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He studied design and the history of architecture at the Royal West of England College of Art in Bristol, then for five years (1935-40) worked in the Art Department of Ealing Studios [See Buckman].  Armfield moved to Cornwall in 1942, taking up painting as a full time professional career in 1945.

A Quaker pacifist, he turned to Symbolism during the war years. His cousin was Maxfield Armfield, the painter and writer, and from him he developed the tempera technique, producing a manual on the subject in due course.  For 20 years he worked in a studio in Looe, South Cornwall, opening a Gallery in 1965. Later he moved to Plymouth, Devon.



He was born on 14 October 1860 at Clayton, nr Bradford, West Yorkshire. His specialty was in flower painting. From 1892, a Newlyn address (Gwavas Terrace) is given for the artist, but no records exist for exhibiting work locally. By 1896 he was living at 14 Alverton Terrace, Penzance, but disappeared from the general lists of artists thereafter. He died in Hounslow, London (GRO).

Catherine ARMITAGE


Catherine Armitage was born in Surbiton, Surrey and is married to the artist Paul FEILER. She studied at the Slade School of Fine Art at both undergraduate and postgraduate levels. She has exhibited in Paris, Germany and the USA in solo and mixed shows.

In Cornwall she has exhibited in various mixed shows, but also solo at the Salt House Gallery, St Ives and in the Jamieson Library of Women's History series in the 1990s. She has been a long-time member of the NSA.

Her studio at Newlyn/Paul is the original Newlyn school studio of Elizabeth Adela FORBES.


Armitage works from a studio set on a working farm near Lamorna. His work has been exhibited at Rainday Gallery, Penzance.



Born in Penge, London, she studied at the Slade School from 1912 to 1914, also in Karlsruhe, Germany. Her move to Cornwall in 1921 was to start working (briefly) with Stanhope FORBES. She was influenced by Algernon Mayow TALMAGE to paint in oil because he thought she was so bad at watercolours. She went on to develop an individual style of still life in the 1930s, and still later, under the influence of Ben NICHOLSON, this developed into an abstract style.

She married Henry Armstrong, a civil servant, and moved to Carbis Bay in 1921 whilst maintaining studio initially at 1 Piazza Studios, then at 9 Porthmeor Studios, St Ives. In their early days there, she and Henry acquired Rose Cottage, the former home of writers Edith and Havelock Ellis, which was to become their permanent residence. 

At the March Show Day in St Ives (1924) she exhibited posters, book illustrations and a flower and fruit study. As Shearer Armstrong she exhibited regularly at the RA and also at the Royal Scottish Academy. Through her friendship with Mary PEARCE and her interest in the paintings of Bryan PEARCE she was to be the conduit for Pearce's first major show of work in 1959 (25 paintings) at the Scottish Gallery in Edinburgh, where he shared a three-person show with Armstrong and the St Ives artist Guy WORSDELL.

From 1926 she also exhibited at Newlyn, and in later years she gave art classes to the residents at St Teresa's Cheshire Home, Marazion. At this later stage she returned to a more traditional style of floral painting, of which there is an example in the permanent collection of the HYPATIA TRUST.

Elizabeth Adela ARMSTRONG


See Elizabeth Adela FORBES


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


Joe Armstrong grew up in London and was a student at Epsom School of Art & Design for five years. After working in advertising in London, Joe moved to Cornwall in 1986, and has worked as a self-employed graphic designer ever since. He now paints professionally full-time.

His work has been exhibited throughout Cornwall.

John Rutherford ARMSTRONG


Born in Hastings, Sussex, John was the third son of a clergyman, and his early years were spent in West Dean, near Goodwood. He studied law at St John's College, Oxford and then St John's Wood School of Art in London before and after the 1914-18 war, enlisting in the Royal Field Artillery during the conflict. During WWII he was an Official War Artist. 

