Tag Archives: John Gilroy

To Heaton for Love: an artist’s life

What do the present queen and her 16th century namesake; Vivien Leigh (in the roles of Cleopatra and Blanche DuBois); scenes from Romeo and Juliet and these ‘builders’ have in common?

 

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‘The Builders’ by A K Lawrence Copyright: The Governor and Company of the Bank of England

 

A clue – naturally, there’s a Heaton connection. No, nothing to do with The People’s Theatre but, yes, the answer is arts related. They were all depicted by a notable artist who spent part of his life in Heaton. Not Kingsley Place’s John Gilroy (though he too painted the Queen) nor John Wallace (landscapes were more his forte) but a painter still more lauded in fine art circles. You may not have heard of him but you may well have seen his work.

Early life

Alfred Kingsley Lawrence was born in Lewes, Sussex on 4 October 1893, the third son of Fanny Beatrice and Herbert Lawrence, a solicitor. His father, however, died, when Alfred was only around a year old and when the boy was just three years old, his mother remarried  George Giffin, a customs officer.

By 1901, while Fanny continued to live in Lewes with the children (by now there was a younger half brother, George junior too), her husband seems to have relocated to Newcastle (We don’t know why.) and was living in Roxburgh Place in Heaton.  The family eventually followed, although one of Alfred’s older brothers, Frederick, had died in 1906, aged 14 in Sussex.  By 1911, they were living in Sandyford.  Alfred, now 17, was a ‘civil engineer’s clerk and student’.

He was, in fact, a student at the King Edward VII School of Art, Armstrong College, where his teachers included Professor Richard Hatton, who was soon to found the Newcastle University gallery which still bears his name. A local newspaper article in 1925 said that ‘not since the[ school of art] was founded has a student displayed such conspicuous talent or worked so consistently and with such conspicuous talent as a student of painting’.

Alfred won the John Christie scholarship, aged 18, in 1912; the School Medal for the most brilliant student in his year in 1913 as well as Silver Medal s awarded by the Royal College of Art in both 1913 and 1914. In the latter year, he was also awarded a Royal Exhibition Scholarship tenable at the Royal College of Art in London.

But by now the country was at war.

Heaton wife

It was apparently while at the King Edward VII School of Art that Alfred met his future wife, Margaret Crawford Younger, a Heaton lass. Margaret was the daughter of Robert Younger, a marine engineer, and his wife, Catherine, who lived at  42 Heaton Road. The family were very comfortably off: the 1901 census shows a governess lived with the family, presumably to home school the four daughters.

By 1911, Robert had retired: local trade directories now refer to him as a ‘Gentleman’ and no occupations are listed in the census for the daughters, now aged between 21 and 27. Alfred married Margaret on 26 June 1915 and joined his wife at his parents in law’s on Heaton Road (by now known as Elmire House), although mostly he was away from home.

War Service

In 1914, he had voluntarily joined the Northumberland Fusiliers’ 19th battalion (2nd Tyneside Pioneers), which was posted to France in 1916. Alfred, a Second Lieutenant, was mentioned in despatches in January 1917, most likely for his actions during the latter stages of the Battle of the Somme. Upon discharge in 1919, he resumed his scholarship at the Royal College of Art. He won a travelling scholarship to Italy in 1922 and in 1923 won the prestigious Prix de Rome, which allowed him to study in Rome for  three years. Paintings by Lawrence during this period and during his military service can readily be found on line. Influenced by his time in Italy, he often painted classical themes.

Success

From this point on,  commissions came thick and fast and Alfred’s adopted city was among the first in the queue. The Hatton Gallery owns two works ‘Male Nude’ and ‘Female Nude’ painted in 1922 (hopefully they’ll be on display when the gallery reopens later this year) and his magnificent ‘The Building of Hadrian’s Bridge (Pons Aelii) over the Tyne, c122’ is in the Laing. (But not on display at the time of writing).

When next you’re in London, head to  St Stephen’s Hall in the Houses of Parliament,where you’ll find his ‘Queen Elizabeth Commissions Sir Walter Raleigh to Discover Unknown Lands, 1584’ and to the Bank of England, which commissioned a group of large oil paintings, of which the above work is one.

In 1930, Lawrence was elected an Associate of the Royal Academy and in 1938 he became a Royal Academician, a huge honour for an artist. The photograph below shows the Academicians selecting works for the 1939 summer exhibition. AK Lawrence is nearest the camera on the right. The president, Sir Edwin Landseer Lutyens is holding a letter D, which stands for ‘doubtful’ (for inclusion in the exhibition).

 

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Royal Academicians, 1939 Copyright: Royal Academy of Arts, London

 

Lawrence himself exhibited in the Royal Academy’s summer exhibition almost much every year from 1929 until his death, a period of almost 50 years.

