NZ Cornish Association Newsletter
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201914Th-28Th September Programme of Events
A TWO WEEK CELEBRATION OF MUSIC AND THE ARTS IN ST IVES CORNWALL ST IVES SEPTEMBER FESTIVAL 201914th-28th September Programme of Events Visit our website for updates and online booking: www.stivesseptemberfestival.co.uk and follow us on facebook, twitter and instagram. Tickets & Information Unless otherwise stated, tickets are available from: St Ives School of Painting l www.stivesseptemberfestival.co.uk Outside Workshops l Cornwall Riviera Box Office: 01726 879500 For outside workshops we recommend l Visit St Ives Information Centre, St Ives Library, Gabriel Street, St Ives TR26 2LU you bring sturdy walking shoes (or Opening hours: Mon to Sat 9.30am-5pm, Sun 10am-3pm 01736 796297 trainers) and either warm waterproof l Tourist Offices in Penzance, Truro, St Mawes, St Austell, Bodmin, Launceston, clothing, sunhats and sun cream as Liskeard. appropriate. We meet at Porthmeor l Tickets on the door if available. Studios but a few landscape workshops are based at the Penwith Studio, Information Points accessed via a steep cobbled ramp. l Café Art, The Drill Hall, Royal Square, St Ives. Mon, Wed, Fri, Sat 10am-4pm - Tues, Thurs 10am-5pm, Sun 11am-4pm l Outside Mountain Warehouse, Fore Street, Sat 14th and 21st 10am-5pm Pre-Concert Suppers The 2019 Festival Raffle Café Art, The Drill Hall, Win Cheese and Chocolate. Prize is donated by ‘Cheese On Coast’ and ‘I Should Chapel Street, St IvesTR26 2LR Coco’. Raffle tickets can be bought at a number of venues, including The Guildhall Vegetarian hot meals served in an and Café Art during the Festival. The winner will be announced at the end of October. -
Summary of Sensory Team Manager Duties
Link to thesis website Chapter 6 Competing speech communities Chapter 6 Competing speech communities The final chapter of this section focuses on the evolution of folk tradition, and the new spaces created for performance, within the Celto-Cornish movement through the latter half of the twentieth century to the current era of festival culture and Pan- Celticism. It makes the case that the Celto-Cornish movement and the folk revival that arrived in Cornwall in the sixties represent different speech communities, which competed for ownership of oral folk tradition and the authenticity it represented. It must be also be recognised that there is a third speech community with a stake in the celebration of tradition, the local community within which it takes place. One outcome of these competing speech communities is the way in which the same folk phenomena will be used to express quite different identities. The Padstow May Day festivities for example are a celebration that firstly represents a sense of the towns community1 and secondly a Celto-Cornish tradition2 but at the same time is used as an icon by the English Folk Dance And Song Society.3 Underlying this discussion, however, must be the recognition that identity is chaotically unique for each individual and each group of individuals, all of which are at the centre of a “complex web of being”.4 In order to pursue this argument it is first necessary to revisit and examine more closely what is meant by a speech community and how this might affect performance and meaning within oral folk tradition. -
Aspects of Modern British Art
Austin/Desmond Fine Art GILLIAN AYRES JOHN BANTING WILHELMINA BARNS-GRAHAM DAVID BLACKBURN SANDRA BLOW Aspects of DAVID BOMBERG REG BUTLER Modern ANTHONY CARO PATRICK CAULFIELD British Art PRUNELLA CLOUGH ALAN DAVIE FRANCIS DAVISON TERRY FROST NAUM GABO SAM HAILE RICHARD HAMILTON BARBARA HEPWORTH PATRICK HERON ANTHONY HILL ROGER HILTON IVON HITCHENS DAVID HOCKNEY ANISH KAPOOR PETER LANYON RICHARD LIN MARY MARTIN MARGARET MELLIS ALLAN MILNER HENRY MOORE MARLOW MOSS BEN NICHOLSON WINIFRED NICHOLSON JOHN PIPER MARY POTTER ALAN REYNOLDS BRIDGET RILEY WILLIAM SCOTT JACK SMITH HUMPHREY SPENDER BRYAN WYNTER DAVID BOMBERG (1890-1957) 1 Monastery of Mar Saba, Wadi Kelt, near Jericho, 1926 Coloured chalks Signed and dated lower right, Inscribed verso Monastery of Mar Saba, Wadi Kelt, near Jericho, 1926 by David Bomberg – Authenticated by Lillian Bomberg. 