Tag Archives: John Gilroy

Byron Dawson: renowned Heaton artist

Regular readers will know that Heaton has been home to a number of accomplished artists: Alfred Kingsley Lawrence, once of 42 Heaton Road, whose paintings grace the Houses of Parliament, the Bank of England and many national galleries; John Wallace, formerly of 28 Kingsley Place, whose work you can see in the Shipley and the Laing, and John Gilroy, commemorated by a plaque on the wall of his home, 25 Kingsley Place, who painted royalty, politicians, even a pope, but is best known for his commercial art for Guinness.

We would now like to add Byron Eric Dawson to our Heaton artistic ‘Hall of Fame’. Heaton History Group’s Arthur Andrews remembers that, back in 2008, before Heaton History Group was even a twinkle in our eye, he cut out this article from the ‘Evening Chronicle’.

‘Evening Chronicle’ article about Byron Dawson, 2008

He had been impressed with Dawson’s drawings and saddened by his penniless demise. The 50^th anniversary of the artist’s death in 2018 seemed to pass unnoticed so, to rectify this, Arthur wondered whether Dawson had, by any chance, any connection with Heaton and when his research showed that to indeed be the case, our intrepid researcher set about discovering more.

Family

Born in 1896, Byron was the youngest son of Samuel and Kate Dawson, who originally came from Lincolnshire but moved to Banbury in Oxfordshire, where Byron and his elder brother, Horace, were born. Kate died in 1906 at the age of 36, when Byron was only 11 and Horace 13.

It appears that the family then split up as, by the 1911 Census, 17 year old Horace was living as a boarder in Harrow, Middlesex, while working as an assistant clerk for the Local Government Board. During WW1, Horace served in the Household Cavalry. He died in Western General Hospital, Manchester on 23 April 1917.

Byron, meanwhile, had gone to live with his mother’s sister, Lucy, and her husband, Henry Cock, a prison warder, at 43 Grantham Road, in the Heaton ward of Newcastle upon Tyne. He lived with them for about ten years, until he was 21.

Working life

After leaving school, Byron started to serve an engineering apprenticeship at a so far unknown company. The engineering company recognised his drawing skills and encouraged him to become an art student at Armstrong College in Newcastle. (It would be interesting to know if the company was C A Parsons, as Dawson painted this interior of the works later in his career).

Dawson painting of Parsons works (on a Parsons calendar)

In 1922, Dawson was living at 46 Hotspur Street, where he was lodging with fellow artist and friend, Thomas William Pattison, and his parents, Arthur and Annie.

46 Hotspur Street

It is said that Byron described himself as an orphan but we know from the electoral registers, that his father also came to Newcastle: he was lodging on Jesmond Road in 1921 and 1922.

On finishing the art course, Dawson was asked to stay on as an assistant master in painting. By 1925 he and Thomas Pattison were sharing an art studio on Newgate Street and Byron was living in Benwell, while Thomas had moved to Earsdon. (By 1939, Byron was again lodging with Thomas’s parents, now in Jesmond.)

Successes

Dawson became a full-time professional artist in 1927. In 1928 he completed a commission for Major Robert Temperley of Jesmond, originally known as ‘panel for morning room’ which was submitted to The Royal Academy. This painting, ‘Dawn’, was also shown at the 1929 North East Coast Exhibition at The Palace of Arts in Exhibition Park.

NE Coast Exhibition catalogue

There were nine galleries in the palace, containing 1,139 exhibits. At least three other artists with Heaton connections were represented: Byron’s friend, T W Pattison (1 item), John William Gilroy (1 item) and John Atkinson, who will be the subject of a future article (5 items). Dawson also exhibited three times at the Royal Scottish Academy.

During his long career, Dawson and his easel became a familiar figure in the streets of Newcastle and beyond, as he drew many of the region’s important buildings. He seemed not make friends easily and would not work for people he did not ‘warm to’ for one reason or another. But he did regular commissions, notably the northern scenes published in the ‘North Mail’ (The predecessor of the ‘Journal’) over many years.

