Spitalfields Life

In the eighth of my series of profiles of artists featured in EAST END VERNACULAR, Artists who painted London’s East End streets in the 20th century to be published by Spitalfields Life Books in October, I present the work of Anthony Eyton. Click here to learn how you can support the publication of EAST END VERNACULAR

I took the 133 bus from Liverpool St Station, travelling down south of the river to visit the ninety-six year old painter Anthony Eyton at the elegant terrace in the Brixton Rd where has lived since 1960 – apart from a creative sojourn in Spitalfields, where he kept a studio from 1968 until 1982. It was the 133 bus that stops outside his house which brought Anthony to Spitalfields, and at first he took it every day to get to his studio. But then later, he forsook home comforts to live a bohemian existence in his garret in Hanbury St and the result was an inspired collection of paintings which exist today as testament to the particular vision Anthony found in Spitalfields.

A tall man with of mane of wiry white hair and gentle curious eyes, possessing a benign manner and natural lightness of tone, Anthony still carries a buoyant energy and enthusiasm for painting. I found him working to finish a new picture for submission to the Royal Academy before five o’clock that afternoon. Yet once I arrived off the 133, he took little persuasion to lay aside his preoccupation of the moment and talk to me about that significant destination at the other end of the bus route.

“That biggest strangest world, that whirlpool at Spitalfields, and all the several colours of the sweatshops, and the other colours of the degradation and of the beautiful antique houses derelict – I think the quality of colour was what struck me most.” replied Anthony almost in a whisper, when I asked him what drew him to Spitalfields, before he launched into a spontaneous flowing monologue evoking the imaginative universe that he found so magnetically appealing.

“From Brick Lane to Wilkes St and in between was special because it’s a kind of sanctuary.” he continued, “And looking down Wilkes St, Piero della Francesca would have liked it because it has a kind of perfection. The people going about their business are perfectly in size to the buildings. You see people carrying ladders and City girls and Jack the Ripper tours, and actors in costume outside that house in Princelet St where they make those period films, and they are all in proportion. And the market was still in use then which gave it a rough quality before the City came spilling over and building its new buildings. Always a Mecca on a Sunday. I used to think they were all coming for a religious ceremony, but it’s pure commerce, and it’s still there and it’s so large. It’s very strange to me that people give up Sunday to do that… – It’s a very vibrant area , and when Christ Church opens up for singing, the theatre of it is wonderful.”

Many years before he took a studio in Spitalfields, Anthony came to the Whitechapel Gallery to visit the memorial exhibition for Mark Gertler in 1949, another artist who also once had a studio in an old house in one of the streets leading off the market place. “Synagogues, warehouses, and Hawksmoor’s huge Christ Church, locked but standing out mightily in Commercial St, tramps eating by the gravestones in the damp church yard. “Touch” was the word that recurred,” wrote Anthony in his diary at that time, revealing the early fascination that was eventually to lead him back, to rent a loft in an eighteenth century house in Wilkes St and then subsequently to a weavers’ attic round the corner in Hanbury St where the paintings you see below were painted.

Each of these modest spaces were built as workplaces with lines of casements on either side to permit maximum light, required for weaving. Affording vertiginous views down into the quiet haven of yards between the streets where daylight bounces and reflects among high walls, these unique circumstances create the unmistakable quality of light that both infuses and characterises Anthony Eyton’s pictures which he painted in his years there. But while the light articulates the visual vocabulary of these paintings, in their subtle tones drawn from the buildings, they record elusive moments of change within a mutable space, whether the instant when a model warms herself at the fire or workmen swarm onto the roof, or simply the pregnant moment incarnated by so many open windows beneath an English sky.

Anthony’s youngest daughter, Sarah, remembers coming to visit her father as a child. “It was a bit like camping, visiting daddy’s studio,” she recalled fondly, “There were no amenities and you had to go all the way downstairs, past the door of the man below who always left a rotten fish outside, to visit the privy in the yard that was full of spiders which were so large they had faces. But it was exciting, an adventure, and I used to love drawing and doing sketches on scraps of paper that I found in his studio.”

For a few years in the midst of his long career, Spitalfields gave Anthony Eyton a refuge where he could find peace and a place packed with visual stimuli – and then eight years ago, a quarter of a century after he left, Anthony returned. Frances Milat who was born and lived in the house in Hanbury St came back from Australia to stage a reunion of all the tenants from long ago. It was the catalyst for a set of circumstances which prompted Anthony to revisit and do new drawings in these narrow streets which, over all this time, have become inextricable with his identity as an artist.

