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Today I publish Novelist & Historian, Gillian Tindall‘s exploration of the lost mansions of Stepney that came to light during the Elizabeth Line construction

Three hundred years ago, Stepney was still green fields with just a frill of ribbon-development along the main road and around St Dunstan’s. Even at the beginning of the nineteenth century, though terraces of neat Regency houses were spreading fast, there was pasture land beyond. The Stepney of Cockney tradition only arrived with the expansion of the docks, the laying of railway lines to service them, and the rapid in-filling of the fields with rows and rows of small houses for the population that provided the work force.

But what was Stepney like before – much longer ago – when London was still contained within its medieval walls whose gates shut at night? By one of those flukes of time and chance, it was the construction of the Elizabeth Line which helped literally to bring to light what Stepney once was. Near the church, where the line divides in two, a big access and ventilation shaft was constructed on the site of one of the area’s oldest recorded buildings. From early Victorian times until the Second World War, streets covered this acre of land and there was no possibility of recovering the lost big house that only existed as a vague folk memory. Yet bombs and planners between them have so devastated this area that archaeological excavation has now become possible. By this means, the foundations of long ago, cess-pits, animal bones, shards of pottery and glass and even the seeds of plants that once grew round a moat, have again been revealed.

The archaeologists of the London Museum, who undertook the excavations, knew from local lore and earlier, partial digs that something important had stood there. Maps as late as the nineteenth century record ‘King John’s Palace’  – or, at least, the towered gateway to it. In fact, there is no evidence that King John (reigning from 1199 to 1216) had a house in Stepney. It has been said that whenever the origins of a venerable building passed from the memory of man, it is ascribed to the wicked King John because there was only one, making him easier to distinguish from the bevy of royal Henries, Edwards and Richards.

The gateway, which survived till 1858 when it was witlessly demolished by the non-conformist institution occupying the site, appears to have belonged to a Tudor edifice dating from after 1450, well over two hundred years later than John’s reign, though it may have been constructed upon the foundations of an earlier building. It is this Tudor house, complete with a moat, that the archaeologists have been excavating – thought to be the ‘Great Place’ belonging to a John Fenne, that was rented to a Lord Darcy when Henry VIII was a young and popular monarch, and the divorces, the beheadings and the Reformation lay in the future.

This was not the only grand house set in these fields at that time. Stepney, an easy walk or ride from London proper, was becoming popular as a dormitory suburb for prominent courtiers and men of the City. There were several big houses not far from St Dunstan’s church, including one where the City Farm is now that was owned by Henry Colet, a leading member of the Mercers Company. This appears to have been a traditional timbered courtyard house, not quite as grand as Lord Darcy’s home even if the Colets turned it into a meeting place for the great and good of their day.

Only one of the twenty-two children that Dame Colet bore survived, a tragic record even for those times of high infant mortality, but John Colet, the sole survivor, was to become famous. As Dean of St Paul’s, he founded the school that still bears that name in west London today. Upon his father’s death he acquired his acquired a large, timbered house for himself near by, set among orchards at the corner of today’s Salmon Lane. Here he entertained the leading European thinkers of his generation, including the reformist scholar Erasmus.

Dean Colet died of ‘the sweating sickness’ in 1519 which may have been just as well, for if he had lived fifteen years longer he – with his radical views on religion – might well have lost his head to Henry VIII, like his younger friend and protegé, Thomas More. During the chaos of the Reformation, it was probably at the former Colet house that Thomas Cromwell, the King’s right-hand man, lived in state. He sent his neighbour Darcy to the gallows for opposing the King – with Darcy angrily prophesying that one day Cromwell’s head would be cut off too. And so it was.

Two generations later, after Elizabeth I had been Queen for many years, life was more settled and new money flowed from overseas. The moated Place with a gatehouse in Stepney was acquired by Henry Somerset, later Marquis of Worcester. He undertook works to smarten and modernise the property, and his name became permanently attached to it. Somerset came near to losing his own head in the next round of mayhem – the Civil War and the execution of Charles I – and, after him, the supposed ‘King John’s Palace’ became used by as series of non-conformist religious groups. A Meeting House, assorted chapels and then terraced houses were built on the gardens.

A new gentry replaced the old in Stepney. These were men who made fortunes in foreign trade and Stepney, near to where their ships were berthed, was well-recognised as ‘a convenient spot for the habitation of mariners.’ Some lived in the old, courtyard houses of earlier generations, while others built themselves modern gentlemen’s residences in classical brick. In the late eighteenth century, the old Colet house became the ‘Spring Gardens Coffee House.’ Then, in the nineteenth century it, like Dean Colet’s house, Worcester House was destroyed when these ancient mansions were pulled down to be replaced by narrow streets, as Stepney was swallowed up by London.

