The All Important Budget

Before we could even consider hosting an exhibition of this calibre we had to find funding and it wasn’t as hard as we envisaged.  The exhibition idea was so exciting and of course new.

Our main objective was to secure funding from FEAST,  Cornwall community arts funded by the arts council to take art to more rural areas and promote it within the county.

£1000 secured as long as we could match fund it.  This was made possible with a grant of £500 from the Blanchminster Trust ( a Bude charity which supports the whole community ), £225 from the councillors community chest, a donation of £20.

We also received £1175 in kind from Tate St Ives.  No money was exchanged but this is the value put on the advice and support we received and the curators panel discussion which was held during the exhibition.


  • FEAST                                                             £1000
  • BLANCHMINSTER TRUST                           £500
  • COMMUNITY CHEST                                    £225
  • DONATION                                                        £20

SUBTOTAL                                                           £1895

(£1175 in kind from the Tate meant we had easily raised the amount to match fund and this was very acceptable to FEAST given the project.)

TOTAL                                                                 £3070

We had to provide an estimated budget for FEAST and this helped us to see exactly where the money was needed and where it would be going.  Chris had several emails and conversations as well as visits with the Royal Cornwall Museum and we discussed the budget at our regular meetings.

Here is the final budget, on the left what we estimated and on the right the actual costs.

PROJECT                                                                             ESTIMATED           ACTUAL

Transport and installation by RCM                                 £600                        £500

RCM Schools workshops x4                                              £500                         £600

Advice From Tate                                                                £800                          £800

Curators Panel Discussion                                                £375                          £375

Marketing/Promotion                                                         £200                          £162

Preview/celebration expenses                                         £150                           £20 (note below)

Printing, Labels, Interpretation, Sundries                     £181.84                     £186.52

Frames and Wrap                                                                £400                          £350.18

________                    ________

TOTAL                                                                                  £3206.84                  £2993.70

________                  ________

For the celebration and preview we approached local businesses and Morrisons kindly donated two boxes of wine and some juice, whilst Sainsburys gave us a £20 gift card to buy extra beverages.

(the above figures are liable to slight change as we sold some framed work and returned a small amount of materials, but is as accurate account as far as possible at this stage)


The Final Celebration

The last day of the exhibition has arrived and it’s been a busy one.  Many schools have visited through the workshops or on their own and today two made a last minute visit as well as Falmouth Look Group who made the journey to take a look and indeed stayed on for the final celebration.

Your art celebration (14)

The idea of the celebration was to mark the end of the exhibition after all the workshops had been completed and children had the opportunity to come back with their parents.  It also gave Bude Look Group a time to come together with the staff from Bude Castle and other people involved to give thanks and celebrate the fruition of all the hard work

Special thanks was given to Marine, a young french girl who was staying with one of the Bude Look Group members to improve her french and she volunteered her time to sit in and invigilate the exhibition for more than half of its entirety .

Your art celebration (15)

A highlight was the appearance of Brian Hanscomb who made the draw . The ispy sheets enabled us to collate information about the visitors to the exhibition and in thanks for doing this, their sheets were put into a draw, the prize of which was a visit for 4 to Tate St Ives and Barbara Hepworth Sculpture Garden.


Royal Cornwall Museum Workshops Number 3 & 4, 29th January, 2015

Four workshops were funded by the group through our fundraising and grants. This allowed the Royal Cornwall Museum to send their workshop leaders up to us in Bude. Most of their normal school workshops are held at the museum itself, so this was a new experience for all.

Today it was the turn of Bude Infants School in the morning and Kilkhampton Primary School in the afternoon.

The caretakers at Bude Castle and Heritage Centre prepared the rooms with work tables and Susannah and Jane brought the materials they needed, which included clipboards for the children to work from and various media including pencils, coloured pencils, wax crayons aqua crayons, metallic pastels and oil pastels.

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Brian Hanscomb reflections

I had a quiet five minutes in the one of the two gallery rooms and made a very short video reflecting on the artwork by Brian Hanscomb.

After this was made, Brian Hanscomb visited the exhibition himself. He was extremely pleased to see his artwork on the wall and what I thought was a cad drawing on the bottom half of the work was actually entirely pastel. The work is so perfect and he actually mentions how spiritually calming it was doing all the dots for the pebbledash. Incredible.

Here is his letter to the exhibition that he left on the wall with the other comments.

Brian Hanscomb Letter
Brian Hanscomb Letter

Bryan Pearce (1929 – 2007)

Bryan Pearce (1929-2007)

Dafodills and Ginger Jar 1991 screenprint
Dafodills and Ginger Jar 1991 screenprint

Bryan Pearce was born in St Ives, Cornwall in 1929.  His father was a butcher and a rugby player, and his mother was a keen amateur painter.  Nature and nurture are a theme that runs through his life.   Pearce had the genetic condition Phenylketonuria,.  In 1929, the condition was unknown, and as a result, Bryan experienced intellectual impairment and other health problems, and so attended a school for children with special needs.

