Informal shots of some of the works in our St Ives & Modern British Art 2024 exhibition installed in the studio and showing spaces in Towednack, St Ives. The show opened with a very lively Private View and Book Launch on Saturday 30th April. To view all 112 works (paintings, sculpture, drawings and prints) by more than 50 different artists, please use the following links:
31 March – 22 April 2024, Belgrave St Ives
The exhibition includes works by key members of the group of Moderns working in and around St Ives in the second half of the 20th Century, particularly the group of artists who founded the influential ‘Crypt Group’, which led directly to the formation of the Penwith Society of Artists. The show also includes works by established Modern British artists working outside of the Cornish milieu, as well as less well-known artists, with a particular focus on female artists working in the period. Works by this latter group, illustrated in the extensive exhibition catalogue, are accompanied by short biographical texts that give an insight into what were often extraordinary lives, giving the chance to view the work in a wider personal and historical context.
Other artists in the exhibition include: Gillian Ayers, W. Barns-Graham, Romi Behrens, Sven Berlin, Michael Canney, Terry Frost, David Haughton, Patrick Hayman, Barbara Hepworth, Patrick Heron, Roger Hilton, Peter Lanyon, Margo Maeckelberghe, Ben Nicholson, Kate Nicholson, Bryan Pearce, William Scott, David Smith, Arnold van Praag, Keith Vaughan, Alfred Wallis, John Wells, Karl Weschke, Bryan Wynter and others.
Moira Beaty and Hilda Goldwag, both of whom were displaced by the Second World War, drew on their experience of the visceral Scottish landscape to create dark-skyed, brooding, wintery landscapes reflective of their experiences. Both artists utilised the palette knife in a way that enables us to feel the soil of the land and sense its depth of biodiversity. The heavy air of Northern saltmarshes, moorlands, farmland and scrub are laid before us. Moira Beaty studied at Glasgow School of Art where her contemporaries included Joan Eardley and Margot Sandman. The War interrupted her studies and she was recruited to Bletchley Park where she worked as a code breaker with Peter Twinn’s team. She exhibited at (amongst others) the Open Eye Gallery Edinburgh, Collins Gallery Glasgow, Cadogan Gallery London and Gracefield Arts Centre, where a major retrospective exhibition of her, and husband Stuart Beaty’s work, was held in 2001.
Born in Vienna, Hilda Goldwag graduated from the Graphische Staatsämter und Versuchs Anmalt with special commendation in 1938. Following the Anschluss, Goldwag managed to secure a travel permit to Scotland (1939). Tragically her family couldn’t leave Austria in time and were later murdered by the Nazis. Whilst continuing to paint, Goldwag also worked as a book illustrator and occupational therapist.
Another female artist, Cornish-born Margo Maeckelberghe, has three landscape paintings in the show, all capturing the drama of the far west of Cornwall. Chûn Castle, West Penwith harnesses the boundless moorland of her homeplace, whilst Sea Spray gives you the feeling of standing on a cliff edge. In the catalogue for her solo exhibition at Tate St Ives in 2008, Margo Maeckelberghe – Extended Landscape, the artist’s ‘brooding sense of colour and light’ is described, and it is these qualities that leave you transfixed. Chûn Castle lies on a high spot on the West Penwith moors, near to Pendeen, and is an impressive Iron-Age hillfort. Maeckelberghe, like Peter Lanyon and Barbara Hepworth and other St Ives Modernists, was attracted to the historical potency of such sites.
A second thread in the exhibition is a feature about The Crypt Group. Exhibiting their work independently in The Crypt (of the deconsecrated Mariners church, St Ives) from 1946 – 49, this group of artists positioned their Modernist approach to art in opposition to the more traditional/impressionist orthodoxy of the St Ives Society of Artists. The original instigators of the group,Wilhelmina Barns-Graham, Sven Berlin, Peter Lanyon, (Guido Morris), John Wells and Bryan Wynter, each have a work in the show. A new publication, The Crypt Group 1946-49: Rites of Penwith Passage, written by Peter Davies and published by St Ives Printing and Publishing Company, will be launched at the Private View.
A number of the works representing The Crypt Group are contemporary to the existence of the group, including a 1947 drawing by Wilhelmina Barns-Graham and a figurative sculpture by Sven Berlin from 1948. Abstraction is represented through the work of John Wells and the work of other Modernists in the exhibition such as Patrick Heron.