Now those streets are gone, the greater part of them needlessly demolished not by World War II bombs but by post-war planners dreaming of ‘green spaces’ and ‘radiant towers.’ Yet incendiary bombs did fall close to St Dunstan’s church onto the site of Worcester House. They destroyed a Baptist chapel which, when it was built in the eighteen forties, had been only a few yards along the road from the then-just-surviving gate-house to ‘King John’s Palace’. The chapel’s mock-Tudor doorway alone still stands. I suspect that increasing numbers of people may think this nineteenth century remnant is a legacy from medieval times – King John lives!

A similar illusion is also available in the heart of the City Farm just down the road, on what was once the south side of Worcester House’s grounds, near the Colets’ home. Here, in the eighteen sixties, a grand, Congregationalist church was built in the fashionable Gothic style. It too fell to firebombs early in the War. Today, sacks and seed boxes are piled up and free-range chickens peck round the stone wall and arched doorway that is all that remains. So battered have these not-very-ancient structures been, by misfortune, abandonment  and the weather, that it is quite possible to believe that you are gazing at something far older – and the long-ago grand people of Stepney do not seem so far away.

Old stone wall at Stepney City Farm

Reconstruction of the Stepney Moated Manor by Faith Vardy (Copyright © MOLA from “Stepney Green: Moated Manor House to City Farm” published by TfL)

Dean Colet by Hans Holbein the younger

Dean Colet’s house, c.1790

The Baptist College, 1840

Gloomy Sunday by John Claridge (Stepney in the sixties)

St Dunstan’s church

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Today I thought you might take inspiration from these recipes – culinary and medicinal – from Thomas Newington‘s book that he wrote in 1715 while in domestic service in Brighton, illustrated with wood engravings by Reynolds Stone. Do let me know how you get on.

Madam, Perhaps you may wonder to see your Receipts thus increased in Bulk and Number, Especily when you consider that they come from me who cannot make pretentions to things of thy nature, but haveing in my hands some Excelent Manuscripts of Phisick, Cookery, Preserves &c which were the Palladium of Many Noble Familyes, I did imagine that by blending them together, which in themselves were so choice and valuable, they woud magnifie and Illustrate each other.

Madam, I might well fear lest these rude and unpolished lines should offend you but that I hope your goodness will rather smile at the faults commited than censure them.

However I desire your Ladyships pardon for presenting things so unworthy to your View and except the goodwill of him who in all Duty is bound to be.

Your Ladyships Most Humble & most Obeiant Sarvant,

Thomas Newington

Brighthelmstone, May the 20: 1719

HOW TO KILL & ROAST A PIGG

Take your Pigg and hold the head down in a Payle of cold Watter untill strangeled, then hang him up buy the heals and fley him, then open him, then chine him down the back as you doe a porker first cuting of his head, then cut him in fower quarters, then lard two of the quarters with lemon peele and other two with tops of Time, then spit and roast them. The head requeares more roasting than the braines with a little Sage and grave for sauce.

TO SPITCHCOCK EELS

Pull of the skins to the taile, then strow on them a little cloves, Mace, peper & salt, a little time and savory and parsly shred very fine. Then draw up the skinn and turn them up in the shape of S, and some round. Run a skure through them, then frye or boyle them and lay them round other fish.

TO PRESERVE GREENE WALNUTS

Take your wallnuts when they be so young that a pin will go through them, then set them on fire and let them boyle in fair Watter till the bitterness go out, shifting it once or twice. Then take to every pound of Walnuts a pound of lofe sugar, half a pint of watter, boyleing till they be tender in this surrupe. Then let them stand to soak in this surrupe 3 or 4 dayes, then take them out and prick 3 or 4 holes in each sticking half a Clove and a little Cynament in each, but if you fear it will be to strong of the spice omit some of them. Then set on your surrupe and skim it, adding a pound more of sugar. Boyle them therein to thick syrrupe and let them stand for a fortnight or three Weekes, then boyle them up and add more sugar if you see Occasion. They are Cordial to take in a Morning, good for the stomach and Loosen the Body.

A REMEDY FOR THE PLAGUE

Among the excelent and aproved medecines for the Pestilence, there is none worthy and avaylable when the sore appeareth. Then take a Cock Pullet and pluck of the fethers of the taile or hinderpart till the rump be bare, then hold the bare of the said Pullet to the sore and the pullet will gape and labour for life and in the end he will dye. Then take another Pullet and doe the like and so another as the Pullets do dye, for when the Poyson is Drawn out the last Pullet that is offered therto will live. The sore Presently is assuaged and the party recovereth.

