Geoffrey Fletcher’s Pavement Pounders
The work of Geoffrey Fletcher (1923–2004) is an inspiration to me, and today I am publishing his drawings of London’s street people in the nineteen sixties from Geoffrey Fletcher’s Pavement Pounders of 1967.
Charlie Sylvester -“I’m Charlie Sylvester, Charlie of Whitechapel. I’ve been on the markets over forty years. I can’t keep still too long, as I have to serve the customers. Then I must take me pram and go fer some more stock. Stock’s been getting low. I go all over with me pram, getting stock, I sell anythin’ – like them gardening tools, them baking tins and plastic mugs. All kinds of junk. Them gramophone records is classic, Ma, real classic stuff. Course they ain’t long playing? Wot do you expect? Pick where you like out of them baking tins. Well, I’ll be seeing you next you’re in Whitechapel. Don’t forget. Sylvester’s the name.”
Peanuts, Tower Hill – “We’ve only been doin’ this for a few months, me peanut pram and I. I only comes twice a week, Saturdays and Sundays. Sundays is best. It’s a hot day. Hope it will stay. I’m counting on it. How many bags do I sell in a day? I’ve never counted ’em. All I want is for to sell ’em out.”
Doing the Spoons, Leicester Sq -“I’ve been in London since 1932, doin’ the spoons, mostly. I does it when I’m not with the group – if they’re away or don’t show up. I’m about the only spoon man left. No, the police don’t bother us much – they know we’re old timers. We’re playing the Square tonight, later when the crowds will come.”
The Man with the X-Ray Eyes – “It’s the facial characteristics. I can usually guess within a year. It’s the emanations – that’s why they call me the man with the X-ray eyes. I’ve been doing it thirty-two years. Thirty -two years is a long time. I’m off-form today. Sometimes I am off-form and then I won’t take their money. I’m in show business. You see me on TV before the cameras. My show took London, Paris and New York by storm.”
Selections from ‘The Merry Widow,’ Oxford St – “You need a good breath for one o’ these. It’s called a euphonium. Write it down, same as when a man makes a euphemism at dinner. If I smoked or got dissipated, I couldn’t play. I can’t play the cornet, as it is, but that’s because I only have one tooth, as I’ll show you – central eating, as you say, Guv. I come from Oldham. When I was a boy of ten, I worked in Yates’ Wine Lodge, but I broke the glasses. I’m seventy-three now, too old for a job. But I don’t want a job, I have this – the euphonium. Life is an adventure, but things is bad today. People will do you down and not be ashamed of it. They’ll glory in it. Well, that’s it. My mother-in-law is staying with us so we have plenty to eat. She gives me the cold shoulder. I’m going for a cuppa tea. Have a nice summer and lots of luck.”
Lucky White Heather – “I’ve been selling on the London streets all my life, dearie. Selling various things – gypsy things – clothes pegs – it used to be clothes pegs. The men used to make them, but they won’t now – they’re onto other things. There wasn’t much profit in them, either. You sold them at three ha’pence a dozen. That was in the old days, dearie. Now I could be earning a pound while you’re drawing me. We comes every day from Kent. People like the lucky heather. But I’ll give you the white elephant – they’re very lucky. If they weren’t, we wouldn’t be selling them on the streets of London now, would we, dearie?”
Pavement Artist at Work, Trafalgar Sq – “I’ve been away two years, I haven’t been well, but I’m back again now. I’ve worked in other parts, but nearly always in London. Used to be outside the National Gallery, where I did Constable. I used to do copies of Constable. I do horses, dogs and other animals. The children like animals best, and give me money. I’m only playing about today, you might say. I haven’t prepared the stone. It gives it a smooth surface, makes the chalks sparkle. Makes them bright and clear, y’know. These pastels are too hard. I like soft ones, but everything’s gone up and I can’t afford them. Oh yes, I always clean off the stones. I won the prize for the best pavement artist in London.”
