Derrick Porter, Hoxton Poet
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Derrick Porter
This is the gentle face of Derrick Porter, craggy and wise, framed by snowy hair and punctuated with a pair of sharp eyes that reveal a hint of his imaginative capacity. Standing against a rural backdrop upon the banks of the river Ching in Essex not far from High Beach where John Clare was confined, Derrick looks every inch an English poet and he is quick to admit his love of nature. Yet, although he acquired an affection for the countryside at an early age and Chingford is his place of residence, the focus of Derrick’s literary landscape and centre of his personal universe is his place of origin – Hoxton.
“It was a place we all wanted to get out of – it was a tough place to live,” Derrick confessed to me, recalling his childhood, “but the the culture of Hoxton and that era was my imaginative education.”
“My interest in literature stems from spending so many years in hospital up to the age of thirteen and they used to read to us – I looked forward to it so much, I learnt to love reading stories,” he confided, explaining that he suffered from tuberculosis as a child and was exiled from London for long stretches in hospitals. “They made us stay out in the fresh air which was the worst possible thing because it actually helped the germs to flourish, when the foggy atmosphere of London was much more beneficial to sufferers – but they didn’t understand that in those days.
My dad worked at the Daily Mail as a printer and my mum was a housewife, but I never saw him until I was six when he returned from the war. He had been captured by the Japanese and was held in a prisoner of war camp. At first, they sent him to America which was where they kept them to build them up again before they came home.
Before the age of ten years old, I lived in a prefab in Vince St next to the Old St roundabout and then we moved to Fairchild House in Fanshawe St. The prefabs were made of asbestos without any insulation and were very cold in winter. As children, we used to break off pieces of asbestos and throw them on to the bonfire to watch them explode. Maybe that affected my health? We had free rein then and we played in the old bombed buildings at the back of Moorgate – that was our playground.
At thirteen, I had an operation to have half of my lung removed and they told my mother that they didn’t know if I would recover. From then on, I took care of my own health and I became a fitness and health junkie. When I left school I thought I’d like to go back to the countryside and, when the teacher asked my ambition, I said, ‘I’m going to work on a farm,’ he told me, ‘You won’t find many in ‘Oxton, Porter.’ My father got me a job as in the general printing trade but it did my lungs in.
I always had this compulsion to get away from Hoxton and write. So I decided to emigrate to Australia on my own. I knew I had to get away. I was nineteen when I went for two years. I was engaged to be married but I broke the engagement and emigrated. I went to writing workshops in Australia and my earliest poems were written while I was there. I got a job as a printer on the Sydney Morning Herald. At first, they told me I couldn’t get a job without a union card, but then there was a bit of skullduggery. They took pity on me and, when I got a job, they gave me a card.
After that, I travelled in the USA with this small bag of my poems. Then, in Las Vegas, I stayed in this $1-a-night fleapit for three nights while I was waiting for the coach to take me to Los Angeles. Twenty minutes after I had boarded the bus, I realised I had left my bag behind with all the poems I had written in the previous two years. I cried, I felt so dismayed. It was a significant loss.
On my return, I moved into Langbourne Buildings off Leonard St in Shoreditch. I was surrounded by my friends and family and this was where I first joined a writing group. It was in Dalston and I started to write regularly. After seven years, I began to write some decent poems and then I read in the Hackney Gazette about Centreprise Literary Trust. So I went along there and met Ken Worpole, and gave him some of my poems. Then he got back in touch and said he’d like to publish them, and that was the first work I ever had in print.
By now I was twenty-nine and married with two young children, and we were offered the opportunity of swapping our flat for a house in Orpington. It was a fabulous house with a garden and we couldn’t refuse, but the rent was three times the price. We lived there for thirty-odd years and my poetry developed, I became a member of the Poetry Society and had my works published in magazines, although I rarely send my poems out because I always think I can do better.
