtowan, and paints abstracted images from the landscape and seascape around him.

He teaches the three-day Expressive Painting course at the Newlyn School of Art in Chywoone Hill, Newlyn, and is also a tutor on the School's weekly Life Drawing evening sessions.



Pupil of John Anthony PARK, who at the age of 17 arrived in St Ives to become a full-time resident student in 1924. 

Born in Wiesbaden, Germany of a German father, Max Wagner, and an English-born German mother, Julie Lange, Gerard was the youngest of three sons. His father, always in delicate health though a successful and wealthy entrepreneur in metal manufactory, died when Gerard was two. The family was brought back to Britain when he was six, to be near his mother's family and to be educated in England. Altogether a highly cultured family, the Wagners were musical, attended the theatre and filled their home with art. A favoured painter of works hanging at home was the post-impressionist John Anthony Park, and contact was made through family friends, Edgar SKINNER and his wife Edith, who lived in St Ives.

His recent biographer and former pupil, Caroline Chanter, tells 'The language of colour was to become Gerard Wagner's chief interest along with a strong desire to decipher it...John Park felt he could teach his pupils most things about art but a feeling for colour was something each had to discover for themselves.' [Quoting from Austen Wormleighton, Morning Tide]  His friendship with John and Peggy Park was close, and he became part of their family for the year that he stayed in St Ives, and always thereafter. A high-point of that time was a sketching tour that Gerard took with the Parks in and around St Tropez in Provence in the spring of 1925.

Through the good offices of Bernard LEACH, arrangements were made with William Rothenstein at the Royal College of Art in London, for Gerard to work on his drawing skills from later that same year. From there he was to move on to Dornach, in the Jura mountains of Switzerland.  It was the summer of 1926, and Rudolph Steiner  who had established his colony there, had died the previous year.  Helping to sustain and extend the work of this artist and educationalist, Gerard Wagner set up his own artist's studio in the village and was to remain for many years, working on his own and attending events at the 'Goetheanum' (the name given by Steiner to his establishment). He was to cultivate a great interest in plants and trees, working with natural images fused with colour.

The artist married Elizabeth Koch, his first full time pupil and sculptor in her own right.  The two were to travel widely and run their own school of art in Dornach with workshops held internationally.

Chanter's monograph treats of Wagner's life and work with great sensitivity and is to be recommended. She now lives in Dornach and teaches at a painting school near the Goetheanum.


Katrina Wagstaff qualified as a furniture designer at the London College of Furniture. In 1990 she moved to Cornwall to study ceramics and to train as a welder. While teaching 'A' Level Design & Technology at St Austell College, she met her future husband, Terence WAGSTAFF. The couple embarked on an artistic collaboration, designing and making decorative metal products. This developed into the creation of copper lattice sculptures representing the human torso. Their work centres around the concept of falling leaves, in a unique interpretation of the inherent beauty of nature.

Their sculptures, which are made from recycled copper, have been exhibited at the Harbour Gallery, Portscatho.


An engineer and lecturer by profession, Terence Wagstaff returned to his roots in Cornwall in 1982. A meeting with Katrina in 1990 (who subsequently became his wife) led to an artistic collaboration. The couple combined their skills, designing and making decorative metal products. This developed into the creation of copper lattice sculptures representing the human torso. Terence and Katrina WAGSTAFF's work centres around the concept of falling leaves, in a unique interpretation of the inherent beauty of nature.

Their sculptures, which are made from recycled copper, have been exhibited at the Harbour Gallery, Portscatho.



A new correspondent (2011) has given us a wonderful insight into the person of Vera S Wainwright, and we include an edited version of this.  The whole memoire has been added to our files. 

' I was brought up to call her "Aunt Vera", but her association was with my father whom she always addressed as "DHOST". She became in fact my "Godmother", and persuaded my father to educate me in my early years in the Roman Catholic Faith. As I neared graduation in medicine she urged that I become a "Missionary Physician", obliging my reading in missionary works in Africa, and especially the work of  Albert Schweitzer. 

 I keep three oil paintings made by Vera in Cornwall in my collections. One is a small seascape of the Cornish Coast;  two are somewhat larger works - one a pastoral scene to which I am much  attached. Vera also had a spinning wheel and often engaged in making small handicraft works = ties; scarves, and such. I have still a tie made on her spinning wheel. I am 84 now and it is not likely that I shall publish any autobiographical writing. I have been away from England since 1949, and now seldom travel back to Cornwall or the West country.  As I knew her she was perhaps one of the most kind and gentle persons I have known; empathic, supportive, understanding, with a rare spiritual quality.'

Vera Wainwright exhibited two paintings, both of Devon scenes, at the 1937 exhibitions at the Newlyn Art Gallery. In 1969, poems by Vera were published in book form with the title, Poems and Masks.



Born in Birmingham on 27 June 1855, he was educated at Sedgley Park College (nr Wolverhampton) till he left at the age of 14: first apprenticed to John Hardman & Co - artworkers primarily in stained glass design. Very soon, he was executing  most of the design for the firm and was responsible for windows in the north aisle of St Paul's and designs for St Mary's in Coventry.

