A pupil of the FORBES SCHOOL in 1936.

Tony Worthington has exhibited his raku ceramics at Waterside Gallery, St Mawes.

Bobby Wotnot is an abstract artist and musician who moved to St Ives in 2010. He has worked as an Adult Education tutor in art and guitar, and is a member of the Barnoon Workshop in St Ives. He is a regular exhibitor at STISA open exhibitions.

The artist was born near Manchester and studied at the Sheffield School of Art from 1916. 

His initial work in London was in illustrating for magazines from 1923, but in 1924 according to biographer Judy Brook, he was living in Polperro, Cornwall in the home of the publishing house for which he was working in return for board and lodging. The illustrations that he was producing, at this time, were for postcards that have come to be known as CORNISH LITANY POSTCARDS.  The distinguishing feature of this 'tourist art cards' is that they carry the following legend: 'From Ghoulies & Ghosties/And long-leggetty beasties/And things that go bump in the night/Good Lord deliver us!'

Why this ditty is connected to Cornwall is unknown, and similar ditties are found in Devon and Scotland and other West Country destinations on boxes, cups and other artefacts. The illustrations are of beastly images, goblins and other endearing though outlandish figures, perhaps referencing some old Celtic horror stories, a bedtime prayer or moral tales for children. Other known illustrators of this postcard genre was one Stanley T CHAPLIN, about whom nothing is known, and the Polperro artist and historian Alice C BIZLEY (nee Butler).

A recent article in the Postcard World Magazine, Nov/Dec 2011 explores the topic of the craft community in Polperro in the 1920s. 'The Cornish Litany is referred to as one of their first and best selling items. The publication boasted of the artwork of Arthur Wragg in their souvenir line of pokerwork and postcards.'  It appears, however, that the success of the Frederick Thomas Nettleinghame venture (he the publisher) was fairly shortlived as his business as an art dealer, carried on at the Scala Hall, Torquay, Devon and The House on the Props, Polperro were in receipt of bankruptcy orders under the Bankruptcy Acts of 1914 and 1926.

Wragg went on to be a versatile draughtsman, illustrating such books as Cranford (1947) and Moll Flanders (1948) and biblical subjects such as The Song of Songs (1952) and working for magazines such as Woman's Pictorial. (Long list in Peppin & Micklethwait.)

 

Mentioned in Whybrow's 1921-39 list of artists in and around St Ives.

Peter Wray is an innovative printmaker with a considerable international reputation as an artist-printmaker.  He is one of the UK's foremost exponents of collagraph/carborundum printing. In 2009, together with his partner and fellow artist Judy COLLINS, he moved from York to Penzance, re-locating 'Handprint Studio' to Trewidden Gardens. He has 35 years' experience as a teacher.

Wray is a Fellow of the Royal Society of Painter-Printmakers.  He has exhibited widely throughout Britain and abroad, and his work is held in several prestigious private, public and corporate collections.

 

Proposed as a new member of STISA in January 1930 by George BRADSHAW, she lived at 5 South Terrace, Penzance. Her studies of sea and coast were only exhibited occasionally.

With Stanhope FORBES from about 1901-2. Listed in Platt as a New Zealand painter.

A member of the Industrial class, Newlyn, William Wright is also remembered as a skilled carpenter.

Sculptor, based near Truro, who specialised in architectural ceramics, murals and reliefs: 'because when using ceramics one can create a permanent work of art using applied colour as well as natural colour.'

 Peter Wright is a Redruth-based artist who rarely shows his work. According to Cornwall Today, his paintings range 'from the exquisitely beautiful to the dark and edgy'.

An oil painting on paper by this artist, entitled Reef Playtime, is in the art collection of the Royal Cornwall Hospital.

Wright trained in art at Maidstone College of Art and at the RA Schools, London. A member of the NSA, she is also a senior lecturer in Fine Art at Falmouth University, living nearby in a former chapel in Helston. In 2003 she was winner of the Hunting Art Prize and in 2009 she won the National Open Art Competition. Wright was awarded a two year residency with the Royal Shakespeare Company in 2008. In 2013 she became joint winner of the prestigious Threadneedle Prize with 'The Guilty's Gaze on the Innocent'. She is a regular exhibitor at the Royal Academy summer shows.

Wright is a tutor at Newlyn School of Art (2016).