I bought paintings from D & J Simons & Sons Ltd, picture frame and moulding makers, in the Hackney Rd and, when I moved to Orpington, I bought all their ‘second’ picture frames off them and sold them there. I started working for myself, buying reproduction furniture and selling it in Orpington Village Hall and I earned a living from that for twenty years. But all the time I was writing, writing and I had a lot of encouragement from people.
I rework my poems a lot because I’d rather have one good one than a lot of mediocre ones. I have written a lot of poems and discarded most of them because I’d rather just keep my best. I love letter writing and I believe it can be an art if it is done well. As long as I live, I’ll carry on writing.”
Derrick and his childhood friend Roy Wild on the steps of the eighteenth century house in Charles Sq where they played as children
Sitting Under a Tree in Charles Square
The clear urgency of the voice caused me
to look up, my finger marking the place
in the newspaper I was then reading…
How old do you think this tree is? it asked.
I said it was here when I was a boy.
Well, it won’t be for much longer, it said.
The owner of the voice began to circle
the tree before running his hands over
the gnarled trunk as if in search of a precise spot.
From under his coat appeared a long-handled axe.
It would be better if you moved, he said.
But not before the tree had endured
several blows…and a large, older woman, shouted
Are we to suffer this nonsense again?
Come home and do something useful for once.
Instantly the attack ceased and – without
another word passing between them – his steps
quickened to reach, if not overtake, the other.
My thumb then lifted from the newspaper
returning my eye to the Middle East
where, as yet, no allaying voice can be heard.
Derrick standing outside the flat at Fairchild House in Fanshawe St where he grew up
Derby Day in Fairchild House
Walking along our third floor balcony
I can see – before I enter the door – the piano
blocking the view into our living room.
You are watching the TV, circling horses
in The Sporting Life as John Rickman
calls home another of those certainties
you always said you should have backed.
From the kitchen the clang of pots
tells me it’s a Friday and mum’s busy
preparing a stew. A day perhaps
when sand had been kicked into my face
and I’d come home to pump iron.
If so, my bedroom door will be locked
and I’ll be lifting sand-filled-petrol-cans
hung along an old broom handle.
It’s also possible it’s the evening
of the Pitfield Institute’s Weight-Lifting final
when I won my only trophy. Or the day
cash went missing and I bought my first watch.
But as I turn the key and enter the door
I want it to be the day when even
the piano joined in…and Gordon Richards
rode Pinza to victory in the Derby.
The Apprentice
When Mr Hounslow asked the class what jobs
we had in mind, I answered,
Working on a farm, sir. “You won’t find many
in Hoxton” the reply. Come summer
I started work for a musical instrument
supplier in Paul Street, close to the old Victorian
Fire Station later re-sited in Old Street.
For one day a week I was promoted
to van boy and helped deliver to the likes
of Ronnie Scott’s Jazz Club in Soho,
a world far removed from that of Hoxton.
Here I saw the upbeat side of the business,
the posh shiny part that could open doors
if you had the right kind of connections.
After a year working with men who enjoyed
nothing better than to send the new boys out
to buy rubber nails and glass hammers,
if never themselves discovering who put
the mouse droppings into their biscuit tin,
I began to question where I was heading.
That summer – while on holiday in Ostend
with the Lion Club – my dad handed in
my notice…and when I returned, was told
I had to start work in the Printing Trade.
Its every aspect – machinery, ink, oil,
noise and dust, the very air – a sort of
road taken, as old Hounslow might have said,
for there being no farms in Hoxton.
Derrick Porter at Fairchild House, Hoxton
Poems copyright © Derrick Porter
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At 195 Mare St
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195 Mare St
I remember the moment I first caught a glimpse of 195 Mare St through the steamed-up window on the top deck of a bus going up to Hackney one rainy day years ago. In a split second it had passed, an astonishing vision of grand seventeenth century country mansion, marooned amidst the ramshackle urban accretions of subsequent centuries. Had I imagined it or was it real?
