Daniel Barnard is a sculptor and installation artist who works from Porthmeor studios in St Ives. His work involves 'reclaiming, empowering, re-inventing that which is thought to be disposable, not wanted, unsound or not deemed worthy'.

Barnes raised four children before turning her full attention to art. She studied at the Sidney Cooper School of Art, Canterbury, and at Heatherley's. In 1936 Garlick became a pupil of Walter Richard SICKERT in Thanet, Kent, and exhibited with him at Margate (Buckman). She moved to Cornwall an the outbreak of WWII, where she lived in Karenza Cottage, Hellesvean, St Ives and worked from The Loft Studio.

She was an active member of the NSA, and served on the Hanging Committee. Her interest in the arts, including those of the garden and poetry as well as painting, continued to the end of her life.  Her twin sons, both strongly interested in the history of film-making, ran a Theatre Museum in St Ives for many years, and published books on the subject of Victorian Cinema.

Monica and her husband Des Barnes moved from London to Cornwall in the 1950s. In her obituary it is noted that the couple settled in Marazion, where Des was a cabinet maker, and Monica a teacher and artist. They had one daughter, Joanna. Special mention is made in her obituaries of her interest in gardens and natural history, and her known paintings are landscape in subject.

A recent correspondent from the Netherlands (2011) has written of a gouache painting purchased in Cornwall in 1977 at a charity auction, which they have taken home with them as a much-enjoyed and lovely memory of Cornwall - early evening around Venton Farm in West Cornwall.

A painting by this artist, Ludgvan from Marazion (oil on board, signed), was donated to the Charity Auction to establish the WCAA in 2004.

 [Review in Cornishman] 'PHOTOGRAPHY AND THE MAGIC LANTERN' being the title of a popular Lecture by Barnett: 'Mr A K Barnett's lecture on photography, on Monday evening at the Penzance Institute was well attended, and enjoyed by all present. 

'The lecturer first traced, the historic development of the art from the time when the crude negatives were framed on account of sensitized paper not having then been invented. Some most excellent illustrations of the perfection to which the "black art" has been brought were afforded by numerous photographs of outdoor scenes and figure studies hung on the walls, the work of the lecturer, who is an enthusiastic amateur. Mr Barnett then photographed one of the audience, and developed the picture, but owing to the rapidity of the manipulation it was not as great a success as he wished.

'The most interesting part of the lecture was that illustrated by magic-lantern photos thrown on a screen. These were brought out most distinctly, and many were scenes familiar to those present. For the sake of contrast Mr Barnett threw a couple of pictures of the old cast-iron attitude stamp upon the curtain. The subjects with crossed legs and arms bent in triangular shape, looked more like wooden blocks than human beings. The lecturer said it was a custom for the amateur photographer to include his friend with a silk hat and walking stick in the picture of some delightful sylvan scene, thereby ruining the entire effect. Only the most rustic figures should be included. He then showed the opposite to the foregoing pictures, in the shape of a group of children with a lovely rural background, the attitudes being most natural. Some instantaneous pictures were effectively reproduced and the lecturer showed how these were sometimes not the most artistic and natural to our eyes because the minute emotions are caught by the camera in a hundredth part of a second, whereas the eye can, only catch the general effect in a longer space of time. He deprecated the use of photography, which brought the art into disrepute, by unskilled men bringing out the feet larger than the balance of an individual's body by bad posturing. The lecture closed with a hearty vote-of-thanks, proposed by Mr George B Millett.' 

The artist was born into a wealthy family in St Andrews, Fife, Scotland.  Much against parental wishes she decided to study art. From 1932-37 she attended the Edinburgh College of Art, establishing her own studio there until taking up an Andrew Grant Travelling Fellowship, first arriving in St Ives on 10th March 1940. From that time until her death, her working year was divided between times in St Andrews and St Ives, maintaining home and studio in each place, and travels abroad on painting trips with companions.

Her close circle of artist friends locally included Norman GARSTIN (of Edinburgh originally), Borlase SMART, Barbara HEPWORTH, Ben NICHOLSON, Bryan WYNTER, Guido MORRIS and Naum GABO amongst others in the modernist camp. Willie was a member of the CRYPT GROUP who exhibited work not found acceptable to the more traditional members of the St Ives Society of Artists, and therefore they could only obtain the crypt of the Society's Gallery, situated in a former church.