Christine, 1976/8 – “She was very keen that the cigarette smoke and grotty ashtray should be in the picture to bring me down to earth.”

Liverpool St Station, mid-seventies

Studio interior, 1977

Back of Princelet St, 1980

Girl by the fire, 1978

Workers on the roof, 1980

Open window, Spitalfields, 1976-81 (Courtesy of Tate Gallery)

Open window, Spitalfields, 1976

Anthony Eyton working in his Hanbury St studio, a still from a television documentary of 1980

Wilkes St, 2011

Fournier St from Banglatown, 2011

Pictures copyright © Anthony Eyton

Paintings by Anthony Eyton are currently on display at Eleven Spitalfields, 11 Princelet St, E1 6QH, as part of the exhibition SUBSTANCE & LIGHT until 5th July

In the seventh of my series of profiles of artists featured in EAST END VERNACULAR, Artists who painted London’s East End streets in the 20th century to be published by Spitalfields Life Books in October, I present David Buckman‘s profile of Elwin Hawthorne. Click here to learn how you can support the publication of EAST END VERNACULAR

Elwin Hawthorne with his painting of the Bryant & May Factory, 1929

In November 2008, when Sotheby’s auctioned pictures assembled by Sir David and Lady Scott, there was keen bidding for oils by Elwin Hawthorne. Sir David acquired a taste for the artist’s work in the early nineteen thirties when Hawthorne was a star exhibitor at Alex Reid & Lefevre’s galleries of work by the emerging East London Group.

Yet by the time of that Sotheby’s sale, Hawthorne was a forgotten name to all but a tiny group of enthusiasts who, like Scott, had been seduced by his melancholy, rather surreal views of London suburbs. The artist died in 1954, unremarked apart from family and friends, when he ought to have been in his prime as a creative artist. Instead, disheartened by the lack of opportunities to exhibit, he had lost heart in his work.

While researching my book From Bow to Biennale: Artists of the East London Group, I was lucky to meet Elwin Hawthorne’s widow, Lilian, then living in Vicarage Lane, East Ham. She had also exhibited with the Group, and provided invaluable memories of the triumphs and disappointments of her late husband’s career. Finally, when Lilian died in 1996, so unregarded was Elwin’s output that rescue work had to be carried out to save several pictures – two of these are among his paintings in my book.

Elwin and Lilian moved into a newly-built block of flats in September 1953, only thirteen months before he died.  Since the coal bunker had no shelf, Elwin used  one of his fine oil paintings on board “Trinity Almshouses, Mile End Rd,” shown at Lefevre in 1935.  After Elwin died, Lilian rescued it, filling in two screw holes with wood filler and painting over the damage.  A canvas entitled “Ilfracombe” was also discovered in the coal bunker, rolled up and flattened like an old rag under a pile of rubbish – this has recently been professionally de-creased and mounted on a panel.

By the time of his death, Hawthorne had become a versatile artist, competent in oils, watercolour and printmaking, though his career as a painter in oils, his main achievement, was concentrated in just fifteen years, 1925-40.

Born in the Bromley sub-district of Poplar in 1905, to a father who was house painter and decorator, his background was not auspicious for what he wanted to do. Elwin, his parents, five brothers and a sister and a basket-maker uncle, Henry Silk ( another member of the East London Group), lived hugger-mugger in a small, crowded two-storey building.

When Elwin left elementary school at fourteen with no qualifications, he became an errand boy. While unemployed he developed an interest in painting which led to classes at the Bethnal Green Men’s Institute and then the Bow & Bromley Evening Institute where the teacher was the inspirational John Cooper who was trained at the Slade School of Art.

Although he originally showed under his correctly spelled surname of “Hawthorn,” when his work was chosen for the 1928 Whitechapel Art Gallery East London Art Club exhibition, the forerunner of the East London Group Lefevre series at in the West End in the nineteen thirties, he was catalogued as “Hawthorne” and urged to retain that spelling.