His ‘Study for Leda’ was presented to the Queen as part of the institution’s coronation gift in 195 3 and is now in the Royal Collection. His painting ‘Elizabeth II at the State Opening of Parliament 1962’ is in the Parliamentary Art Collection.

Character

In the 1920s, the young Alfred was described as ‘shy of temperament but studious and painstaking, with sound and erudite knowledge and the crowning gift of imagination. He has high ideals and his conception of art, particularly in the employment of the figure, is lofty and virile’.

Lawrence’s entry in the ‘Dictionary of National Biography’  refers to his great interest in the theatre and suggests that that he might have been a successful professional actor ‘particularly in heroic roles. He was a tall, dignified man with a resounding voice, a stalwart in debate, forthright in his adherence to traditions and rather grand in his renderings of Shakespeare (We wonder, did Lawrence,  before he left Newcastle for London,  see his Heaton neighbour, Colin Veitch, play Falstaff in  the People’s first Shakespeare production in 1921?)… he was a stickler for the correct use of words…strongly against the use of photography or substitution for good draughtsmanship’.

The article also states that Margaret, with whom he had been married since their days on Heaton Road during WW1, died in 1960, after which ‘AK’, as he was known, became a rather solitary figure. Their son, Julius, had emigrated to New Zealand.

Legacy

Alfred Kingsley Lawrence died suddenly on 5 April 1975 at his London home. His legacy is his art, however.

In addition to the works already mentioned, Lawrence paintings and drawings are in the collections of National Portrait Gallery; Victoria and Albert Museum;  Imperial War Museum;  Scottish National Portrait Gallery;  National Trust; Queens College, Cambridge; Guildhall Art Gallery; Royal Society;  Royal Air Force Museum and many other collections, both public and private. Digital copies of many of those in public collections can be seen here.

As recently as April 2015, A K Lawrence’s classically inspired ‘Persephone’ (1938) was the Royal Academy’s ‘Object of the Month’ and in December of the same year, the ‘Daily Telegraph’ illustrated an article about the government owned works being hidden from public view with a Lawrence painting.

And now, at last, Heaton, where he found love, has paid tribute to him.

Acknowledgements

This article was written by Chris Jackson, Heaton History Group. Research was carried out by Joe Chipchase, Christopher Durrans and Chris Jackson.

Can you help?

If you know more about Alfred Kingsley Lawrence or have photos of him or works by him that you’re happy to share or if you know of any other eminent artist with a Heaton connection, we’d love to hear from you. Either click on the link below the article title to post direct to this website or email chris.jackson@heatonhistorygroup.org.

John Wallace: landscape painter in oils

This evocative detail of ‘Newcastle upon Tyne from the South West’ is available on a greetings card, sold by Tyne and Wear Museums.

 

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From John Wallace’s painting ‘Newcastle upon Tyne from the South West’

 

The original painting hangs in the Laing Art Gallery. It is the work of John Wallace who, for more than 20 years, lived at 28 Kingsley Place in Heaton.

Journeyman joiner

John Wallace was born in Ryton, Co Durham in 1841, the son of Henry, a cartwright, and his wife, Mary. On leaving school, young John joined his father’s firm as an apprentice and progressed to become a journeyman joiner. In his late twenties, he branched out into building and property development in Ryton and, by 1871, aged 27, was a successful businessman, married with a family. On census night, in addition to his one year old daughter, Jane, there were two ‘nephews’, Henry and William, in the household. The family was by now living in the west end of Newcastle.

Eventually though, during a period of recession affecting the building trade, John abandoned his livelihood to devote himself to art. According to a contemporary profile, it was only now that he took up painting, initially taking lessons from a local teacher. He progressed quickly, however, and, in 1880 and 1881, he exhibited works at the Arts Association  in Newcastle.

By 1881, he was still living in Elswick with his expanding family: Henry (17) and William (15)  were now described as ‘sons’ and were an architect and draughtsman respectively and there were three school-age daughters, Jane (11), Mary (7) and Alice (2). John now considered himself to be a professional painter and was described on the census form as  ‘artist – painting’.

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Wallace was a prominent and early, maybe even founding, member of the Bewick Club, which was established by local artists in 1884. It is from one of its catalogues, held by Newcastle City Library, that this portrait was taken. The club’s primary function was to promote the needs of professional artists and to encourage not only the patronage of rich individuals but also that of the less wealthy. The club’s headquarters were in Lovaine Hall, St. Mary’s Place, where Northumbria University is now. Wallace remained a member until his death. We know that some of his exhibits at the club were bought by collectors and patrons such as Dr Charles Mitchell and Lady Armstrong. Soon though, John’s horizons began to extend beyond Newcastle. In 1890, he  exhibited at the Scottish Academy in Edinburgh.