Noticing William's great interest in painting, the company released him with regret (in 1880) and supported his further study by sending him to study painting in Antwerp under Verlat. From Antwerp he went on to Paris in 1881 where he remained absorbed until 1884. Returning to London, he shared a studio with his friends William Arthur BREAKSPEARE and Walter Jenks MORGAN, and after some months of casting around for new painting grounds, with encouragement from Walter LANGLEY, Edwin HARRIS and Charles Napier HEMY, he settled on Newlyn.

He is one of the painters in the 1884 Group Photograph of the 'brotherhood of the palette' at Newlyn. Here he painted Mackerel in the Bay, a large water colour, Ferdinand and Miranda (another watercolour, inspired by Shakespeare's The Tempest) and an oil portrait, The Burgomaster. He much enjoyed living and working in Newlyn, although the brightness of the sunlight directly affected his eyesight (causing increasing loss of sight in one eye), and having made his mark in the plein-air style, he discovered he preferred figure painting in his studio. 

In 1886 he returned permanently to live in Birmingham.  His mother, who had devotedly inspired him all his life, died in 1888, and he married in 1890, Bertha Mary Powell; eight children (two daughters who died young, and six sons) were born to them. He was one of the founding members of the Birmingham Art Circle, that group which laughingly claimed (perhaps rightly) that 'Birmingham had discovered Newlyn as a painterly place,' and their fortnightly meetings in each other's studios were a great source of friendship and inspiration. The Turner collation of letters, sketchbooks, coloured plates and essays, presents a life well spent in art. Wainwright died on 1 August, 1931, age 76 in Birmingham (GRO).



Born at Banstead, Surrey in 1877, Annie was the second daughter of Paul Bradshaw Fearon and his wife Edith Jane, nee Duffield, and the older sister of Hilda FEARON, born the following year. [The incorrect date of 1888 is sometimes found for Annie, but this was probably her baptismal date when she and the other children were baptised all together at a later date.* See Misc] Her father was a wine merchant in the West End of London and the family today would be described as well-to-do, the family's four girls and their brother being looked after by five residential servants. 

Annie and Hilda were not only close in age but appeared to have had a close relationship throughout their lives. Annie's early education was at the Cheltenham Ladies College, where her artistic leanings were first discovered. She went on to study art at the Chelsea and London Schools of Art.  During these years she studied under Sir William Nicholson (1872-1940), Augustus JOHN (1878-1961) and Sir William Orpen (1878-1931). Meantime Hilda attended the Slade, and the two travelled to Dresden for further studies. Annie's interest at that stage was music and the pianoforte, while Hilda pursued art training.

Annie is said to have decided to follow Hilda to St Ives (c1902-4) in order to continue her training as an artist. Hilda is first recorded in St Ives during August 1900, initially living at 'The Cabin' and studying under Algernon and Gertrude Talmage. Annie met her future husband, the Rev Bernard Walke (1874-1941), who was then a curate in St Ives. In 1904 'Ber' Walke (as he was known), a popular and evangelical high churchman, whose father before him had also been an Anglican priest in West Cornwall, moved on to a curacy in Polruan. Before their marriage, and perhaps about the same time as her sister Hilda left St Ives to move to London, Annie also moved to Polruan and established a studio in a sail loft overlooking the harbour.

The couple married in London in 1911, she approximately 34, and he at the age of 37, during his curacy at Polruan by Fowey. Two years later he became Vicar of St Hilary, near Marazion, immortalised in his autobiography, Twenty Years at St Hilary (1935), one of the books often referred to when researching artists in Cornwall. Walke invited Annie and a number of friends to decorate parts of the church interior, and these included Ernest PROCTER, Dod PROCTER, Roger Fry and Pog YGLESIAS among others. They had no children.

The two had many friends amongst the artists both in London and West Cornwall, and were introduced especially to the Lamorna crowd by Alfred James MUNNINGS. Laura KNIGHT described them, 'They were both long and thin, and Ber always wore dandy silk socks - he was not in the least like a parson to look at. A man with ideals that he lived up to-he was big - hearted enough to understand anyone and had it in him to enjoy vulgar fun as much as any. After we became intimate we often went to stay with the Walkes at St Hilary, as simple as any monastery in its furnishings.' Christopher Garrett, who has extensively researched the pair for a set of articles for the centennial of the time when the Walkes were resident in Polruan, has provided this material to the CAI, for research and study purposes. It includes a bibliography of her paintings, and writings, and family details of friendships with literary figures such as Walter de la Mare, and George Bernard Shaw.

The Walkes moved from St Hilary on retirement to The Battery, Mevagissey, and Ber died 25 June, 1941.  She lived on alone at Battery House until shortly before she died.  She rarely painted after 1950 but wrote poetry that was published in 1963. She died in 1965 age 88, and is buried in St Erth Churchyard, near St Hilary and Lelant, where Bernard was also buried 25 years earlier.