He became a prolific exhibitor at Lefevre Galleries’ annual exhibitions and elsewhere, and attracted widespread press attention.  When the first East London Group show was held late in 1929, R R Tatlock, writing in the Daily Telegraph, devoted three paragraphs of a large review to Hawthorne, praising the subdued palette that would become an abiding characteristic of his work.  At the second Lefevre exhibition in 1930, The Times judged Hawthorne, “the most original artist of the group, producing pictures of East London which are the English equivalents – though more matter of fact – of what Utrillo is doing for Paris.” In fact, Hawthorne was compared to Utrillo several times .

In 1930, Lefevre signed a contract with Hawthorne to pay him a modest salary of eight pounds monthly in return for a first-refusal option on his work, with financial adjustments to be made as pictures sold. At this time. Elwin was about two years into a three-year period as assistant to Walter Sickert, who had lectured to Cooper’s Bow classes and exhibited with the East London Group for a short period. Sickert had taken an interest in Hawthorne, who supported the veteran artist on several important works.

Hawthorne was a full-time artist of great professionalism and some of his meticulous work sheets survive, including details such as each painting’s title and size, descriptions of the subjects, prices and whether sold or returned, or – in a few cases – destroyed when they did not fulfil his high standards. In the case of one work, there is the inscription, “Returned to me, now in the possession of Steggles, by exchange.” His fellow in the East London Group, Walter Steggles, thought highly of Elwin, commenting to me, “It is my opinion that Elwin was the best painter of London in the Twentieth Century. I am not alone in this view as a number of important collectors have expressed similar opinions to me.”

Notable collectors of Elwin’s work were abundant. In 1938, as well as Sir David Scott and his Foreign Office colleague Montague Shearman, Hawthorne was able to list among his buyers the “Contemporary Art Society, Earl of Sandwich, Viscount D’Abernon, Earl of Radnor, Earl of Rutland, Sir Edward Marsh, Gerald Kelly RA, J B Priestley, Charles Laughton, James Agate and numerous others.” Today, eight public collections in Britain hold Hawthorne paintings.

After signed the contract with Hawthorne which would continue for most of the nineteen thirties, Lefevre realised they had a star whose pictures were not restricted to the annual East London Group exhibitions. He was included in mixed shows both in Britain and overseas, and was given two Lefevre solo exhibitions.

His first was in 1934, coinciding with one by Vanessa Bell of the Bloomsbury Group, with her work accompanied by a foreword by Virginia Woolf in the catalogue. Hawthorne’s was well received, The Times critic commenting on his “discovery of artistic meaning in the commonplace.” Meanwhile, the Sunday Referee’s writer, who contended that “Mrs. Woolf’s mystical flutings on the theme of her sister’s paintings simply bewilder” yet found Bell’s work, “essentially commonplace.” The critic judged Hawthorne “an outstanding, possibly great artist in the making” and praised his display as “easily the best one-man show in town.”

In 1938, a second solo exhibition followed, but this time in tandem with one by Sickert’s third wife, Thérèse Lessore. Leading critics covered it, including T W Earp, Jan Gordon and Eric Newton. Again, Hawthorne’s work was generally favoured, with the critic of The Scotsman – who had liked his first solo show – seeing in his small pictures, “an impression of complete sincerity that is rare and inspiring.”

By this time, Hawthorne’s figure painting was developing yet even in one of his early works from 1929 – the picture of the Bryant & May Match Factory which proved a favoured subject for East London Group artists – the handling of the figures is assured.  For his fellow East London Group member Cecil Osborne, the absence of figures in Hawthorne’s work, gave them “a ‘Sunday Morning look” with the sparsely populated streets contributing to their surreal quality.  John Cooper was keen that his students visited exhibitions and it is possible that Hawthorne may have viewed the controversial 1936 International Surrealist Exhibition at the New Burlington Galleries, although a surreal atmosphere had already permeated Hawthorne’s work years earlier.

Hawthorne had other preoccupations in 1936.  Along with Walter Steggles, he had a painting chosen for the British pavilion at the Venice Biennale, with a contribution entitled “Una Via Di Londra.” It was a great accomplishment for a former errand boy to have his work shown alongside professional artists such as Sir Alfred Gilbert, Duncan Grant, Dame Barbara Hepworth and Philip Wilson Steer. Also in 1936, The Artist included a lengthy, illustrated profile of him as the twelfth in its “Artists of Note” series, beginning by extending “our special gratitude” to John Cooper, since “it is the East London Group that has given us Elwin Hawthorne”.

