Born Douglas Morris, he moved to St Ives in 1946, and for the seventh time set up his press, The Latin Press, at Carncrows near The Island. From that location he showed with the Crypt Group, and also printed catalogues for exhibitions. He took on more and more printing work for his contemporaries who included the LEACH POTTERY, the NANCE brothers (Dicon NANCE and Robert NANCE), and the modernist circle that included such as Sven BERLIN, Barbara HEPWORTH, George Peter LANYON, Bryan WYNTER and others.
He also initiated the monthly series Crescendo Poets in 1951, including work by John Heath-Stubbs, Arthur Caddick and others as well as his own poems. However his Press went into liquidation in 1953, and Morris left St Ives. His printed catalogues are much sought after by collectors.
In 1995 Alan and Isabella Livingston, of the Falmouth College of Art, composed an appreciation of the life-work of the artist for the occasion of the Study display 'Guido Morris - a fine printer' held in April at the Tate St Ives. The evaluation was printed in simple booklet format in the signature typeface Bembo which Morris largely employed for his text work.
Holly comes from the creative family of Alec George WALKER and his wife Kay, who established and developed the Crysede design company that produced printed silk garments in the 1920s and 1930s in West Cornwall. Alec and Kay were her grandparents, and though she works with ceramics her inspiration, like theirs, comes from the natural beauty of the Cornish countryside.
In 1977-8 she worked as a decorator at the Troika Pottery, but has since then set up and worked from her own pottery in Penwith (Kelynn Pottery).
William Morris is Cornish by birth and bard of the Cornish Gorsedh. He has shown his work and been awarded art prizes in a number of Gorsedh exhibitions. He has a BA in Art History and is the inventor of Transformal Art. He is also a surrealist painter.
Stephen Morris was born in Solihull but grew up mostly in the West Midlands. He trained in hotel management and ran his own guest house on the Isles of Scilly. His style of painting is similar to that of his late aunt, Nancy Lilian 'Nan' HEATH. His first solo exhibition was held on St Mary's in 2003. His work has also been shown in France as part of the Lille 'Artevent' (European City of Culture) in 2004, and at the Madrid based Galleria de Arte Gaudi. He works from the Glandore Gallery on St Mary's.
In April 2009 the Gallery of the Birmingham Botanical Gardens held a solo exhibition of Stephen's work.
Brian Morse is a painter of seascapes, landscapes and still life. He is a member of the Padstow Art Group and has exhibited in Polperro and Port Isaac.
Born in Tavistock, Devon and trained at Slade School and Royal College of Art. Received an Hon. mention at Paris Salon in 1928. Her subjects were frequently connected to animals and sport - horses, polo, dogs and also landscape.
When in St Ives, she worked from the Island Square Studio.
In September of 1945, Arminell exhibited with her fellow-artists in the Plymouth Society of Artists' 2nd exhibition of works by members of the Society. Though not exhibiting a Cornish subject, this demonstrates that she was still showing her work in the West Country and showing with artists that she would have known previously in Cornwall, such as Borlase SMART. Nevertheless, her sending in address that year was 15 Brunswick Hill, Reading, Berkshire.
Born in Parson's Green, London, she was educated at Wimbledon until her family moved to Derbyshire in 1921, when she finished her education privately. From 1924 to 1931 she studied art at Manchester School of Art under Robert Baxter. After a period of illness she attended the Slade in 1934, but attracted by Walter Bayes' book on decorative art, she moved to Westminster School of Art where he taught. Under Bayes she realised her true interest lay in drawing and painting the human figure. She specialised in and is best known for her figure painting, although she did paint coastal and harbour scenes and teach.
She first moved to Cornwall in 1938, staying with the Sampson family at Keigwin Place in Mousehole until the outbreak of War in 1939, when she went to Stockport to teach. After the death of her parents, she returned to live with the Sampsons in 1945, there meeting Eric HILLER and Charles BREAKER. Together they formed the Newlyn Holiday Sketching Group in 1949, which became a regular Summer School for the next fifteen years. Mort is a transitional figure working for the most part in Cornwall. A retrospective of her work, Fifty Years of Painting, was held at NAG in Summer 1985.
Sometimes referred to as Louis Mortimer (which his grandson writes is definitely wrong), the artist worked along the coasts of Dorset, Devon and Cornwall in the main. He was one of three early 20th century artists, the others being George NICHOLLS and H J Sylvester STANNARD, whose watercolour views were used in the publication Picturesque Cornwall by Reginald Hammond (Salmon 2000).
His full name was, in fact, Lewis Mortimer Watts, and he is known to have painted under the name of Lewis Watts as well as most frequently Lewis Mortimer or L Mortimer. His family retain a number of his paintings.
He is known to have spent some time in the village of Polperro in 1923, and it has been suggested that he maintained a studio there for a period during the 1920s.
Sarah Mortimer-Durant works from a studio near Gulval. A self-taught artist, she has lived in Cornwall since 1975. She is a regular exhibitor at STISA open shows.
