Gapp, J.

Introduction:

J. GAPP was a freehand cutter and the first profilist to work on Brighton's recently constructed 'Chain Pier'. A dated silhouette places him there in May 1827 and a newspaper report, recently sourced, proves him still active on the pier in April 1838. Best known for full-length profiles, his draughtsmanshp can be wayward but his work is distinctive and attractive and often appears on the market.

Doubtless, as sold unframed, many more being ideal for placing in scrapbooks or journals were subsequently lost to posterity. Gapp himself mentions a "...variety of interesting subjects for ladies' scrapbooks" on his trade labels.

The majority of his extant works are plain black. However, his 4th and last trade label, suggested by McKechnie as dating from the mid-1830s, offers, for the first time, bronze highlighting, though examples show it cursorily applied. Full-length figures are recorded stood on a grey wash roughly applied across the width of their backing card, while others are given minimal shadow at their feet, or none at all.

Unlike many profilists, Gapp never advertised individual prices for cuts of children. His charges on all 4 trade labels remain unaltered: bust-size were 1 shilling and full-length 2 shillings and sixpence. Ambitiously, he offered ladies and gentlemen on horseback for 7s 6d; single horses, presumably with rider, were 5s and dogs were cut for 1s 6d.

Neither McKechnie nor recent research discovered any of Gapp's personal history in Brighton or elsewhere. Even his given name remains unknown. However, it can be presumed from the wording on 3 of his trade labels that, perhaps unsurprisingly, he had an uncordial connection with rival profile cutter Edward Haines (1807-1866), who began working on the 'Chain Pier' a year or two after Gapp.

Their profiles were not dissimilar. However, Gapp generally cut male sitters holding gloves; Haines generally cut men holding canes and often backed his profiles with now faded 'salmon pink' card. Haines' full-length profiles, generally 7 inches in height, were smaller than Gapp's.

The 'Chain Pier', opened in November 1823, became an immediate popular promenade for titled, monied and fashionable visitors to Brighton. Over 1100 feet long and 13 feet wide, its pierhead broadened into a viewing platform and landing stage for cross-channel packet boats. Supporting the suspension chains which gave the pier its name, were 4 sets of hollow cast iron pyramidal towers. At the base of each was a rentable booth.

Gapp would occupy a space in the 3rd tower. His first trade label though, places him at "P.S.SAMPSON's ROYAL SALOON", a small foul-weather reading room facing the pier entrance. Atop the building was a camera obscura kept by Edward Haines Snr. (1755-1840),  father of the profilist who became Gapp's rival. It's plausible, noting Gapp's success, that Haines Snr. may have encouraged his son to adopt the art.

In any event, by 1828, Gapp and Haines Jnr. were both cutting profiles in competition. The first tower on the left, rented by Haines, was a prime spot to draw the immediate attention of visitors, while Gapp operated from the 3rd tower.

Gapp's trade labels evidence increasing irritation with his rival, indicating he had "...no connection with any other Person...[on the pier]" and finally that he had "...no connection with any other person on the Pier who pretends to take Profiles".

The sole recorded reference to Gapp comes from the 10th of April 1838 BRIGHTON PATRIOT. When a "...young woman threw herself into the sea between the 2nd and 3rd Towers...Mr. Gapp, a profilist who rents one of the Towers, instantly gave the alarm and procured rope with a view of affording assistance...". She was apparently the "...4th Female to attempt self-destruction...[on the pier]" that year.

Given the absence of records, the 1841 Census offers an intriguing speculation. A Joseph and Charles Gapp, aged 12 and 10 respectively, were listed in Brighton's workhouse. Frustratingly, no further information about them came to light. However, both were born in the county and at a time when Gapp was known to be cutting profiles. If they were Gapp's sons, it suggests that the artist was possibly in straitened circumstances or dead. It might, at a stretch, also indicate the profilist's Christian name was Joseph.

Revised 10 February 2023 (Brian Wellings)

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