St Ives has a long tradition of fine painting, and was the home of the naïve artist/fisherman Alfred Wallis (1855-1942).  As a teenager, Bryan was encouraged by his mother and other artists to paint.   His  talent recognised,   he attended the St Ives School of Painting during his twenties.  Importantly, Leonard Fuller’s School welcomed both novice and professional artists, and had a commitment to inclusion.

Bryan Pearce

The turning point in Bryan Pearce’s career came in 1957 when he started painting in oils, and he began to exhibit soon after. Two years later he had his first solo exhibition at the Newlyn Gallery.    Although he painted slowly, producing perhaps one picture a month, he had a long and very successful career, exhibiting throughout England.  Late in life, he made etchings and his work was also sold in the form of  limited-edition screen prints.  His work has been bought by both major public collections and private collectors.

Mostly Bryan Pearce painted his own home town of St Ives.   He would take long walks around the area, and come back to paint sunny scenes, full of vivid colour, reminiscent of Matisse or perhaps of modernist stained glass.  However, Pearce himself did not study other artists, and his style was his own, not the result of external influences.   Nor was he bothered by art-world politics.   One obituary suggested that he was:

“a visionary artist of a quite particular kind, whose distinction had to do with the solitary nature of his artistic experience and the use he made of a profound creative solitude in the midst of a world experienced with preternatural vividness. That enforced and productive apartness is not to be confused with social solitude or loneliness; it was, rather, the necessary condition of his imaginative freedom and his peculiar talent.”

BP St Ives BP washing



Whereas other St Ives artists sometimes struggled to achieve authenticity, his mentor Peter Lanyon said:

 “It is necessary to accept these works as the labour of a man who has to communicate this way because there is no other.”

Bryan’s mother abandoned her own work to support her son. He was also guided by other significant figures, such as the art historian Sir Alan Bowness who said of him:

 “a therapy has become a profession… This has given his work particular innocence that, in the nature of things, can’t be corrupted by self-consciousness”.   

Bryan Pearce was undoubtedly provided with the security and support that he needed to become a major painter.  He remained in the family home for the rest of his life, supported by full time assistants after his mother’s death in 1997.  Benefiting from shelter, and the support of a local artistic community, he was able to devote himself to his art for fifty years, dying aged 77 on 22 January 2007.  The following month, a major exhibition of his work was held at Tate St Ives.

His art and talent were fostered by the unique community within which he grew up, and that recognized him as an artist like any other.  His painting made him happy, and has made many other people happy as a result.

Bryan Pearce earned his fame more for what he did than for who he was.  One of the leading naïve artists of the twentieth century, his oil paintings now hang in the Tate Gallery and at Kettle’s Yard, and he has been the subject of no less than three biographies.

Of particular interest is the Bequest he left to the people of Cornwall

Bryan Pearce Bequest

Sir Ferrers Vyvyan, Chairman of the Royal Institute of Cornwall’s Board of Trustees, formally accepted a bequest by the late Bryan Pearce on Thursday 6 September, 2007 in the Royal Cornwall Museum, Truro.

Sir Alan Bowness, one of Bryan’s Trustees and an executor of his estate, said: ‘Bryan was very aware of his Cornish ancestry, and proud of the fact that his family had always lived in St Ives. From an early date his mother, Mary Pearce, kept back some of his best pictures in the hope that they would eventually be given to the people of Cornwall for their enjoyment. Bryan’s Trustees and beneficiaries are delighted that this now substantial collection of his work has been accepted by the Royal Institution of Cornwall.’

The collection reflects the artist’s work from his earliest watercolours made at the St Ives School of Painting in the early 1950s to the present time, including the last oil painting that he was working on in December 2006, only a few weeks before his death in early January 2007.


It comprises nine watercolours, twenty-seven oil paintings, two pen and ink drawings, three conté crayon drawings and eleven etchings. Also included in the bequest is a portrait of the artist by Jason Walker painted from life in 2005 and a bronze head made by the Australian sculptor Barbara Tribe in 1976.

At the same time the bequest includes several photographs of Bryan as well as a few objects that he used regularly in his still-life drawings and paintings.

‘We are delighted that Bryan Pearce made this bequest’, said Lucinda Middleton, the Royal Cornwall Museum’s Fine and Decorative Art Curator. ‘It is a very important body of work which, thanks to his generosity, will now be accessible to members of the public

(taken from news page)


Further reading

Ruth Jones, The Path of the Son (1976)

Marion Whybrow, Bryan Pearce: a private view (1985)

Janet Axten, The Artist and His Work (2004)

Some parts of this post are taken from with thanks to