Charles Ginner

Ginner’s view of Piccadilly Circus in central London shows at the right the island pavement around the base of Alfred Gilbert’s statue of Eros, where a coster woman is seated on a stool selling flowers from two baskets. A smartly dressed woman in a large hat walks past, while a man to the left is partly hidden by a taxi. The taxi, two buses and a car driving around the island are shown in detail, complete with their advertisements and route signs, but their forms are difficult to make out exactly as they overlap. The viewpoint looks south towards the Criterion Grill Room and the building to its east, although the architecture in the background, which is not much of a feature of the painting, is simplified and not quite accurate in detail.1

To see this view, Ginner must have placed himself on the pavement near the Regent Street quadrant, or, more likely, within the traffic between a row of bollards that were then dividing the road into separate lanes. A photograph of Piccadilly Circus taken from an upper window in 1910 shows a flower-seller sitting in the same spot (fig.1). In this photograph several smart-looking people are walking by briskly, as in the painting, using the island as a shortcut between Regent Street and Leicester Square. The painting is larger than usual for Ginner, and is focused on the figure of the flower-seller, whose mauve scarf stands out, and who is placed beside the strongest colours in the picture, her red flowers (which are possibly anemones and chrysanthemums).

The notices on the buses are prominent and seem to be recorded accurately. The bus in the centre of the painting has the route boards, ‘CLAPHAM JUNCTION (19) HIGHBURY B[...]’ and ‘BATTERSEA BR[IDGE] KINGS Rd SLOANE (19) PICCADILLY TOTTENH[AM] | BLOOMSBURY ANGEL ISLING[TON] | HYDE PAR[K S]HAFTESB[URY]’. It carries an advertisement for the theatre ‘THE | NEW | ALHAMBR[A] | REVUE | ATTRACTION | ATMOSPHERE’. These details link some of Ginner’s favourite places. Performances at the Alhambra Theatre were a particular subject of Spencer Gore, and Ginner himself included its exterior in his Leicester Square 1912 (fig.2).