The Laterna Magica (1885-1932)

15 Wednesday May 2013

Posted by Philip Battle in London, Movies, Photography

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The Phantasmagoria

In the 1660s, a man named Thomas Walgensten used his so-called “lantern of fear” to summon ghosts.

In the late eighteenth century several showmen used the lantern to produce horror shows. These were known as “Phantasmagoria” shows. A variety of horrific images were projected to frighten the audience, examples being ghosts projected on smoke to give a frightening appearance and images that would move around the walls. Often the projector was behind a translucent screen, out of the view of the audience. This greatly added to the mystery of the show.

Magic Lantern Projector 1880

The Magic Lantern, is it had become known in Victorian England, became a popular form of entertainment, well before the advent of the moving picture.

Over the period of a little more than 200 years the Magic Lantern developed from basic projectors such as the Sturm Lantern, capable of producing small, dimly lit images to the magnificent Triunials, manufactured by such firms as J H Steward, W Butcher and Son, or W C Hughes.

In the hands of a consummate showman these fabulous machines could produce huge, brightly coloured, wonderfully animated entertainments for hundreds of people.

London Screever Lantern Slide cir. 1888

In the 1870′s and 1880′s there was a full flowering of the lantern industry, companies such as Carpenter and Westley, Newton and Bamforth produced lanterns and slides for every occasion and location. In the 1880′s and 1890′s up to 28 firms were engaged in the production of lanterns and slides in London alone.

Screever on the Thames Embankment: Lantern Slide cir. 1885

Slides where numbered and fitted into a set show of events, and often accompanied with stories and dialog designed to bring the ‘static’ images to life!

Poor pavement artists where often used to convey moral tales, and images of London screevers where shown across the country and abroad. These images where especially popular with the temperance movement who would demonstrate the woes of alcohol on the poor working man.

The Pavement Artist by F. de Paula Cembrano 1890

Photographs of pavement artists would also be popular in places like New York, where they were seen as being “exotic.”

Even with the arrival of the moving picture (Cinema) the Magic Lantern Show would remain popular until the 1930’s

Portstewart, Northern Ireland; Lantern Slide 1932

The slides illustrated here where made of glass and measure approx. 3inch (8cm) square. They were often hand-coloured, and in the days of black and white photography, the sight of coloured, projected images would have been a real treat.

Researched by Philip Battle

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THE STREET ARTIST (1934)

21 Sunday Apr 2013

Posted by Philip Battle in Literature, London, poetry

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A London pavement art poem

All day he toiled in some dull street

And dreamed his visions true,

Where high stone walls their shadows cast,

Careless of all the crowd that passed,

And paused, and passed anew.

In beauty his own hands had made

He lived from day to day,

Mid scarlet flowers, and skies of blue,

And shadowed slopes, he never knew

The world around was grey.

Through valleys green the cool streams ran,

Deep fringed with fern and flower,

By green-haired willows bending low,

And white birds wheeled to skies aglow

In sunset’s burning hour.

And some, before the pictured hills,

Stood still, remembering

The mountains, longed for, all their days,

Who, fettered fast by city ways,

Might only dream of Spring.

Stuart Peterson poem Illustration from the WOMAN’S WEEKLY 1934

But still recalled with longing pain,

The song of mountain rills,

Where grey mists drift, and upward curl,

And morning walks in rose and pearl

Among the shining hills.

And others who have never seen

The splendid morning rise

On misty hill, or valleys dim,

Or long, cool slopes, gave thanks to him

Who spread before their eyes

A beauty they had never known,

Perchance might never see,

The tender green of woodland ways,

Wide leagues of space in noonday’s haze

Or dusk’s tranquillity.

–Written by NELLIE A. EVENS

Published in The Woman’s Weekly: Saturday 22^nd December 1934

Researched by Philip Battle

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Top Screever Says: It’s ‘a Gift’ (1953)

05 Friday Apr 2013

Posted by Philip Battle in history, London

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The Story of Alfred Horton

A cockney artist in pastels, who lives and works in the glow of the sunset—morning, noon and night. He is part of the London street scene.

You will see him any fine day on the Thames Embankment, near Charing Cross Pier, kneeling on a little pad, and rubbing the crimson and orange glow of the setting sun into the paving stone with a grubby finger. This week his pastels have won for him the title “Screever Number One, London.”