An abstract painting not to be missed is a 1960 canvas by Roger Hilton.
Other key paintings include figurative works by Gillian Ayres and David Smith, and – transporting us back to Cornwall – a painting by Alfred Wallis. He casts us four boats; they sail close to us, at the bottom of the composition, slinking past in what feels like an overcast slightly turbulent day at sea.
A 1947 ink and wash drawing called Landscape with Thistle by Bryan Wynter, moves us back to moorland and homestead. In a similar way to Seamus Heaney’s poem Mint, the title and content of the picture make us dwell on the connotations of the thistle plant, and its resilience and presence alongside humans.
About the gallery
Each year Belgrave St Ives offers collectors the opportunity to explore more accessibly priced works by major names and less well-known British Artists working in the 2nd half of the 20th Century.
Belgrave St Ives opened in 1998 in the centre of St Ives and moved from the historic town to the countryside 2 miles outside in 2020. Visitors can now enjoy the beautiful moorland hinterland of St Ives whilst viewing art. The new location near Towednack, stretches down to Zennor and beyond, via Carn Galva and through to Pendeen and St Just. The area has been home to many of St Ives best known and accomplished artists: Patrick Heron, Bryan Wynter, Karl Weschke, Sandra Blow, Trevor Bell, Roger Hilton, and many others.
Fully illustrated catalogue available.
#belgravestives @belgravestives
For further information and images, please contact Richard Blackborow:
Belgrave St Ives, Higher Bussow Farm, Towednack, St Ives, Cornwall, TR26 3BB
richard@belgravestives.co.uk
tel. 01736 794888
ENDS
Here are installation shots of our Winter Exhibition 2023, which opens on Saturday 25th November. Containing 127 works; prints, drawings, small paintings and 3D, the show includes the work of over 90 artists. You are welcome to visit the show by appointment until January 8th by calling 01736 794888 or emailing info@belgravestives.co.uk
Details of all artworks can be viewed on the gallery website here.
Details of all artworks can be viewed on the gallery website here.
A few images showing parts of the displays at The Hepworth Room, Penwith Gallery, St Ives, and at Belgrave St Ives in Towednack, St Ives.
View works in the exhibition on the gallery website here: https://www.belgravestives.co.uk/exhibitions/1248/tom-cross–paintings-from-the-artists-studio
PRESS RELEASE 22 Aug 2023
14th October to 6th November 2023
Exhibition across two venues:
The Hepworth Room, Penwith Gallery, Back Road West, St Ives TR26 1NL
14 October – 2 November. Private View Saturday 14 October 12.30 – 3.00pm.
Belgrave St Ives, Higher Bussow Farm, Towednack, St Ives TR26 3BB
14 October to 6 November. Private View Sunday 15 October 12.30 – 3.00pm.
On the eve of the 40th anniversary of the publication of the seminal book written by Tom Cross Painting the Warmth of the Sun: St Ives Artists 1930 – 1975, and associated 3-part Channel 4 T V programme, it seems an appropriate time to be mounting an exhibition of Cross’s own art.
The significance of this publication, that re-ignited interest in the group of artists working in and around St Ives in the post-war period, and no doubt helped pave the way to the establishment of the Tate Gallery in St Ives in 1993, illustrates the wide-ranging practice Cross held as an art educator, writer and artist.
This exhibition brings together paintings and prints covering the artist’s career from his Slade School influenced landscape and Still Life paintings of the 1950s Landscape at Houghton Green through the abstract work of the 1960s Interior of a Room to the experimental work of the 1970s Flat culminating in the mature primarily landscape paintings mostly rooted in his home environment around the Helford River, The Quay at Port Navas.
Cross followed an academic training at Manchester School of Art (initially in Architecture) and the Slade School of Art where he won several scholarships. A travel scholarship to Rome was the start of a lifetime of travelling and painting in many countries around the world.
After a period working at the Welsh Art Council, Cross took up a lectureship at Reading University later introducing artists such as Terry Frost to the teaching programme there. The post of Principal at Falmouth School of Art, a position he held from 1976 to 1987, brought him to Cornwall where he settled for the remainder of his life. As a member of the London Group and Penwith Society of Artists (where he became Chairman) many fellow artists coalesced around Cross’s social circle in West Cornwall. Throughout his career and parallel to his academic duties Cross maintained his painting practice rigorously. For instance, as Principal of Falmouth Art School he kept a working studio on site.