L.S.D. the Only Criterion, Tavistock Sq – “I’ve been here thirty years. I became a combined tipster and pavement artist because I had the talent, and because I believe in independence. Some people buy my drawings. I don’t go to the races now. I used to – Epsom, Ascot and all that. I have my regulars who come to see me and leave me money in my cap. That’s what it’s for. The rank and file are no good. It’s quiet Saturdays except when there’s a football match – Scoltand, say – and they stay round here. Weather’s been terrible – no-one about. Trafalgar Sq is where the money is, but they fights. I’ve sen the po-leece intervene when they’ve been fighting among themselves, and they say, ‘ere, move on, you?’ It’s money what’s at the bottom of it. Money an’ greed. Like I’ve got written here.”
The Best Friend You Have is Jesus – “Forty years I’ve been selling plants in London, and for over thirty years the Lord’s work has been done. In 1935, I was backing a dog – funnily enough it was called ‘Real Work’ – at New Cross. All at once, a small voice, the voice of the Lord, spoke to me and said ‘Abel (My name is Abel), I’ve got some real work for you to do.’ I gave up drink and dogs and got the posters on the barrow – the messages. I’ve been thousands of miles all over London doing the work of the Lord. London is wicked, and it’s getting worse. But God is merciful, and always gives a warning. It’s like Sodom and Gomorrah. The Lord says ‘Repent’ before His wrath comes. He could destroy London with an earthquake. Remember Noah? – how God wanted them to go in the Ark? But they wouldn’t. They said, ‘We’re going to have a good time…’ The Lord could destroy London with His elements. It dosen’t worry me as I’m doing the Lord’s work. Let these iris stand in water when you get ’em home.”
One Minute Photos, Westminster Bridge – “‘Happy Len,’ they call me, but my real name’s Anthony. Fifty years on the bridge. 1920 I came, and my camera was made in 1903. It’s the only one left. I have to keep patching it up. The man who made it was called ‘Moore,’ and he came from Dr Barnardo’s. They sent him to Canada, and he and a Canadian got together, a bit sharp like, and they brought out this camera. Died a millionaire. I’m seventy-three, and I’ve seen some rum ‘uns on the bridge. There was a woman who came up and took all her clothes off, and the bobby arrested her for indecent behaviour. Disgraceful. The nude, I mean. She was spoiling my pitch.”
Music in the Strand – “I had to make some money to live, and so I came to play in the streets. I’ve never played professionally, I play the piano as well but I never had much training. I’m usually here in the Strand but sometimes I play in Knightsbridge, sometimes in Victoria St. There’s not so many lady musicians about now. I only play classical pieces.”
Horrible Spiders – “Christmas time is the best for us, Guv, if the weather ain’t wet or cold. Then the crowds are good humoured. I like my picture and I’m going to pick out an extra horrible spider for you in return. I’ll tell you a secret – some of the spiders ain’t made of real fur. They’re nylon. But yours is real fur, and it’s very squeaky.”
Salty Bob – “Come round behind the stall and have a bottle of ale. It’s a sort of club, a private club. It’s a grand life sitting here drinking, watching the world go by. I’ve been selling salt and vinegar for fifty years and I’m seventy now. I’ve seen some changes. Take Camden Passage, it’s all antiques, like Chelsea, none of the originals left hardly. Let me pour you another drink. Here we are snug and happy in the sun. I’ve just picked up nine pounds on a horse, and I’ve got another good one for the four-thirty. Next time you’re passing, join me for another drop of ale. No, you can’t pay for it. You’ll be my guest, same as now, at our private club behind the bottles of non-brewed, an’ the bleach.”
Don’t Squeeze Me Till I’m Yours – “That’s a German accordion – they’re the best. Bought it cheap up in the Charing Cross Rd. I do the mouth organ too, this is an English one – fourteen shillings from Harrods. I began with a tin whistle and worked me way up. I’ve a room in Mornington Crescent. My wife died, luvly woman, thrombosis. I could see here everywhere, lying in bed and what not, so I cleared out. I got to livin’ in hostels. But I couldn’t stand the class of men. I work here Mondays, Fridays sometimes. I also work Knightsbridge and ‘ere. I work Aldgate Sundays. I do well there. I gets a fair livin.’ So long as I’ve got me rent, two pounds ten, and baccy money, I don’t want nothing else.”