54.6 x 38.1cm Prov: The Artist’s estate Bernard Jacobson Gallery, London ‘David Bomberg once remarked when asked for a definition of painting that it is ‘A tone of day or night and the monument to a memorable hour. It is structure in textures of colour.’ His ‘monuments’, whether oil paintings, pen and wash drawings, or oil sketches on paper, have varied essentially between two kinds of structure. There is the structure built up of clearly defined, tightly bounded forms of the early geometrical-constructivist work; and there is, in contrast, the flowing, richly textured forms of his later period, so characteristic of Bomberg’s landscape painting. These distinctions seem to exist even in the palette: primary colours and heavily saturated hues in the early works, while the later paintings are more subtle, tonally conceived surfaces. -
Bryan Wynter a Selected Retrospective
Bryan Wynter A Selected Retrospective Tate St Ives 15 September – 2 December 2001 Notes for Teachers - 1 - Contents Introduction Bryan Wynter: A brief biography Inspiration and Influences The Artist’s Studio St Ives in the 1940s, Gallery 1 Early Gouaches, Apse Painting and Natural Process, Gallery 4 IMOOS, Gallery 3 Late Paintings, Lower Gallery 2 Drawings, Education Studio Thomas Joshua Cooper, Gallery 5 Themes and curriculum links Further Reading Glossary Texts by Bryan Wynter Poems by W S Graham - 2 - Introduction The autumn season at Tate St Ives is devoted to landscape with a special focus on the work of Bryan Wynter (1915-75). Bryan Wynter: A Selected Retrospective has been curated by Chris Stephens and presents four key moments in Wynter’s artistic career. Early small gouaches from the 1940s, abstract paintings from the 1950s, the IMOOS constructions (Images Moving Out Onto Space) made in the 1960s, and a series of rarely seen large-scale paintings inspired by light and water made in the 1970s. At the same time, the Gallery is also exhibiting the work of American artist Thomas Joshua Cooper who presents large-scale atmospheric photographs of the Atlantic Ocean made at the edges of the land in Scotland and Cornwall. In Upper Gallery 2 visitors will be able to see a new display of ceramics focusing on the work of Bernard Leach and Shoji Hamada. The writer and ceramist Emmanuel Cooper has been invited to curate a new ‘craft showcase’ offering a reinterpretation of the Wingfield Digby Collection. Why bring your students to Bryan Wynter: A Selected Retrospective? Bryan Wynter: A Selected Retrospective is an exciting and challenging exhibition that will appeal to all ages. -
A Short History of the Cornwall Council Schools Works of Art Collection
A Short History of the Cornwall Council Schools Works of Art Collection Beginnings On 6th May, 1961 Cornwall County Council received an anonymous donation of £100, made up of twenty £5 notes, with a short note saying simply ‘To help Primary School Funds’. Attempts were made to trace the source of the donation through Plympton post office, from which it was sent, however these efforts failed. Various meetings of the Education Sub-Committee were held to try and decide what best to do with the money, it was felt that it should be used for something specific rather than just subsumed into general funds, and finally art was agreed upon. In September 1961 the Council’s Secretary for Education, Jim Harries, wrote to the artists John Piper, Peter Lanyon and Barbara Hepworth and Jacob Epstein’s recent widow, Lady Epstein explaining what had happened and asking if they might be able to sell something at a reasonable price, or had any other suggestions. They all replied; Piper thought that due to costs of original works buying a group of prints would be more effective, Lanyon was supportive but wanted £100 to supply two small paintings, Hepworth was also very enthusiastic and suggested a scheme of approaching a range of artists to asking them to each supply a piece at a minimal cost and finally Lady Epstein offered to sell a small bronze sculpture by her late husband for a reduced cost of £130. Finally, it was agreed that the opportunity to acquire an Epstein sculpture was too good an offer to refuse and the expenditure of the additional £30 to secure the piece was agreed in January 1962. -