How frustrated I was to discover it was indeed real, a Dutch City merchant’s house of 1697, yet mired in long-standing disputes that rendered it unreachable in recent years. How delighted I am to report to you now that – unlike too many heritage battles of recent years – this story has a positive outcome, thanks to the astonishing tenacity and perseverance of a local couple who managed to prise the house away from developers, buying it as their family home to repair it sympathetically and open the lower floors as a community arts space.
After all these years, what a joy it was to visit at last and photograph this extraordinary house just at the moment when its new life begins. Twenty-first century Hackney dissolves as you step over the threshhold of 195 Mare St. Note the curiously-abstracted seventeenth century woodgraining in the hallway and experience the sense of elevation imparted by these lofty reception rooms where the intangible past still lingers, before you descend to the warren of kitchens below. In these low-ceilinged rooms, the presence of the past grows more vivid, evoked by the survival of so many original fixtures and fittings, and dense layers of patina evidencing centuries of hard work down here, below stairs.
At the head of the stairs, a warden’s booth remains with just enough room for a person to sleep, whilst keeping an eye on the nocturnal activities of the ex-prisoners in the dormitories that filled the top floor when this was the Elizabeth Fry Women’s Refuge. A rumour lingers that there were once shackles attached to a wall in one of the windowless basement rooms, where ‘miscreants’ were punished.
As I walked through the house and learnt of its mixed history, I recognised a longing to see the gardens replanted front and back, and growing up to maturity with trees and hedges to enfold it as a benign haven where life can flourish anew.
195 Mare Street was built in 1697 for Abraham Dolins, a wealthy merchant from Holland, as a grand country retreat from the City of London. Paintings by mayor European artists, including Rembrandt and van Dyck, were displayed in the house, and generations of Dolins lived here until 1800. Later it was owned by Thomas Wilson, Tory MP for the City of London, who was a supporter of the slave trade and argued for reparations for slave owners.
In 1860, the house was sold to the Elizabeth Fry Society and became the Elizabeth Fry Refuge for female ex-prisoners, with thousands of women and girls passing through after serving short prison sentences.
In the twentieth century, the house became the New Lansdowne Working Men’s Club and an important part of Hackney’s social life until it closed in 2004 and the house was abandoned before being squatted and then sold to a local developer for office space.
On the summer afternoon of my visit, there was just me and the new owner alone in the empty rooms. Yet the house was crowded with people – parties of avaricious City merchants, congregations of ‘fallen’ women struggling to regain their lives, hordes of working men of Hackney enjoying a night out, gangs of squatters shivering through the long winters, and crowds of other folk, indiscernible.
Looking out towards Mare St
Residual seventeenth century wood-graining in the hallway
Warden’s night booth at the head of the stairwell dating from the time of the refuge for ex-prisoners
The warden slept in here to monitor night-time activity of the residents
Top half of a seventeenth century dresser in the kitchen
Pantry door
Winder for the spit above the range
Seventeenth century dairy and food preparation area
195 Mare St
At 37 Spital Square
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Drawing of 37 Spital Sq by Joanna Moore
What could be a better showcase for the Society for the Protection of Ancient Buildings than the fine eighteenth century house they restored in Spital Sq which serves as their headquarters? This magnificent tottering pile is the last surviving Georgian mansion of the entire square once lined with such dwellings, which traced the outline of the former Priory of St Mary Spital that was established in 1187. Indeed, pieces of Medieval stonework from the old Priory buildings are still visible, tucked into the foundations of 37 Spital Sq.
Originally constructed in the seventeen-forties as the home of Peter Ogier, a wealthy Huguenot silk merchant, the house has been through many incarnations both as dwelling and workplace until the Society took it on in a rundown state in 1981 and brought it back to life. As a Society that counted William Morris, John Ruskin, Thomas Hardy, Beatrix Potter, Sir Arthur Conan Doyle and John Betjeman among its members, the SPAB is irresistible to any writer with a passion for old buildings, and 37 Spital Sq certainly does not disappoint.