In 1949 she married the writer David Lewis (dissolved 1963), who later determined to train as an architect at Leeds School of Architecture. For one year (1956-7) Willie took up a teaching post at Leeds School of Art, at the end of which contract she returned to St Ives, living separately from Lewis from that time.  Her work grew in abstraction the longer she lived, and her artist statement from her biography defines that stand: 'Abstraction is a refinement and greater discipline to the idea: truth to the medium perfects the idea.' 

Willie held strong opinions about the difficulties of women artists 'in a man's world' and frequently complained of being overlooked and crowded-out by male artists with large egos (and often, in her words, of lesser talent).  In later life, she relied heavily on her companion and friend, Rowan James, as driver, cook, and framer of her work, as these were everyday nuisances which she had never learned (nor wanted) to do.

Though ultimately her achievements in draftsmanship, colour and form were increasingly recognised, and with this progress her forthright confidence grew, it seemed often to be never enough to satisfy Willie's need for recognition. Both the award of the CBE for her services to art, and her four Honorary doctorates late in life, at St Andrews, Falmouth College of Art, Plymouth University, and Herriot Watt, Edinburgh, gave her great pleasure; Dr Willie was an active and generous patron and member of the Hypatia Trust (1996-2004). In her will she framed the plans for the Barns Graham Memorial Trust, which operates from her former home at Balmungo, St Andrews, Scotland.  It is set up to preserve her work, but also to provide working studio space and financial aid for young artists. The Trust can be contacted at: www.barns-grahamtrust.org.uk .



Carole Baroody Corcoran is a Penzance-based printmaker.

Born in Penzance, the son of Cornish boxer Tommy Barrett, he was himself an amateur boxer for a period before taking up sculpture in 1972. His occupations as a steeplejack and steel erector influenced him strongly in relation to structures, and he believed in the spirit of the materials with which he worked. He worked not only in wood and stone but also in steel and other metals; he usually worked stone in winter and wood in summer.

Something of a gypsy character, and from living many years in caravans and makeshift structures, he was independent of most other artists, and joined no organisations or committees related to the bureaucratic systems of art.  Living in a caravan in the woods near Hayle he was unpredictable in his responses, but also deeply spiritual about the work he produced. His friend, Roger White, took his career in hand in later years and sold sculptures for him from his decorative arts and oriental carpet emporium in Chapel Street, Penzance.  In 1982 Max was commissioned to construct Gentle Wave at Land's End; and large works by him, both in stone and steel, are located at Truro (Sainsbury's Supermarket) and at Hayle: he presented a sculpture to the town, a lithe figure of a young girl holding a fish aloft, and this has been installed on the harbour front.

When he knew he was terminally ill he held a large one man exhibition and sale of his work at the Acorn Theatre, Penzance in 1996, and in the town's Royal Geological Museum, accepting any reasonable offers from the public.   

Work by this artist is included in the University College Falmouth Art Collection.

Born in Sidcup, Kent, and educated at Christ's Hospital, Horsham, Barron worked with Will ASHTON in Sydney, Australia from 1928-49. He returned to England, and studied with Robin GUTHRIE and Arthur Ralph Middleton TODD at City and Guilds Art School in 1950-51.

He lived in Cornwall for a while, but by 1957 he was living in Sussex and ceased to exhibit with STISA after 1962. He was highly regarded for his marine paintings.

After studying painting at the Slade School, London (1911),  Phyllis became deeply interested in textile printing, designing and fixatives for natural dyes.  Tovey notes that she is 'normally considered the pioneer of the hand block-printing movement.' 

The artist was one of five exhibitors showing handpainted silks and stuffs in the Christmas show at NAG in 1925. Another of those exhibitors was her life partner who had joined her in 1923, Dorothy LARCHER, who favoured floral designs. Her designs, unlike those for CRYSEDE, which Alec Walker was producing around the same time, tended to be geometrical.

Information needed.

Painting primarily in oils, Barrowman is a Helston-based artist focussing on Cornish landscapes - especially the areas around Porthleven, Mullion and the Lizard. He is interested in coastal landscapes and seascapes in representational style, with a special interest in capturing the changing light.