A SURRUP FOR THE PRESERVATION OF LONG LIFE RECOMMENDD TO THE RIGHT HONBLE MARY COUNTESS OF FEVERSHAM BY DR PETER DUMOULIN OF CANTERBURY JUNE YE 2, 1682

An Eminent Officer in the great Army with the Emperour Charles the 5th sent into Barbary had his quarters there Assigned him in an Old Gentlemans House with whom by mutall offices of Humanity he soone contracted a singular Freindship. Seeing him looke very Old yet very Fresh and Vigourous he asked him how old he was – he answerd he was 132 years old, that till Sixty Yeares of Age he had been a good Fellow takeing little care of his health but that then he had begun to take a spoonfull of surrup every morning fasting, which ever since has keept him in health. Being Desired to impart that receipt to his Guest he freely granted it and the Officer being returned to his Cuntry made use of that surrup and with it Preserved himself and many more, yet kept the Receipt secret till haveing attained by this surrupe ninety two years of Age, he made a scruple to keep it secret any longer and publisht for the Common good.

Take of the juices of mercurial eight pounds, of the juice of Burridg two pounds, of the juice of Buglosse two pounds. Mingle these with twelve pounds of clarrified Honey, the whitest you can gett, let them boyle together aboyling and paas them through a Hypocras Bag of new flannell. Infuse in three pints of White Wine, a quarter of a pound Gentian Root and half a pound of Irish root or blew Flower de Lis. Let them be infused twenty fower houers then straind without squeezing, put the liquor to that of the herbs and Hony, boyle them well together to constistence of a surrup. You must order the matter so that one thing stays not for the other but that all be ready together. A spoonfull of this surrup is to be taken every morning Fasting.

TO MAKE SURRUPE OF CLOVE GILY FLOWERS

Take a pound of the flowers when they are cleane cut from their white bottom and beat them into a stone Mortar till they be very fine all. Then haveing Fair watter very well boyled, take a quart of it boyling hott and pour it to them in the Mortar, then cover it close and let it stand all night, and the next dat streyne them out and to every pint of this Liquor take a pound and a half of Duble Refine Lofe Sugar beaten, then put your sugar and set it on the fire and boyle it and, when it is clean scimed, take it of and pour it into a silver or Earthen Bason and so let it stand uncovered till the next day, then glass it up and stop it close and set it not but where it may stand coole & it will keep the better.

A SNAYLE WATTER IS GOOD IN A CONSUMPTION OR JAUNDICE TO CLEAR THE SKIN OR REVIVE YE SPIRRITS

Take a Peck of Garden Snayles in their Shells. Gather them as near as you can out of lavender or Rosemary and not in trees or grass. Wash them in a Tubb three times in Beere, then make your Chimney very clean and power out a bushall of charcole and, when they are well kindled, make a great hole with a fire shovell and put in your Snayles and Put in some of your cleane burnt coals among them and let roast till they leave makeing a noise. Then you must take them forth with a knife and clean them with a cleane Cloathpick and wipe away the coales and green froth that will be upon them. Then beat them in a mortar shells and all.

Take also a Quart of Earthworms, slitt and scower them with salt, then wash them in whitewine till you have taken away all the filth from them, and put them into a stone Mortar and beat them to peices. Then take a sweet, clean Iron pott which you will sett your limbeck on, then take 2 Ms. of Angellica and lay it in the bottome of your Pott and 2 Ms. of Sallendine, on the top of that putt in 2 quarts of Rosemary Flowers, Bearsfoot, Egrimony, the redest Dock roots you can get, the barbery bark, Wood Sorrell, bettony, of each three handfulls, 1 handfull of Rue, of Flengreek and Turmerick, of each one ounce well beaten.

Then lay your Snayles and wormes on top of your herbs and flowers and power upon them the strongest Ale you can gett fower gallons, and two gallons of the best sack and let it stand all night or longer, stirring Divers times. In the morning put in two ounces of Cloves, twelve ounces of hartshorne, six ounces of ivory, the waight of two shillings of Saffron. The Cloves must be bruised. You must not stir it after these last things are in.

Then set it on your limbeck and close it fast with Rye Past and receive your water in Pintes. The first is the strongest and so smaller, the smallest may be mended by puting in some of the strongest. When you use it, take three spoonfulls of beere or Ale to two spoonfulls of the strongest and to this three quarts of cowslips flowers, one quart of Buglose and buridg flowers and 3 Ms. of liverworth.

If you will, you should feed your Snayles with sallendine and barbery leaves and bough, and the wash them in new milk fower times and then in a Tubb of strong Ale so that they may be very cleane, and then burn them.

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This is William Conway of Crab Tree Row, Bethnal Green, who walked twenty-five miles every day, calling, “Hard metal spoons to sell or change.” Born in 1752 in Worship St, Spitalfields, he is pictured here forty-seven years into his profession, following in the footsteps of his father, also an itinerant trader. Conway had eleven walks around London which he took in turn, wore out a pair of boots every six weeks and claimed that he never knew a day’s illness.