On Cross’s retirement from education there was a burgeoning of Helford River paintings depicting private spaces and open vistas such as the The River, Bosloe (2006). Cross repainted the river whilst living by its tides, closely observing the surface wind patterns and wind-blown trees. Today the Helford River is heralded as containing remnant Rainforest (though not positioned on a Western seaboard). Past mining and shipping activity having deforested swathes of it, however, there is renewed interest in sustainable livelihoods to be had there. A new resolve to protect rivers by looking at ecosystem services including what they give us through such activities as sailing and walking – general wellbeing – makes this an interesting moment to revisit this later work and its palettes of blue which feed our ‘blue mind’.
Cross was a meticulous note-maker, recording his observations throughout his life and examples in several of his sketchbooks illustrating this shall be on display in the Penwith Gallery part of this exhibition, providing an insight into the artist’s thoughts and processes.
Summary
Painter, printmaker, constructions maker, teacher and art historian, Cross combined his career in academia with that of a painter and writer. He was Assistant Director of the Welsh Arts Council in Cardiff, Senior Lecturer in Fine Art at the University of Reading as well as Principal of Falmouth School of Art until 1987. In his two seminal books, Painting the Warmth of the Sun: St Ives Artists 1939-1975 (first edition published by Lutterworth Press 1985), and The Shining Sands: Artists in Newlyn and St Ives 1880-1930 (first edition Westcountry Books 1994). Cross demonstrated the important contribution to 20th-century British art made by artists working in Cornwall and he continued to publish thereafter.
PHOTO CAPTIONS
‘Landscape at Houghton Green’ 1955, Oil on canvas; 73.5 x 99 cms
‘Interior of Room’ 1962, Oil on canvas; 182 x 183 cms
‘Flat’ 1975, Mixed media collage on canvas; 106 x 152 cms
‘The Quay at Portnavas’ 2005, Oil on canvas; 92 x 102 cms
NOTES TO EDITORS
For further information and images, please contact Richard Blackborow:
Higher Bussow Farm, Towednack, St Ives, Cornwall TR26 3BB
richard@belgravestives.co.uk tel. 01736 794888
Fully illustrated catalogue available.
ENDS
Informal installation shots of the new exhibition at Belgrave St Ives. The exhibition continues until 28th August 2023.
Our Summer Exhibition is now showing in our viewing spaces at Towednack, just a couple of miles from the centre of St Ives. The show includes works by Modern and Contemporary artists including: Sarah Armstrong-Jones, Ray Atkins, Julian Bailey, W. Barns-Graham, John Barnicoat, Sven Berlin, Sandra Blow, Virginia Bounds, Bob Bourne, Michael Broughton, Jessica Cooper, Tom Cross, Bob Crossley, John Emanuel, Anthony Eyton, Anthony Frost, Luke Frost, Terry Frost, Sally Heywood, Rose Hilton, Liz Hough, Francis Hoyland, Richard Lee, John Lessore, Ffiona Lewis, Jason Lilley, Mary Mabbutt, Jane Mac Miadhachain, Felicity Mara, Margo Maeckelberghe, Nicholas May, Alice Mumford, Ben Nicholson, A J Pearson, Elaine Preece-Stanley, Brian Rice, Graham Rich, George Rowlett, Eilidh Simpson, Eric Ward and Patricia Williams.
The full exhibition can be viewed in the digital catalogue here or on the gallery website here.
If you would like to view the exhibition in person, please email the gallery: info@belgravestives.co.uk
Book Launch and One-Person Exhibition
Book launch and exhibition of paintings by artist and poet
Exhibition across two venues:
Borlase Smart Room, Porthmeor Studios, St Ives TR26 1NG / 9 – 13 September
Book launch and readings Borlase Smart Room / Saturday 9 September 5.00 – 6.30pm
Belgrave St Ives, Higher Bussow Farm, Towednack, St Ives TR26 3BB / 10 – 30 September
“Place a poem beside a painting and something almost mystical occurs. A space outside of space suddenly opens. In it, a new syntax and a new grammar – a language that is neither verbal nor visual, yet both – is formed: a conversation between strangers who share neither origin nor accent but a yearning for truth.” Kelly Grovier
This new book of paintings by Alice Mumford and poems by Sue Leigh, celebrates the intimacy and beauty that can be found in our everyday lives, bringing together exciting new work from the two makers in which art and language sit side by side, each illuminating the other. Painter and poet discuss their experience of working in their respective media. They talk about their sources of inspiration, how they might choose a subject, and the process that surrounds the making of their work. What do they share in their creative lives and how do they differ?