He exhibits his work in local galleries.

Fellow students Doris HUME-SPRY and Claude Francis BARRY met at art school in Bournemouth and they married, against parental wishes (on his part), in 1908. Doris, a descendant of the Dukes of Rutland (though one without fortune) had been born in Bengal in 1884 (IGI), the daughter of Charles Hume-Spry. She was both a competent painter and an excellent art-needleworker.

The couple had three children, two daughters and one son. Mrs Barry served on the Ladies Committee at STIAC in 1911, and began to show her needlework pictures In December of 1913. The couple also exhibited at Show Days, sharing a studio for the purposes of exhibition until 1921. From that point, we lose sight of Doris Barry, at least in that name.  Her husband left St Ives in 1922 (though he was to return later in the 1940s)  to pursue his etching career in France and Italy.  Their marriage was dissolved in 1927.

Born in London, Barry was educated at Harrow School after his mother's death at the age of two. His father, Sir Edward Barry (2nd Bt) remarried soon after, leaving the young Barry to a series of relatives, tutors and doctors who left him in something of a muddle as to his health and relevance (though ultimately he would inherit the baronetcy). After two years at Harrow he had a nervous breakdown, but was not allowed to lodge at home where there was a new family.  Art seemed to offer him the growth and direction he needed, and in 1900 he enrolled in classes at  Bournemouth School of Art where he met the first of his two future wives, Doris HUME-SPRY. 

Privately he studied with Sir Alfred EAST, whom he was to regard throughout his life as mentor and friend.  East had previously studied and worked alongside Stanhope FORBES at Newlyn, and encouraged the young Francis to head to the area to gain inspiration and confidence. This met with parental approval, as the Newlyn reputation flourished. In 1906 his first paintings were accepted at the RA, and he joined the RBA. He also sent to the Royal Society of Scottish Artists and the Paris Salon in Paris, where his work was well received.

The following year (1908) at the age of 25 he married Doris, and the couple moved from Newlyn to St Ives. Three children, Kathleen (1909), Rupert (1910) and Sheila (1915) were born there. From 1910 he exhibited irregularly at the Paris Salon, showing 9 paintings in all, until 1939. In 1911 he exhibited at the NAG Winter show.  In 1912 in St Ives he showed The Sunlit Harbour (St Ives) before sending it to the RA, and in 1913 he exhibited Windsor Castleand St Ives, the new town. From this time his style began to move from the narrative (Newlyn) style to landscape, and his interest in etching developed. Frank BRANGWYN was one of his tutors in 1916. On Show Days in St Ives he shared exhibiting studios with his wife who created highly-regarded needlework and textile art.

In 1922 Barry left his wife and family and travelled to France and Italy, concentrating on etching. His first marriage was dissolved in 1927, and he remarried, his second wife being Violet Gwendolyn Pretyman. He continued to exhibit at the Paris Salons, and merited Gold, Silver and Bronze Medals for etchings shown both in Italy and France. By 1939 he had returned to St Ives where he joined the St Ives Arts Club and took over Fred MILNER's studio at 2 Piazza (See Tovey 2009 p163, Fig.2.152 for a photo of FB in his Studio in 1945, with paintings). After the war (in which his etching plates left in Italy were destroyed in a bombing raid) and after holding his final exhibition in St Ives, he and his wife moved to Jersey. In 1946 he inherited the title of Third baronet.


Schooling at Clapham College was followed by a course in Humanities at Goldsmiths. Ray travelled widely as an engineer for Cable & Wireless, maintaining his interest in art and exhibiting in Nairobi, Sudan and Aden.

He returned to the UK to settle in Cornwall in 1968. From 1970, for more than a decade, he was the proprietor of ICON and Collector Galleries in Penzance, and completed a BA (Hons) at the Open University. In 1992 he achieved a Fine Art Diploma at Penzance, and in 1997 a Fine Art BA (Hons) at the Falmouth School of Art. Since then he has participated in many group and solo exhibitions locally, and further afield in Plymouth and Bristol, and with the Northern Art Show (group) at Harrogate.

Ray is an Associate of Penwith Gallery, and was elected as a Director of STISA in 2010.