A Barrel Organ Carolling Across a Golden Street – They received their maximum appreciation in the East End, in the days when the area was a world apart from the rest of London, and the appearance of a barrel organ in Casey Court, among patrons almost as hard pressed as the organist, meant an interval for music and dancing, while the poor little monkey, often a prey to influenza, performed his sad little capers on the organ lid.
Sandwich Man – Consult Madame Sandra – “It’s a poor life, you only get twelve shillings and sixpence a day and you can’t do much on that now, can you, sir? It was drink that got me, the drink. When I come off the farms, I became a porter at Clapham Junction, sir. I worked on the railways, but I couldn’t hold my job. So I dropped down, and this is what I do now. All you can say is you’re in the open air. Sometimes I sleep in a hostel, sometimes I stay out. Just now I’m sleeping out. It was the drink that done it, sir.”
Matchseller – “I was a labourer – a builder’s labourer – an’ I come frae Glasgow. I’ve not been down here in London verra long – eight years. Do i like it here? Weel, the peepull, the peepull are sociable, but they not gie you much, so you only exist. Just exist. I don’t sleep in no hostel, I sleep rough. I haven’t slept in a bed in four weeks. I sleep anywhere. I like a bench in the park or on the embankment. I like the freedom. Anywhere I hang my hat, it’s home sweet home to me.”
A Romany – Apart from the Romany women who sell heather and lucky charms in such places as Villiers St and Oxford St, the gypsies are rapidly disaapearing from Central London. Only occasionally do you see them at their traditional trade of selling. lace paper flowers of cowslips. Modern living vans are invariably smart turn-outs that have little in common with the carved and painted caravans of fifty years ago. They are with-it-gypises-O! Small colonies can still be found on East End bombsites, which the Romanies favour for winter quarters.
‘A Tiny Seed of Love,’ Piccadilly – “Oh yes, Guvnor, they’re good to me if the weather’s fine. Depends on the weather. I can’t play well enough, as you might say. I used to travel all over, four or five of us, saxo, drums, like that. Sometimes there was as many as eight of us. Then it got dodgy. I’m an old hand now. I’ve settled down. I got two rooms at thirty-two bob a week, Islington way. Where could you get two rooms for sixteen shillings each in London? I can easily get along at the price I pay. What’s more, I’ve married the woman who owns the house, too. She’s eight years older than I am, but we get along amicable.”
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Sarah Ainslie’s Hatton Garden Portraits
I enjoyed the privilege of accompanying Contributing Photographer Sarah Ainslie into high security workshops to meet some of the most skilled craftsworkers in the creation of precious jewellery in Hatton Garden and Clerkenwell. These portraits were commissioned by The Goldsmith’s Centre
Russell Lownsbough, Designer, Wax-Carver & Goldsmith
Russell Lownsbough
Dave Merry, Hallmarking Expert at the Assay Office, Goldsmiths Hall – “I am responsible for training and apprenticeships at the Assay Office but I am also a maker and a sampler. We employ twenty-two people and test six thousand articles every day. An exciting part of my job is going out on raids with the police to shops where they are selling counterfeit jewellery.”
Dave Merry – “The phrase ‘up to scratch’ derives from the ancient practice of testing precious metals by rubbing them against a touchstone and applying aqua regia – known as ‘the acid test.’ I have had this stone for forty-seven years, since I was given it when I first walked in the door.”
John Taylor, Gemstone Cutter
John Taylor
Pete Rome, Gemstone Cutter
Pete Rome
Steve Goldsmith, Polisher
Steve Goldsmith
Niall Paisley, Diamond Setter – “I’ve been in the trade twenty-seven years, I started at sixteen. You learn a lot by heating stones, the hardness of the stones and the stress they will endure – diamonds can take any level of abuse whereas emeralds are brittle.”
Niall Paisley
Jennifer Bloy, Designer of Jewellery, Silverware & Objet d’Art – “I wanted to be a smith but they wouldn’t let me because I am a woman, so I started making reproductions – but then there was a job going as a designer in Hatton Garden and I got it. Because I worked as a maker, I know how things are made, so I can design for making.”
Jennifer Bloy – “I bought this stone, I love stones and I love colour.”
