Gapp, J. (SCC Newsletter April 2002)

J. A. G A PP fl. 1827-40.

Above is a photograph of a print of the Chain Pier Brighton produced in 1833 after the Pier had been struck by lightening. The Pier was built in 1823 and was destroyed in a storm in 1896. Mr.J. Gapp's studio was in the Third Tower from about 1830. Pier silhouette artists have been something of a tradition in Brighton from the arrival of Mr. Gapp until the 1960's. Mr. E. Haines a 'cutter' of somewhat similar style to Mr. Gapp had a studio in one of the other Towers on the Pier where he worked until the Pier’s destruction in 1896 Another 'cutter' A, E. Lloyd worked on the Pier according to Mrs. N. Jackson in the latter part of the nineteenth century. The West Pier Brighton was built in 1866 - this Pier was 'adopted' by silhouette artists in the first part of the twentieth century. Huardel Bly a Frenchman worked on it from 1912 for some years. He was succeeded by Hubert Leslie, a prolific and well-known silhouettist at the time. He worked on the West Pier until 1936, when he sold out to Arthur Forrester, who remained on the Pier until the early 1960's. For many years the West Pier has been almost derelect and is at present the subject of a much contested development plan to restore it to it's former glory with the help of the Heritage Lottery Fund. If and when restoration takes place perhaps it will have as one of its attraction a twenty-first century silhouette artist!

J. G A PP cont.

There is no evidence that Mr.Gapp was cutting silhouettes before 1827 and it is unlikely that he worked after 1840.Works have appeared in the salerooms with earlier and later dates inscribed on the reverse. Mrs. McKechnie suggests that the Pier must have provided a windy site and difficult for a freehand cutter! William Makepeace Thackeray is quoted from his book "The Artist" published in 1841 -'The man on the Chain Pier at Brighton who pares out your likeness in sticking plaster. " Mrs. N. Jackson under her entry on Mr.Gapp refers to silhouettes being cut out "apparently of black sticking plaster...."It is likely that the black paper produced at this time looked like sticking plaster!

His Work. It cannot be stated that Mr.Gapp is the most skillful of 'cutters', but he had his own individual and not unattractive style. To quote Desmond Coke in his "The Art of Silhouette" when he is considering Mr.Gapp's work - these are not gems of art; anatomically they admitted criticism, but they made a sincere attempt to hold up the old traditions." On this page above is a good example of Mr.Gapp's limitations. I have photocopied two gents –the one on the left is by Edouart and the one on the right by Gapp – somehow Gapp manages to make the legs of Mr. James Rosier look "massive", whereas the legs of Edouart's gent do not. I will show in later works that Gapp gave up attempting to show both legs and cut his full-length figures as if they were standing on one leg, He only made a division at the level of the foot! The photograph on the right above is also of a Mr. Rosier and is inscribed on the back "taken on the Chain Pier Brighton 1827." It is an early work and has no label. Obviously Mr. Rosier was a quaint figure and did not dress in the height of fashion! The figure is 23.5 cms in height. Other descriptions given to Gapp's work has been rather pedestrian, stiff with a certain heaviness and unable to attempt work which required lightness of treatment and so on. Nevertheless in spite of his limitations I think he pulled it off!

Most of his 'sitters' were cut full-length from black paper mounted on card, usually with a simple grey wash foreground or with no foreground at all. On men he often left the collar white and many were holding gloves, which Mrs. McKechnie suggests is almost a hallmark for attribution purposes. Figures not

J. GAPPcont.

in outdoor clothes are often holding a book - children holding hoop or toys of various sorts. I have photographed above two works of young girls, both appearing to be standing on one leg! The smaller girl wearing a hat on the left is holding a bird. She is 12 cms in height. The older girl on the right is holding a book. She is 14 cms in height. Both show Mr.Gapp's 'cutting' style well with its spiky touches to show details of clothing and hair. This spikiness is shown to advantage on the two bust-length examples of Mr.Gapp's work photocopied on the right. Women's fashions obviously gave him greater scope. Both are illustrated in Mrs. McKechnie's Book on page 310. Bust-length works by Mr.Gapp are not common -perhaps he felt more at home with the full-length profile. Also these works may be more difficult to attribute if the labels are not attached. I do not know if Mr. Gapp was involved in the framing of his works - I suspect not. Most of his single figures are framed in narrow black wooden frames inspite of the examples above. Arthur Mayne, of whom I am not a great admirer, does have an interesting point that he makes about Mr.Gapp in his book "British Profile Miniaturists" that has not been noted by other writers on the subject. He describes "a touching little characteristic" –i.e. the sleeves of his 'sitters' come to a point on either side of the wrist. He then goes on to say that this characteristic showed a total disregard for the current fashion and he regarded it as an unsuccessful attempt on Gapp's part to make hands appear like a flower bursting from the bud. I think he got a little carried away!! Nevertheless he has a point especially if you look at his silhouettes of men.

J. G A PP cont.

Above on the left is a photograph of a silhouette of a top hatted gent with a rather portly figure. He is facing a hatted young boy holding a hoop whip. It is just possible to see the 'points' at the bottom of the gent's sleeves as described by Mr. Mayne. He is holding the 'hallmark' gloves as well. Both figures look as if they are standing on one leg but with two feet! There is no foreground and the backing card has become discoloured over the years.It is backed by a trade label that is very similar to No.4.I have photographed it on the next page. The juxtaposition of the two figures makes an attractive

composition. Heights of the figures are 24 .cms and 15 cms respectively. Photographed on the right is another silhouette of a hatted young boy holdinga hoop whip. It is backed with Gapp's trade label No.4. which prices bronzed work for the first time. As you will see the gilding showing clothing detail is somewhat cursory and not of a high standard. Apologies for the degradation of the backing card, Gilded examples by Mr. Gapp are rare and perhaps this is not surprising! Doubts have been raised as to whether gilded examples were the work of Mr. Gapp. Similarily examples using chinese white for detail were considered suspicious. As stated earlier I think Mr.Gapp was limited and most successful when he stuck to his plain cutting. The boy's height is 14.5 cms. Desmond Coke in his book mentions Mr .Gapp's use of a 2/6 piece to make the shape of men's buttons!

To quote further from Desmond Coke's "The Art of Silhouette" on page 46, when he was talking about the individuality of silhouette artists. He states -"Even with those who used the scissors only, there is no confusion possible; an Edouart is as different from a Gapp as, say, a Cosway from an Engleheart." I agree with him and I hope that this article has helped you to recognise a Gapp when you see one! He is not a great artist but his contribution has enhanced the history of silhouette 'cutters' in this country.

J. GAPP cont.

His Labels. Four labels are recorded. The last three were printed on yellow paper, which has become faded over the years. The full text of these labels is recorded in Mrs. McKechnie's Book on page 218. On the right above I have photocopied Trade Label No.l. - this is printed under a silhouette of a lady.It is from Mrs.N.Jackson's Dictionary plate 94. Trade Labels Nos. 2 & 3 were not seen by Mrs. McKechnie, but she was able to quote the texts from a reliable source. Labels 2 & 3 were very similar in wording - on both labels he states that he has "no connection with any other person..." (i.e. E.Haines!) However on label 3 he adds "who pretends to take profiles"! The most common label No.4 is photographed above. Below is the photograph of a label that I shall call No.5. It makes moderate changes to Label No.4 including the heading. Mr. Gapp gives prices for cutting 'sitters' on horseback as well as single horses and dogs - but I have not seen any examples that could be attributed to the artist.