Michelle Wright studied at Wimbledon School of Art. She started her career as a theatrical costumier and designer working in Edinburgh and at the National Theatre, London. She has lived in St Ives for thirty years and finds the town a constant source of inspiration. She says: 'Although I draw and paint I get the most satisfaction out of printmaking as it combines art with craft. There is something very exciting about working on a plate, putting it through a press then peeling back the paper to see what has been produced.'

She has exhibited at the Glasshouse Gallery.

Born in Croydon, and a teacher at Croydon High School for Girls, she studied at the Byam Shaw School for Drawing and Painting, and at the FORBES SCHOOL of Painting in 1935. She exhibited between 1919-1954, living at Croydon and later at Worthing.

Mentioned in Whybrow's 1911-20 list of artists in and around St Ives.

Hayley Wrigley is an artist and printmaker living in Launceston.

RCPS exhibitor, Photography section,1887.

London-born Wylie trained at Heatherleys and RA Schools from 1866. He was awarded the Turner Gold Medal in 1869, and had two paintings purchased by the Chantrey BequestToil, Glitter, Grime and Wealth on a Flowing Tide (1883) and The Battle of the Nile (1899).

 His visits to St Ives and the Arts Club were in 1925 and 1930 - the latter occasion in which he addressed HRH Princess Louise and guests in his capacity as President of the Royal Canadian Academy, in honour of its Fiftieth Anniversary.

Mentioned in Whybrow's 1883-1900 painters' list of artists in and around St Ives.

Born in London he was educated at Eton and Oxford, becoming a Fellow of All Souls College. He seems to have studied art while at Oxford under the tutelege of J B Malchair. He became the rector of St Erme, Cornwall but was often absent leaving the parish work to his curate. He embarked on numerous sketching tours around the British Isles and is one of many clergymen who were amateur artists. He remained as rector of St Erme for thirty two years before resigning in favour of his curate. By this time he had inherited the manor of Polsew in St Erme from his brother. Included in the estate was the library of his paternal grandmother's brother, Narcissus Luttrell. He sold some of the books, donated more to All Souls College, Oxford. The rest passed on his death in 1814 to E W Stackhouse of the Pendarves Estate, Camborne, a maternal cousin. E W Stackhouse's son changed his name from Stackhouse to Pendarves and added Wynne to his name in recognition of the important inheritance the family had received. The books inherited from Luttrell Wynne were sold as part of the Pendarves Library at Sotheby's in 1936. A group of Wynne's topographical drawings were sold privately when Pendarves House was demolished in 1958.

Luttrell Wynne was not a skilled draughtsman but was prolific and some of his sketches were used to make engravings where more proficient topographers' work was not available. On his death in 1814 he was buried in Westminster Abbey.

Born in Dolgellau, Wales. Studied at Heatherly's and Chelsea School of Art. She moved to St Ives 1957, studying under Peter LANYON, who was a great inspiration to her.

She bought the large country house, 'Trevaylor', now a nursing home, on the Newmill road to Zennor from Penzance, and turned its myriad rooms into studios, inviting her friends to work and reside there.  WS Graham, the poet and his wife Nessie lived there, as did Tony O'MALLEY for some years. Lanyon's death was a source of great grief to her, as to many who looked to him for his intuitive leadership in art and friendships.

Her friends included Roger HILTON, Tony O'MALLEY and Patrick HERON. She married sculptor Conor FALLON, another friend in the house in 1966, and they moved to Ireland with their two adopted children in 1972. She was a prolific painter and in her obituary it is commented, that she would 'be remembered for her benevolent contribution to the St Ives creative community.'  (We think that goes for Newlyn and Penzance too!)

Tom CROSS opens his biographical summary of Bryan Wynter's artistic life with the following comment: 'BW was a countryman, with a fondness for wild places. In the summer of 1945 he arrived in Cornwall and camped on a hillside above St Ives.' All of the sights and impressions he garnered from that first experience became the subjects he would explore in following years through his work - the landscape, the left-over mine-workings, the standing stones, and the creatures that inhabited the rough lands and secret hideaways of the countryside.

His work passed through several phases from more representation to abstract in the search for ways of unveiling the veiled and discovering through IMOOS (Images Moving Out Onto Space) and kinetic work to reveal the relationship systems of space and image.

Michael BIRD in 2010 authors the first full-length survey of Wynter's artistic career and relates the very important place that the artist held in the history of post-war British art. Until his death in 1975, he remained working in St Ives while also participating nationally and internationally in the art scene and its progress.