This is just one of the remarkable portraits by John Thomas Smith collected together  in a large handsome volume entitled “Vagabondiana,” published in 1817, that it was my delight to discover in the collection of the Bishopsgate Institute. John Thomas Smith is an intriguing and unjustly neglected artist of the early nineteenth century who is chiefly remembered today for being born in the back of a Hackney carriage in Great Portland St and for his murky portrait of Joseph Mallord William Turner.

On the opening page of Vagabondiana, Smith’s project is introduced to the reader with delicately ambiguous irony. “Beggary, of late, has become so dreadful in London, that the more active interference of the legislature was deemed absolutely necessary, indeed the deceptions of the idle and sturdy were so various, cunning and extensive, that it was in most instances extremely difficult to discover the real object of charity. Concluding, therefore, that from the reduction of metropolitan beggars, several curious characters would disappear by being either compelled to industry, or to partake of the liberal parochial rates, provided for them in their respective work-houses, it occurred to the author of the present publication, that likenesses of the most remarkable of them, with a few particulars of their habits, would not be unamusing to those to whom they have been a pest for several years.”

Yet in spite of these apparently self-righteous, Scrooge-like, sentiments – that today might be still be voiced by any number of venerable bigots – John Thomas Smith’s pictures tell another story. From the moment I cast my eyes upon these breathtakingly beautiful engravings, I was captivated by their human presence. There are few smiling faces here, because Smith allows his subjects to retain their self possession, and his fine calligraphic line celebrates their idiosyncrasy borne of ingenious strategies to survive on the street.

You can tell from these works that John Thomas Smith loved Rembrandt, Hogarth and Goya’s prints because the stylistic influences are clear, in fact Smith became keeper of drawings and prints at the British Museum. More surprising is how modern these drawings feel – there are several that could pass as the work of Mervyn Peake. Heath Robinson’s drawings also spring to mind, especially his illustrations to Shakespeare and there are a couple of craggy stooping figures woven of jagged lines that are worthy of Ronald Searle or Quentin Blake.

If you are looking for the poetry of life, you will find it in abundance in these unsentimental yet compassionate studies that cut across two centuries to bring us a vivid sense of London street life in 1817. It is a dazzling vision of London that Smith proposes, populated by his vibrant characters.

The quality of Smith’s portraits transcend any condescension because through his sympathetic curiosity Smith came to portray his vagabonds with dignity, befitting an artist who was literally born in the street, who walked the city, who knew these people and who drew them in the street. He narrowly escaped a lynch mob once when his motives were misconstrued and he was mistaken for a police sketch artist. No wonder his biography states that,“Mr Smith happily escaped the necessity of continuing his labours as an artist, being appointed keeper of prints & drawings at the British Museum.”

Smith described his subjects as “curious characters” and while some may be exotic, it is obvious that these people cannot all fairly be classed as vagabonds, unless we chose instead to celebrate Vagabondiana as the self-respecting state of those who eek existence at the margins through their own wits. One cannot deny the romance of vagabond life, with its own culture and custom. Through pathos, John Thomas Smith sought to expose common human qualities and show vagabonds as people, rather than merely as pests or vermin to be driven out.

A Jewish mendicant, unable to walk, who sat in a box on wheels in Petticoat Lane.

Israel Potter, one of the oldest menders of chairs still living.

Strolling clowns

Bernado Millano, the bladder man

Itinerant third generation vendor of elegies, Christmas carols and love songs

A crippled sailor advertises his maritime past

George Smith, a brush maker afflicted with rheumatism who sold chickweed as bird food.

A native of Lucca accompanying his dancing dolls upon the bagpipes

Blinded in one eye, this beggar seeks reward for sweeping the street

Priscilla who sat in the street in Clerkenwell making quilts

Anatony Antonini, selling artificial silk flowers adorned with birds cast in wax

This boot lace seller was a Scotman who lost his hands in the wars

Charles Wood and his dancing dog.

Staffordshire ware vendors bought their stock from the Paddington basin and sold it door to door.

Rattle-puzzle vendors.

A blind beggar with a note hung round his neck appealing for charity.

Images courtesy Bishopsgate Institute

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‘a curious vestige from a catalogue of destruction’

This fine eighteenth century rusticated arch designed by the celebrated architect and designer William Kent was originally part of Northumberland House, the London residence of the Percy family in the Strand which was demolished in 1874. Then the arch was installed in the garden of the Tudor House in St Leonard’s Street, Bow, by George Gammon Rutty before it was moved here to the Bromley by Bow Centre in 1997, where it makes a magnificent welcoming entrance today.

The Tudor House was purchased in a good condition of preservation from the trustees of George Gammon Rutty after his death in 1898 by the London County Council, who chose to demolish it and turn the gardens into a public park. At this point, there were two statues situated at the foot of each of the pillars of the arch but they went missing in the nineteen-forties. One of the last surviving relics of the old village of Bromley by Bow, the house derived its name from a member of the Tudor family who built it in the late sixteenth century adjoining the Old Palace and both were lovingly recorded by CR Ashbee in the first volume of the Survey of London in 1900.