As Kelly Grovier writes in the insightful foreward, “Colour, it turns out, is the lucent lexicon in which the imaginations of these creators eloquently conspire.” For instance, a sunlit blue room with a spray of Jasmin is juxtaposed with the following poem:
summer jasmine is
so white and starry
it might be night, might be
moonlight
The exhibition will coincide with the beginning of the St Ives September Festival that takes place from 9 to 23 September 2023. A special event to accompany the exhibition will be held Saturday 9 September 5.00 – 6.30pm at Borlase Smart Room, Porthmeor Studios in St Ives. The artist will be in conversation with Sue Leigh, bringing the text and images further alive.
Mumford is a painter who is entirely focused on her craft. Following training at Dartington, Camberwell, Southwark and Falmouth Colleges of Art, she has become one of the most popular painters currently working in Cornwall. After early successes with Cobra & Bellamy, Julian Lax and Badcocks Gallery, Mumford has been represented by Belgrave St Ives since 2005, during which time she has established herself as a pre-eminent painter of still life interiors that draw heavily on her own domestic life. Sansom & Company published a first monograph of her work in 2015. (Copies are available at the gallery along with signed copies of the new book.)
Sue Leigh teaches at Oxford and runs her own poetry courses. Her first book,
Chosen Hill was described by the TLS as ‘an intelligent and considered collection that pays homage to the act of paying attention’. Her other published work includes Her Orchards (Two Rivers Press, 2021) and Chalk (Evergreen Press).
A Painter and a Poet: Conversations in Colour
Publishing September 2023 | 9781915670069 | Softback | £2O.OO
Orders will be fulfilled upon publication in September.
Available from: https://www.casematepublishing.co.uk
For publicity enquiries, please contact Poppy Iles by email: bookmarketing@pen-and-sword.co.uk
#BelgraveStives #PainterandPoet @belgravestives
NOTES TO EDITORS
For further information and images, please contact Richard Blackborow:
Higher Bussow Farm, Towednack, St Ives, Cornwall TR26 3BB
richard@belgravestives.co.uk tel. 01736 794888
ENDS
I’ve had an Instagram account since 2015, but it’s been a pretty on–off affair. This was my first consistent attempt to post regularly, using the posts to tell a story. As a writer, living and working with words, Instagram originally attracted me as a visual alternative, a kind of scrapbook/diary, so I took my cue for the takeover from Barbara Hepworth’s Pictorial Autobiography – a book @felicitymara and I had bought as it happens, on my first ever visit to St Ives. Here is a selection from those 14 posts.
Saturday 4 April
On a hot blue April morning, the tide far out, we walked from the old vegetarian hotel on Lelant Saltings across the sands. It felt like we were the only people to find our way to Trewyn Studio that day. After exploring the garden, sitting in the suntrap greenhouse with its slightly grubby plaster sculptures and musty backnote of Cornish damp, we joined the Easter holiday crowd in the harbour. On a wall by the amusement arcade, someone had hooked a plus-sized wooden palette, inscribed in capital letters ‘ARTIST AT WORK’. St Ives, in a nutshell …
Thursday 6 April
Sandra Blow made this collage the same year my book on her came out. I’d spent much of the previous year researching and writing – including regular meetings with Sandra at her studio in a former carpet warehouse in St Ives. During that time, she was going through a break-up. As a result, conversations I’d carefully plotted along the lines of art-biographical interviews would quickly veer off-piste into more personal matters – not that I could match Sandra’s experience here.
She was an artist in that European lineage of consummate arrangers and animators of two-dimensional space – a rare gift, even among artists. It sometimes felt almost magical: she could drop an off-cut of coloured paper or hessian on the floor, and it would fall ‘right’ in relation to the visual field. You get a sense of that in this little collage.