Although the final East London Group exhibition at Lefevre was in 1936, the gallery continued to promote individual artists’ works until World War II brought disarray to the art market.  The hostilities effectively ended Hawthorne’s exhibiting career. After Army service, for which he was temperamentally unsuited, he returned to Lefevre, but they had nothing for him and suggested he take a job.  He handled wages for radio and electronics firm Plessey, teaching art in schools part-time. Then, in 1954, he was taken ill on a bus to Woodberry Down School and died soon after in hospital. Elwin Hawthorne was only forty-nine, and he left a widow and two children – and he created a body of atmospheric paintings that survive to be acknowledged and appreciated now for their distinctive vision.

Cumberland Market, 1931 (Private collection)

Grove Park Rd W4, 1935 (Private collection)

Whipps Cross, 1933 (Gabriel Summers)

The Mitford Castle, 1931 (Private collection)

Bow Rd, 1931

Victoria Memorial Buckingham Palace, 1938 (Private collection)

Demolition of Bow Brewery, 1931 (Private collection)

The Guardian Angels, 1931 (Louise Kosman, Edinburgh

Trinity Almshouses, Mile End Rd, 1935 (Private collection) – rescued from use as a shelf in a coal bunker.

Ilfracombe, c.1931 (Private collection) – discovered rolled up in the coal bunker.

Walter and Harold Steggles, Lilian and Elwin Hawthorne (right), c.1937 (Walter Steggles Bequest)

In the fifth of my series of profiles of artists featured in EAST END VERNACULAR, Artists who painted London’s East End streets in the 20th century to be published by Spitalfields Life Books in October, I present the paintings of Rose Henriques. Click here to learn how you can support the publication of EAST END VERNACULAR

Portrait of Rose Henriques (1889- 1972) © Ian Berry

Born into an Orthodox Jewish family in Stoke Newington, Rose devoted herself to life of altruistic endeavour, serving as a nurse at Liverpool St Station in the First World War and then as an ambulance driver based in Cannon St Rd in the Second World War.

In 1917, she married Basil Henriques and together they established and ran the settlement in Berners St (later known as Henriques St) pursuing philanthropic work among the  Jewish community in the East End for more than half a century.

Yet somehow Rose also managed to produce a stream of paintings that document the times she lived in intimate human detail, exhibiting her work at the Whitechapel Gallery from 1934 onwards and holding two solo shows there,’Stepney in War & Peace’ in 1947 and ‘Vanishing Stepney’ in 1961.

Coronation Celebrations in Challis Court, 1937

Nine O’Clock News, The Outbreak of War

The New Driver, Ambulance Station, Cannon St Rd

Next Day, Watney St Market, 1941

Bombed Second Time, The Foothills, Tilbury & Southend Railway Warehouses, 1941

Dual Purpose, School Yard in Fairclough St, Tilbury & Southend Railway Warehouses, forties

Line outside Civil Defence Shelter, Turner St, 1942

Stepney Green Synagogue, forties

The Brick Dump, Exmouth St, forties

Club Row Animal Market Carries On, 1943

Fait Accompli, Berner St, 1951

Workrooms for the Elderly, 1954

Archive images courtesy Tower Hamlets Local History Library & Archives

In the fourth of my series of profiles of artists featured in EAST END VERNACULAR, Artists who painted London’s East End streets in the 20th century to be published by Spitalfields Life Books in October, I present the apocalyptic paintings of Cyril Mann. Click here to learn how you can support the publication of EAST END VERNACULAR

Tubby Isaac’s Jellied Eel Stall, Petticoat Lane, c. 1950

After serving as a Gunner in the Royal Artillery in World War II, Cyril Mann returned to live in a tiny flat in Paul St with his wife Mary and small daughter Sylvia in 1946. Close to where the Barbican stands today, this area at the boundary of the City of London had suffered drastic bomb damage and much of it remained a wasteland for decades. Roving around these desolate streets as far east as Spitalfields, Cyril Mann discovered the subject matter for a body of works which became the focus of a major exhibition at the Wildenstein Gallery in 1948.