Kelly's Directory of Cornwall (1893) identifies this artist living at 1 Richmond Terrace, St Ives.
Julie Moselen's sculptures in stone and metal are inspired by the ancient symbolism of Cornwall. She finds that her experience of growing up in Newlyn imbued her with a strong emotional connection to the coast.
After completing a BA (Hons) in Metalcraft and Jewellery Design, she moved to New Zealand in 1998, founding her own contemporary jewellery studio. Over several years she expanded her art practice to encompass printmaking, painting and stone-carving, before settling on sculpture.
Born in London and educated at Highgate, the artist is known to have exhibited from 1904-1940. He trained at St John's Wood Art School, and received an Hon Mention in 1907 and a Silver medal in 1922 both at Paris Salon where he exhibited 10 paintings between 1905-32. He also wrote stories and illustrated them.
The artist studied at Dublin Metropolitan School of Art, Royal Hibernian Academy Schools, the FORBES SCHOOL at Newlyn and Heatherley's. He lived at Howth, County Dublin, and painted in Ireland, England, France and Italy.
Born Marjorie Jewell Moss, in Richmond, Surrey, the artist studied at St John's Wood School of Art and the Slade School. She first visited Cornwall in 1919, and stayed for four years in a reclusive fit of despondency (as she described it). From 1924-1926 she returned to Cornwall, having changed her forename to Marlow, adopting a masculine persona and dressing like a jockey. She began to take sculpture lessons at the Penzance Art School.
In 1927 she visited Paris where she met Mondrian, and was greatly influenced by his geometric style and use of primary colours. She studied there under Leger and Ozenfant, and on Mondrian's recommendation became a founder member in 1931 of the 'Abstraction-Creation' group in Paris. This was set up to promote and discuss non-figurative art through exhibition and publication. It continued until 1936, publishing five annuals, with Moss being the only woman and only British artist to feature in all five of them.
All of her work up to 1940 was destroyed in a bombing raid in 1944, when her former home with Netty Nijhoff (Chateau d'Evreux, Gauciel) was laid waste.
In 1941 she returned to live in Penzance, remaining in Cornwall until her death. In an unusual exhibition at the Tate Gallery (St Ives) in 1995, the artist, author and art historian, Florette DIJKSTRA presented a 'catalogue of images', reconstructions on 1:10 scale, together with a set of 1:2 scale reconstructions, to 'acquire insight into the structure and development of Marlow Moss's oeuvre.' This work, initiated and carried out by Dijkstra, based on many years of research and travel, was in the author/artist's words executed with the 'ultimate goal of opening up a new place in art history for Marlow Moss's work.' W Rotzler (Zurich) has argued that Marlow Moss's work is England's most consistent contribution to Constructivist art, and Germaine Greer that Moss probably had more influence on later developments in art than Mondrian, especially in relation to English artists such as Ben NICHOLSON, Mary MARTIN and Kenneth MARTIN and Michael CANNEY.
At her death in 1958, Marlow Moss's ashes (at her request) were scattered over the sea at Lamorna. For many years afterwards, her work was neglected in the UK. However, the #MeToo movement and debates around trans-gender issues have brought it back into prominence, in particular by the Tate Gallery, which recognises her as one of Britain's most important 'Geometric Abstaction/Constructivist' painters.
Moreen Moss was born in Woolwich. From an early age she demonstrated a talent for needlework. While studying at Sidcup School of Art she supported herself by designing and making haute couture clothes. After marriage to Bernard MOSS in 1948, the couple moved to Mevagissey in east Cornwall, where her husband set up a pottery. They had seven children and with remarkable energy Moreen found the time not only to decorate Bernard's pots, but also to pursue her love of painting. In 1955 Moreen and Bernard were filmed by British Pathe at work together in the pottery.
Moreen exhibited for many years with the NSA and was also an associate of the Penwith Gallery. Her work is described as 'allegorical rather than figurative'. Her work was also shown in galleries in London. During the 1980s she became involved in teaching adult education art classes. Influenced by Marc Chagall and David Bomberg, and fascinated by the Jewish traditions which had been part of her husband's upbringing, she incorporated Hebraic imagery into her paintings, many of which are naive in style.
In the 1990s she resumed her studies, this time at Falmouth College of Arts, graduating with a BA (Hons) in Fine Art in 2002, aged 74. She began to incorporate a variety of materials into her work, including stitching. Her work has always been popular, with many examples held in private collections in Europe, Israel and America.
Moreen Moss was painting until shortly before her death from cancer in February 2012. Described as 'inspirational, fair and generous', she had great compassion for those on the margins of society. Bernard died in September 2012. The couple are survived by their seven children, 18 grandchildren and 12 great-grandchildren.
Michael Moss was born in Preston and emigrated to Australia in his early twenties. On returning to the UK he studied at Preston, then Plymouth Colleges of Art before settling in Cornwall. In 1984 Michael won the Western Morning News Open Art Competition. Further awards followed including, in 1998, success in both the Watercolour and Drawing sections of the Society of Artists in Cornwall.