Ingo Henn, Master Goldsmith, Henn of London – “My great grandfather started in 1900, he was a stone cutter. He came from a family of fifteen and at twelve years old he was sent to be trained. When I was seventeen, I started as an apprentice in the family company but I have been designing since I was sixteen and I have been in London twenty-two years now. Any gemstone is valuable but it is not just down to its monetary value. The key is never to overpower a stone if the setting is too big or the design is too busy.”
Wayne Parrott, Master Engraver – “In 1908, the security engravers at the Bank of England earned more than the governors. I began at thirteen years old, attending evening classes at Sir John Cass College and I was taught by George Friend. Later, I returned to the Cass as a teacher and lectured for over forty years. We are all artists in what we do and I have produced countless designs.”
Wayne Parrott – “I specialise in designing seals.”
Photographs copyright © Sarah Ainslie
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Photos From London’s Oldest Ironmonger
David Lewis (the former proprietor of London’s oldest ironmongers, specialising in serving the coach-building trade and operating from the same location in the Hackney Rd from 1797-2013) was the proud custodian of this archive of photographs which illustrate the history of the business and some of its key protagonists.
Originally opened as H. M. Presland & Sons, the business became W. H. Clark Ltd in the eighteen-nineties and traded as Daniel Lewis & Son Ltd – The One Stop Metal Shop from 2002 -2013. In a rare and astonishing survival, the company traded from premises built to suit their purpose in the early nineteenth century, remaining largely unaltered over two hundred years until parking restrictions resulted in the loss of their customers and they left the Hackney Rd forever.
Timber components for assembling wagon wheels in the wheelwright’s shop, c.1900.
This wheelwright’s shop, c. 1900.
Mayor of Hackney, W.H.Clark’s car parked outside his business in 1920.
Mrs W.H.Clark who managed the business on her husband’s behalf – she was a member of the businesswomen’s league and an active participant in many local social charitable projects.
W.H. Clark vans, 1930
Gwladys Lewis outside her grocer shop and dairy in the Hackney Rd with her son Daniel on the right.
The gasometer at the rear of the premises next to the Regent’s Canal.
Daniel Lewis and his dog in the yard with the bombsite of the Chandler & Wiltshire Brewery, 1945.
Daniel Lewis at his sloped-top desk in 1953.
Daniel & Audrey Lewis.
The staff, 1950.
Daniel Lewis outside the premises, 1963.
Lewis Lewis, dairyman, outside his grocer’s shop and dairy in the Hackney Rd with his grandson David and daughter-in-law Audrey, nineteen sixties.
Lewis Lewis and David in the nineteen sixties.
Daniel Lewis with the Royal Carriage for which he supplied two-hundred-year-old-oak panelling from his stock for restoration, 1975.
Arthur Hinton, shop manager, 1980.
Shop staff, 1980
W.H.Clark van, 1960.
In the twentieth century.
In the nineteenth century
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So Long, Bobby Cummines OBE
Criminologist Dick Hobbs remembers Bobby Cummines who died on Thursday aged seventy-four
“The Queen told me I had a really colourful background”
Fifty years ago, working class London was a cluster of self-contained villages boasting their own distinct occupations, football teams, and skulduggery. Indeed, every neighbourhood had its own villains and theft, robbery and a little light extortion were their crimes of choice. On a rainy day on the South Bank, Contributing Photographer Sarah Ainslie & I met a friend of mine who was an enthusiastic and prominent player in that world.
By the late sixties, most of the big names of London’s underworld were buried deep in the prison system and any neighbourhood crime firm raising its head above the parapet was quickly crushed by a police force fearing attempts to fill the vacuum left by the Krays and the Richardsons. The days of the high profile self-congratulatory London gangster were over and anybody serious about a career in crime learnt the hard way to keep a low profile. Consequently, for a non-insider to hear about villains from another manor was most unusual. However, the name ‘Bobby Cummines’ was increasingly being mentioned in somewhat hushed tones in pub conversations across London.
