Spitalfields Life

One afternoon, I walked down the Mile End Rd to the Bancroft Library, where the Local History collection is housed, to view a small collection of Spitalfields silk and lace. The archivist produced a cardboard chocolate box from the nineteen sixties with a Raeburn portrait of a child on the top. He kindly placed a table beside the window in the dying afternoon light and covered it with a piece of grey paper. The he opened the box and unwrapped the precious packages inside wrapped in white tissue paper, arranging them on the table, so that in the last light of day I could photograph them for you.

The first item to catch my eye was this little silk purse with the phrase SPITALFIELDS SCHOOL OF DESIGN 1848 elegantly picked out in gold thread. Not only is the stitching neat and regular, the balance and spacing of the typography is perfect. This curious item has no wear, it cannot have had any function beyond displaying the accomplishment of its own creation. It fits neatly into the palm of the hand and is exquisite in every detail, the string of golden glass beads looped around the edges, the delicate string handle, the jet button and the oyster blue silk lining.

Next I examined the needlebook below, with embroidery of flowers on both covers, and – taking the utmost care – I unfastened the ribbons that held it closed. Opening it up, I found a scrap of paper folded in between the pages of  needles which tells us the maker. This needlebook was made by Miss Amy Cooper: she was born in 1794 & died in 1891. The script itself had a delicacy and restraint, similar to the handwriting of “No more twist!” pinned on the Lord Mayor’s unfinished waistcoat in The Tailor of Gloucester.

I love the aesthetic, using pale silk and embroidering subtly coloured flowers in natural colours, as fresh as the day they were stitched. The use of different toned threads in the recognisable heather and rose flowers suggests Amy worked from nature. Every individual stitch is a decision made with the same care you might bring to the selection of vocabulary and arrangement of words in a poem. Fine details, like the sky blue lining, the grey glass beads sewn at intervals around the edge of covers and the use of bordered ribbon upon the spine, draw the eye to observe the nuances of this lovely artefact. When someone invests as much time and consideration as Amy did here, it deserves our closest examination and rewards us in turn by delighting the eye.

Amy Cooper lived to be ninety-seven, born five years after the French Revolution, she died in the year that automobiles began manufacture. The three sisters who donated the collection, which belonged to their mother Mrs Ann Maitland MacEwen, knew nothing of its origins – so we cannot say if Amy made them all or establish what is the connection to the Spitalfields School of Design, which was an early government project to promote design in industry, founded at 37 Crispin St in 1842. Amy would have been fifty-four in 1848, when the purse was made, and I would like to think she made it as an example to show her pupils at the school.

The other two items that complete this modest collection are two girls’ lace caps. The workmanship of these pieces is inconceivably intricate and the awe-inspiring skill on display bears testimony to long hours of patient labour.

With thanks to Tower Hamlets Local History Library & Archive

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When I first published David Buckman‘s introduction to his book From Bow To Biennale in these pages in 2012, The East London Group – one of the major artistic movements to come out of the East End in the last century – was almost forgotten.

Four years and several exhibitions later, the East London Group is rediscovered and an enlarged and revised edition of David Buckman’s essential ground-breaking book is newly published.

The Arches, Mare St by Albert Turpin

How is it that one of the most innovative, commercially successful, and – in its time – hugely publicized British art groups of the twentieth century became neglected?  That was the case until my book From Bow to Biennale: Artists of the East London Group was published in 2012. During the writing of it, whenever I mentioned the Group to experts in this period, the response was usually –  East London Group, just a name.

My curiosity about the East London Group was aroused many years ago when I read an illustrated feature about it in the April 1931 issue of “Studio” magazine.  As a private interest in early twentieth-century art developed over time and as I earned a living as a freelance journalist in a largely unrelated field, I would occasionally return to a photocopy of that article, which acted like a maggot in my mind.