Losing his hair in his thirties, Cyril Mann had the look of a man older than his years. Through the Depression he had been unemployed and close to starvation, yet thanks to a trust fund set up by Erica Marx he entered the Royal Academy Schools at twenty years old in 1931. For one so young, he had already seen a great deal of life. At twelve, he had been the youngest boy ever to win a scholarship to Nottingham College of Art, before leaving at fifteen to be a missionary in Canada. Quickly abandoning this ambition, he became a logger, a miner and a printer, until returning to London to renew his pursuit of a career as an artist. Ever restless, he moved to Paris after three years at the Royal Academy and there he met his first wife Mary Jervis Read.

Forced to leave his wife and baby when he was called up in 194o, Cyril Mann did not paint at all for the duration of the war. Back in London and battling ill-health, he set out to make up for lost time. The fragmented urban landscape of bombsites that was familiar to Londoners was new to him and, turning his gaze directly into the sun, he sought to paint it transfigured by light. Channelling his turbulent emotion into these works, Cyril Mann strove to discover an equilibrium in the disparate broken elements he saw before him, and many of these paintings are almost monochromatic, as if the light is dissolving the forms into a mirage.

During these years, Cyril Mann’s life underwent dramatic change. He obtained a teaching job at the Central School of Art in 1947 and exhibited at the prestigious Wildenstein Galery, showing his new works in 1948. Yet at the same time, his marriage broke down and he found himself alone, painting in the tiny flat in Paul St. Whilst critically acclaimed, his exhibition was a commercial failure because, in post-war London, nobody wanted to see images of bombsites and consequently these important works became forgotten.

Yet, through his struggle, Cyril Mann’s work as an artist had acquired a new momentum and, after 1950, a bold use of colour returned to his painting. In 1956, he was offered a flat in the newly-built modernist Bevin Court built by Tecton in Islington, where today a plaque commemorates him. In 1964, he moved east to Leyton and then Walthamstow,where he died in 1980.

At a time when all other artists turned away from painting the London streets, Cyril Mann made it his subject. While these pictures may not have suited the taste of the post-war capital, they comprise a unique body of work that witnesses the spirit and topography of these threadbare years. As his second wife, Renske who met Cyril Mann in 1959, assured me, “I believe he is the most significant London painter of the nineteen-forties, post-war.”

Cyril Mann preparing for his exhibition at Wildenstein Gallery in 1948

St Paul’s from Moor Lane, 1948

Cyril in his crowded flat in Paul St, c. 1950

Christ Church Spitalfields seen across bombsites from Scrutton St

Christ Church Spitalfields seen over bombsites from Redchurch St

Bomb site in Paul St with cat, c. 1950

Christ Church Spitalfields seen from Shoreditch

Bomb sites around Paul St, c. 1950

Christ Church Spitalfields from Worship St, c. 1948

Streetscape with red pillar box

East End shop

Trolley bus in Finsbury Sq, c. 1949

Finsbury Sq, c. 1949

Finsbury Sq, c. 1949

Red lamp post, Old St

Bombsite at Old St

Cock & Magpie, Wilson St, Shoreditch

St Michael, Shoreditch, c. 1948

St Michael and St Leonard’s Shoreditch from Leonard St, c. 1950

Angel Islington from City Rd, 1950

St James Church, Pentonville Rd, Islington, 1950

Cyril Mann (1911-1980)

Images copyright © Estate of Cyril Mann

Paintings by Cyril Mann can be seen at Piano Nobile Gallery

In celebration of Phil Maxwell & Hazuan Hashim’s AUSTERITY FIGHT which premieres at Rich Mix in the Bethnal Green Rd tomorrow, Friday 16th June as part of EAST END FILM FESTIVAL 2017, I am offering this retrospective of their films. Click here to book for Austerity Fight.

Sandra, 2008

Les, 2010

Olive, 2010

From Cable St to Brick Lane, 2012

East End Lives, 2009

East End Lives 2, 2010

East End Lives, 3 2010

https://vimeo.com/173258928

The Photographer, 2016

Phil Maxwell signs copies of BRICK LANE at the launch in 2014 (Photograph by Simon Mooney)

You may also like to look at Phil Maxwell’s photography

Phil Maxwell in Hanbury St

Phil Maxwell in Bethnal Green Rd

Phil Maxwell in Vallance Rd

Phil Maxwell in Sclater St

Phil Maxwell’s Brick Lane

Phil Maxwell’s Old Ladies

Phil Maxwell’s Kids On The Street

Phil Maxwell’s East End Cyclists