Brought up as part of a big law-abiding family in King’s Cross, by the time Bobby Cummines left school at the age of sixteen he was already honing his reputation through a range of scams and schemes. But with a recently-acquired job in a shipping office and the prospect of a career in Customs & Excise ahead of him, Bobby’s life took a turn for the worse upon his first serious encounter with the police. “I was in a park with my mates when somebody let off a starting pistol. The police were called and began bullying these younger kids. They were aggressive and shouldn’t have been talking to these kids without an adult present, so I stood up to them.” The police left and returned soon after. “They pointed to a cut-throat razor that was on the ground and claimed it was mine that I had took it out of my pocket and threw it on the floor. It was a fit-up. My dad was a straight-goer and thought the police were like Dixon of Dock Green. He said the police would never plant evidence. He told me to plead guilty and that I’d get a fine and it’ll be forgotten about in a few years.”
Bobby did as he was told and his dad paid the ten shilling fine. However, Bobby’s bosses at the shipping office found out about the case and sacked him. “I was gutted, I thought, if you want me to be bad, ‘I’ll show you how bad I can be.'” Within a year, he was in the Old Bailey charged with possession of a shotgun and armed robbery. While he waited for his case to come up, he met the Kray Twins who were about to be tried for murder. The twins were sentenced to life imprisonment and Bobby was sent to a Detention Centre for the possession of a sawn off shotgun. “It was supposed to be a short sharp shock, but it was just violence practised against vulnerable kids. I came out of there tougher and angrier than ever.”
Bobby became a committed and violent professional criminal. “We used to give local kids a few bob to chuck a brick through the window of some business. They would claim on the insurance, but if they made three claims their premium would go up. So after two bricks we would move in and for a few quid no more bricks and no upping of the premium.” Bobby and his crew were soon “minding” a wide range of businesses in a territory “that stretched from Highbury Corner to the Archway, across to Finsbury Park, and the edge of Caledonian Rd.” But this territory was fiercely contested with other groups of violent predators, and Bobby led a tight-knit group of co-offenders through several years of violent confrontation. At five foot six inches tall, Bobby learnt early on that he had to be more violent than the opposition, and his weapon of choice was a sawn-off shotgun. “When people ask why I used guns, I always tell them I was sick of getting my nice suits messed up. Anyway guns save time.”
Quickly, Bobby became a highly dangerous offender prepared to use violence to obtain money. However, he stood trial for murder when a robbery went wrong and a man that he tied up choked to death. Bobby was found not guilty of murder, but served five years of a seven and a half year sentence for manslaughter. “Over the years that unnecessary death has haunted me.”
On his release ,Bobby continued in his chosen career, showing considerable ability as an organiser, and becoming deadly serious about the crime business. “I made sure that there was never any photos of us floating about, and I didn’t drink, I always had bitter lemon. I needed to stay sharp.” But while he eschewed alcohol, Bobby did develop a penchant for armed robbery. At this time, bandits were pillaging large bundles of cash from banks, building societies and security vans, and Bobby and his crew were particularly successful.
Inevitably, Bobby was arrested by armed police and sentenced to twelve years in prison – “In the end it was almost a relief. I’ve done some horrendous things – extreme violence – I never deny that. I deserved every day I got in prison because it was lunacy. If I had carried on, I would either have been shot dead by the police or innocent members of the public could have been shot.”
In prison, he enhanced an already formidable reputation for violence and confrontation, and at one time held the governor of a maximum security prison as a hostage. “Well, they said that but he was on his rounds and I knew they was taking prisoners down the wing and giving out beatings. So I pulled him about it and he screamed that he was being taken hostage.” This incident added considerably to his reputation.
In Parkhurst Prison, Bobby negotiated a truce between Reggie Kray and Charlie Richardson in order to prevent serious violence between members of the two gangs who had been imprisoned over a decade earlier. He achieved this by carrying the blade from a pair of garden shears up his sleeve. “Everybody was walking around tooled up. It was a brutal place, one of my friends was killed over an onion. There was another bloke who had murdered his child as he felt the world was too cruel and nasty for his beautiful son to live in. Others reckoned they were being visited by angels. We had IRA, UDA, allsorts, Colonel Gaddafi’s top man in the Libyan army. The ‘p’ in prison stands for paranoia. Some of the people in there are pathetic. You have 50/60 year old men doing a ten stretch strutting about in boxer shorts and trainers trying to look nineteen, talking about jobs they are going to do when they get out. I’ve never understood why they do that. I never saw a lot of rehabilitation going on”.