Neither museum or showhouse, the building has preserved its shabby charm as a working environment where people sit absorbed at their desks in elegantly proportioned rooms, surrounded by all the clutter of their activities and a few well-chosen paintings and pieces of old furniture. With staircases that seem to ascend forever, plenty of hidden corners and architectural idiosyncrasies, 37 Spital Sq is a house that invites you to ramble around – which is exactly what I did, matching up pictures in the Society’s archives of the building in 1981 with the same spaces as they are now.
Huguenot silk weaver Peter Ogier is believed to have built 37 Spital Square in the seventeen-forties.
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The Vocabulary Of Beer
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I offer this choice selection of the language of drinking lest it may be of use to any of my readers who might be planning to take a draught over the weekend.
Life in the East – At the Half Moon Tap, 1830
Barrel – A cask built to hold thirty-six gallons.
Beer – There is no bad beer but some is better than others.
Binder – The last drink, which it seldom proves to be. Also used to describe the person who orders it.
Boiling Copper – Vessel in which wort is boiled with hops.
Boniface – Traditional name for an innkeeper, as used by George Farquhar in ‘The Beaux’ Stratagem.’
Bragget – A fancy drink made of fermented honey and ale.
Brewer – The artist who by his choice of barley and other ingredients, and by his sensitive control of the brewing process, produces beer the way you like it.
Butt – A cask built to hold one hundred and eight gallons.
Buttered Beer – A popular sixteenth century drink of spiced and sugared strong beer supplemented with the yolk of an egg and some butter.
Cardinal – A nineteenth century form of mulled ale.
Casual – An occasional visitor to the pub.
Cheese – A heavy wooden ball used in the game of skittles.
Chitting – The appearance of the first shoots while the barley is growing during the first stage of the malting process.
Coaching Glass – An eighteenth century drinking vessel with no feet that was brought out to coach travellers and consumed at one draught.
Collar – The frothing head on a glass of beer between the top of the beer and the rim of the glass.
Crinze – An earthenware drinking vessel, a cross between a tankard and a small bowl.
Crawler – One who visits all the pubs in one district, drinking a glass of beer in each.
Dipstick – An instrument used to measure the quantity of wort prior to fermentation.
Dive – A downstairs bar.
Dog’s Nose – Beer laced with gin.
Down The Hatch – A toast, usually for the first drink.
Finings – A preparation of isinglass which is added to the beer in the cask to clarify it.
Firkin – A cask built to hold nine gallons.
Flip – Beer and spirit mixed, sweetened and heated with a hot iron.
Fob – The word used in a brewery to describe beer froth.
Goods – The name used by the brewer to describe the crushed malted grains in the mash tuns.
Grist – Malt grains that have been cleaned and cracked in the brewery mill machines.
Gyle – A quantity of beer brewed at one time – one particular brewing.
Heel Tap – Term for beer left at the bottom of the glass.
Hogshead – A cask built to hold fifty-four gallons.
Hoop – A device displayed outside taverns in the middle ages to indicate that beer was sold. Later, it became the practice to display certain objects within the hoop in order to differentiate one tavern from another. eg The Hoop & Grapes
Kilderkin – Cask holding eighteen gallons.
Lambswool– A hot drink of spiced ale with roasted apples beaten up in it.
Liquor – The term used in the brewing industry for water.
Local – The pub round the corner.
Long Pull – Giving the customer more than they ordered, the opposite of a short pull.
Lounge – The best-appointed and most expensive bar of the public house.
Mash – The mixture of crushed malted grains and hot liquor which is run through the masher into the mash tun and from which is extracted liquid malt or wort.
Merry-Goe-Down – Old term describing good ale.
Metheglin – A spiced form of mead.
Mether Cup – A wooden drinking cup used by the Saxons, probably for Metherglin.
Mud-In-Your-Eye, Here’s – Traditional toast, with a meaning more pleasant than it sounds.
Nappy – Term describing good ale, foaming and strong.
Noggin – Small wooden mug, a quarter pint measure.
Noondrink – Ale consumed at noon when trade was slacker. Also, High Noon, drunk at three o’clock when street trading was finished.
One For The Road – Last drink before leaving the pub.
