Age, Biography and Wiki

Malvina Cheek was born on 8 July, 1915 in Hampton on Thames, England, is a British artist. Discover Malvina Cheek's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is she in this year and how she spends money? Also learn how she earned most of networth at the age of 100 years old?

Popular As N/A
Occupation N/A
Age 100 years old
Zodiac Sign Cancer
Born 8 July 1915
Birthday 8 July
Birthplace Hampton on Thames, England
Date of death 22 May, 2016
Died Place N/A
Nationality

We recommend you to check the complete list of Famous People born on 8 July. She is a member of famous artist with the age 100 years old group.

Malvina Cheek Height, Weight & Measurements

At 100 years old, Malvina Cheek height not available right now. We will update Malvina Cheek's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
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Dating & Relationship status

She is currently single. She is not dating anyone. We don't have much information about She's past relationship and any previous engaged. According to our Database, She has no children.

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Malvina Cheek Net Worth

Her net worth has been growing significantly in 2023-2024. So, how much is Malvina Cheek worth at the age of 100 years old? Malvina Cheek’s income source is mostly from being a successful artist. She is from . We have estimated Malvina Cheek's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
Salary in 2023 Under Review
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Cars Not Available
Source of Income artist

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Timeline

1810

Cheek was especially intrigued by Mow Cop, below the hill on which Primitive Methodism was founded in 1810.

The numerous participating artists in the scheme exhibited at the National Gallery, which had been emptied of its own collection.

These exhibitions and the handsome four volume hardback set published just after the war by the Oxford University Press, partly financed by the Pilgrim Trust from the USA, enhanced these artists' reputations both at home and abroad.

1915

Malvina Cheek, A.R.C.A., (8 July 1915 – 22 May 2016) was a British artist, best known for her work during World War II for the Recording Britain project.

During the War she was commissioned for Recording Britain to make architectural records of old buildings in anticipation of their possible destruction.

Eighteen finished works were presented to the scheme and her legacy is also preserved in many books.

1938

Cheek gained her RCA Diploma in 1938.

She taught for two days a week at the Central School of Art and was evacuated with the school to Luton during the Second World War.

In Luton she continued to teach and also worked for a Blood Transfusion Unit at the local hospital, later moving to St Albans, where the art school was rapidly establishing itself as a centre of excellence.

She would return to London for the weekend, a hazardous journey since there had to be total darkness on the trains to comply with the Blackout restrictions.

An introduction to Arnold Palmer resulted in Cheek receiving several commissions from the Recording Britain project: the counties she was allocated included Bedfordshire, Hertfordshire, Cheshire, Derbyshire, Staffordshire and Cornwall.

The Victoria & Albert Museum holds 14, while three Bedfordshire and one Cornish watercolour are still missing.

1940

Cheek shared a house on Church Row in Hampstead village with fellow artist Olive Cook in the late 1940s.

1943

In 1943 and 1944 Cheek exhibited at the Royal Academy, where a painting entitled Blood Donors was sold but unfortunately its present location is not known.

1944

In September 1944 the War Artists' Advisory Committee purchased, for six guineas, the picture Suburban Flying-bomb Damage from Cheek.

In 1944, Cheek began to teach at St Albans School of Art, in what was considered to be a very informal art college: in 1947 she was appointed to teach permanently in the painting school, usually the preserve of men.

She continued to teach there until she became, briefly, a full-time senior lecturer in the Graphic Design School at Twickenham College of Technology.

Cheek settled in Hampstead.

There, her continued enthusiasm for the initiative set by Recording Britain, led her to sketch many local London vistas.

1945

In 1945 a painting entitled Study of American soldiers standing outside, the Rainbow Corner, North London, was sold to James Bussy of Sheffield.

Her work in portraiture continued apace and one of the most characteristic paintings, which remained in her own collection, was that of her father, Percy Ebsworth Cheek, in his ARP helmet.

She described how everyone was so debilitated towards the end of war – “not eating properly didn’t help their health and confidence was extremely shaken”.

1946

After the War, two further topographical books, illustrated by her exclusively, were published for the Visions of England series by Paul Elek: The Black Country, by Walter Allen in 1946 and Derbyshire, by Nellie Kirkham, in 1947.

1948

Two particularly fine examples are Bombed Building, Weatherall House, Well Walk NW3 being knocked down of 1948 and Hampstead Heath Station and Magdala Pub 1949 are now in the collection of the Hampstead Museum at Burgh House, just up the hill from where her family still live.

1950

In 1950, she was asked to design the sets for The Atom Secrets, a play for the toy theatre by George Speaight.

1952

In 1952 she wrote and illustrated an article on ships' figureheads for Collins Magazine.

1954

Malvina Cheek was born at Hampton on Thames, the younger of two daughters of Percy Ebsworth Cheek, a banker with Glynn Mills, later Coutts (d. 1954) and Jessie, née Cross.

Her Christian name comes down through her paternal family originating with a Belgian ancestor.

After leaving St Philomena’s, a Catholic school near Carshalton, she studied at Wimbledon School of Art and then at the Royal College of Art.

Like many students of her generation she was influenced by the draftsman and engraver Robert Sargent Austin.

1957

Cheek became a member of the Society of Industrial Artists, Illustrators Group (MSIA) in 1957, having contributed to their Biennial review in 1949.

Amongst her early students from St Albans as well as Ronald Maddox was David Gentleman, and from various other establishments were John Raynes, Stanley Smith, Albany Wiseman and Ian Sidaway.

Cheek also exhibited in the Allied International Artists (AIA) group exhibitions, with the Royal Society of British Artists, the Royal Watercolour Society and the New English Art Club.

Fresh, primary colours characterise her work of the 60s and 70s: highlights of red abound in her still lifes and portraits: pots of geraniums, a summer hat, the costume of an Indian wooden marionette.

Trees were always important sources of subject matter, the pear tree in the garden of Christchurch Hill features from the moment they moved to Hampstead.

In her later career a series of large canvases, painted with a rich brownish palette reflect her interest in spiritualism, Freud and Jung in particular.

While she was growing up her father had not encouraged a religious leaning in his household and she may have found an equally cool reception from her husband, an atheist, for this work but there is an unmistakable passion/ambition therein.

2003

To commemorate this Pollock’s Museum Trust published a greetings card showing The Cabin of the Lucy for Scene III in 2003, with the encouragement of Alan Powers.

Cheek contributed illustrations to articles in various magazines, notably Far and Wide.

2009

In 2009 an anthology of her poems, The Silent Fairground was published and a review written by Piers Plowright for the Camden New Journal.