Haines, Edward (SCC Newsletter January 2009)

Edward Haines fl. late 1820's - c. 1896

Gapps Great Rival on the Chain Pier

Where are his Silhouettes?

Both Mrs McK and John Woodiwiss considered Edward Haines to be a better artist and free-hand 'cutter' than his contemporary John Gapp. Yet both had only seen a handful of works by the artist—no more than four examples are illustrated in the literature and all these are full-lengths of Men (except one of a boy). Full-length silhouettes of women or bust-length examples were not available at the time Mrs McK's book went for publication in 1976. This is strange and what is even stranger is that Haines had a long career as a silhouette artist on the Chain Pier in Brighton and must during that time have cut a great number of profiles.

The impetus for this article is twofold - firstly as the result of a recent ‘discovery" of two bust-length examples by Haines in a small album owned by a Member of the S.C.C. and secondly the fact that up to date I had not written about the work of Haines in the Newsletter. The album in question has been described in the January 2005 Newsletter, as it contained a very attractive group of bust-length silhouettes by Beaumont. The two by Haines in the album were exceptions but of great interest nevertheless.

The work of Gapp is well known to must silhouette collectors, as not infrequently it turns up in the salerooms or even on E Bay! On the other hand the work of Haines is not known or recognisable to most of us and few writers on silhouettes refer to him in any detail if at all. Searching through my collection of sale catalogues for the last twenty years I have only found one work illustrated attributed to Haines. This was Lot 35 at Bonhams on 17th September, 1996. I have illustrated this above on the right together with two further men. On the left is a gent ex. Montague Guest Collection - he is also illustrated in Mrs. Jackson's History and Mrs McK's book (illus. 422 page 311). In the centre is a gent ex. John Woodwiss Collection - illustrated both in his book "British Silhouettes" (illus. 37) and in Mrs McK's (illus. 424 page 311).

Now for some brief details of Haines' career and work. Finally to look at his ‘discovered' bust-line works in some detail.

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His Career.

The Chain Pier was built in 1823 and it seems from the start Edward Haines's father was running his businesses on the Pier He was the "Proprietor of the Original Weighing Machine" and also ran a number of pleasure boats. His father retired in the early 1830's and Haines inherited the businesses, but before this he had set himself up in Tower 7 as a "Profilist and Scissorgraphist" He occupied this Tower until 1859 - after this there is some `evidence' that he used another Tower on the Pier as well an address in the Town i.e. No. 2 Devonshire Place. There are no directory entries for the years after 1859 until 1895 when Haines ‘reappeared’ The Pier was destroyed in a storm in December 1896. This is about as much as we know about Haines as there is no recorded information on his family or his life after retirement. We know that his Christian name was Edward from a silhouette in the Victoria & Albert Collection that had a trade label.

His Work.

He was a freehand 'cutter', who always made it clear that he did not use a machine of any kind. He often mounted his silhouettes on a salmon pink paper, which has faded over the years. He sometimes favoured a base, which was achieved by rubbing a pencil against the pink paper giving a marbled effect. I have not seen an example of this myself. His men tended to hold a hat, a cane or an umbrella and not a pair of gloves so favoured by his rival Mr Gapp. He generally cut his male ‘sitters' with their feet apart - again unlike Gapp who made his 'sitters' look as if they were standing on one leg! He has been criticised for the smallness of his shoe heels - making these look disproportionate to the size of the figure. Thus giving the figure a somewhat tottering effect! There is no `evidence' that he used gum arabic for highlighting clothing but it is not impossible that figures may be found with some gold highlights. I will be illustrating a full-length man on the next page with some gilding that may be by Haines. Also it is not impossible that family groups by Haines may come to light as he advertised that he was prepared to go to the houses to 'cut; family profiles. However, none have been attributed so far. His full-length figures were on the whole smaller than those of Gapp - about 7 inches in height. It is quite possible over the years that Haines work has been attributed to other artists - even Mr Gapp.

Views of his Work.

Mrs. McK took the view that Haines depicted his figures with dignity combined with a relaxed holiday mood—I am not sure about this, but his figures were certainly less stiff than those of Gapp. John Woodiwiss considered Haines to be a far better profilist than Gapp stating that he had "a happy knack of posing his clients and obtained some really convincing results. I like Haines's portraits as they have panache and self confidence that is most amusing". From the few recorded examples it is difficult to wholeheartedly agree with this last statement! Arthur Mayne's book "British Profile Miniaturists" could only muster that - his work was slightly better than that of his colleague Gapp". Mrs McK amusingly pointed out that it must have been very windy on the Pier as there was little shelter - very difficult she thought for a freehand 'cutter'.

His labels.

Three are recorded although one is clearly an advertisement rather than a label. The other two have almost identical wording - mentioning that he only needed a minute to do a ‘cutting'. His charges were ls. 6d for head and shoulders and 2s. 6d for full length. He is reported as calling out these charges well into his old age when he had become very deaf! According to the ‘claims' on his labels he seems to have cut the silhouettes of some interesting and well-known people - but who is not recorded.

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The two bust-length silhouettes from the album are illustrated above. Both are of the same young lady —Cattie Bedford. The plain black one on the left is dated 1st August 1854 and the highlighted one on the right July of the same year. It is not clear why the young lady had both ‘cut' within a few days, but no doubt she had her reasons! Both are mounted on pinkish card and stuck in the album. There is no sign of a label but the original owner of the album clearly wrote underneath each that it was by Haines from the Chain Pier, Brighton. I do not think this would have been written if this was not the correct information. The effect of these profiles is quite striking in my view with their unusual bust-line termination. This should provide a reliable attribution 'tool' for future finds that may come to light. The quality of the cutting is good and the technique used very competent.

The present owner of the album describes the highlighted profile as "heavily shaded in pencil with very fine strokes with a soft lead pencil - showing as a reflection when photocopied" The images above have been photographed, so there is probably less reflection. The pencil detail has been very nicely done on the ‘sitter's' hair and headdress. The collar of her dress is shown well The multiple strokes at the back of her bust-line helps to centre the figure. She has a painted eyelash.

Finally I have photographed a full-length man from a Collection, which I have thought for some years may be by Haines. He was purchased in 1985 from a private house in Sussex. The owner's husband had bought it with another silhouette by Mr Gapp. At the time it was dismissed as being by Haines as it was clearly not on pink paper - it did not have a label and it had gold highlights on his whiskers and other detail of his clothing. I knew that Haines did use gold highlights but I was not convinced. He is certainly holding a cane and was a little smaller than his Gapp companion - being about 7.5 inches in height. The jury is out I think, but it would be good to attribute him to a known artist!

Do let me know if any of you have a bust-length work by Haines - labelled or not. Also, whether you have any views on my gent.