NATIONAL LIFE STORIES ARTISTS' LIVES Jack Smith Interviewed by Cathy Courtney C466/96
NATIONAL LIFE STORIES ARTISTS’ LIVES Jack Smith Interviewed by Cathy Courtney C466/96 This transcript is copyright of the British Library Board. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] This transcript is accessible via the British Library’s Archival Sound Recordings website. Visit http://sounds.bl.uk for further information about the interview. © The British Library Board http://sounds.bl.uk IMPORTANT Access to this interview and transcript is for private research only. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators ( [email protected] ) © The British Library Board http://sounds.bl.uk The British Library National Life Stories Interview Summary Sheet Title Page Ref no: C466/96/01-12 Digitised from cassette originals Collection title: Artists’ Lives Interviewee’s surname: Smith Title: Interviewee’s forename: Jack Sex: male Occupation: Dates: 1928 - 2011 Dates of recording : 24.11.1999; 25.07.2000; 06.03.2000; 29.05.2001 Location of interview: Interviewee’s home Name of interviewer: Cathy Courtney Type of recorder: Marantz CP430 and two lapel mics Recording format: TDK C60 Cassettes F numbers of playback cassettes: F7879-F7883; F9409-F9413; F9459-F9460 Total no. -
White Paper for Culture Economic Opportunity with Cultural Excellence
White Paper for culture Economic opportunity with cultural excellence October 2012 We believe that it is the combination of our vibrant cultural offer and outstanding natural environment that gives Cornwall a distinctive edge and an international profile. Contents Pagee 4. Foreword Cllr Joan Symoons Page 6. Foreword Cornish languagee version PaPage 8. 1. Introduction Page 9. 2. Context 2.1 The case for culu ture 2.2 Definition and scope Paage 13.3 2.3 What we already have 3. Culturaltural invenvesstmmenentt 3.1 Areas of focus 3.2 Goalls 3.3 Outcomes and impactts PaPagee 18.8 3.4 Financing 4. Generating ideas, creating the annual action plan and securing investment 4.4 1 Genen raratting ideas Page 20. 4.2 Seecuring investmt ent 5. Research and evaluation Page 21. 5. Action plan 2012/2013 White Paper for Culture 2012 3 Foreword GREEN PAPER CULTUREFOR Cllr Joan Symons Reflections on the Green Paper The broad defi nition of culture didn’t relate In 2010 Cornwall Council published a Green to the proposed actions. Paper for Culture. This consultation document We are now specifi c about which areas of set out a range of ideas for supporting the cultural activity fall within this programme cultural sector over the next fi ve years. and have identifi ed those areas that are being We received over 350 responses and were supported elsewhere in the Council and by the delighted by their quality and quantity. I Cornwall Cultural Partnership. would like to thank all those who contributed; We are also now specifi c about which broad it demonstrated to us the commitment and investments and opportunities we will passion for culture that exists across Cornwall. -
South Australia's Cornish Mining Landscapes
Place, Community And Identity: South Australia’s Cornish Mining Landscapes Philip Payton Proceedings of: Place, Community and Identity: South Australia’s Cornish Mining Landscapes The copper-mining landscapes of South Australia – principally those of Burra Burra in the mid-North and Moonta and environs on northern Yorke Peninsula – are today striking reminders of the State’s significant role in the mid-nineteenth century in the expansion of the international mining frontier and the attendant Cornish transnational identity. They are best understood against the background of the nineteenth-century Cornish diaspora (Payton: 2005). The economic