At the end of the eighties, when I was researching my dictionary “Artists in Britain since 1945” in my spare time, I decided to call at the last known address in Hampstead of the painter Phyllis Bray to check if she was still active. By then Phyllis was suffering from Parkinson’s Disease but, as we chatted, the East London Group was mentioned. She had been a member and, for several years, was married to its founder, John Cooper. She directed me to her daughter, Philippa, also an artist, who held the Red Book of press cuttings about the Group’s activities during the twenties and thirties.

Thus began – when I could afford the time – the long, painstaking research to tell the Group’s story.  As a start, the book of cuttings was photocopied to ensure a second copy existed and it became a collection that expanded as more cuttings were found. One of the problems for a researcher is that people who save cuttings sometimes do not date or source them or, if they do, someone else decides to tidy them up years later by snipping off these essential details.  The Red Book had been subject to this treatment at some stage and, consequently, many weeks were spent in correspondence with likely helpers and in microfilm booths at the newspaper library in Colindale, pursuing clues on the back of the cuttings or the choice of typeface employed.

It emerged that the Group had achieved enormous, largely flattering press coverage, for its exhibitions, with the “Daily Mail” covering one show three times.  Writing in the “Studio” in 1929 – as the Group forayed into the West End – F. G. Stone commented how its painters had found “beauty about the streets of the district that is known to the Post Office as E.3.” Just over a year later, the distinguished critic T. W. Earp in the “New Statesman” thought these artists “furnish the best exhibition of young English contemporary painting which has been shown in London this year.” Early in 1933, American writer Helen McCloy in the “Boston Evening Transcript,” judged that “Never has there been so peculiarly English a group in modern art as these young workingmen” who had been able to convey “the very spirit of the Cockney, the happy robust soul who is England.” By end, in 1936, when the Group was holding its eighth annual show at Lefevre Galleries, the “Sunday Times” termed it  “the most interesting and promising of our younger art societies.”

By then, John Cooper was middle-aged and had only a few years to live, dying  in 1943. As a charismatic young painter from Yorkshire, he had inspired such raw material as errand boys, shopgirls, basket-makers and window cleaners to give up their precious spare time several days a week to attend his East End classes. After teaching in Bethnal Green, he moved to a school in Bow where he attracted several dozen students. Many of these painters, showing as the East London Art Club, had an exhibition at the Whitechapel Art Gallery in December 1928.  This prompted Charles Aitken, its former director, then in charge of what is now Tate Britain, to display some of the pictures at the Millbank gallery early in 1929, and that show lead to the Lefevre Galleries series, provincial shows, participation in mixed exhibitions in Britain and abroad, plus solo shows for many of the members.

At the 1936 Venice Biennale, two East London Group members, Elwin Hawthorne and Walter Steggles, participated alongside luminaries such as Frank Brangwyn, Barbara Hepworth, Gilbert Spencer and Philip Wilson Steer. Walter was one of the six surviving East London Group members that I traced, providing unique memories that otherwise would have died with him.  When a small reunion was organized at Phyllis Bray’s house, Walter told her daughter Philippa – “John Cooper should have been decorated for what he did for artists.”

Walter, like his brother Harold, was grateful for the variety of teaching provided at Bow. John Cooper had been at the Slade School of Fine Art just after World War I and decided that a number of ex-Slade friends could aid his work and a few would later exhibit with the Group too. Phyllis Bray was one, William Coldstream another, but his real coup was to get Walter Sickert to make the trip into this unfashionable part of London to impart unique and often eccentric wisdom. Here was artistic royalty, and Lilian Leahy, who eventually married Elwin Hawthorne, recalled to me how as Sickert sat expounding, dressed in plus-fours and diamond-patterned socks, shopgirls would giggle with their hands over their mouths.

The East London Group website lists the thirty-five artists I claim as members. In addition to the history of the Group, the book contains biographical essays on more than twenty of these, including such colourful characters as Murroe FitzGerald, Irish Civil War death sentence escapee, eventually managing director in London of the Acme Flooring & Paving Co – and Albert Turpin, professional window cleaner, Anti-Fascist protestor and Labour mayor of Bethnal Green, whose passion was to record the disappearing End End that he grew up in. Yet many of the other members remain ghostly figures, despite my research into their personal histories.