His widow, Monica, a much loved and active supporter of arts organisations such as the Borlase Smart-John Wells Trust, died in summer 2011.

The son of a successful medalist, also called Allan, he was born in London and educated at Highgate School. He studied at South Kensington under Sir Hamo Thorneycroft, where he won silver medals. His first RA exhibit was a medal depicting his father. Having decided on ordination in the Anglican church, Wyon moved to Saltash in 1935, and was then appointed Vicar of Newlyn.

He first became involved with the Newlyn Society of Artists in 1936, exhibiting a large sculpture, The Sorrows and Mankind, in the NAG Exhibition of 1937, and remaining a staunch supporter until he left the district in 1955. Wyon opened the STISA Summer Exhibition of 1943, and it may have been this occasion that prompted him to become involved with STISA, the first distinguished sculptor to do so (Tovey).

To demonstrate the close links between the Newlyn and St Ives Societies, the Committee of the Newlyn Society in 1943 comprised Wyon, Dod PROCTER, Eleanor HUGHES and Alethea GARSTIN, all of whom were members of STISA. Unsurprisingly his sculptures often had a religious subject, and one of his finer pieces was The Worshipper. On the death of Stanhope FORBES in 1947, Wyon was commissioned to produce a sculptured panel of Forbes' head, and this was fixed to the lower front façade of the Newlyn Art Gallery, unveiled in 1948 by Sir Alfred MUNNINGS, then both President of the RA and STISA.

 Also in 1947, the final year of the life of Robert Borlase SMART, he painted a portrait of that prominent painter-artist (Whybrow). A highly-rated medalist, he was responsible for artistic work at the Royal Mint, and also exhibited some medal works with STISA.

The artist studied at the Dublin School of Art, at the RA Schools, and with Sir Arthur Cope. She exhibited nationally (GI, RHA) from 1905-1928, and married Allan Gairdner WYON.

It is not clear from extant records how frequently she exhibited her work, or even continued to work. However, she exhibited Spring at the NAG Exhibition of 1937, and worked closely with the committees supporting and sustaining the Newlyn Art Gallery through the war years.
She died on 26 April 1969 at Great Shelford, Cambridgeshire.

Katherine Xulu is a Launceston-based artist specialising in screenprinting. She was educated at Bryanston School in Blandford Forum, Dorset, and was a student at Medway College of Art & Design before studying at Central St Martins School of Art from 1990 to 1994, graduating with a BA (Hons) in Fashion. She says: 'I like to explore love, fate and the fragility of life in my screenprints.'

Her work can be seen in the Pop Cafe Gallery, Wadebridge, and at Seventh Wave in Bude.

A founder member of STISA, he had been resident in St Ives for some years as his first Show Day was in 1913. He lived at Sunrise, Penbeagle, and in the 1920s he shared Atlantic Studio with Alfred Charles BAILEY. In the 1924 Show Day he exhibited three works: Porthemor Beach, a large painting of the breakwater at the back of the Island, and a smaller piece of the Zennor Moors, bright with heather. He and Bailey both showed together from Atlantic Studio. He is not referred to after 1930, and is not listed in standard reference books.

One of the kindest and funniest of men, Fred Yates had a hearty sense of humour and a prolific temperament, making his works of art a joy to behold, and for him a joy to create.  Fred had homes in Cornwall and in France in later years and worked hard in both places. His Lowry-esque and colourful paintings, full of people, animals, and naively constructed buildings were the work of a natural artist, largely self-trained but intelligently aware of social and political ideas.

Fred was born in Urmston, Manchester, serving in WWII in the Grenadier Guards. He began painting after the war when he was in a teacher training course back in Manchester, coming under the direct influence of L S Lowry. By 1970 he had moved to West Cornwall, working full-time as an artist and making friends with local artists, such as Theresa GILDER and others at the Penzance Art School.  In the 1990s he decided to make his home, for at least most of each year, in France, and chose a small village, Rancon in the Haute-Vienne where he painted local scenes and people as in Cornwall. The first of several homes, he travelled back to Cornwall with some frequency where he also showed his work.  His paintings, heavily laden with paint, were sometimes not quite dry, as they leapt off the walls into the hands of eager collectors.

Since his death in 2008, a huge surge of interest has been shown in his work, and this continues to the present (2011).

Listed as an exhibitor-painter in the summer exhibition at NAG in 1966.  No further detail available at present.

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