Alfred Horton cartoon as it appeared in the Christian Science Monitor 1953

The word “screever” isn’t defined in Webster’s. In a cockney slang book, however, you would find it means a pavement artist, one whose canvas is the sidewalk. London’s seven top screevers were invited to compete in the National Hobbies and Handicrafts Exhibition at the Central Hall here this week. Seven great slabs of paving stone were taken along as canvases.

Three-Hour Job

Alfred got down to work. He took nearly three hours, much longer than usual, to complete his picture, “Running Water.” What with the mike, and the lights, and the flashing bulbs, and the questions of the news-papermen, it was hard to concentrate,” he told me later. But Alfred knew his subject. And his colleagues applauded as he took off his French beret and rubbed his stubbly beard on receiving the cash prize of £5 from Jean Carson, Actress.

Alfred Horton with actress Jean Carton (Original press photo 1953)

Alfred Horton with actress Jean Carson (Original press photo 1953)

“I joined the merchant navy when I was 14,” he said. “I’ve seen sunsets all over the world. When I pick up a piece of chalk, the pictures all come crowding back to me.” He was doing a repeat of his prize-winning picture on the pavement the next day when I visited him, just a stone’s throw (pavement stone) from Cleopatra’s Needle.

‘Bit Bright?’

A battered old felt hat had a few pennies in it. I dropped in a coin. It chinked, but Alfred didn’t look up. He selected another crayon from hundreds on a piece of sacking on the pavement. Two sprightly white lambs gambolled into the picture. Alfred took a black crayon and etched in a gate. “Bit bright, ain’t it—that sky?” a voice behind me said. Alfred dropped his chalk. “Time and time again I’ve seen it.” He said. “Where?” the critic asked. “In Scotland when I was in the Army.”

Alfred joined the Army in the last war, he told me. Maybe it was on manoeuvres among the heathered banks and braes he had seen the golden sunsets. The wooded copes, the sheep, the water dashing up from black rocks.

‘Just a Gift’

He had a precise, well-ordered way of doing his picture—starting with the sunset. “Never ‘ad a lesson in my life. It’s just a gift,” he said modestly. I could see the faint outlines of the sunsets of other days on the pavement.

“Do you have to rub them out each night?” I asked. “Well—yes,” he said, “but often the rain does it for me. It’s late when I leave.” My own feeling was he couldn’t bear to part with his sunsets. “Oil paintings—yes I do them, but not for sale. I might do a masterpiece one day. Where would I be if I sold it?” So Alfred parts only with pastels—as pictures and trays. He is sending one to Jean Carson, “so she can remember the screever she gave the prize to,” Alfred said.

Published in the Christian Science Monitor (19^th September 1953)

Here’s another take on the same story……….

No Appreciation

Seven pavement artists competed yesterday for a £5 note at Central Hall, Westminster. They were provided with paving stones and set to work at 10.30am Judging started at 1.30pm.

Alfred Horton with actress Jean Carson (Original press photo 1953)

The winner was Alfred Horton of the Oval, Kennington. Whose normal stand is outside Charing Cross Station. His picture—a lush Highland scene called “Running Water.”

Alfred Horton working on his winning piece “RUNNING WATERS” (Original press photo 1953)

Horton, 51, said: “I spent 30 years in the Merchant Navy, another six in the Army. After that I felt I wanted to do something more creative.” But like most artists he doesn’t think much of the English public. . . .“Englishmen don’t appreciate art nowadays. I have to rely on foreign visitors for a living.” His takings—30s. a day in the summer, down to 5s. a day in winter.

Published in the Daily Express (Friday 18^th September 1953)

Just on a side note; the competition judge was American Actress Jean Carson, who starred in many US film and TV productions, including The Twilight Zone, Perry Mason & The Untouchables, to name but a few. Later in life, she developed a drinking problem which limited her acting career. Her last film role was 1977′s Fun with Dick and Jane. On November 2nd, 2005, Carson died from complications of a stroke; she was 82 years old.

Related blog: FLAGSTONES FOR SALE (1953)

Written and researched by Philip Battle

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ARTIST PUTS CHALK TALK ON SIDEWALK (1976)

18 Monday Mar 2013

Posted by Philip Battle in history, USA

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In the shadow of the White House

“It is definitely message art, more so than Bicentennial art of any kind,” said George R. (Randy) Hofman, 24, as he put the finishing touches on a huge chalk drawing of the Crucifixion on the sidewalk across the street from the White House.