The Survey was created by Ashbee, while he was living in Bow running the Guild of Handicrafts at Essex House (another sixteenth century house nearby that was demolished), in response to what he saw as the needless loss of the Old Palace and other important historic buildings in the capital.

Ever since I first discovered William Kent’s beautiful lonely arch – a curious vestige from a catalogue of destruction – I have been meaning to go back to Bow take a photograph of it when the wisteria was in bloom and, although for a couple of years circumstances conspired to prevent me, eventually I was able to do so and here you see the result.

William Kent (1685 –1748) Architect, landscape and furniture designer

Northumberland House by Canaletto, 1752

Northumberland House shortly before demolition, 1874

William Kent’s arch in the grounds of the Tudor House, Bow, in 1900 with its attendant statues, as illustrated in the first volume of the Survey of London by CR Ashbee (Image courtesy Survey of London/ Bishopsgate Institute)

William Kent’s arch at St Leonard’s Street, Bromley by Bow

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Boy, E7 1961 – “He was the son of  a friend of my father’s – Peter, an electrician who worked down the docks. To find out if anything was live, he’d stick his finger in the socket!”

Eaten up by the consumption of chocolate, this lad is entirely unaware of the close proximity of photographer John Claridge‘s lens. And, judging from the enthusiasm with which he is sticking the chocolate in his mouth, it looks like he took after his father when it came to poking fingers into holes.

These vibrant photographs reveal the range of John’s approaches to portraiture. “Most of the time I ask,” he admitted to me, “and sometimes people ask me to take their pictures, but at other times you just see something and grab it. I’ve no single way of doing it.”

“I talk to them and it is through talking that you can open a door,” he continued, ” if you’ve known someone for a while, it is very different from if they only have ten minutes to give me their soul.  So I never set people up to look foolish, I treat them with dignity because I need to win their trust.”

Offering a variety of moods and contrasted energies, these portraits share a common humanity and tenderness for their subjects. In particular, John’s self-portrait fascinates me. He says he took it in a semi-derelict toilet “for the hell of it,” but, in retrospect, it is emblematic of his extraordinary project – he was a photographer in a world that was spiralling down.

The body of work from which these photos have been selected – of which I have published hundreds in weekly instalments over the last few years – is believed to be the largest collection of images by any single photographer covering this period in the East End. In their quality, their number, and their range, they will come to represent the eye of history – but it makes them especially interesting that they were taken by an insider. When he took these photographs, John Claridge was an East Ender looking at the East End. John was taking portraits of his own people.

Clocking Off, Wapping 1968 – “He was a neighbour and I arranged to meet him down at the warehouse after work.”

Boxer, E16 1969 – “A chap putting on his wraps at Terry Lawless’ gym in Canning Town. I walked in and I was talking to the guys – and I just took the picture.”

Man at Booth House Salvation Army, Whitechapel 1982 – “I printed this picture for the first time the other day. They guy is somewhere else, but I didn’t notice until this week the man with the camera taking the picture on the television.”

Children at the Salvation Army Care Centre,  Whitechapel 1970s – “Some children were permanently in care and others were just there for the day. I can’t tell which these were. People only came in these places if there was a problem, if their dad was in the nick or their mum couldn’t take care of them.”

Worker at the Bell Foundry,  Whitechapel 1982 – “You expect a man who works lugging bells around to be brawnier than this, but he’s got his cardigan on and he looks like a watchmaker.”

Antiques Dealer, E6 1962 – “He sold everything, penny farthings, paintings, cigarette cards … everything. I used to go down there and see him, and have cup of tea and poke around.”

My Dad in the Back Yard, E13 1961 – “He had a deck chair and he sat in the garden with a cup of tea. I said to him, ‘Just sit and don’t do anything,’ and he’d just laugh. Great times! There isn’t a day that goes by when I don’t think about him.”

Mates in Wapping, 1961 – “I think we were going down to the Prospect for a drink. I was seventeen years old, so everyone’s seventeen. It was Sunday and everyone’s got polished shoes. I haven’t been in touch, but they’re still around – I haven’t seen them for years.”

Man and Mannequin, Spitalfields 1965 – “This was just off the market. He’s listening to a portable radio on earphones. It looks like he has a mate with him and their bellies are almost touching.”

Edward and Mrs Simpson,  Spitalfields 1967 – “Another kind of portrait. I love the military jackets for sale and Edward’s got one on, while Wallace is hiding and pointing him out.”

Caretaker at Wilton’s Music Hall, Wapping 1964 – “It said, ‘Please ring for caretaker.’ So I rang for the caretaker. I said, ‘Are you the caretaker?’ He said, ‘Yes.’ So I said, ‘May I take a photo of you?’ and he gave me this lovely smile.”