Pig’s Ear – Rhyming slang for beer.
Pocket – A large sack made to contain one and a half hundredweight of hops.
Porter – Popular in the late eighteenth and nineteenth centuries among London market porters, equivalent to a mixture of ale, beer and twopenny.
Public Bar – Where everything is cheapest and decoration and equipment is smiplest.
Puncheon – Cask built to hold seventy-two gallons.
Quaff – To drink in large draughts.
Regular – One of the mainstays of the public house.
Round – An order of drinks for more than one person.
Saloon Bar – Enjoying better amenities than a Public Bar and therefore more expensive to the customer.
Shandy – A drink of beer mixed with ginger beer, or sometimes beer and lemonade.
Short – A gin or whisky, usually taken before a meal.
Small Beer – A beer of lesser gravity, hence a trifling matter.
Smeller – A man employed in the brewery to examine casks after they have been washed and prior to their being filled with beer.
Snifter – Colloquial term for a drink.
Snug or Snuggery – Semi-private apartment in the pub, by custom reserved for use of the regulars.
Sparge – To spray hot liquor onto the grist in the mash tuns.
Spell, To Take A – To go round to the local for a beer, coined by Mr Peggotty in David Copperfield.
Stingo – A strong ale, similar to Barley Wine, popular during the winter months and usually sold in a bottle.
Stool – A useful piece of furniture for a customer who wants to stay at the bar, but is anxious to sit down.
Swig – To take a draught of beer, generally a large one.
Thirst – Suffering enjoyed by beer drinkers.
Tipple – To drink slowly and repeatedly.
Trouncer – The drayman’s mate who pushed and manhandled the wagon over potholes.
Tumbler – A flat bottomed drinking glass, derived from the Saxon vessel that could not stand upright and must be emptied in one draught.
Tun – Vessel in the brewery where the fermenting takes place.
Twopenny – A pale, small beer introduced to London from the country in the eighteenth century at fourpence a quart.
Wallop – Mild ale.
Wassail – Hot ale flavoured with sugar, nutmeg and roasted apples.
What’s Yours? – An invitation which sums up the companionable atmosphere of a public house.
Wort – The solution of mash extract in water, derived from the grist in the mash tuns.
Image from Tom & Jerry’s Life in London courtesy Bishopsgate Institute
Nature In London
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Contributing Photographer Lucinda Douglas Menzies kindly gave me a copy of LONDON’S NATURAL HISTORY by R S R Fitter published in 1945, in which I discovered this splendid gallery of colour plates by Eric Hosking and other distinguished photographers of the day.
Feeding the pelicans at St James’s Park (Eric Hosking)
Backyard pig farming (Eric Hosking)
Coldharbour Farm, Mottingham – the last farm in London (Eric Hosking)
Feeding the pigeons in front of St Paul’s Cathedral (Wolfgang Suschitzky)
The New River & North-East Reservoir at Stoke Newington (Eric Hosking)
The nearest rookery to London, at Lee Green SE12 (Eric Hosking)
Allotments on Barking Levels (Eric Hosking)
Sand martin colony in a disused sand pit near Barnet bypass (Eric Hosking)
The Upper Pool at sunset with London Bridge in the background (Eric Hosking)
River wall at the confluence of the Ingrebourne with the Thames at Rainham (Eric Hosking)
Cabbage attacked by caterpillars (P L Emery)
A magnolia in the grounds of Kenwood House (Eric Hosking)
The Thames at Hammersmith with mute swans (Eric Hosking)
Sheep grazing at Kenwood House (Eric Hosking)
Teddington Lock (Eric Hosking)
A plum orchard near Chelsfield, Kent (Eric Hosking)
A black-headed gull feeding in St James’s Park (Eric Hosking)
A bold red deer at Richmond Park (C E Maney)
South-African grey-headed sheld duck, pair of mallard and a coot in St James’s Park (Eric Hosking)
Mute swans nesting on the River Lea, Hertingford, Herts (Eric Hosking)
Crocuses at Hyde Park Corner (Eric Hosking)
Roses in Queen Mary’s Garden, Regent’s Park (Wolfgang Suschitzky)
Anglers on the River Lea near Broxbourne, Herts (Eric Hosking)
Almond blossom in a suburban front garden, Ruislip, Middlesex (Eric Hosking)
Pear Tree in Blossom, Crouch End (Eric Hosking)
Rosebay willow herb and Canadian fleabane in a ruined City church (Eric Hosking)
Coltsfoot on a blitzed site (Eric Hosking)
Berkeley Sq plane trees (L Dudley Stamp)
Cress beds at Fetcham, Surrey (Eric Hosking)
Glasshouses in the Lea Valley (Eric Hosking)
Hainault Forest, Essex, from Dog Kennel Hill. The whole of this area was ploughed up a century ago (Eric Hosking)