Hofman said he spends summers in Ocean City, N.J., doing chalk drawings, acrylic paintings and sand sculptures, mostly on religious themes. He has sculpted and painted the Last Supper, Moses parting the Red Sea, and Moses with the Ten Commandments.

He has also reproduced famous art, such as “The Starry Night” by van Gogh, but he prefers religious motifs, because “more people can identify with (them) right off.”

“They love the spiritual enlightenment of it,” Hofman said. “They get inspired.”

Hofman lives with his parents at New Hampshire Ave. near Brookeville in Montgomery County. He said he converted the stable there into a studio, and he has painted a huge acrylic mural on the walls and the ceiling depicting the second coming of Christ.

The young artist works quickly; it took a little over an hour yesterday to complete most of the picture’s detail. About eight feet square, its main elements were Christ on the Cross, a centurion and a kneeling follower.

Artist Hofman puts finishing touches to drawing of crucifixion at Madison Street, NW (1976)

“You have to juxtapose the warms and the cools, the darks against the lights for the contrast,” Hofman said. He said he begins by drawing an outline with ordinary blackboard chalk and filling it in with colored chalk.

Hofman said he was concerned that the authorities might object to someone “painting” the sidewalk in front of the White House and the (guard) said if you go across the street maybe it’d be OK,” he said.

So Hofman picked up his chalk and found a concrete “canvas” in front of Lafayette Park. Several pedestrians stopped to admire his work, “although one person didn’t like it, because he didn’t think Christ should be on the ground like that.”

Others were enthusiastic. Brother Luke, of the international Order of St. Luke the Physician, said it was “super.”

“If we could get teenagers turned on to ‘defacing’ sidewalks with chalk, maybe they wouldn’t deface walls with spray paint,” he said. “This is a beautiful expression that’s not detrimental to anybody.”

Hofman said he wants to see sidewalk art in his home town. “There’s hardly any of it here,” he said, though it’s common in Europe and in Boston and San Francisco.

Published in the Washington Post USA (11^th Feb. 1976)

Researched by Philip Battle

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THE LEAGUE OF GENTLEMEN (2000)

09 Saturday Mar 2013

Posted by Philip Battle in history

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Royston Vasey and the Monster from Hell

Series 2 Episode 6 – Broadcast (18^th Feb 00)

Here’s a quirky little one, from the hit dark British comedy series, the League of Gentlemen.

OPENING TITLES: League of Gentlemen (2000)

OPENING TITLES – STELLA HULL WANDERS DOWN THE MAIN ROAD THAT IS A SCENE OF COMPLETE CHAOS. THE ARMY HAVE NOW BEEN CALLED IN, AND JEEPS, TRUCKS AND A SMALL TANK DRIVE ALONG. TROOPS ROUND UP PEDESTRIANS AND USHER THEM BACK INTO THEIR HOMES. HOUSES ARE CORDONED OFF, AND SOME WINDOWS HAVE BEEN COVERED WITH BOARDS MARKED WITH CROSSES. A MAN SITS ON THE PAVEMENT, OBLIVIOUS TO THE PANDEMONIUM. BY HIS FEET IS A SIGN THAT READS ‘PAVEMENT ARTIST – PLEASE GIVE WHAT YOU CAN’. NEXT TO HIM ARE PHOTOGRAPHS AND PAINTINGS OF PAVEMENTS.

OPENING TITLES: The pavement artists paintings of pavements (2000)

Researched by Philip Battle

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A Woman’s Realm (1902)

08 Friday Mar 2013

Posted by Philip Battle in history, London

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The Latest Encroachment

Here’s a little story for International Women’s Day:

Still more encroachments upon the masculine preserve, writes a correspondent. Hitherto the profession of the pavement artist has been the exclusive prerogative of the indigent male who has supplemented the appeals of art by the more eloquent pleas of a wooden leg or an exaggerated squint.

But we have changed all that at Hampstead. Coming down the high-street yesterday I beheld a lady neatly and prettily attired bending over the pavement, on which she had drawn a series of excellent scenes.

A Lady Pavement Artist: Cartton from the Leeds Times. Published 5th August 1899

A Lady Pavement Artist: Cartoon from the Leeds Times. (5th August 1899)

The pavement artists, new style, struck me as a distinct improvement on the old style, and it suggests a new sphere of labour for—must we use the discourteous phrase?—superfluous woman.