A pupil of the FORBES SCHOOL (no date specified).

Bartlett travelled widely, studying under Gerome in Paris, and his work clearly shows the influence of the Barbizon school of painters. He proposed the founding of the New English Art Club in 1886, and with a number of other St Ives and Newlyn painters attracted others to support and exhibit there.  

 He lived in London and in Langley, Bucks in the 1890s, and is mentioned by Henry Harewood ROBINSON as being one of the old 'frequenters of St Ives' in his book Historical Sketch of St Ives and District (1896). By 1913 he was exhibiting from Donegal in Ireland, and in 1917 had settled in Kent.

Born in Dorset, Bartlett attended the RA Schools in 1883,  then studied at Academie Julien, Paris in 1886. From there he spent time in Holland and Venice.  Returning to England in 1889, he exhibited two paintings at the 1894 Nottingham Castle Exhibition that brought together Cornish Painters of Newlyn, St Ives and Falmouth (Hardie 2009 incl Exh Cat).

He exhibited widely and in all the major galleries throughout the British Isles.

Tovey (2009 p 64) finds his signature on a suggestion for the Club box at STIAC in 1892, which not only indicates his presence but fills in some gaps in his residential career. His only period of painting in Cornwall appears to be from 1892-93. Correspondent and researcher D C Karl reports his exhibition of a Cornish work at the RA in 1893, called A Study in a Sail Loft (whereabouts unknown), depicting two little girls playing with the mackerel nets in their father's loft. Though one or two other of his paintings, without tell-tale titles, may be Cornish in content, the short period spent in St Ives means that documented Cornish works are rather rare.

J&G and Benezit give addresses in London (1885), Beer, Devon (1903) and Edinburgh (1913). Bartlett married twice, his first wife dying in childbirth. The following year he spent travelling on the continent with Frank BRANGWYN, who painted a portrait of him painting a Dutch scene,  He also spent time painting in Holland.

In December 1913, he left England with his second wife, Kate, for what was to have been an 18-month trip around the world. With the outbreak of WWI they were stranded in the Far East, and spent most of their time in Japan and China. They arrived in Honolulu in January 1917 and found the climate and the people much to their liking.  After extending their stay in Hawaii several times, they decided to take permanent residence there. (Karl correspondence).

He was a friend of Greville MORRIS, with whom he worked in Berkshire (Tovey) and also Frank BRANGWYN. He travelled to the Far East during 1913-17, then settled in Hawaii (1921).

Born in Kentish Town, London, the young Bartlett was apprenticed to John BRITTON, and became one of the foremost illustrators of topography of his generation. He travelled not just throughout Britain, but to the Americas in 1839-42, and in the mid/late 1840s extensively in the Balkans and Middle East. He died of fever on board ship returning from his last trip to Israel in 1854.

In the summer exhibition of 1928 at Newlyn Art Gallery the artist showed an etching entitled Gate of Honour, Caius Cottage.

The artist was born in Manchester and studied at the Blackburn, Bury and Accrington Schools of Art before attending the Royal College of Art under William Rothenstein and R Anning Bell. He served on the teaching staff of Eastbourne Art School (1921-5) and the Cambridge School of Art (1925-9). He became the Principal of the Storey Institute, Lancaster, a centre for the arts and education (today a creative industries hub continuing its original mission in a modern way). As such, he served on the Committee of the Lancaster and District Sketch Club from its beginnings.

Though his subjects include painting(s) in Cornwall, it is not known if he exhibited here.

Amal Barwell is a French artist and illustrator currently living in Fowey. She studied art, graphic design and art history at the University of Strasbourg, subsequently spending some time in the Republic of Congo. She travels extensively and is a keen sailor. Her landscapes and portraits employ a wide range of media.

The artist was born at Bridgetown, Barbados. She studied at the British Institute in Florence (1983) before studying for a Fine Art diploma at Newcastle University (1983-4) and continuing her studies in Anthropology at Durham University (BA Hons 1985). For five years she was a Manager of the Maas Gallery, London, before spending another year in Italy and working with china and glass in London.