Thursday 20 April
Back in 2006, I was about to start work on the book that became The St Ives Artists: A Biography of Place and Time, when I had a dream in which Peter Lanyon appeared. It was on a beach, towards the end of a sunny day, and he was happily mucking about by some rocks. What I remembered on waking was a feeling of great warmth and humour. ‘Golden’ was the word that came to mind.
Then in 2016, looking for illustrations for @lhartbooks second edition of the book, I was shown this photograph – a surreal family moment caught on the wing by Andrew Lanyon, who kindly let me reproduce it on the back cover. I’d never seen the photo before, but it could have been a black-and-white still from the dream, though by this point ten years had passed. What Peter Lanyon was doing round the back of Carn Brea in 1960 I don’t know, but – now you’ve seen Andrew’s photo – you can picture him.
Peter Lanyon, Back of Carn Brea, charcoal and gouache, 1960
Friday 5 May
Terry Frost, Malaga Blue, Yellow and Orange, acrylic and canvas collage on card, 1999
‘Just to think in terms of colour,’ Terry Frost told his students at Reading University, ‘is enough to set the soul alight. This is colour without shape – in the spirit.’ In 2000, not long after Frost made this small, bright collage in canvas on card, he turned 85. I interviewed him for Art Review in his studio high above Newlyn. Chatty but a shade despondent, he showed me the stacks of large, unsold abstract paintings leaning against the walls. As far as the art market was concerned, he said, abstraction was ‘dead’.
I met many of those paintings again, on gallery walls and in auction reports, this time with four or five zeros attached. ‘People pay a lot for the work when the painter himself is dead,’ as Vincent van Gogh observed to his sister in 1888. Plus ça change.
Like others of his generation, who had to get through six years of war before they could start their adult lives, Frost had a marvellous capacity to take real delight in things that cost nothing – a fine sunset, a good hot cup of tea – and to share those pleasures. I liked him for that.
Monday 8 May
Patrick Heron avoided descriptive titles, instead titling his pictures with the dates on which they were made or finished. And you can see the point. If he’d called this print, say, Field of Dreams or Pink Moon, instead of January 1973, you might want to make the picture fit a story rather than letting the shapes and colours do their own wordless work.
Patrick Heron, January 1973: 12, screenprint, 1973
But days, months and years have stories too. What else was happening half a century ago, in January 1973? Quite a lot that strikes a chord today, it turns out. In the USA, there was the landmark Roe v. Wade legal judgement on abortion, and over here, celebrations as Britain finally became a member of the European Union. Patrick Heron, a passionate Europhile, must have been delighted.
‘European Communities 1973’, commemorative stamps designed by Peter Murdoch, RCA, 3 January 1973
This is the last day of the show – and also publication day for the new paperback edition of The St Ives Artists: A Biography of Place and Time. @lhartbooks have, once again, done a beautiful job, with a cover based on Bryan Wynter’s Meander II – a visual exploration of the complex ways in which patterns of water flow shape our environment and our lives.
To buy a copy, visit @stivesbookseller or order online from @lhartbooks, @blackwellbooks and other major bookstores (rrp £19.99).
Mixed Exhibition:
St Ives & Modern British 2023
8 April – 8 May 2023, Belgrave St Ives
Private View: 8 April 12 – 3pm
The much-anticipated annual St Ives exhibition at Belgrave St Ives offers clients and collectors the chance to buy accessibly priced works by some of the major names in Post-War Modernism.
Includes works by W. Barns-Graham, Sven Berlin, Sandra Blow, Maurice Cockrill, Dennis Creffield, Tom Cross, Paul Feiler, Terry Frost, Barbara Hepworth, Patrick Heron, Roger Hilton, Rose Hilton, John Hoyland, Peter Lanyon, Alexander Mackenzie, John Milne, Denis Mitchell, Ben Nicholson, Bryan Pearce, Alan Reynolds, John Wells and many others.
With a focus on Modernism there are many works from the St Ives School. Highlights include a painting by the artist Karl Weschke called Trees. Although he was creating abstract works when he moved to Cornwall in 1955, haunting landscapes became his figurative idiom. Full of dichotomy, the painting ‘Trees’ presents powerful feelings. The tree-like figure is resilient, standing proud. Its surrounds glow and allude to Cornwall’s heritage and colours. It also feels like a sculptural cloak or a figure emptied of energy from a gruelling long horseback ride. No doubt, the Cornish moors and stunted trees near to Weschke’s home influenced this painting but also his lived experience as a prisoner of war.