Later years

Little did Dawson know when he drew Newcastle’s Plummer Tower in the 1930s, that this would become his final home in Newcastle.

Plummer Tower by Byron Dawson

In the early 1960s, he was not in the best of health and was having difficulties making ends meet, so much so that, when it became a museum, he was offered the opportunity to reside in the Plummer Tower as caretaker.

In 1966 Dawson was taken to the Wooley Sanitorium near Hexham with acute chest problems. Unfortunately, did not recover enough to return to his Newcastle home at the Plummer Tower. He died in 1968 and is buried in an unmarked grave in Jesmond Cemetery.

On display

The first major exhibition of Byron Dawson’s work in 40 years was held in the Dean Gallery, Newcastle on the 25^th anniversary of his death. Over 60 watercolours, oils and sketches were on display, all of which were for sale. Allan Graham, the gallery director at the time, said that the works were of immense historical as well as artistic importance and that Dawson was the best known artist of his era, thanks to his commission to draw ‘almost every building of importance in the North East’ for the ‘North Mail’.

That exhibition was temporary but it is still possible to see Dawson’s work. Newcastle City Library holds 69 of his drawings and prints. They can be readily be accessed on request.

The Laing Art Gallery has a portrait of Byron Dawson drawn by his good friend T W Pattison. Both painters, along with Alfred Kingsley Lawrence, were among those commissioned to paint individual ‘lunettes’ for the gallery – ‘half moon’ shaped murals, high up in the upstairs galleries, which you can still see today.

Byron Dawson lunette, Laing Art Gallery

The ‘morning room panel’, ‘Dawn‘, is in the permanent ‘Spirit of the North’ Exhibition.

One of the most accessible paintings by Byron Dawson is a very large, eye-catching landscape situated in the Centurion Bar of Newcastle Central Station. A good excuse to go for a drink!

Byron Dawson painting, Centurion Bar, Newcastle Central Station

Dedication

When Marshall Hall published his authoritative book, ‘The Artists of Northumbria’ in 1973, he prefaced it with the following:-

Dedicated to the memory of

Byron Eric Dawson

Artist

my tutor in art

and friend for more than a decade.

This article is also dedicated to his memory.

Acknowledgements

Written and researched by Arthur Andrews, Heaton History Group.

Sources

‘The Artists of Northumbria’ by Marshall Hall

‘Newcastle between the Wars: Byron Dawson’s Tyneside’ by Marshall Hall

Newcastle City Library

Tyne Bridge Publishing

Findmypast

National Newspaper Archive

The Laing Art Gallery

Can you help?

While looking for Byron Dawson artworks on-line, Arthur came across the print below of Heaton Hall in Manchester and bought it for £10. We still haven’t given up hope of finding a Dawson drawing or painting of our own Heaton Hall. Let us know if you can point us in the right direction or have any other information about or of photographs of Byron Dawson. You can contact us either through this website by clicking on the link immediately below the article title or by emailing chris.jackson@heatonhistorygroup.org.

Heaton Hall, Manchester by Byron Dawson

To Heaton for Love: an artist’s life

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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?

‘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).

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. Thank you too to Peter Clarke, Alfred’s grandson, who has kindly sent us further photographs, two of which have been added to the bottom of this article. The first shows him wearing his Northumberland Fusiliers uniform and the second shows him in the process of painting ‘The Committee of the Treasury, 1928’ which is in the Bank of England Museum on Threadneedle Street, London.

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

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

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’.

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.

Kingsley Place

By 1891

, 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.

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? Although we are not art experts and cannot help with identification or valuation, 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.

Postscript

This John Wallace shouldn’t be confused with his contemporary, the Scottish artist John Wallace who died in September 1903 and who, under the pseudonym George Pipeshank, did artwork for Cope’s Tobacco Company in Liverpool.

Aside from his work for Cope’s, John Wallace was primarily a watercolourist, who exhibited at the Scottish Academy. The two, their works and their dates are often confused but death notices for each can be found in the Newcastle and Edinburgh press respectively. There is also a self portrait of the Scottish John Wallace in the Liverpool University Special Collections and Archives John Fraser Collection.

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