Kingsley Place

The following year, John, now a successful artist, and Mary, his wife, had moved with their three daughters to a newly built house in Kingsley Place, a quiet, pedestrianised street in a prime location overlooking the recently opened and picturesque Heaton Park. Soon a fine public library would open at the end of the street.

Their next door neighbours at 30 Kingsley Place were the musical Beers family from Holland, who we have written about on this site previously. Conveniently, a couple of doors the other way lived an Italian picture framer. Another soon to be well known painter and illustrator, John Gilroy, grew up across the road at number 25. He was a young child at the turn of the 20th century as John Wallace approached the end of his life. And, at the same time, a photographer, William Thomas, and more musicians, including Mary W Parkinson, who described herself as a ‘music teacher and vocalist’  moved into the street. It’s intriguing to imagine that the man in the photograph below could have been John Wallace and the little boy on the right a young John Gilroy.

 

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Kingsley Place looking towards the Victoria Library from the collection of Hilary Bray (nee Bates)

Little wonder that, like their brothers, Henry and William, the Wallace girls also were drawn towards creative occupations: Jane and Mary were both dressmakers and, perhaps more unusually for the time, youngest daughter, Alice, was a photographer. Could she have even taken the above photograph?

 

You won’t be surprised to hear that John Wallace stayed in Kingsley Place for the rest of his life and that he thrived as an artist here.

Wallace painted many scenes around North East England especially in the Tyne valley. But he also travelled apparently and, for example, painted locations around Stratford upon Avon, including Anne Hathaway’s cottage, to increasing acclaim. So far though we know of only one painting of the area immediately around his home, even though Jesmond Dene, in particular, would seem to provide the perfect subject matter for him.

Royal Academy

In 1892, Wallace’s painting ‘Butter Washing’ was selected for inclusion at London’s Royal Academy annual exhibition. Wallace exhibited at the Royal Academy on two further occasions, with ‘A Northumberland Dairy’ selected in 1896 and ‘Derwent Vale’ in 1902.

In 1901, 59 year old John was described on the census form as ‘a landscape painter in oils’. He also produced black and white drawings for use in printed publications.

A number of Wallace’s works were selected for the newly opened Laing Art Gallery’s first ever ‘Artists of the Northern Counties’ exhibition in 1905. They included the one familiar local scene we know of, ‘Jesmond Falls’ , dated 1901.He died on 4 November 1905.

You can see John Wallace paintings at the Laing and Shipley Art Galleries and at George Stephenson’s birthplace in Wylam. They are reproduced here. His works also appear regularly at auction. ‘ Waterfall – Jesmond Dene’ was sold in 2013. You can see it here.

And perhaps you have a John Wallace on a wall at home? It would be lovely to discover more John Wallace works, perhaps even more local scenes. We are sure he must have painted many more. Do let us know.

Acknowledgements

Researched and written by Chris Jackson of Heaton History Group. Sources included: ‘The Artists of Northumbria ‘by Marshall Hall, 1973.

Can you help?

If you know more about John Wallace or his work,  please either leave a comment by clicking on the link immediately below the title of this article or email chris.jackson@heatonhistorygroup.org

 

John Gilroy – Heaton to Royals and Rome

John Gilroy is considered by many to be the best commercial poster artist of the 20th century, credited with inventing ‘visual silence’ in advertising. John spent his early life in Kingsley Place, Heaton.

John Gilroy

Plaque - John Gilroy

Born in 1898, John Gilroy was son of a marine draughtsman who was himself a painter of some note. At 15 he was already a freelance cartoonist for the Newcastle Evening Chronicle and at 16 he won the Christie Scholarship to attend Armstrong College Art School in Durham University. After war service, Gilroy won a Scholarship to Royal College of Art, Kensington. In 1925, he joined Benson Advertising Agency in London as a commercial artist and started to produce the work for which he is best remembered: iconic images that had humour, visual absurdity and simplicity of form.

Gilroy1935 Toucan and 2 pints

Gilroy card

But Gilroy was also a portrait and landscape painter: between 1930 and 1953, he exhibited at the Royal Academy 15 times. Among his paintings were many of the royal family, politicians, actors – and, as anyone who came to our recent quiz will remember, even a pope (John XXIII).

Our speaker on Wednesday 28 May, David Hughes, has just written a book about John Gilroy and his art: 400 original canvases recently came to light in the USA, some selling for £10,000. The book, Gilroy was Good for Guinness, is the story of this lost art.

The event will take place at the Corner House Hotel on Heaton Road. We expect this event to appeal to artists and designers as well as those with an interest in Heaton and its history, so please book to ensure you’re not disappointed. And be in your seat by 7.15 so that we can offer any unclaimed places to those on the waiting list or who come on spec. To reserve your place, contact Maria Graham: maria@heatonhistorygroup.org / 0191 215 0821 / 07763 985656. FREE to members; £2 to non-members.

