Fritz Althaus was born in Lewisham, Kent, and first learned to draw with the help of his mother who was talented amateur portrait-painter. His father, born in Germany, was a Professor of Music. He studied under the artist Axel H Haig, an artist who boarded with his family, followed by tutelage at St Martin's School of Art, the Westminster School of Art and the Royal Institution. Until 1893 he made his home in Maida Vale, London, while also travelling in the West Country, before deciding to move to Exeter. There he could paint along the coasts as far as Cornwall, including the Channel Islands. Oxford and Cambridge.
The artist is purported to have been a prolific marine painter up to 1900 (Brook-Hart), with over 50 oils and watercolours to his name. Almost all of his 18 RA exhibits were sea pieces off the Cornish and Devon coasts, one example being Cornish Luggers running for Shelter (1888). An 1893 painting, Trading vessels at their anchorage (w/c), is representative of his style.
Flanagan (2010) has also identified Althaus as painting in that other St Ives in Huntingdonshire in the 1880s and 90s, and reprints in colour Bridge Street, St Ives, 1902 which attests to his returning there to paint along the Ouse over at least three decades.
He exhibited and sold Sunset at NAG in October 1905, and Sullen Pool (Jan 1906). His NAG sales records extend his artistic activity by at least 6 years. By 1908 he was living in Headingley, Leeds and in 1912 he and his wife, Margaret Richardson Althaus (nee Henderson) had their first child, a son. Because of the Great War, Althaus changed his name to Frederick B KERR (c1915). In the name of Fred KERR he was made Professor of Art at Leeds University (Mallalieu). However, this is as yet unconfirmed information of his occupation, as on his death certificate he is identified as 'a schoolmaster retired', living at Valroy (81 or 87 unclear), London Road, Camberley.
He died in 1962, in Frimley, Surrey (the Frimley and Camberley District Hospital, now the Frimley Children's Centre, Church Road, Frimley) at the advanced age of 99 years and 8 months (Bednar research, GRO death certificate on file) from a late case of pneumonia and congestive cardiac failure. The name on his death certificate is Frederick Bernard Kerr, and was attested to by his son, the informant Lt Col F J B Kerr, also of Camberley.
John Ambrose paints works which are popular in the USA as well as Britain. He frequently paints landscapes in Cornwall.
Ambrose was born in Grays, Essex, and studied at South East Essex Technical College and School of Art in Dagenham, followed by a year at the RA Schools under Peter Greenham. His wife was Moyra GILCHRIST, and the couple lived in Newlyn.
He was an artist of many talents, spanning the full range from teaching art to producing drawings, prints and paintings in oils and watercolour.
Locally he exhibited at the Orion Gallery, Penzance and then at NAG, in mixed and solo shows. He died of heart failure at Penzance Railway station as he was taking paintings to London.
Born in Paris, Anderson studied under Steuben, and then moved with her French architect father and English mother to America at the outbreak of the revolution of 1848. As a successful portrait painter herself in Cincinnati and Pittsburgh, she married the English artist Walter ANDERSON, and they moved to England in 1854 (living in London, Cumbria and Surrey).
In 1871, due to her ill health, the Andersons moved to Capri, returning in 1894 to settle in Falmouth, Cornwall. From Wood Lane Cottage she continued to paint and submit paintings to London exhibitions. On her death in 1903, at the age of 79 (GRO Index), she was buried in the cemetery at Swanvale in Falmouth.
Anderson has the distinction of being the first woman painter to have her work purchased by a public institution: the Liverpool Corporation acquired her painting Elaine in 1871 (Gaze). A world record price of over £1,000,000 for her work was achieved by No Walk Today at Sotheby's in 2008.
In October 2011 an important still-life by Anderson, 'Roses', was gifted to Falmouth Art Gallery by the Art Fund, in memory of Brian STEWART, director of the Gallery from 2000 until his untimely death in December 2010. Painted in 1894, after her move to Falmouth, this work has special significance as it is believed to have been exhibited at the original Falmouth Art Gallery in that year.
Walter Anderson was the English artist who married Sophie Gengembre ANDERSON at some point mid-19th century. Anderson was born in Peckham, London. The two painters shared the same sending in-addresses at the RA in 1867/8 and in 1870/1 when the Census also listed them as living at Bramley, Surrey. They had moved back to the UK from America in 1854, where they had both been painting successfully. Due to Sophie's ill health they lived in Capri from c1871 to 1888 or thereabouts.
On their return they lived at Wood Lane Cottage, Falmouth, where both artists died in the same year. Further information sought about his work.
Shelley Anderson is a Newlyn-based sculptor. Trained in silversmithing and metal fabrication, his work embodies both the maritime culture and metalworking heritage of his local area. His recent work is large-scale and organic. He also creates figurative and semi-figurative sculptures of sea creatures.
Newlyn subject in lists - no further information found.
An image for one of Tom Anderton's Cornish paintings has been sent in by a correspondent, for which many thanks!