marginalisation that progressively overtook Cornwall as the nineteenth century wore on precipitated a widespread exodus, spurred on by the political discontent of the ‘Reforming Thirties’ and the near-starvation of the ‘Hungry Forties’, and complementing the strong demand that existed already for Cornish agriculturalists and (especially) skilled Cornish miners on the rapidly expanding frontiers of America, Australia and South Africa. This was the ‘Great Emigration’, a sustained movement of people (miners and others) that was to characterise the Cornish experience until the years before the outbreak of the Great War in 1914. A.C. Todd considered that it ‘seems reasonable to suppose that Cornwall lost at least a third of its population’ (Todd: 1967, 19) in the nineteenth century, while Dudley Baines offers some frightening statistics. Between 1861 and 1900, he says, Cornwall lost no less than 10.5 percent of its male population overseas and 7.0 percent to other counties (far and away the greatest percentage loss of any county), with a corresponding loss of 5.3 percent of the female population overseas and 7.1 percent to other counties. -
Luxury Villa Collection the Art of Hospitality Contents
LUXURY VILLA COLLECTION THE ART OF HOSPITALITY CONTENTS INTRODUCTION 6 THE VILLAS 8 THE RESORT 10 THE LEISURE FACILITIES 12 UNA KITCHEN 14 WHY ST IVES? 16 YOUR VILLA 18 HOSPITALITY 22 HOLIDAY HOME OWNERSHIP 24 SITE MASTERPLAN 38 THE FUTURE 40 4 5 INTRODUCTION SEE THE LIGHT OWN A HOLIDAY VILLA AT UNA ST IVES With its famous beaches, turquoise waters, picturesque harbour and renowned art scene, St Ives is undoubtedly one of the UK’s premier holiday destinations. Once home to the St Ives School of artists, attracted by the unique quality of light in West Cornwall, this coveted seaside town is filled with atmospheric cobbled lanes, bustling restaurants and independent shops, as well as its very own Tate gallery and Barbara Hepworth Museum. Nestled on the fringes of this remarkable town, above Carbis Bay, Una St Ives is a stunning resort that artfully blends wellness and indulgence, sanctuary and community, lifestyle and investment. Purchasing a villa at Una St Ives means you’ll not only receive a 4.5% guaranteed return on your hassle-free investment – you’ll also enjoy up Clockwise from top: to six weeks a year in your very own holiday home in this unique corner Una St Ives, St Ives, Barbara Hepworth Museum of Britain. and Sculpture Garden 6 UNA ST IVES THE ART OF HOSPITALITY 7 THE VILLAS CRAFTED IN CORNWALL Imagined by the multi-award-winning Dyer Architects, Una St Ives is designed to blend seamlessly with the natural beauty of its location. Fashioned with a preference for locally- sourced materials, our textured palette of stone, timber and glass feels classically Cornish – with a crisp, contemporary twist. -
Celtic Cornwall … Exploring Identity
Celtic Cornwall (Exploring Identity) By Chris Dunkerley - Cornish Bard (Kevrenor), CyC Associate of the Institute of Cornish Studies, Cornish rep. to Celtic Council Of Australia (in NSW) Hon. Secretary of the Cornish Association of NSW INTRODUCTION CELTIC? CORNWALL? SOME ELEMENTS OF IDENTITY - Popular Consciousness - Constitution - History & Landscape - Mining - Language - Music, Song and Dance - Food - Some Customs - Gorseth KERNOW BYS VYKKEN ______________________________________________________________________________ Introduction Celtic Cornwall? Is this a title than can be given to my little ancestral land by the sea in north west Europe? There have been competing views about what constitutes Celtic Cornwall. As Amy Hale stated in an article; “During the course of the (Cornish) Revival too much time and energy has been spent justifying Cornwall’s Celticity!”…. One asks, why was there any doubt?” To which I am tempted to reply – ‘who cares? .. we know we are the Celtic Cornish so let’s get on with life!’ But given that you have probably come expecting a workshop on the very subject I had better restrain myself. In essence today I will seek to explore with you the dual nature of being Cornish - that of the context in which one exists, and a continuing Celtic identity which largely comes from within. Along the way I will heavily draw heavily on others who are more learned than me, look at some elements such as language, and we may also have some fun. It is worth looking first in depth at the two words that make up the title of this workshop. Celtic? Whenever and wherever the term Celtic is used, it seems to mean something different! There is part of me that says, ‘well that’s very Celtic’! I am sure we all hold a different picture in our minds. -