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At James Ince & Sons, Umbrella Makers
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Richard Ince, 11th generation umbrella maker
The factory of James Ince & Sons, the oldest established umbrella makers in the country, is one of the few places in London where you will not hear complaints about the rainy weather, because – while our moist climate is such a disappointment to the population in general – it has happily sustained generations of Inces for over two centuries now. If you walked down Whites Row in Spitalfields in 1824, you would have found William Ince making umbrellas and, six generations later, I was able to visit Richard Ince, still making umbrellas in the East End. Yet although the date of origin of the company is conservatively set at 1805, there was a William Inch, a tailor listed in Spitalfields in 1793, who may have been father to William Ince of Whites Row – which makes it credible to surmise that Inces have been making umbrellas since they first became popular at the end of the eighteenth century.
You might assume that the weight of so much history weighs heavily upon Richard Ince, but it is like water off a duck’s back to him, because he is simply too busy manufacturing umbrellas. Richard’s father and grandfather were managers with a large staff of employees, but Richard is one of only a handful of workers at James Ince & Sons today, and he works alongside his colleagues as one of the team, cutting and stitching, personally supervising all the orders. Watching them at work, it was a glimpse of what William Ince’s workshop might have been like in Spitalfields in 1824, because – although synthetics and steel have replaced silk and whalebone, and all stitching is done by machine now – the essential design and manufacturing process of umbrellas remains the same.
Between these two workshops of William Ince in 1824 and Richard Ince in 2011, exists a majestic history, which might be best described as one of gracious expansion and then sudden contraction, in the manner of an umbrella itself. It was the necessity of silk that made Spitalfields the natural home for James Ince & Sons. The company prospered there during the expansion of London through the nineteenth century and the increase in colonial trade, especially to India and Burma. In 1837, they moved into larger premises in Brushfield St and, by 1857, filled a building on Bishopsgate too. In the twentieth century, workers at Inces’ factory in Spitalfields took cover in the basement during air raids, and then emerged to resume making military umbrellas for soldiers in the trenches during the First World War and canvas covers for guns during the Second World War. Luckily, the factory itself narrowly survived a flying bomb, permitting the company to enjoy post-war success, diversifying into angling umbrellas, golfing umbrellas, sun umbrellas and promotional umbrellas, even a ceremonial umbrella for a Nigerian Chief. But in the nineteen eighties, a change in tax law, meaning that umbrella makers could no longer be classed as self-employed, challenged the viability of the company, causing James Ince & Sons to shed most of the staff and move to smaller premises in Hackney.
This is some of the history that Richard Ince does not think about very much, whilst deeply engaged through every working hour with the elegant contrivance of making umbrellas. In the twenty-first century, James Ince & Sons fashion the umbrellas for Rubeus Hagrid and for Mary Poppins, surely the most famous brollies on the planet. A fact which permits Richard a small, yet justly deserved, smile of satisfaction as the proper outcome of more than two hundred years of umbrella making by seven generations of his family. A smile that in its quiet intensity reveals his passion for his calling. “My father didn’t want to do it,” he admitted with a grin of regret, “but I left school at seventeen and I felt my way in. I used to spend my Saturdays in Spitalfields, kicking cabbages around as footballs, and when we had the big tax problem, it taught me that I had to get involved.” This was how Richard oversaw the transformation of his company to become the lean operation it is today. “We are the only people who are prepared to look at making weird umbrellas, when they want strange ones for film and theatre.” he confessed with yet another modest smile, as if this indication of his expertise were a mere admission of amiable gullibility.