Julie Moss is a painter whose work revolves around issues concerning beauty, loss, damage and renewal.
Bernard Moss was born in London to Russian emigrees who fled to the UK at the end of the 19th century to escape persecution. He began his career as a fabric designer in London after the end of the Second World War. After marriage in 1948, Bernard and his wife, the artist Moreen MOSS, moved to Cornwall. They settled in Mevagissey where he developed a career as a potter. He became famous for his slip cast moving figures and mobiles, decorated by Moreen. The couple were featured in a British Pathe news story in September 1955. In the early 1960s he switched to the traditional throwing of domestic and decorative wares. Bernard retired in 1983. He died in September 2012 aged 89, a few months after Moreen's death.
One of the three daughters of artist Tom MOSTYN, Nancy was born in Bushey, Hertfordshire, possibly at the time her father was studying under Hubert Herkomer. She studied at St John's Wood School of Art and Royal Academy Schools from 1912 to 1915 where she won silver and bronze medals. Her teachers included John Singer SARGENT, George CLAUSEN and Sir William ORPEN. In 1915 she won the British Institute Scholarship in painting. This award was won two years previously by Leonard John FULLER, whom she later married.
After her marriage and the birth of her son she found less time for painting, restricting herself to some commercial work. In 1938 she and her husband moved to St Ives and she helped him run the ST IVES SCHOOL of PAINTING. Her sister, Dorothy MOSTYN was also an artist, and exhibited at the RA in 1920 with the painting, Spring, as reported in the St Ives Times (14 May 1920). At the end of the War she also served a while as STISA's Gallery Curator. By 1948 she was showing predominantly child portraits and still lifes. On her husband's death in 1973 she took over the running of the School of Painting, helped in her last years by Roy RAY, playing an important role in ensuring the survival of the School. She died in St Ives.
Born in Rotherham, Yorkshire, the artist began his artistic career from London (Stoke Newington and Hampstead) and ultimately moved to St Ives, Cornwall in 1901 with his wife Sarah and son, Arthur Mottram (age 14). They lived at 23 Bellair Terrace.
He had been exhibiting Cornish subjects from at least 1888 (A Cornish Sea), perhaps earlier, indicating visits he had made earlier. He exhibited one painting at the Whitechapel Exhibition of 1902, Between Hayle and Lelant. In 1904 he exhibited and sold The Bathing Pool Perranporth at NAG to a purchaser from London. A Fair Wind was sold in 1908, Breezy and St Michael's Mount in 1909, Newquay and The Mackerel Season (1910). In 1912 at NAG, the artist sold East Coast Trawlers and Gold and Grey.
Paul was born in Devon and studied at the Royal College of Art and subsequently taught at the Winchester School of Art. Mount felt his career as a sculptor began when teaching in West Africa where he was inspired by the indigenous art. Working mainly in bronze, cast-iron and stainles steel, he exploited 'reflective surfaces to extend the sculpture ambiguously within intself', often making pieces in a number of units that fitted together in interchangeable, movable fashion. He also designed large scale architectural sculpture in concrete and fibre-glass in Africa and elsewhere.
Together with his second wife, June MILES, they worked from Nancherrow Studio, St Just-in-Penwith, and also annually in France. 'The first impression that his work makes is one of energy - specifically of the energy that defines itself as form. If sculpture of this order could remind us of any other art, it would be of music rather than painting.' [Ronald GASKELL, 1981]
Chris Mowe is based in Morvah, near Penzance. His influences have come from his love of old objects, naive art and antiques.
He is a regular exhibitor at STISA open shows.
Born in 1817 at Penzance and baptised there on 6th April, the son of Richard and Eliza Moyle. He appears to have started sketching at an early age. According to the 1841 census he was listed as a surgeon, living with his parents and siblings ai Market Jew Street, Penzance. By 1851 he was already in the Scilly Isles, described as a surgeon and general practioner, at The Parade, Hugh Town, St Marys. He married Eliza James Nance of St Martin's in 1858 and they were still living at The Parade in 1881.
Two paintings by this artist, The Royal Visit of Queen Victoria in 1846 and Quay Fayre (c1850), owned by Penlee House, were exhibited in the 1993 Exhibition: An Artistic Tradition, Two Centuries of Painting and Craft in West Cornwall 1750-1950.
Dr Moyle, who practised medicine on the Isles of Scilly, was one of several amateur but accomplished painters who made their homes in the Islands. Five of his oil paintings are in the collection of the Isles of Scilly Museum.
A small group of early pencil drawings by him with dates ranging from 1829 to 1837 were sold by Bridger's Bookshop in Market Jew Street, Penzance in the early 1960s. The subjects ranged from studies of rock formations around the Penwith coast to local landscapes.
In retirement and as a widower he moved to Reigate, Surrey, where his oldest daughter, Emma, was a schoolmistress. He died in Reigate in 1893 at the age of 76.