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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Alice G. Coleman (1893)

09 Thursday Aug 2012

Posted by Philip Battle in history, London

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The First Lady Pavement Artist

Of all the people and characters I’ve come across since I started researching this history of pavement art blog, none have intrigued me more than Alice Geneviève Coleman. I’ve found out so much about her, and yet, until now, knew barely nothing about her upbringing or home life. There is still much to know about Alice, but this fascinating little article represents the first known ‘interview’ with a Victorian Screever, and certainly the first to throw light on her upbringing with an actual illustration of her home…REMARKABLE!

Rumours of this, the very latest thing in women’s work, having reached my ears, I proceeded on an interviewing expedition, and after considerable trouble and endless inquiry at last had the good fortune to alight upon her at work on the pavement of a northern suburb.

Alice G Coleman: The first Lady Pavement Artist-1893 Illustration: Lionel J Jones.

In answer to a few questions, I elicited the following interesting information as to her career:—

“My father and mother were both in the theatrical profession, and early in life I was left to the charge of my grandmother, with whom I lived until I left school at the age of 14, when I obtained a situation as a clerk to a neighbouring butcher, and soon after fell in love with a travelling acrobat; but my grandmother objecting to my marrying anyone connected with the profession followed by my parents, I was sent away to some friends residing a little distance from London. This, however, proved useless, and at the age of 17 I was married and joined my husband in his performances. Ill health, however, preventing him from following the acrobatic business, he was forced to take up the profession of a street artist for a living. I was always very fond of drawing when at school, and took great interest in my husband’s artistic work, so that when he became too ill to go out, and it became necessary for me to do something to keep the wolf from the door, I determined to try my own skill in producing pictures on the pavement. Accordingly having selected a ‘ pitch,’ I commenced to reproduce some of the studies I had seen my husband execute. Several times, however, I had to give up in despair; but at last my efforts were crowned with success, and attracted a considerable amount of attention from passers-by, who liberally responded. Now that the great difficulty of commencement was over, I took kindly to the work, and think I can say, without self-flattery, that I have greatly improved.”

The home of a Victorian Pavement Artist: Alice Coleman 1893 Illustration Lionel J Jones

Mrs Coleman laughingly remarked that her first receipt was not in connection with her work, but from an old gentleman who, preoccupied with his paper, stumbled over her, and gallantly accompanied his apology with 6d.

Her receipts vary according to the weather, but she informed me she should think about 5 shillings would be striking a fair average. Of course, in wet weather and in winter her work is at a standstill, and at these times she remains at home painting cards, &c, and preparing her chalks, all of which she manufactures herself, with, the assistance of her husband, whom the weather similarly affects.

Considerable jealousy exists among her male competitors at the invasion of their territory by a woman, but it cannot be denied that Mrs Coleman’s work has a great deal of real artistic merit. Both she and her husband take all possible opportunity of studying Nature, taking especial interest in sunset effects, in which she excels, and of which she produced for my special edification some really meritorious specimens, fully justifying the remark she writes by the side of her pictures:—

“Some people say this is not my own work. If they have any doubt about it, would they kindly ask me to produce a picture before them, instead of running away with the idea that this is ‘one of the many impositions palmed off upon the public’ ? “

Original writer unknown

Published in the Westminster Budget; 8^th December 1893

Alice G. Coleman wanted to travel the world through her art….I wonder if she ever did so? She is; without doubt, a true star, burning bright in the history of British Pavement Art. A pioneer of the paving stones in a day and age when lady’s just didn’t do such things…paving the way for the Suffragettes and the modern movement…it’s so true that the people who really make changes in history, are most often the one’s doing the smallest of things

If you are in any way related to Alice, or can offer further information on her life and times, I’d be delighted to hear from you; please email me at urbancanvas@live.co.uk

Written, transcribed and researched by Philip Battle

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KIND LADY (1935)

03 Thursday May 2012

Posted by Philip Battle in history, London, Movies

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Screevers on Film

Kind Lady is a 1935 drama film based on the play of the same name by Edward Chodorov and a short story called “The Silver Mask” by Hugh Walpole.

Plot: In London, Mary Herries (Aline McMahon) is a rich woman with a habit of contributing to those less fortunate than her. On her way home from a concert on Christmas Eve she discovers a poor, homeless pavement artist outside her estate. Mary takes pity on this artist, Henry Abbott (Basil Rathbone), and gives him some food and money.

Original Press Photo: Aline McMahon In Kind Lady 1935

After taking him in, she finds herself somewhat attracted to this artist; he is handsome, and quite knowledgeable of fine art, especially the paintings in Mary’s extensive collection. However, when she discovers that Henry has both a wife and a small child that he is struggling to support, she gives him some money and hand-me downs, and sends him on his way.

A few days later he shows up with some of his own paintings (which are absolutely awful) as well as some items he stole from Mary’s house on Christmas Eve. Henry demands a large amount of money for his paintings, which Mary eventually pays. She then discovers that Henry has left his wife and baby outside, in the rain.