Inflammatory Incident in Heaton Park

That afternoon’s local derby at Roker Park, and how it would be affected by the gales which had disrupted shipping all week, were no doubt among the big topics of conversation in Heaton on Saturday 8 March 1913. But by the next day all that had changed. It was an incident in Heaton Park itself which was on everyone’s lips and was front page news across the country and even beyond.

According to the newspaper reports, at half past midnight Constable John Smith, who lived with his wife and two young children in Trewhitt Road, had noticed smoke while on his beat along Jesmond Vale Road, which separates Heaton from Armstrong Park. He alerted the park superintendent who lived on site and together they investigated. A large shelter and ‘bowls house’ was ablaze, the flames fanned by the strong winds. Although Red Barns Fire Brigade was quickly on the scene, the shelter was soon a charred ruin. (A photograph of the building taken when it was new can be seen in Alan Morgan’s book: Heaton: from farms to foundries.)

News reports

What made the incident so newsworthy was the policeman’s apparent discovery between the railings around the bowling green of a piece of card which bore words along the lines of ‘No peace until votes for women’. Women’s footprints were also said to be visible in the soft ground. Newspaper accounts of the wording, the  size of the card and even the names of the park superintendent, Robert or Richard Brown, and the name of the bowling club, variously Heaton and Armstrong, vary so historians need to treat the detail with some scepticism but it seems to have been agreed that hundreds of pounds worth of damage was done. Besides the building, highly prized bowls valued at two to five guineas a pair, many won in competitions, along with canvas shoes and ‘goloshes’ (as they were spelt in 1913) were reportedly destroyed. Many people were said to have visited the site of the ‘outrage’ later that day.

Context

Women had campaigned for the vote since the mid 19th century but the term ‘suffragette’ was apparently first used in the Daily Mail in 1908 to describe militant ‘suffragists’. The suffragettes, under the leadership of the Pankhursts and others, had increasingly resorted to violence, at first mainly stone throwing, to get their message across. In November 1912, they began to target post boxes, apparently burning 2,000 letters in Newcastle alone.

In January 1913, after a proposal to give women the right to vote was defeated in parliament for the 20th time, the suffragettes further upped the ante. Some women went on hunger strike and they also began to target sporting clubs and venues. The Heaton Park incident was one of the first arson attacks in a campaign which culminated in Emily Davison being killed by the King’s horse during the 1913 Epsom Derby. The suffragettes’ activity was only suspended on the outbreak of WW1. Following the war, in July 1918, women over 30 were given the vote; the same September they were allowed to stand for parliament and finally in 1928 women over the age of 21 were, like men, eligible to vote.

Possible witnesses

From a local history perspective, it’s interesting to speculate about who might have been among the large crowd that gathered in the park that Sunday:

Jack Common, the writer, was nine years old and lived at 44 Third Avenue. In his autobiographical novel, Kiddar’s Luck, he wrote about his solitary Sunday walks through the park to Jesmond Dene: ‘two bowling greenswatched by a terrace on which stood a huge aviary holding up the dial of a southward facing clock, flower beds of painfully formal calceolaria, scarlet geranium, lobelia’ The excitement must surely have drawn a crowd of street-wise boys there that day.

John Thomas Gilroy was 14 years old and lived with his mother, father and seven brothers and sisters at 25 Kingsley Place, only yards from the park. He had already won a scholarship to study at Armstrong College Art School and by the following year was a cartoonist for the Evening Chronicle. He went on to a hugely successful career as a commercial artists and was most famous for the ‘Guinness is good for you’ advertising campaign. Did he or his father, also an artist, sketch the scene?

Newcastle United footballer, Colin Veitch lived on the other side of the park at 1 Stratford Villas. He had played in the 0-0 cup draw at Sunderland and, according to the local press, the next day the players visited North Shields for ‘brine baths’. He may well have walked through the park to catch a bus or tram and, as both a political activist and sportsman, he will surely have expressed his views about both women’s suffrage and the plight of the bowlers.

Finally what role, if any, did the evocatively-named Florence Nightingale Harrison-Bell play? She was the first woman member of the Independent Labour party’s national administrative council (replaced in 1898 by Emmeline Pankhurst). In the early 1900s she was a key member of Newcastle and District Women’s Suffrage Society. In January 1911 at the Women’s Labour league Conference at which she was the delegate for Newcastle, she moved a resolution in favour of adult suffrage. She lived at 6 Hotspur Street, with her husband, Joseph Bell, later to be elected MP for Newcastle East. If she wasn’t involved, who was? We will probably never know.

Further Research

Heaton History group has been invited by Beamish Museum and Northumberland Archives -Woodhorn to take part in a project on the suffragette movement. If you’d like to help us find out more about the incident or about the suffragettes of the area and disseminate the information to a wider audience, please get in touch. chris.jackson@heatonhistorygroup.org