In the twelfth of my series of profiles of artists featured in EAST END VERNACULAR, Artists who painted London’s East End streets in the 20th century to be published by Spitalfields Life Books in October, I present Roland Collins’ paintings. Click here to learn how you can support the publication of EAST END VERNACULAR
Ninety-seven year old artist Roland Collins lived with his wife Connie in a converted sweetshop south of the river that he crammed with singular confections, both his own works and a lifetime’s collection of ill-considered trifles. Curious that I had come from Spitalfields to see him, Roland reached over to a cabinet and pulled out the relevant file of press cuttings, beginning with his clipping from the Telegraph entitled ‘The Romance of the Weavers,’ dated 1935.
“Some time in the forties, I had a job to design a lamp for a company at 37 Spital Sq” he revealed, as if he had just remembered something that happened last week,“They were clearing out the cellar and they said, ‘Would you like this big old table?’ so I took it to my studio in Percy St and had it there forty years, but I don’t think they ever produced my lamp. I followed that house for a while and I remember when it came up for sale at £70,000, but I didn’t have the money or I’d be living there now.”
As early as the thirties, Roland visited the East End in the footsteps of James McNeill Whistler, drawing the riverside, then, returning after the war, he followed the Hawksmoor churches to paint the scenes below. “I’ve always been interested in that area,” he admitted wistfully, “I remember one of my first excursions to see the French Synagogue in Fournier St.”
Of prodigious talent yet modest demeanour, Roland Collins was an artist who quietly followed his personal enthusiasms, especially in architecture and all aspects of London lore, creating a significant body of paintings while supporting himself as designer throughout his working life. “I was designing everything,” he assured me, searching his mind and seizing upon a random example, “I did record sleeves, I did the sleeve for Decca for the first Long-Playing record ever produced.”
From his painting accepted at the Royal Academy in 1937 at the age of nineteen, Roland’s pictures were distinguished by a bold use of colour and dramatic asymmetric compositions that revealed a strong sense of abstract design. Absorbing the diverse currents of British art in the mid-twentieth century, he refined his own distinctive style at his studio in Percy St – at the heart of the artistic and cultural milieu that defined Fitzrovia in the fifties. “I used to take my painting bag and stool, and go down to Bankside.” he recalled fondly, “It was a favourite place to paint, especially the Old Red Lion Brewery and the Shot Tower before it was pulled down for the Festival of Britain – they called it the ‘Shot Tower’ because they used to drop lead shot from the top into water at the bottom to harden them.”
Looking back over his nine decades, surrounded by the evidence of his achievements, Roland was not complacent about the long journey he had undertaken to reach his point of arrival – the glorious equilibrium of his life when I met him.
“I come from Kensal Rise and I was brought up through Maida Vale.” he told me, “On my father’s side, they were cheesemakers from Cambridgeshire and he came to London to work as a clerk for the Great Central Railway at Marylebone. Because I was good at Art at Kilburn Grammar School, I went to St Martin’s School of Art in the Charing Cross Rd studying life drawing, modelling, design and lettering. My father was always very supportive. Then I got a job in the studio at the London Press Exchange and I worked there for a number of years, until the war came along and spoiled everything.
I registered as a Conscientious Objector and was given light agricultural work, but I had a doubtful lung so nothing much materialised out of it. Back in London, I was doing a painting of the Nash terraces in Regent’s Park when a policeman came along and I was taken back to the station for questioning. I discovered that there were military people based in those terraces and they wanted to know why I was interested in it.
Eventually, my love of architecture led me to a studio at 29 Percy Studio where I painted for the next forty years, after work and at weekends. I freelanced for a while until I got a job at the Scientific Publicity Agency in Fleet St and that was the beginnings of my career in advertising, I obviously didn’t make much money and it was difficult work to like.”
Yet Roland never let go of his personal work and, once he retired, he devoted himself full-time to his painting, submitting regularly to group shows but reluctant to launch out into solo exhibitions – until reaching the age of ninety.
In the next two years, he enjoyed a sell-out show at a gallery in Sussex at Mascalls Gallery and an equally successful one in Cork St at Browse & Darby. Suddenly, after a lifetime of tenacious creativity, his long-awaited and well-deserved moment arrived, and I consider my self privileged to have witnessed the glorious apotheosis of Roland Collins.
Brushfield St, Spitalfields, 1951-60 (Courtesy of Museum of London)
Columbia Market, Columbia Rd (Courtesy of Browse & Darby)
St George in the East, Wapping, 1958 (Courtesy of Electric Egg)
Mechanical Path, Deptford (Courtesy of Browse & Darby)
Fish Barrow, Canning Town (Courtesy of Browse & Darby)
St Michael Paternoster Royal, City of London (Courtesy of Browse & Darby)
St Anne’s, Limehouse (Courtesy of Browse & Darby)
St John, Wapping, 1938
St John, Wapping, 1938
Spark’s Yard, Limehouse
Images copyright © Roland Collins
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This post first appeared on Spitalfields Life | In The Midst Of Life I Woke To, please read the originial post: here