Self-Portrait, E14 1982 – “It was an old toilet in Poplar, in use but at the end of its day. The mirror was still there. People asked me if I ‘d done self-portraits, so I thought I’d do one down there for the hell of it.”

My Mates, 1961 – “We all went out from the East End for the day somewhere. It might have been Southend, Brighton or Clacton, but I remember it was freezing.”

Man in a Knitted Hat, E17 1964 – “This was at Walthamstow Town Hall. He’d finished his fight, had a shower, put his hat on to keep warm, and we were chatting over a cup of tea. He was a visiting fighter from the States and his shirt says, ‘The Big Apple.'”

Woman in Her Kitchen, E12 1969 – “She had no home and a young family, and was staying in a building that was derelict. The council didn’t want people to use it, so there was barbed wire outside. It was a shelter, and they asked me to go down and take pictures to show how people were living there.”

Tony Moore and Joe Gallagher, Wapping 1970 – “Tony was an ex-heavyweight boxer and Joe was my ex-father-in-law. They look like they’re about to sort somebody out.”

My Friend JB, E14 1972 – “We met when we were both fifteen years old and working at McCann Erickson. We were both Eastenders. He was an incredible designer. He had a wonderful sense of humour. He died of a heart attack. He looked like a villain, and one day we went to New York together, and were in Little Italy in a restaurant, and this guy came in and said, ‘I remember you!’ I said, ‘We’d better get out of this place.'”

My Son, Spitalfields, 1982 – “I went along on a home visit with the Salvation Army and I saw this picture on the sideboard. I said, ‘Is that your son?’ and she said, ‘Yes, he was killed in the war.'”

Headless Bear, E2 1964 – “I just came across it. He had his head burnt off. He was lying there at the edge of a bomb site.”

Photographs copyright © John Claridge

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A contemplative moment at the Tower

Rummaging through the thousands of glass slides from the collection of the London & Middlesex Archaeological Society, used for magic lantern slides a century ago at the Bishopsgate Institute, I came upon these enchanting pictures of the Tower of London.

The Tower is the oldest building in London, yet paradoxically it looks even older in these old photographs than it does today. Is it something to do with the straggly beards upon the yeoman warders? Some inhabit worn-out uniforms as if they themselves are ancient relics that have been tottering around the venerable ruins for centuries, swathed in cobwebs. Nowadays, yeoman warders are photographed on average four hundred times a day and they have learnt how to work the camera with professional ease, but their predecessors of a century ago froze like effigies before the lens displaying an uneasy mixture of bemusement  and imperiousness. Their shabby dignity is further undermined in some of these plates by the whimsical tinter who coloured their uniforms in clownish tones of buttercup yellow and forget-me-not blue.

As the location of so many significant events in our history, the Tower carries an awe-inspiring charge for me. And these photographs, glorying in the magnificently craggy old walls and bulbous misshapen towers, capture its battered grim monumentalism perfectly. Today, the Tower focuses upon telling the stories of prisoners of conscience that were held captive there rather than displaying the medieval prison guignol, yet an ambivalence persists for me between the colourful pageantry and the inescapable dark history. In spite of the tourist hordes that overrun it today, the old Tower remains unassailable by the modern world.

The Ceremony of the Keys, c.1900

Salt Tower, c. 1910

Byward Tower, c.1910

Bloody Tower, c. 1910

The Tower seen from St Katharine’s Dock, c.1910

Tower Green, c.1910

View from Tower Hill, c, 1900

Upon the battlements, c. 1900

View from the Thames, c. 1910

Bell Tower, c.1900

Bloody Tower, c. 1910

Courtyard at the Tower, c.1910

Byward Tower, c 1910

Yeoman warders at the entrance to Bloody Tower, c. 1910

Vegetable plot in the former moat adjoining the Byward Tower, c.1910

Byward Tower, c. 1900

Water Lane, c 1910

Rampart, c 1900

Yeoman Gaoler – “displaying an uneasy mixture of bemusement  and imperiousness.”

Middle Tower, c. 1900

Steps leading from Traitors’ Gate, c. 1900

Steps inside the Wakefield Tower, c. 1900

The White Tower, c. 1910

Royal Armoury, c. 1910

Beating the Bounds,  c. 1920

Cannons at the Tower of London, c. 1910

Queen’s House, c. 1900

Elizabeth’s Walk, Beauchamp Tower, c. 1900

Yeoman Warder, c. 1910

Tower seen from St Katharine’s Dock, c. 1910

Images courtesy Bishopsgate Institute

Residents of Spitalfields and any of the Tower Hamlets may gain admission to the Tower of London for one pound upon production of an Idea Store card.