Published in the Sunderland Daily Echo and Shipping Gazette (Friday 3^rd October 1902)

Researched by Philip Battle

Related blog: Alice G. Coleman (1893)

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THE END OF PAVEMENT ART (1871)

07 Thursday Mar 2013

Posted by Philip Battle in history, London

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By-laws to stop the Screevers

The authorities have always tried to regulate pavement art by any means possible; today, the high street is in danger of dying through lack of trade, and still, the artists, and buskers who bring life and vitality to our streets are having a hard time of it.

It was no different back in 1871, as this little article proves:

The wayfarer in London has doubtless occasionally noticed on the pavement some highly-coloured work of art—a mackerel, somehow or other, usually being a stock subject with the artist; and a beautifully chalked inscription, involved in some very complicated flourishes, has informed the looker-on that the accomplished artist, who crouches down behind his chef-d’oeuvre, is out of work, and has a wife and seven children; or something of that sort.

Poor fellow, the pavement artists’ occupation is gone, or going. The Metropolitan Board of Works has no feeling for such art, or for the artist; and the former is now declared a penal offence and the latter liable to punishment.

SUSPICION: Punch cartoon from 1872

At first glance this may be regretted; but if it be true, as I have heard, that man behind the pavement drawing was seldom the real artist, and that some other mendicant “did it for the trade,” why that lessens one’s regret. As for the advertisers who are henceforth forbidden to stencil their announcements on the pavement, one has no pity for them. This is not legitimate advertising. Moreover, it must be very annoying for a tradesman to have plastered all over the pavement in front of his shop the advertisements of a rival in the same trade—very!

Published in the Alnwick Mercury (Saturday 18^th March 1871)

Researched by Philip Battle

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THE STREET ARTIST’S EXPLANATION (1887)

04 Monday Mar 2013

Posted by Philip Battle in history, London

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From the pages of the Illustrated Police News

AT Marylebone Police court, on Saturday, William Pacey, thirty-eight, dressed in ragged clothes was charged on remand with begging. It will be remembered that the prisoner was arrested by Detectives Noor and Pollard near Wentbourne Grove whilst sitting in the public way displaying a portrait of considerable size representing Miss Grace Hawthorne, of the Princess Theatre: also a number of smaller cards bearing various inscriptions.

POSTER: Grace Hawthorne in “Theodora” 1889

The prisoner, who was wearing two gold rings, now said he had been in India, and had suffered considerably in health. He had been employed in two or three situations in large jewellere’ in the West End extending over fifteen years, where there were many thousands of pounds worth of property. Some time ago he took a quantity of potassium, and when he recovered he was sent to an asylum.

While in there he used to sit up after the other inmates had gone to bed to practice drawing, so as to be in a position when he came out to earn his own living. He had now been exhibiting these drawings for years, and had earned a living for his wife. He did not do it for drink, but to well clothe and care for his wife and child. It was no imposition; and he had done his work so well that he had received as much as 5s. from people, but sometimes he sat down on the ground for eight or ten hours in the street and had earned as little as threehalfpence.

He never begged; people gave what they liked. He had drawn a portrait of Buffalo Bill, and that gentleman was driving past him (prisoner) one day in company with Lord Marcus Beresford and Buffalo Bill gave him 2s.

Mr Cooke said the conduct of this prisoner was really begging, and could not be allowed. As, however, he had been in custody for eight days, he (the magistrate) now discharged him.

Published in the Illustrated Police News (Saturday 26^th November 1887)

Researched by Philip Battle

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Broken in our Wars (1916)

03 Sunday Mar 2013

Posted by Philip Battle in history, London, World War I

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Without Benefits: The First World War Screevers

Attracted by a little crowd at the side of one of the broad pavement spaces in Kingsway the other morning I drew near and found a lady volubly declaiming against the Government and the War Office, because of the sight there to be witnessed.

It was that of a man engaged in making crayon pictures. There was nothing strange in that, as pavement artists are common enough; and women have recently joined the craft, usually on the plea of children to support through a husband having been killed in the war.

But this man was obviously very new to the work, for his drawings were crude even for a pavement artist. He had scrawled on the pavement a notice to this effect: “A member of the original Expeditionary Force to France; gassed and wounded at Ypres, suffering from a paralysed arm, discharged from the Army, and unable to get work. Anyone interested may inspect my discharge papers.”