In 1945, Armstrong moved to Oriental Cottage, Lamorna in Cornwall, which was a cottage belonging to his second wife, Veronica Sibthorpe.  He remained engaged in painting surrealist murals for the London stage which he had been successful with, both for stage and film. Special friends were Elsa Lanchester and Charles Laughton.

In Cornwall he joined with John TUNNARD, Peter LANYON and others irritated by the division of art into categories of figurative and non-figurative by the Penwith Society, and began to show his work at NAG, becoming a re-invigorating force within the NSA which they all joined. Armstrong served on the organising Committee of the Newlyn Society of Artists until 1955 when he resigned from both the Society and the Committee, due to leaving Cornwall.

In the early 1950s when Armstrong had been commissioned to paint the ceiling mural for the Bristol Council House, he did this work on canvas in the lower front room of NAG (where administration offices are today) which he contracted to rent for a year (1954).  The canvas was so large that it had to be wound around three giant rollers, from which it was unwound as needed and painted a section at a time. An assistant for the year was a young woman named Mary COLLETT, who has continued as a painter in her own right. Later the canvas was 'marouflayed' (stuck) to the Council House ceiling where it remains.

In 1955 he returned to London, divorcing from Sibthorpe, remarrying thereafter to this third wife, Annette.  Armstrong was made an Associate of the RA in 1966. He also painted murals for the Royal Marsden Hospital. Precise but muted in colour, his symbolist qualities are keynotes of his style, and always his work was abstract, upon occasion surrealist.

In 1989, a painting by John Armstrong, from the Permanent Collection of NAG, Veronica as Harlequin, was chosen for the Cornwall County Council Exhibition, 'A Century of Art in Cornwall 1889-1989' in which 140 paintings executed in Cornwall over the 100 year period were shown. The painting had been given to NAG by Frankie FREETH, another artist who had served with Armstrong on the NAG committee, and a close friend and partner to his ex-wife Veronica.



Hermina ARNDT


Hermina Arndt (known as Mina) was born on 18 April 1885 at Thurlby Domain, the family property near Arrowtown, New Zealand.  Early in 1907, following the example of artists such as Edith COLLIER, she left for London with her mother and her two sisters. There she attended  art school where her teachers included Frank BRANGWYN. She may have attended classes at the Slade. With German printmaker, Hermann Struck, she studied etching in Berlin, first in 1907, as Arndt had family ties there and spoke German, while many of her compatriots were studying in Paris.  In late 1907 or early 1908 she joined the FORBES SCHOOL in Newlyn, Cornwall. Here, she met the Samuel John Lamorna BIRCH family,  Harold KNIGHT, Laura KNIGHT and others in the NAG circle.  She shared the Newlyn School's interest in depicting peasants, and her portraits of Cornish peasant women from that time echo the Cornish work of  Edith Marion Collier.  

Arndt exhibited  two works at NAG in Newlyn (March 1914) just before the Gallery closed for the duration of WWI [no record]. She was back in Germany by August that year and when WWI was declared she and her sister Edith were briefly interned, then released as part of an exchange of women prisoners. After returning to New Zealand in 1914 Arndt lived in Wellington, renting a studio. In 1915 she exhibited 93 of her European drawings, oils and etchings to mixed reviews.  She married Lionel Manoy, a widower, in a Jewish ceremony in Wellington (1917). They had one son, John. 

In 1924 she was awarded a medal at the British Empire Exhibition, Wembley. Following her death, Arndt was largely ignored until the 1960s when her place in New Zealand art gained further recognition. In 1960 her son and stepdaughter initiated a retrospective exhibition at the Bishop Suter Art Gallery in Nelson, and in 1961 the New Zealand Academy of Fine Arts held a retrospective exhibition in Wellington. Since then an interest in women artists and the development of modernism in New Zealand art have contributed to an increased awareness and appreciation of her art. Her work is represented in private collections and galleries in New Zealand, and in galleries in England, Australia and France.