In 2002 Nicky moved to St Ives, Cornwall in order to paint full-time. Here she found much inspiration and lists her favourite haunts as St Ives, Gwithian, Porthkidney, Zennor, Trencrom, Marazion and St Mawes (Recent work Exh card, 2008, Penhaven Gallery, St Ives). She returned to London in 2007 due to her marriage, and she further comments 'it is perhaps understandable that after five years living in St Ives, Cornwall remains my primary inspiration and provides the subject matter for much of the work in this show' (2008, St Ives, Penhaven)

One of four artists from the MA Course in Art and Environment at UCF contributing to the exhibition, 'Sensing Earth, Art and Environment' at Kestle Barton (6-11 September, 2011).

His website is www.tombaskeyfield.carbonmade.com

Born in the West country, Sarah now lives in Penzance, where she paints mainly subjects in natural history and landscape.  She is also a trained potter, and worked in ceramics prior to her return to Cornwall.

She graduated from Ravensbourne School of Art in painting and pottery.

Sam has taught illustration at B.A. level at Bournemouth Arts Institute where he ran sessions preparing graduates for a career in industry.

Here in Cornwall he has been worked Newlyn Gallery art projects including Possessed Possessions, and exhibited locally at Belgrave Gallery (St Ives), Orchard Gallery, Millennium Gallery as well as further afield.  

Bassett has been a tutor at Newlyn School of Art since 2011.

 In early 2012 he was part of a four-artist collaboration TAap-Chuan Xin with Richard BALLINGERJesse Leroy SMITH and Chris PRIEST, exhibiting at Cornwall Contempory, Queens Square, Penzance.

Bassett works from Porthmeor Studios in St Ives (2013).

Sally is mainly based in Mousehole. Her Cornish connections go back to her great-grandfather, a Cornish tin engineer at Downgate on the Tamar. The essence of her work is its energy, vitality and colour. Sally's work usually commences with observational sketches and drawings collected in a tiny sketch book where she notes down in line, colour and words that which engages her. Extensive walks around the dramatic coastline of the Penwith peninsula and the Lizard provide inspiration for her art. Her subjects are mainly the wild seas, fishermen and boats, but can also include landscapes and flowers. Sally's wild wave paintings are an effort to catch the essence of the movement, the splash, drip and roar of the waves on the shore or over rocks.

'His name indissolubly linked to the phrase 'plein air' Bastien-Lepage is usually held culpable for the work of any late Victorian artist who took an easel out of doors or picked up a square brush. His few works on display in Britain are therefore worth noting.' (phryne)

The artist first came to the attention of the public and critics with a painting of his grandfather that was exhibited at the Paris Salon in 1874. He had tremendous influence on the Newlyners and their genre paintings of fishermen and their life-style, much more so than on the mainly landscape and marine artists of the St Ives Group. 'Bastien Lepage was their [Newlyn] most powerful influence and it is surprising to note, how strongly they considered his importance, when with hindsight we do not regard him as such a significant figure. George CLAUSEN is probably thought of as the chief exponent of this kind of painting in this country, but some may feel that Stanhope FORBES and Newlyn were more worthy disciples.'

The so-called 'square brush' technique employed by a number of the Newlyn painters at the beginning of this period concentrated description upon tone and value; outlines were blurred, the effect and purpose was to suggest a kind of atmospheric envelope. This brushwork tended to disappear as the Newlyn School emerged.' [Brewster]

The year 1879 was of great importance in his life as in that year he exhibited The Potato Gatherers to enormous acclaim, making him the 'king of the Paris Salon'.  He visited London - for the first time abroad - and upon his return to France was inducted into the Legion of Honour, receiving its decoration. Immediately he set to work on his next great work, Jeanne d'Arc.

The credo to which he worked, and to which the Newlyn colony paid homage (especially in its early years), was 'truth to nature'. "There is only one to be admired" said Bastien Lepage, "that is Nature. There is only one art and that is to reproduce Nature." [quoted in Cartwright] Lepage died at the age of 36 from tuberculosis, never having come to Cornwall but having made a visit to London where, though not speaking a word of English, he spent his last day there making a drawing of the Prince of Wales. Though he never married, his close friend, who was with him when he died, was the famed diarist, Marie Bashkirtseff.

Very little is known about this artist, who was possibly a sign writer in Saltash. He was born in the 1800s but his place of birth is unknown, as is the date of his death.