You may like to take a look at these other Tower of London stories

Chris Skaife, Raven Keeper & Merlin the Raven

Alan Kingshott, Yeoman Gaoler at the Tower of London

Graffiti at the Tower of London

Beating the Bounds at the Tower of London

Ceremony of the Lilies & Roses at the Tower of London

Bloody Romance of the Tower with pictures by George Cruickshank

John Keohane, Chief Yeoman Warder at the Tower of London

Constables Dues at the Tower of London

The Oldest Ceremony in the World

A Day in the Life of the Chief Yeoman Warder at the Tower of London

Joanna Moore at the Tower of London

Meet me on the steps of St Paul’s for a tour of sightseeing and storytelling, rambling through the alleys and byways of the Square Mile in search of the wonders and the wickedness of the City of London.

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Behold the wonders of commerce and retail over a century ago, courtesy of the Hackney Year Book 1906 from the archive at the Bishopsgate Institute!

Images courtesy Bishopsgate Institute

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Adverts from Shoreditch Borough Guide

Adverts from Stepney Borough Guide

Business in Bishopsgate, 1892

Meet me on Easter Monday on the steps of St Paul’s for a tour of sightseeing and storytelling, rambling through the alleys and byways of the Square Mile in search of the wonders and the wickedness of the City of London.

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William Whiffin (1878-1957) is one of the great unsung London photographers, which makes it a rare pleasure to present this gallery of his pictures from the collection of his granddaughter Hellen Martin, many of which have never been published before. Born into a family of photographers in the East End, Whiffin made his living with studio portraits and commercial commissions, yet he strove to be recognised for his more artistic photography.

Lion Brewery and the Shot Tower, South Bank

The photographer’s son Sid Whiffin at Cooper’s Stairs, Old Queen St

Off Fetter Lane

The Pantheon, Oxford St

In Princes Sq, Stepney

Figureheads of fighting ships in Grosvenor Rd

At Covent Garden Market

Milwall & the Island Horse Omnibus, c.1910

St Catherine Coleman next to Fenchurch St Station

In Fleet St

In Buckfast St, Bethnal Green

At Borough Market

In Lombard St

Rotherhithe Watch House

Wapping Old Stairs

Junction of Cambridge Heath Rd & Hackney Rd

Ratcliff Stairs, Limehouse

Ratcliff Causeway, Limehouse

St Jude’s, Commercial St

Farthing Bundles at the Fern St Settlement, Bow

Houndsditch Rag Fair

At the Royal Exchange, City of London

Weavers’ House, Bethnal Green Rd

Off Pennington St, Wapping

Borough of Poplar Electricity Dept

Pruning in the hop gardens of Faversham

Photographs copyright © Estate of William Whiffin

Hellen Martin & I should be very grateful if readers can identify any of the uncaptioned photographs

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Horace Warner’s Photography

C A Mathew’s Photography

To celebrate the arrival of spring, all our books are on sale until tonight (Sunday) at midnight and we are including a free copy of THE MAP OF THE GENTLE AUTHOR’S TOUR OF SPITALFIELDS with every order.

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Simply add the code SPRINGSALE at checkout to get 50% discount

Fifty Years Porter, Charing Cross, 1824

It is my delight to present John Dempsey’s street portraits from the eighteen-twenties held in the collection of the Tasmanian Museum & Art Gallery. Originally attributed to George Scharf, they were identified as the work of John Dempsey (1802-74) by curator David Hansen who discovered a folio of fifty-one portraits in 1996 in a drawer labelled ‘U’ for unknown.

Dempsey was an itinerant jobbing artist without any formal training who created ‘Likenesses of Public Characters’ in London and the provincial cities of England, as he travelled around in search of commissions for portrait miniatures and silhouettes. No record exists of any exhibitions and in 1845, he was declared bankrupt. Yet his achievement is unique and enduring.

In spite of Dempsey’s unconventional perspective and disproportionate figures, he created portraits full of humanity that evoke the presence of street people and the outcast poor with compassion and vitality. These are portraits of individuals and they are full of life. As an itinerant artist in an age that did not distinguish between street traders and beggars, he dignified his fellow travellers through his portraits. He understood their lives because he shared their precarious existence.

When I first saw these pictures, I was startled by how familiar they appeared to me and I assumed this was because I have spent so much time looking at prints of The Cries of London. But then I realised that I recognised the demeanour and expression of John Dempsey’s portraits because I see them, their crew and their kin, every day as I walk around the streets of London two centuries later.

Sharp, Orange Man, Colchester, 1823

Watercress, Salisbury

Black Charley, Bootmaker, Norwich, 1823

Muffin Man

Mary Croker,  Mat Woman, Colchester, 1823

Sam’l Hevens, Old Jew, 1824

Charles M’Gee, Crossing Sweeper, London, c 1824

Old Bishop, Pieman, Harwich

Woolwich, 1824

Match Woman, Woolwich, 1824

Mark Custings (commonly called Blind Peter) and his boy, Norwich, 1823

Copeman, Gardener, Yarmouth

A Bill Poster, 1825

The Doorkeeper, Royal Managerie, Exeter ‘Change, (London) 1824

Images reproduced courtesy of Tasmanian Museum & Art Gallery

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Street Scene by Barnett Freedman (Click this image to enlarge)

When I first saw Street Scene by Barnett Freedman (Reproduced courtesy of the Tate Gallery), I thought I half-recognised the location as either Whitechapel or Bethnal Green and I delighted in the painting as an evocation of the streetlife of the Jewish East End in the early twentieth century.