His wife collapses and Mary, out of pity, lets Henry and his family stay with her until his wife is well. Soon, Mary’s servants have all quit, tired of dealing with Henry and his family, who are unreasonable and greedy. Once the servants are gone, Henry’s extended family arrives, and Mary discovers to her horror that Henry’s “family” is actually a gang of art thieves, planning to imprison her in her own house to gain control of her art collection.

And the lesson here is…..beware of ‘taking-in’ handsome pavement artists…lol

KIND LADY: Original movie poster from the 1951 re-make

The film was remade in 1951 under the same name, although the pavement artist character was changed to an art dealer.

To avoid confusion with MGM’s 1951 remake, the 1936 version of Kind Lady was retitled House of Menace for television viewing in the 50’s.

I haven’t seen this film, and I’m having some difficulty tracking a copy down, so unfortunately I can’t share any pavement artist stills. But if you know of anybody who has a copy, drop me a line why-don’tcha

Researched by Philip Battle

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The Pavement Artists Academy (1909)

31 Saturday Mar 2012

Posted by Philip Battle in history, London

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The world’s first ‘recorded’ pavement art competition

Most people today think of pavement art competitions as being a quite recent development, but as this feature perfectly illustrates “there is nothing new under the sun”

Although pavement art competitions have been recorded since before the 1880’s, this is the very first to record the event competitors and winners. It’s a fascinating insight and shows enlightened individuals, over one hundred years ago, recognising the value & artistry of this “beggar’s art.”

DRAWING SEASCAPES AND SALMON AGAINST TIME

A competition for “The artists of the pavement” Of the number that presented themselves only seven essayed to face the ordeal of working before the gaze of the assembled specators.

The pavement artists’ Royal Academy had a brief but glorious career at the Fun City, Olympia, last night (1st Jan. 1909), with Mr Tom Browne, the artist, as judge and hanging committee. Crowds of people gathered round to see the artists at work. The time-limit was three-quarters of an hour, and money prizes were to be given to those who produced the best work.

So with crayons and cardboard and canvas, the pavement painters sat them down. Here was Albert Simpson, of Yarmouth, who learned the mastery and technique of the art as a distemper painter, and there was Arthur Harris, his arms tattooed tastefully with red rosebuds, known as the “Pigeon Boy.” Because no man can draw a pigeon so skilfully as he, with the ring round its eye and the shimmer of green and purple on its feathers.

Then there was Jim Hodges, who gave up home-decorating and now brightens the flagstones of Notting Hill. “I can draw anything.” He said proudly, “anywhere you like, in water-colour, on paper, in oil on cardboard.” Frederick Charles Warwick, the Sargent of the streets, is the portrait specialist. Mr’s Coleman, the only woman competing, uses bath-brick on cardboard as the best medium to work with.

LONELY JACK’S EFFORT

And lastly there was Lonely Jack, who can put more atmosphere into a fillet of salmon than any other artist—weather permitting.

“Go!” said the referee, and immediately there was a scraping of chalks and seemingly hopeless blurs of blue and yellow and red were smudged on the canvas. Lonely Jack drew two black lines very carefully, smudged them with the palm of his hand, and put in a yellow dot. “An airship,” said a little girl to her brother. “A torpedo,” the brother hazarded. Lonely Jack said nothing, but borrowed a piece of red chalk from the man next to him, who was drawing a Turneresque sunset effect, and drew a red circle.

“A windmill” Said a soldier. Lonely Jack smiled sadly, and went to work with blue. And lo! A salmon, neatly severed at the head, resulted. Then Lonely Jack grew prodigal of his art. He put in green-edged shamrock. Having ignored yellow, hitherto, he added a lemon, and finally, in an orgy of art, he drew a white envelope, stamp, postage-mark, and all, and wrote on it; “Is my work worthy?”

Mr Tom Browne did not think so, for the prizes were awarded as follows:-

1^st- Mrs Coleman, for a landscape with two swans. “Summer Landscape”
2^nd- Arthur Harris, evening landscape, entitled, “Self-taught.” With a yellow butterfly and a cuckoo.
3^rd- James Colman, Turner seascape “Crossing the Channel by Moon-light.”

“I like the atmosphere in the prize-winners pictures,” Mr Tom Browne said. Lonely Jack was given a consolation prize.

Competition winner: London's ONLY Lady Pavement Artist--ALICE COLEMAN. Published in The Daily Mirror, Thus.15th Nov 1906.

Competition winner: London's ONLY Lady Pavement Artist--ALICE COLEMAN. at her pavement pitch in Kingsway. Published in The Daily Mirror: 1906.

All of these artists were self-taught and their work showed some considerable merit. Miss Alice Geneviève Coleman states that her ambition is to travel round the world, so that her work may get adequate recognition. Arthur Harris was formerly a cartman, but left that occupation to follow his artistic bent, while another competitor, Simpson, of Yarmouth, said that he had never handled the chalks before. The spectators were keenly appreciative and it was well to know that all the competitors received some recompense for their efforts on this occasion.

Sourced from various publications: Daily Express / Manchester Courier and Lancashire General Advertiser – Saturday 2^nd Jan. 1909

Photograph: Daily Mirror – 15th November 1906.