CORNWALL 218 Atmospheric of All, During the Roaring Surf Andbitter Windsofcornwall’Sferalatmospheric Ofall,Duringtheroaringsurf Winter
© Lonely Planet Publications 218 lonelyplanet.com THE NORTH COAST 219 Orientation & Information detail on ways to get to and from the county Cornwall stretches from the River Tamar and p295 for countywide travel. C o r n w a l l and the granite hump of Dartmoor in the Cornwall 24 (www.cornwall24.co.uk) Lively (and usually east all the way to mainland England’s most heated) Cornwall discussion forum. westerly point at Land’s End. The principal Cornwall Beach Guide (www.cornwallbeachguide administrative town, Truro, sits bang in the .co.uk) Online guide to the county’s finest sand. middle of the county; to the north are the Cornwall Online (www.cornwall-online.co.uk) A lofty cliffs and surfing beaches of the north community-based site with guides to accommodation, And gorse turns tawny orange, seen beside coast, while the south coast is a gentler walks, attractions, villages and activities. Pale drifts of primroses cascading wide landscape of fields, river estuaries and quiet To where the slate falls sheer into the tide. beaches. The main A30 road cuts through the middle of the county, running roughly THE NORTH COAST Sir John Betjeman, Cornish Cliffs parallel with the main-line railway between London Paddington and Penzance; a second If it’s the classic Cornish combination of Jutting out into the churning sea and cut off from south Devon by the broad River Tamar, major road (the A38) runs east from Ply- lofty cliffs, sweeping bays and white-horse Cornwall (or Kernow, as its usually known around these shores) has always seen itself as a mouth across the Tamar Bridge and along surf you’re after, then make a beeline for the nation apart from the rest of England – another country, not just another English county. -
ST IVES PRINTMAKING 1949-2002 Austin/Desmond Fine Art
ST IVES PRINTMAKING 1949-2002 Austin/Desmond Fine Art St Ives Printmaking 1949-2002 PAUL FEILER TERRY FROST NAUM GABO DAVID HAUGHTON PATRICK HERON ROGER HILTON BRYAN INGHAM PETER LANYON ALEXANDER MACKENZIE DENIS MITCHELL BEN NICHOLSON JOHN WELLS BRYAN WYNTER 1. PAUL FEILER £2,000.00 B. 1918 Balcony With Beach, 1954 Lithograph Signed and dated in pencil lower right. Printed on white wove paper, from the numbered edition of 20 impressions. With margins. 30.2 x 45.5 cm 2. TERRY FROST £3,750.00 1915-2003 Untitled, Double Quay, 1952 Linocut Signed and dated lower right. Printed by the artist on wove paper. There was a proposed edition of fifty impressions printed in black only. Although early numbered copies exist, the full edition was never realised. A small number of colour variants proofs were printed. With margins. 15 x 15 cm Ref: Austin/Desmond Contemporary Books, Terry Frost: Prints 1948-1990, 1990, No.7-8 Dominic Kemp, Terry Frost Prints: A Catalogue Raisonné, Lund Humphries, 2010, No.7 Coll: Tate Gallery, recorded as Boat Shapes (printed in black and brown) P07982 3. TERRY FROST £3,000.00 1915-2003 Scammel, Banbury, 1967 Drypoint with hand colouring and collage Signed and dated lower right. Printed on heavy wove paper by the artist, Banbury. An extremely rare, and possibly unique early state. The plate was extensively reworked. No edition. 27.8 x 21.2 cm Ref: Dominic Kemp, Terry Frost Prints: A Catalogue Raisonné, Lund Humphries, 2010, No.31 4. TERRY FROST £2,600.00 1915-2003 Quadrant and Circles, 1967 Etching Signed and dated lower right.