Surely that is The George in Bethnal Green Road in the background? In particular, the two ostentatiously dressed woman in their contrasting outfits recalled for me the custom of people to promenade along Aldgate to Whitechapel at weekends in their finery, window shopping and greeting friends, enjoying their social life in public. Indeed, Pearl Binder included a similar pair of young women togged up to the nines in one of her lithographs of Aldgate in the twenties. I also wondered if the shabby old street musician with his violin was a Russian immigrant who had arrived like Barnett Freedman’s parents at the end of the nineteenth century.

Barnett Freedman was born in Lower Chapman St, Stepney Green in 1901. A sickly child who endured extended hospital stays, he was confined to bed between the ages of nine and thirteen, yet managed to educate himself, learning to read, write, play music and draw and paint while sequestered in a hospital ward.

By the age of sixteen, Barnett was earning his living as a draughtsman to a monumental mason for a few shillings a week, while for the next five years he spent his evenings undertaking classes at St Martin’s School of Art. Before long, he moved to an architect’s office, creating attractive drawings from his employer’s rough sketches and, taking the opportunity offered by a surge in demand for the war memorials to hone his skill as a letteringh artist.

With remarkable tenacity and self-belief, Barnett applied over three successive years for a London County Council Scholarship that would enable him to study at the Royal College of Art under the direction of Sir William Rothenstein. Experiencing rejection on each occasion, Barnett summoned the courage to present his portfolio in person to Rothenstein who recognised his talent and applied to the London County Council Chief Inspector himself on behalf of the young artist. As a consequence, a stipend of £120 a year was granted, enabling Barnett to begin his studies full time in 1922.

At the Royal College of Art, Barnett’s talent flourished among fellow students including Edward Bawden, Raymond Coxon, Henry Moore, Vivian Pitchforth and John Tunnard. Yet even after graduating in 1925, he continued to struggle to support himself and in 1929, ill-health prevented him working for a year. This situation as resolved when William Rothenstein took Barnett onto the staff of the Royal College in 1930. In the same year, he married fellow illustrator, Claudia Guercio, and, during the thirties, enjoyed an increasingly  successful career as an illustrator and commercial artist.

Barnett’s lithographs for Siegfried Sassoon’s Memoirs of an Infantry Officer, published in 1931, were one of many highlights during his long association with Faber and Faber, for whom he also illustrated works by the Brontës, Walter de la Mare, Charles Dickens, Edith Sitwell, William Shakespeare and Leo Tolstoy. As a commercial artist, he undertook prestigious commissions for Ealing Films, the General Post Office, Curwen Press, Shell-Mex, British Petroleum, Josiah Wedgwood and London Transport, earning popular success.

Appointed as an official War Artist, along with Edward Ardizzone and Edward Bawden, Barnett accompanied the expeditionary force in the spring of 1940 before the retreat at Dunkirk, and was awarded a CBE for this work in 1946. Yet Barnett always retained his East End accent and once, when he hailed a taxi to the Athenaeum Club, the incredulous cabbie famously retorted, “What, you?”

Street Scene was painted between 1933 and 1939, and subsequently he reworked the image as a lithograph for Lyons Corner House. Barnett’s son Vince, who was born in 1934, recalled his father working on the picture in the first floor studio of the family home in a back street of Gloucester Rd, West London. Vince revealed to me that the building on the right of the painting was based their house, 11 Canning Place. “The fiddler was to be found at the Gloucester Road end of Canning Place just about every day, and was a figure of some threat to me at the age of four!” he recalled, “The small person on the right, with his nanny Miss Wiggle, is a reference to me!”

No wonder that I was unable to place the location of this painting precisely in the East End because it is not a literal scene at all but a composite of Bethnal Green and Gloucester Road. I often wonder if the East End itself is actually a place or a culture, and this painting proposes an answer to my quandary. Barnett Freedman employed diverse topographic elements create a portrait of a society he knew intimately, constructing an entirely subjective portrayal of his environment and personal heritage. Look in the left top corner of the painting and you will see the artist raising his hat to you, ambling happily along the pavement and eternally at home in his own East End  universe. Vincent Freedman summed up his father’s achievement in these words, “A huge optimism and compassion shows itself to me in all his work and life. Humanity was his central driving force.”

The Old George in Bethnal Green

Barnett Freedman’s house at 11 Canning Place, Gloucester Rd

Barnett Freedman in Hyde Park