Trees 1970 Karl Weschke
This painting has an impressive exhibition history. It was selected for the first British Art Show in 1979 by the Arts Council titled ‘Recent Paintings and Sculpture by 112 Artists’. The following year, Weschke held a one-man exhibition at Kettle’s Yard, Cambridge, from which the Tate Gallery purchased a painting. The Tate acquired three further paintings in 1994. In 1996 they allocated a room to the artist and a retrospective exhibition was held at Tate St Ives in 2003.
Another highlight is a drawing by Peter Lanyon called ‘Back of Carn Brea’. Although this work is monochrome – made with charcoal and gouache – it again embraces the landscape of Cornwall including alluding to its colour. Carn Brea means rocky hill in Cornish. It is one of the most important early Neolithic sites in the United Kingdom and one of the highest points in Cornwall. It boosts impressive evidence of human activity for the past 6000 years, which includes mining activity from the 1800s.
Back of Carn Brea 1960 Peter Lanyon
No doubt Lanyon was drawn to its mining history as well as its rock formations. As a Cornishman, Lanyon would also have also been attracted to it for symbolical reasons. Carn Brea can be seen for miles. It is a focal point for Cornish language, song and various types of pilgrimage and different types of identity. Archaeologist Jacky Nowakowski sees ‘the fields hugging the edges of the hill along the base’ – scattered rocks, heather outcrops; and mineshafts too and perhaps the mine engine at the northern edge of the Carn. The drawing is high-energy with its gestural strokes radiating from the motif.
Other works not be missed are an early Roger Hilton dated c1930s-40s, and a collection of Wilhelmina Barn-Graham paintings, including a visceral gouache titled ‘Reds on Orange’ dated 1958. The gallery have worked with the Wilhelmina Barn-Graham Trust for a number of years, representing the artist in the South West. There are also works by artists who have visited St Ives and exhibited in the town. The late John Hoyland, whose solo exhibition ‘The Trajectory of a Fallen Angel, Paintings 1966 – 2003’ at Tate St Ives in 2006, has two historic prints in the show dating 1969 and 1976 respectively.
Homage to Constable 1976 John Hoyland
Belgrave St Ives opened in 1998 in the centre of St Ives and moved from the historic town to the countryside 2 miles outside in 2022. Clients can now enjoy the beautiful moorland hinterland of St Ives whilst viewing art. The new location near Towednack, stretches down to Zennor and beyond, via Carn Galva and through to Pendeen and St Just. The area has been home to many of St Ives best known and accomplished artists: Patrick Heron, Bryan Wynter, Karl Weschke, Sandra Blow, Anthony Benjamin, Trevor Bell, Roger Hilton, and many others.
With stunning views of Penwith’s AONB (Area of Outstanding Natural Beauty) to the south, and to Godrevy in the north, the ancient landscape is also home to the many Neolithic sites for which the area is so well known.
Prancing Horse c1930s-40s Roger Hilton
Reds on Orange W. Barns-Graham 1958
Fully illustrated catalogue available.
#belgravestives @belgravestives
For further information and images, please contact Richard Blackborow:
Belgrave St Ives, Higher Bussow Farm, Towednack, St Ives, Cornwall, TR26 3BB
richard@belgravestives.co.uk
tel. 01736 794888
ENDS
An exhibition of paintings by 21 invited contemporary artists associated with Belgrave St Ives. Includes work by: Virginia Bounds, Jessica Cooper, Henrietta Dubrey, John Emanuel, Anthony Frost, Luke Frost, Jeffrey Harris, Bo Hilton, Liz Hough, Stuart Knowles, Ffiona Lewis, Jason Lilley, Mary Mabbutt, Felicity Mara, Jane Mac Miadhachain, Alice Mumford, Sarah Poland, Brian Rice, Graham Rich, Eric Ward and Jack Watson.
All paintings in the exhibition can be viewed on our website here: https://www.belgravestives.co.uk/exhibitions/1212/contemporary-painters
Here are a number of shots of works installed at our studio and showing spaces just outside St Ives:
All paintings in the exhibition can be viewed on our website here: https://www.belgravestives.co.uk/exhibitions/1212/contemporary-painters
Belgrave St Ives 