Researched by Philip Battle

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DAY IN THE LIFE OF A LADY PAVEMENT ARTIST (1912)

10 Saturday Mar 2012

Posted by Philip Battle in history, London

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THE ONLY ONE IN ENGLAND (at the time)

A fascinating in-sight into the life of a female pavement artist exactly 100 years ago:

My daily round (says Mrs Alice G. Colman, England’s only lady pavement artist), unlike that of many people, is not always the same. Sometimes it consists of sitting disconsolately at home wondering if the skies will ever clear again; sometimes it consists of nothing but wandering through the streets of London, in search of a suitable pitch.

There are over 300 male pavement artists in London, and most of them resent the intrusion of a woman into their ranks, so that time and time again I seek a favourite spot only to find huge initials chalked there. In the earlier days of my career I used to ignore these initials, and start work, but their owner invariably appeared and created a disturbance, so I have given up contesting my rights-the task is far too disagreeable.

REAL PHOTO postcard: Photo by Bob Thomas circ. 1912

My husband was a pavement artist long before I became one–though he really is a scene painter by trade, and in the days when we courted and married, against my grandmother’s wishes, was a travelling acrobat. It was when he was badly ill, and starvation was staring us in the face, that I first went out armed with his own chalks and knelt with shaking limbs to decorate, the flagstones at Brook Green, Hammersmith.

Fortunately, he is in better health now, and usually begins his daily round with mine. We breakfast at 9, and then, whatever the weather, so long as the pavements are dry, we set out–he, in one direction, I in another.

I carry my things in a little basket-my chalks, a mat to kneel on, a duster with which to obliterate the drawings at the end of the day, and a little metal plate in which to collect contributions.

Having found a vacant spot that looks promising enough (on my unlucky days this doesn’t happen till I have tramped about for hours), I take my mat from the basket, kneel upon it, and commence to draw.

I reckon to finish three pictures in about ten minutes, but between each picture I rest for a while-partly to relieve my fingers, partly to give the crowd which always gathers round a chance to reward me for my pains.

The crowd doesn’t always reward me, but it asks the most extraordinary questions, and gives me the most curious advice. In spite of the fact that I am a wife and mother, I have received no less than 10 proposals of marriage out on the pavement!

Usually I rub my “gallery” out of existence at twilight and wend my way home, satisfied or dissatisfied according to the amount of my takings (I have taken as much as 2s 4d in a day, and-alas! how much more often-as little as nothing!) But if the pitch is a profitable one I occasionally stay on, working and exhibiting my work in the light of the electric arc lamp till 9 and even 10 o’clock.

I have one meal-time during the day. Precisely at 2 o’clock I leave my pitch and my chalks to take care of themselves for half an hour, and resort to the nearest shop for something to eat.

Most pavement artists desert their pitches in this way, and it is only at very rare intervals that any of the chalks are stolen or any of the pictures spoiled. But we are careful not to disappear till 2 o’clock strikes, and the children are safely in school!

ACHES AND PAINS

Most people imagine that pavements are smooth, but, as a matter of fact, they are exceedingly rough; and, as I use my thumb and fingers, like different-sized paint-brushes, to tone and soften and spread the colours, I often go home with the blood oozing through the skin.

That means a soaking in salt and water to harden them, and sometimes a wakeful night through the pain, but aches and pains are part and parcel of a pavement artist’s life.

Generally I am so tired when I get home that I am glad to go to bed,, but on wet days, when my husband and I have been shut up indoors all day, we sometimes set off for the music-hall in the evening (if we can afford it). And there I study the scenery and the decorations quite as much as I do the performers, for one must always study even to be a woman pavement artist.

Published in the Northern Star (Australia) Saturday 8^th June 1912

Researched & transcribed by Philip Battle

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The First Lady Pavement Artist (1894)

23 Thursday Feb 2012

Posted by Philip Battle in history, London

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Mrs Coleman, London

Force of circumstances has driven an Englishwoman—one Mrs Coleman—to adopt the unusual occupation of pavement artist as a means to earn a living for herself and her sick husband. She is probably the first gentlewoman to attempt this calling, which is one of the common street sights of London, though comparatively unknown here.

It is estimated that there are about 300 persons, men and lads, in the English metropolis earning a living at this trade of drawing pictures on the pavements and collecting pennies from the crowds that gather. Coloured chalks are used, and very realistic scenes sketched, many of the artists being genuinely talented. A shipwreck or any sort of marine picture is a popular subject, the blue of the sea and colours of the ship and sky all being faithfully reproduced.

The exciting happenings of the day are seized upon too, the face of a murderer or the environment of any thrilling occurrence being promptly brought out. Formerly the business was conducted on a sort of system, “pitches” or good vantage points being regularly pre-empted and respected by the other members of the fraternity. Now, however, the increased number of pictures to be had in all prints, even the cheapest, has had a depressing effect on the pursuit; still on fair days, Mrs Coleman earns on an average, $1.25 a day, and when it rains she stays at home and prepares her chalks.

Published in the New York Times: 7^th January 1894

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Researched & transcribed by Philip Battle

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