Recently (2015) a correspondent has commented: 'I have a painting of T Anderton which my Dad bought c1965. It shows a man ploughing, with St Michael's Mount in the distant background. It needs to be cleaned and renovated because the colours are no longer vivid and I remember it being a very lovely painting which gave my parents a great deal of pleasure.'
Brian Andrew produces one-off ceramics. His primary subjects are British wildlife.
Andrew was born in Redruth, Cornwall, one of the few internationally recognised artists to begin their lives within the county. From 1954-58 he studied at the Falmouth School of Art before attending the Slade School, London the following year. In 1959 he travelled to France and Italy, before returning to London, and then took up a Visiting Artist post with the Portsmouth College of Art. From 1962 through 1970 David lived in Bournemouth, where he was Visiting Artist at both Bournemouth College of Art and Portsmouth College of Art.
In 1971 he moved to Canada where he set up the Printmaking Department at Queen's University, Kingston, Ontario, over a three year period before transferring to the Painting Department. Since 1977 he has lived mainly in Cornwall, with breaks of a year each in Crete and California, and a 10 year period back in Canada with summer visits for painting around Europe and the coasts of USA and Canada - often in a mobile studio 'converted from a recreational vehicle'. In his own words, he sees 'painting as a way of testing speculations about nature against the touchstone of artistic form...posing questions in colour and shape.' His paintings 'embrace both "thinking" and "sensing" (i.e. making sense)' of the visual.
David Andrew is married to Sally Fleetwood, and works from their home studios in Mousehole.
The son of two practising artists, Simon Andrew was born in Portsmouth, Hampshire, schooled in West Cornwall, and studied science at Queen's University, Ontario, Canada, where his father was a Professor of Painting.
He turned his face against art initially, due to the clutch of artists around him as he was growing up, and took up science, only to discover that he wanted to pursue an artistic career in the long run. He did his MA in Fine Art at Newcastle.
Now he lives and paints in both Cornwall, where his father, the artist David ANDREW, has re-settled, and where his mother, the artist Lyn LEGRICE lives, and also in Canada where he maintains a home and studio.
A selection of his paintings, related to recent exhibitions, can be seen on the web
Born in Birkenhead, the artist exhibited the painting The Harbour of St Ives, Cornwall at the Paris Salon of 1932, within a four year exhibiting programme starting in 1830 at the Societe des Artistes until 1934.
Andrews was born in Newport, Monmouthshire and studied at Glasgow School of Art (1908-10) and at Heatherley's School of Fine Art with Gerald Massey.
She lived on Bellair Terrace, St Ives, and exhibited at Show Days well into the 1950s. A watercolourist, she painted local scenes, particularly around Zennor on the north coast. She also exhibited widely abroad.
Painter and sculptor, recorded in Whybrow St Ives 1921-1939 list. The artist was a member of Andrews family of Tregerthen, Zennor. Research is ongoing related to her studies and life as an artist. She lived for almost 80 years at Eastbourne, where she was an enthusiastic sculptor and painter.
During WWI she worked with refugees in Belgium with the Red Cross and the ambulance corps. Following the war she was honoured with a MBE for her services to the war effort. Recent correspondence also indicates that she was active in the suffrage movement in early 1900s. She died in Eastbourne at age 95, remaining an active artist.
In 2008 the Andrews-Westlake Family Archive was given to the Hypatia Trust by the late John Andrews, and this is in process of cataloguing. A collection of Elsie Andrews prints and sculptures form part of this legacy.
A linocut, A Station of the Cross by this artist (numbered 27) was donated to the Charity Auction in aid of establishing the West Cornwall Art Archive in 2004.
Having trained as a geographer (FRGS 1896), and being a teacher of geography and history in Southwark, in 1913 he published a text-book of geography, reprinted in 1922.
As a rock-climber and mountaineer, his first contribution in 1899 was the route now called Andrews' renne on Storen in Norway.
In 1901, Arthur Westlake Andrews competed in Wimbledon where he was defeated 8-6, 6-2, 6-3 in the first round by P.G. Pearson who in the next round lost 6-4, 6-4, 6-3 to Herbert Roper-Barrett. The latter represented Britain in the first Davis Cup. Cf. John Barrett, !00 Wimbledon Championships. A Celebration, London: Willow Books/Collins 1986, p. 211, and Cf. Heiner Gillmeister, Tennis. A Cultural History, pp. 215-220.
He is remembered especially for two books he co-authored with J M A Thomson, including in 1909 the first rock-climbing guide-book to the cliffs of Lliwedd (Snowdonia) and for being the 'father' of Cornish sea cliff climbing, beginning with an early ascent of the Bosigran Ridge Climb in 1902, followed by Ledge Climb (also Bosigran) in 1905.
With E C Pyatt he later produced the first official (Climbers' Club) Cornish Climbing Guide in 1950. In later years he turned his hand to poetry, inspired by the scenery of West Penwith, Cornwall. His map-making was produced for publication, and his photographs were of both personal and geographical use. A large archive of photographs, glass negatives and other ephemera makes up the Andrews-Westlake Archive at the Hypatia Trust. He lectured locally on photography at STISA.