Here was the source of the lady’s indignation. The man seemed to be getting a fair share of coppers, but the spectacle was a depressing one. Next day the disagreeable impression it left on my mind was emphasised by the announcement of another pavement artist I saw at work near Euston Station to the effect that he had been severely wounded during the retreat from Mons.

Pavement artist on the Thames Embankment, London. Cir. 1915

It is to be hoped that the Pensions Question will soon be settled, as this kind of thing is rather humiliating to the nation, to say nothing of its effect on the men themselves.

Published in the Cheltenham Looker-On (Saturday 16^th September 1916)

Following the political embarrassment of so many injured service men being discharged and forced to work on the streets as pavement artists and beggars: In 1916 a Parliamentary Select Committee recommended that the existing pension provisions should be incorporated into one War Pension Scheme administered by a new Department. In 1917 the Ministry of Pensions was established, later becoming the Department of Social Security.

Although this didn’t completely solve the problem, it eventually led to the establishment of a living War Pension for ex-servicemen and a social security benefits system for the unemployed in Britain by 1947.

Written & researched by Philip Battle

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THE STONES REFLECT THE ART (1937)

24 Sunday Feb 2013

Posted by Philip Battle in history, London

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The story of George Jeffery: 40 years of screeving!

IN LONDON—Artist sketching artist on the Thames Embankment one blustering morning in winter was too much for the curiosity of the occasional riverside strollers, particularly as one of the artists happened to be chalking a series of colourful pictures on the stone flags.

And so large a crowd came to stare that George Jeffery, pavement artist, had an audience, such as he has rarely had since the days before trams, when Londoners walked and knew the pavements all too well. George Jeffery, you see has been painting pictures on the Embankment since 1897.

Anyone who cares to draw on the pavement in London may do so, provided he does not impede the progress of pedestrians. It is a right which has never been questioned. Pavement artistry is a traditional temporary occupation for many jobless men, and for numerous others it is a complete career.

The oldest established members of this fraternity of the sidewalk academy are “characters,” well known to Londoners. There is, for instance, the ‘Gallery Man’, who chalks on the stone flags at various points copies of famous pictures and inscribes besides each a neatly written potted history. And then, at Hyde Park Corner, there is a cheery fellow who intersperses his pictures with comic comment on the world at large.

Illustration of George Jeffery: as published in The Christian Science Monitor 1937

But George Jeffery is the veteran of them all. Kneeling there on the Embankment he told how he had walked from Portsmouth to take up his career as a pavement artist and how that career had served him well enough to bring up three children. “There’s only mother and me at home now, and our granddaughter,” he said. “It’s difficult at this job nowadays, but we manage. But the children are doing well for themselves, Very well.”

He stared reflectively ahead of him, perhaps remembering his first clumsy efforts on the pavement, back before the beginning of the century, “I found out it’s not near so easy as it looks,” he declared, with a shake of his head, “not near so easy, I couldn’t do it at all to start with; had to start at the bottom, so to speak, with a herring on a plate. But I learnt from others and by observing. I reckon I always find how to do these pictures a bit better every day. You can always learn something new.”

His pictures were flowers and landscapes. He was rather sorry he had not done his “best work” that particular day. “You ought to see my Dartmoor, studies of the moors. I got a lovely heather colour, look.” And he worked one of his chalks on the pavement. He makes all his own colours, baking thick slabs in “Mother’s oven, you know.”

George Jeffery reckons he makes out all right because he knows how to save. “I put a shilling by here and there, for the wet days.” The “rainy day” Is no mere metaphor to the pavement artist. It is a very real thing, and, in London, occurs rather too frequently. But George makes out, because, he says, he does not spend any money on drink. He tucks it away, “to surprise mother.”

And, so every day he sits on one heel, in the shadow of the Embankment making pictures on the stone paving. It takes two or three hours to get the work finished, and each evening the pavement must be scrubbed clean. That is all that the police ask of him, and he is very conscientious about it……

Published in the Christian Science Monitor: 27^th November 1937

Researched and transcribed by Philip Battle

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All My Own Work!

~ A history of pavement art!

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THE LEAGUE OF GENTLEMEN (2000)

Royston Vasey and the Monster from Hell

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