On the ground floor of his factory in Vyner St, is a long block where Richard unfurls the rolls of fabric and cuts the umbrella panels using a wooden pattern and a sharp knife. Then he carries the armful of pieces upstairs where they are sewn together before Job Forster takes them and does the “tipping,” consisting of fixing the “points” (which attach the cover to the ends of the ribs), sewing the cover to the frame and adding the tie which is used to furl the umbrella when not in use.
Job was making huge umbrellas, as used by the doormen to shepherd guests through the rain, and I watched as he clamped the bare metal frame to the bench, revolving it as he stitched the cover to each rib in turn, to complete the umbrella. Then came the moment when Job opened it up to scrutinise his handiwork. With a satisfying “thunk,” the black cover expanded like a giant bat stretching its wings taut and I was spellbound by the drama of the moment – because now I understood what it takes to make one, I was seeing an umbrella for the first time, thanks to James Ince & Sons (Umbrella Makers) Ltd.
Richard Ince, seventh generation umbrella maker, prepares to cut covers for brollies.
Job Forster sews the cover to the ribs of the umbrella.
James Ince, born 1816
James John Ince, born 1830
Samuel George Ince, born 1853
Ernest Edward Sears, born 1870
Wilfred Sears Ince, born 1894
Geoffrey Ince, born 1932
Richard Ince, “Prepare for a rainy day!”
New photographs copyright © Chris Hill-Scott
Archive photographs copyright © Bishopsgate Institute
On Night Patrol With Constable Tassell
Next ticket availability Saturday 2nd September
We join Constable Lew Tassell on a night patrol in the City of London on Tuesday December 12th 1972
Police Constable Lew Tassell of the City of London Police
“One week in December 1972, I was on night duty. Normally, I would be on beat patrol from Bishopsgate Police Station between 11pm-7am. But that week I was on the utility van which operated between 10pm-6am, so there would be cover during the changeover times for the three City of London Police divisions – Bishopsgate, Wood St and Snow Hill. One constable from each division would be on the van with a sergeant and a driver from the garage.
That night, I was dropped off on the Embankment during a break to allow me to take some photographs and I walked back to Wood St Police Station to rejoin the van crew. You can follow the route in my photographs.
The City of London at night was a peaceful place to walk, apart from the parts that operated twenty-four hours a day – the newspaper printshops in Fleet Street, Smithfield Meat Market, Billingsgate Fish Market and Spitalfields Fruit & Vegetable Market.
Micks Cafe in Fleet St never had an apostrophe on the sign or acute accent on the ‘e.’ It was a cramped greasy spoon that opened twenty-four hours a day, seven days a week. During the night and early morning it served print-workers, drunks returning from the West End and the occasional vagrant.
Generally, we police did not use it. We might have been unwelcome because we would have stood out like a sore thumb. But I did observation in there in plain clothes sometimes. Micks Cafe was a place where virtually anything could be sourced, especially at night when nowhere else was open.”
Middle Temple Lane
Pump Court, Temple
King’s Bench Walk, Temple
Bouverie St, News of the World and The Sun
Fleet St looking East towards Ludgate Circus
Ludgate Hill looking towards Fleet St under Blackfriars Railway Bridge, demolished in 1990
Old Bailey from Newgate St looking south
Looking north from Newgate St along Giltspur St, St Bartholomew’s Hospital
Newgate St looking towards junction of Cheapside and New Change – buildings now demolished
Cheapside looking east from the corner of Wood St towards St Mary Le Bow and the Bank
HMS Chrysanthemum, Embankment
Constable Lew Tassell, 1972
Photographs copyright © Lew Tassell
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