Colin Andrews is a sculptor in steel. His work incorporates many styles - some kinetic, some humorous, others thought-provoking - and many of them are functional.
The artist was born in West Newton, Massachusetts, and retained American citizenship throughout his life. He worked from the Meadow Studio, Newlyn in the mid-1920s, and exhibited in all the local venues of the time.
In the 1929 St Ives Times, in reviewing the Lanham's Diamond Jubilee exhibition, mentioned 'it is recommended that the visitor should also visit Donald Angier's (St Ives) studio for unique decorative works'.
In passenger records of the ocean liners in the 1930s, his main occupation is listed as 'medical manufacturer' (Angier Chemical Co) which was the family business.
Annear was born in Exeter, Devon, and studied at Exeter College of Art in painting and printmaking. After obtaining a B Ed at Rolle College, Exmouth, Devon he lectured and became Director of Ryder's Gallery, Dartington College of Art, Devon. In 1988 he became a member of the Penwith Society of Artists, and the following year a member of the Newlyn Society of Artists, for which he later served on the Council of Management of NAG and a committee member of the NSA.
His solo exhibitions include shows in Cornwall, Germany, France, most recently at the New Millennium Gallery, St Ives (2007), and his group exhibitions many all over the UK and Europe. In 1991-92 he worked in Worpswede, Germany with the support of a DAAD scholarship and other awards.
A modernist in style, his work is said to show cubist influences, and he has stated that he finds the term 'abstract' too confining (Catalogue intro: New Millennium Gallery). He now lives and works on the Lizard Peninsula in a converted chapel, with his wife, the artist Judy BUXTON..
Jenny Annely creates two and three dimensional work inspired by industrial landscapes of the past.
Angela Annesley is a Pendeen-based artist who has combined a career in journalism with a passion for printmaking.
Jane obtained an MA in Fine Art at the University of Sunderland in 2003. In 2007 she was awarded a TEND 'Grants for the Arts' year-long residency at Trewidden Gardens near Penzance, under the auspices of the Arts Council (SW). She states: 'The starting point and subject matter for my work is always taken from a specifically chosen location, often referencing the wild or cultivated flora that evoke relationships with human experience.' Her work has been exhibited at a number of locations in the UK.
Jane has been a tutor at the Newlyn School of Art.
Gregg works around the North Cornish coast with his studios located just over from his Cornish home at Holsworthy, Devon. At college in Cornwall he studied art and design before launching out on his own with his unique glass-making ideas. He is always experimenting and produces both classic and modern domestic wall pieces and decorative pieces for display and the table.
He is a member of the Guild of Master Craftsmen.
Working through his glass making company, Craft Fusion Studios, Gregg creates fused glass artwork for the home or business, inspired by the rich colours of his Cornish homeland. He can be commissioned directly through his illustrated website at his Craft Fusion On-line Store.
Chris Anthem was born in Almondsbury, Bristol. He obtained a BA (Hons) in Fine Art from Liverpool Polytechic, and an MA in Painting from the Slade School of Art in 1998. He worked from Krowji Studios in Redruth from 2008 to 2012. After a spell in Beirut in 2013 he returned to Cornwall. His work has been exhibited in St Ives, both at the Millennium Gallery and the Plumbline & Orchard.
Lucy Apple studied at Falmouth College of Art, subsequently graduating from the Slade School of Fine art with an MA. Her work is inspired by the observation of people and their conversations.
The artist is listed as a member of NSA (2010).
Arbuthnot was born in Surrey, his mother being a motivated amateur artist. He moved to the St Ives area in 1940, having been a keen photographer in earlier years (see Buckman), and remained locally for a decade. Known now mainly as a photographer, he was an accomplished painter of watercolors as well, especially landscapes.
Though he had studied under C A Brindley, J W Fergusson, W P Robinson elsewhere, in Cornwall, he became a pupil of Charles Walter SIMPSON and was elected to the Royal Institute of Watercolour Painters in 1942. Latterly he lived and worked at La Houle, Jersey.
Tony Copsey writes: Malcolm Arbuthnot (born Malcolm Lewin Stockdale Parsons, 1877, Cobham, Surrey- died 1967) was a pictorialist photographer and artist.
In 1907, he joined the Brotherhood of the Linked Ring, an organisation founded in 1892 by Alfred Maskell and others dissatisfied with the ethos of the Royal Photographic Society exhibitions, with the aim to promote naturalistic and aesthetic photography as an independent art. From 1914, Arbuthnot ran a portrait studio in London's New Bond Street, in the early 20th century photographing many celebrities including the actress Lillah McCarthy, the pianist Harriet Cohen and the poet Robert Nichols. His
studio, along with many of his works, was destroyed in a fire. He was a friend of George Bernard Shaw. Also in 1914, he was one of the signatories - the only photographer - to the manifesto of the Vorticism movement published in the first issue of the literary magazine BLAST. He combined his interests in photography and art by using gum and oil pigment processes, after joining the Linked Ring making increasingly controversial anti-naturalistic gum prints. After World War I, he gave up photography in favour of painting, working in oils, watercolours and gouaches. [See Wikipedia for notes on this information].