As well as attracting Walter Sickert, John Cooper involve dozens of celebrities in his project. Charles Aitken encouraged the influential art dealer Joseph Duveen to buy paintings. Samuel Courtauld, Lord Melchett, Lord Burnham and the writer Arnold Bennett gave early financial help. Lady Cynthia Mosley and Osbert Sitwell opened exhibitions. The Prime Minister Ramsay MacDonald and Labour Party stalwart George Lansbury attended exhibitions and gave moral support. As their reputation developed over the years, the Group sold to influential collectors with the Lefevre Galleries welcoming extra, non-catalogue pictures, as sales rose and, on occasion, an exhibition’s term was extended.

As I investigated, I found that John Cooper and his Group became involved in more than exhibitions of paintings. It was these multifarious non-gallery activities that consumed my time, calling for detective work. It emerged that the Group was involved in making a documentary film about their activities. Also, members also painted pictures for stage plays and contributed to Shell’s popular range of posters. Phyllis Bray created three huge murals for the New People’s Palace in Mile End Rd and John Cooper revived mosaic teaching at the Central School of Art, becoming director of Courtauld-Cooper Studios and producing exciting Modernist work.

With such a large body of diverse work to its credit and dozens of works in public collections, the Group must take its place in any history of British Art in the first half of the century. Its omission would be scholarly negligence. And the story did not end with World War II as – thanks to the enduring inspiration of John Cooper – many members continued painting, long after the East London Group expired.

Trinity Almshouses, Mile End Rd by Elwin Hawthorne, c.1935 (Private collection)

Shoreditch Church from Hackney Rd by Albert Turpin, c.1955 (Private collection)

Cable St by Albert Turpin (Private collection)

Rebuilding St Matthew’s Church, Bethnal Green by Albert Turpin, c.1956 (Private collection)

Marian Square, Hackney by Albert Turpin, 1952 (Private collection)

Salmon and Ball, Bethnal Green by Albert Turpin, c.1955 (Private collection)

Bow Rd by Elwin Hawthorne, 1931 (Walter Steggles Bequest)

Grove Rd, Bow by Harold Steggles (Private collection)

Devons Rd, Bow, E3 by Elwin Hawthorne, c.1931 (Private collection)

Sunday Morning, Farringdon Rd by Cecil Osborne, c.1929 (Royal Pavilion and Museums, Brighton & Hove)

Columbia Market, Bethnal Green by Albert Turpin

Canal at Mile End by Walter Steggles

St Clements Hospital Bow by Grace Oscroft

Bryant & May Factory, Bow by Grace Oscroft

Old Houses in the East End by Grace Oscroft, dated 1934

Hackney Empire by Albert Turpin

Pavilion in Grove Hall Park, Bow, by Harold Steggles

The Lumber Yard by Harold Steggles, dated 1929

The Scullery by Walter Steggles

The Stable by Walter Steggles, exhibited at the Tate 1929

Brymay Wharf by Walter Steggles

Bow Backwater by Walter Steggles

Brymay Wharf by Walter Steggles

Old Ford Rd by Harold Steggles

The Chapel by Walter Steggles, dated 1932

Railway siding by Walter Steggles, dated 1929

Bow Bridge by Walter Steggles

Blackwall by Harold Steggles

Warner St, Clerkenwell, by Harold Steggles

Canonbury Tower by Harold Steggles, dated 1938

Canonbury Grove by Elwin Hawthorne

The Chair by the Bed by Henry Silk

Interior by Brynhild Parker (Cheltenham Art Gallery & Museum)

North East Bethnal Green by George Board, c.1930, oil on canvas (Walter Steggles Bequest)

Illustrated London News, December 29th, 1928.

The new enlarged edition of From Bow to Biennale: Artists of the East London Group by David Buckman can be ordered direct from the publisher Francis Boutle and copies are on sale in bookshops including Brick Lane Bookshop, Broadway Books, Newham Bookshop, Stoke Newington Bookshop and London Review Bookshop.

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