Charlie Richardson had a huge impact on Bobby. “He told me I had a good brain but if I carried on I would end up dead or on a life sentence. He told me to get into education – it would earn me money without hurting anyone. Charlie got me reading. Education was my liberation. Prison brutalises people. When you’re inside, you don’t serve a sentence—you survive a sentence. I’m grateful that education humanised me.” Bobby successfully lobbied for a transfer to Maidstone Prison which had an education unit. Here he became education orderly, and with the support of his Probation Officer and a sympathetic Prison Governor, enrolled on an Open University course and started to think about the future.
On leaving prison, Bobby at first struggled to make a living, finding potential employers reluctant to take on an ex-con. “To live an honest life, I had to be dishonest about my past.” He persevered, taking a £100-a-week job stacking shelves and dealing with hostage negotiations and suicide management as a volunteer with the Kent Probation Service. Bobby went on to hold responsible positions in various companies and gained a degree in Housing from Greenwich University.
However, his initial struggles to gain employment inspired Bobby to join Mark Leach, the founder of Unlock, the National Association of Reformed Offenders, becoming CEO when Mark stood down. Initially operating from Bobby’s garage, and boasting Sir Stephen Tumim, a former judge and Her Majesty’s Chief Inspector of Prisons as its founding President, Unlock became a powerful force in the rehabilitation of offenders, and when Bobby teamed up with the ex-Chief Inspector of Prisons Sir David Ramsbottom who succeeded Tumin, the pair provided an effective authoritative political voice. “I became media savvy. Few people seemed to know what they was talking about when it came to the needs of somebody coming out of prison. How to get a job, insurance, a bank account. Employers were saying that they couldn’t employ ex offenders as staff were paid through the BACS system and former offenders didn’t have bank accounts.”
Unlock provided practical support and advice and developed a particular expertise in tackling the financial exclusion of ex-offenders. Bobby is a very persuasive man, and gradually the banks and insurance industry – sectors not renowned for their social awareness – came on board, and the lives of some of the most excluded were materially changed for the better, largely as the result of the energy and intellect of an ex-offender who left school at the age of sixteen. The one time violent dynamo of pre-gentrified seventies Islington had become an eloquent advocate of social reform.
Bobby was invited to sit upon numerous government committees and policy reviews. For instance, he was a member of the Home Affairs Select Committee inquiry into the Rehabilitation of Offenders’ Act, becoming an expert witness to the Home Affairs Select Committee on prisoner education, and a specialist adviser in the 2004 public inquiry into murder of Zahid Mubarek in Feltham Young Offenders’ Institution. He also served on the board of HM Inspector of Prisons and advised the Irish government on their Rehabilitation of Offenders Act. In 2006, Bobby travelled to South Africa on a fact-finding mission to look at how their prisons were run, as part of a trip sponsored by a firm of solicitors.
Bobby liked to speak to groups of young people in schools and colleges and, at these events, this ex-violent criminal does not pull his punches. “Tools (weapons) are for fools, drugs are for mugs,” he assured them. A regular speaker at conferences and events, when Coutts Bank awarded £10,000 to Unlock, Bobby revealed, “one of the directors said he was pleased to see me in his bank without a crash helmet and a gun.”
In 2011, Unlock won The Guardian’s Charity of the Year Award and the same year Bobby received the OBE. “The Queen told me I had a really colourful background and she was pleased to award me the OBE. That’s the nicest way I can think of someone telling me I’ve got a lot of form.” From working class King’s Cross to Buckingham Palace via a solitary cell had been quite a journey. Bobby had proved to be a more successful campaigner, fund raiser and government advisor than he ever was a criminal.
Just before we parted, I asked Bobby if he had time for a drink, but he declined by explaining, “I need to be back, I agreed to meet up with a young boy who is going off the rails a bit. I know what he is doing, what he is up to. I told him bring his little firm with him. I will sort them out.” I have no doubt he did just that.
