An exhibition of works by Newlyn and Lamorna Artists of the early 1900’s


Although the major focus of The Hoyle Gallery is the work of the Bloomsbury, the Post-Bloomsbury, and the Staithes  groups, and although we have relatively few works emanating from the Cornish Peninsula, the artists of the South West coast were culturally and professionally linked both to the  rough-handed creative geniuses of the North East coast and to the smooth-handed, urbane francophiles of London’s “Fitzrovia”. The artists here represented were instrumental in the cementing of links between all three Schools, and then between their own classic tradition, and the newly-emerging Abstract Movement.

Trailer from the film Summer in February




An exhibition of works by Newlyn and Lamorna artists at the turn of the century

These magnificent “Classic” Artists – the backbone of all British and European art movements from the 1890’s are rapidly re-gaining their former prestige, particularly at a time when vaccuous “contemporary” art is showing cataclysmic falls in world auctions, and the unfortunate buyers, who helped to inflate the bubble with new riches prior to the great financial debacle, are left contemplating awesomely depleted bank accounts.

Now is the time to pay a visit to our Local and National Galleries, and request that they bring up from the vaults the works removed to make space for the monstrosities, which, at the time had the notoriety to attract the crowds, and at least avoid closure.

The ability of these artists to create depth without internal modelling, but with a single line, is astonishing, and makes the judgment, until recently, of our major Art Schools that drawing is an “obsolete skill, unnecessary in today’s world” all the more breathtaking in its politically correct arrogance.

Installation Art can move us in ways which paint applied to canvas can not, but  the value of rotting carcasses, soiled underwear , copulating excrement  and stretches of wall, consists in their propensity to shock, and not in their being a natural successor to our Great Masters.

sketch of Alethea Garstin by A J Munnings

click for more by A J Munnings














Mousehole by Dame Laura Knight

click for more by Dame Laura Knight











Portrait of Artist's Wife, by Harold Knight

click for more by Harold Knight














Lamorna Birch - Devonshire Stream

click for more by Lamorna Birch










Norman Garstin - sketch2

click for more by Norman Garstin












Alethea Garstin - picture

click for more by Alethea Garstin













Exhibition of pictures by Martin Dutton


Coming soon, later in the year The Hoyle Gallery will be exhibiting the works of Martin Dutton.

The Sunflower Fields, Provence, by Martin DuttonOlives, by Martin DuttonThe Landscape, Wakes-Menerbes, Provence-1, by Martin DuttonEnd-game, by Martin DuttonFarmhouse, Provence, by Martin DuttonStill Life (with cup and saucer), by Martin DuttonDoges Palace, Venice, by Martin DuttonPaignton Pier, by Martin DuttonBajols, Provence, by Martin DuttonCottages at Triangle, Yorkshire, by Martin DuttonThe Sweetcorn Fields, Northern France, by Martin DuttonProvence, Still Life (4 lemons) looking towards Bonniex, by Martin Dutton

Watch this space for more details, or,  you may like to subscribe to our mailing list. We will keep you up to date with our latest acquisitions and exhibitions.


Recent Acquisitions


Elland, West Yorkshire, by Alan FearnleyNear Askrigg, Yorkshire, by Albert George StevensAutuminal Woodland Scene, by Alice B HandcockAutumnal Dales Scene, by Angus RandsRiver Scene, by Angus RandsThe Wharfe at Bolton Abbey, by Alexander NasmythFishermens' Huts, Port Mulgrave, by David CurtisVillage Road in France, by Fredrick William JacksonView of Harewood Castle, North Yorkshire, by J Barry HasseThe Evening Hour, by James Herbert SnellLandscape with Fishing Boat, by Walter MeeganDerwent Water, Cumberland, by William Mellor

Country Lane by Carel WeightA Sunlit Farmyard, by Charles Hodge MackieTrees at Rodwell House, by Claude RogersClassical Landscape, by Duncan GrantPortrait of Laura Knight (artist's wife), by Harold KnightThe Raising of Lazarus, by James BarryLudlow, by Mark SeniorThe Landscape, Wakes-Menerbes, Provence, by Martin DuttonSt Ives, Cornwall, by Nancy BaileyHarvest, Robert BuhlerTree in Landscape, by Theodore RousselFields near Cassis, by Vanessa Bell


Oliver Brown recalls his first meeting with Munnings (1912)

A recollection of Munnings’ introduction to Oliver Brown of the Leicester Galleries in 1912 –  an extract from the latter’s memoirs, published posthumously in 1968

“About this time (1912 – Ed) our friends Harold and Laura Knight, whose work we showed for the first time in 1907, brought in a young man from Suffolk named Alfred Munnings, and asked us to look at his pictures. He showed us a number of  canvases – of gypsies with ponies, farm horses working, or in pasture, and landscapes of East Anglia, and we were sufficiently struck with them to arrange an exhibition, which was held in March 1914.

He was a simple character in those days with a passion for horses, and we were associated with him until the time he became President of the Royal Academy. His last exhibition with us in 1947 made the greatest total sales which we have ever achieved in a one-man show by a living artist. I have thought that Munnings’ work in those early years was sometimes better than his later work in the ‘forties”

( Oliver Brown was a partner in the gallery, located in Leicester Square, from 1914 until his death in 1966, aged 81.The gallery was one of the world’s most prestigious exhibition venues, and was the first to exhibit the works of Picasso and Matisse. Today the labels of the gallery are sought after per se by art connoisseurs, given the cachet they confer on works exhibited there. From Leicester Square the gallery moved to Great Audly Street, and then to Cork Street, where it closed in 1977 )

Brown’s memoirs contain fascinating glimpses of the rich and the famous who dealt with the Gallery on a daily basis. Here is one letter he received in May 1934:


4,Whitehall Court,

London, S.W.1.

Dear Sirs,

I enclose 20 guineas for Laura Knight’s Front Row, No14. As it is a theatrical picture I think I should have had it at trade price; but no matter: it is a poor heart that never rejoices.

Keep the picture for the delectation of the public as long as it may be necessary and then send it here to Whitehall Court.


G Bernard Shaw.


Humour (and pathos) is also in evidence at the Gallery, for example at the height of WW I, a disgruntled Army Officer, who had used his leave to visit the gallery, sent the following irate missive:

Room 347

Hotel Cecil, Strand

4th May 1917


I paid 1/- to-day at the Leicester Galleries to see what has been described as a “Venus”.

I shall be glad to have the 1/- returned as what I saw can only have been intended as a joke.

I consider it distinctly unfair to obtain money from an unsuspecting public for the privilege of viewing a repulsive monstrosity, which bears not the slightest resemblance to the subject it is advertised to represent.

Yours truly


Lieut Commander.


It is not known whether the Lieut Commander received the re-fund, although it was made by return. Our own research indicates that a Lieut Commander of the same name was killed in action on 10th May 1917.