Bobby Cummines in the seventies – “When I was well at it”
Bobby receiving the OBE in 2011 – “She was pleased to award me the OBE”
Bobby Cummines OBE
Portraits copyright © Sarah Ainslie
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The Bakers Of Widegate St
Next time you pass through Widegate St, walking from Bishopsgate towards Artillery Passage on your way to Spitalfields, lift up your eyes to see the four splendid sculptures of bakers by Philip Lindsey Clark (1889 – 1977) upon the former premises of Nordheim Model Bakery at numbers twelve and thirteen. Pause to take in the subtle proportions of this appealing yet modest building of 1926 by George Val Myers, the architect of Broadcasting House.
Born in Brixton, son of Scots architectural sculptor Robert Lindsey Clark, Philip trained in his father’s studio in Cheltenham and then returned to London to study at the City & Guilds School in Kennington. Enlisted in 1914, he was severely wounded in action and received a Distinguished Service Order for conspicuous gallantry. Then, after completing his training at the Royal Academy Schools, he designed a number of war memorials including those in Southwark and in Kelvingrove Park, Glasgow.
The form of these ceramic reliefs of bakers – with their white glaze and sparing use of blue as a background – recalls religious sculpture, especially stations of the cross, and there is something deeply engaging about such handsome, austerely-modelled figures with their self-absorbed presence, preoccupied by their work. The dignity of labour and the poetic narrative of transformation in the baking of bread is made tangible by these finely judged sculptures. My own favourite is the figure of the baker with his tray of loaves upon his shoulder in triumph, a satisfaction which anyone who makes anything will recognise, borne of the work, skill and application that is entailed in creation.
These reliefs were fired by Carters of Poole, the company that became Poole Pottery, notable for their luminous white glazes, elegant sculptural forms and spare decoration using clear natural colours. They created many of the tiles for the London Underground and their relief tiles from the 1930s can still be seen on Bethnal Green Station.
Philip Lindsey Clark’s sculptures are those of a man who grew up in the artists’ studio, yet witnessed the carnage of First World War at first hand, carrying on fighting for two days even with a piece of shrapnel buried in his head, and then turned his talents to memorialise those of his generation that were gone. After that, it is no wonder that he saw the sublime in the commonplace activity of bakers yet, from 1930 onwards, his sculpture was exclusively of religious subjects. Eventually Lindsey Clark entered a Carmelite order, leaving London and retiring to the West Country where he lived until the age of eighty-eight.
So take a moment next time you pass through Widegate St – named after the wide gate leading to the ‘spital fields that once were there – and contemplate the sculptures by Philip Lindsey Clark, embodying his vision of the holiness of bakers.
George Val Myer’s former Nordheim Model Bakery with sculptures by Philip Lindsey Clark
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Barry Weston’s Blues Dances
Photographer Barry Weston introduces his exuberant pictures of the Blues Dances held in Greenwich and Woolwich in the eighties, published for the first time here today.
‘My route into the Blues Dances began in the mid-seventies when I ventured into a newly opened reggae record shop by Plumstead station. The shop was tiny, an end-of-row one-storey triangle barely six foot at its widest.
I was looking for the album King Tubby Meets The Upsetter at Grass Roots of Dub which I had read a review of and, although the owner, Noldie, did not have a copy, he asked if I was in a hurry and then played me some of the latest tunes he had. After selecting a small stack of singles I settled up and Noldie added a final 45 to the bag with the words ‘I think you’ll like this one.’ Sure enough Burn Babylon by Sylford Walker was the best of the bunch and with that I was hooked, returning every free day I had for the rest of the decade.
Through Noldie I met Lloyd ‘Junior’ McQueen and we started to hang out together at the Lord Howick pub in Woolwich. Noldie later arranged a slot DJ-ing at the Howick. Friday to Sunday, with me playing the Friday night and opening the other two nights from early ’78 to late ’79.
In ‘79 Junior started playing the Blues Dance at Guilford Grove in Greenwich. The Blues was run by Ghent & Mary in the basement of their large family house. At that time Blues Dances gave the Black British community a place to hang out and dance to reggae, free from the hassle that so often happened in pubs and clubs at the time, particularly when the National Front was at its most active.
We would leave the Howick on a Saturday night and then start the Blues at around half eleven at night, the dance running through to the early hours when the buses started again. It was a running joke to play the Jah Stitch toast with the lyrics ‘milkman coming in the morning’ just as the electric float and the clinking bottles could be heard before the first hint of dawn.
Junior would play through the the night with support from his brother Danny. I would step up and play a short set to give them a break and a chance to have a plate of Mary’s delicious food. To this day nothing can compare to fried red mullet goatfish at three in the morning with a Red Stripe to wash it down.
In early 1980, after seven years of working, I applied to the London College of Printing Art Foundation course as a mature student. To add to my portfolio I borrowed an Olympus Trip 35, a decent point-and-shoot compact camera, to teach myself the basics of photography. I was also planning on moving across to South London, so wanted to capture what had been a large part of my life over the preceding years.
These photos were taken over three consecutive Saturdays, mostly at the Blues Dance at Guildford Grove. One film roll starts at the Howick with George Thompson at the decks. Some photos show the bus trip between the Howick and the Blues and other pictures were taken at Noldie’s second, far bigger, record shop in 1981.
Between the time the photos were taken in 1980 and 1981, there was the appalling tragedy of the New Cross Fire at a party just half a mile down the road from Guildford Grove. This was movingly documented in Steve McQueen’s three part TV program Uprising about the fire and its consequences. The roots of Black British music sprang from Blues Dances like these, once running in West Indian communities in many cities, which have now largely disappeared.’ – Barry Weston
Photographs copyright © Barry Weston
A Door In Cornhill
JOIN ME FOR FOR A WALK THROUGH THE CITY OF LONDON THIS EASTER
The Bronte sisters visit their publisher in Cornhill, 1848
An ancient thoroughfare with a mythic past, Cornhill takes its name from one of the three former hills of the City of London – an incline barely perceptible today after centuries of human activity upon this site, building and razing, rearranging the land. This is a place does not declare its multilayered history – even though the Roman forum was here and the earliest site of Christian worship in England was here too, dating from 179 AD, and also the first coffee house was opened here by Pasqua Rosee in 1652, the Turk who introduced coffee to London. Yet a pair of carved mahogany doors, designed by the sculptor Walter Gilbert in 1939 at 32 Cornhill – opposite the old pump – bring episodes from this rich past alive in eight graceful tableaux.
Walter Gilbert (1871-1946) was a designer and craftsman who developed his visual style in the Arts & Crafts movement at the end of the nineteenth century and then applied it to a wide range of architectural commissions in the twentieth century, including the gates of Buckingham Palace, sculpture for the facade of Selfridges and some distinctive war memorials. In this instance, he modelled the reliefs in clay which were then translated into wood carvings by B.P Arnold at H. H. Martyn & Co Ltd of Cheltenham.
Gilbert’s elegant reliefs appeal to me for the laconic humour that observes the cool autocracy of King Lucius and the sullen obedience of his architects, and for the sense of human detail that emphasises W. M. Thackeray’s curls at his collar in the meeting with Anne and Charlotte Bronte at the offices of their publisher Smith, Elder & Co. In each instance, history is given depth by an awareness of social politics and the selection of telling detail. These eight panels take us on a journey from the early medieval world of omnipotent monarchy and religious penance through the days of exploitative clergy exerting controls on the people, to the rise of the tradesman and merchants who created the City we know today.
“St Peter’s Cornhill founded by King Lucius 179 AD to be an Archbishop’s see and chief church of his kingdom and so it endured for the space of four hundred years until the coming of Augustine the monk of Canterbury.”
“Eleanor, Duchess of Gloucester, did penance walking barefoot to St Michael’s Church from Queen Hithe, 1441.”
“Cornhill was an ancient soke of the Bishop of London who had the Seigneurial oven in which all tenants were obliged to bake their bread and pay furnage or baking dues.”
“Cornhill is the only market allowed to be held afternoon in the fourteenth century.”
“Birchin Lane, Cornhill, place of considerable trade for men’s apparel, 1604.”
“Garraway’s Coffee House, a place of great commercial transaction and frequented by people of quality.”
“Pope’s Head Tavern in existence in 1750 belonging to Merchant Taylor’s Company, the Vinters were prominent in the life of Cornhill Ward.”
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