Christmas Baubles
I do not know when my grandmother bought this glass decoration and I cannot ask her because she died more than twenty years ago. All I can do is hang it on my tree and admire it gleaming amongst the deep green boughs, along with all the others that were once hers, or were bought by my parents, or that I have acquired myself, which together form the collection I bring out each year – accepting that not knowing or no longer remembering their origin is part of their charm.
Although I have many that are more elaborate, I especially admire this golden one for its simplicity of form and I like to think its ridged profile derives from the nineteen thirties when my mother was a child, because my grandmother took the art of Christmas decoration very seriously. She would be standing beech leaves in water laced with glycerine in October, pressing them under the carpet in November and then in December arranging the preserved leaves in copper jugs with teazles sprayed gold and branches of larch, as one of many contrivances that she pursued each year to celebrate the season in fastidious style.
Given the fragility of these glass ornaments, it is extraordinary that this particular decoration has survived, since every year there are a few casualties resulting in silvery shards among the needles under the tree. Recognising that a Christmas tree is a tremendous source of amusement for a cat – making great sport out of knocking the baubles to the ground and kicking them around like footballs – I hang the most cherished decorations upon the higher branches. Yet since it is in the natural course of things that some get broken every year and, as I should not wish to inhibit the curiosity of children wishing to handle them, I always buy a couple more each Christmas to preserve the equilibrium of my collection.
Everlasting baubles are available – they do not smash, they bounce – but this shatterproof technological advance entirely lacks the poetry of these fragile beauties that can survive for generations as vessels of emotional memory and then be lost in a moment. In widespread recognition of this essential frailty of existence, there has been a welcome revival of glass ornaments in recent years.
They owe their origins to the glassblowers of the Thuringian Forest on the border of Germany and the Czech Republic where, in Lauscha, glass beads, drinking glasses, flasks, bowls and even glass eyes were manufactured since the twelfth century. The town is favoured to lie in a wooded river valley, providing both the sand and timber required for making glass and in 1847 Hans Greiner – a descendant of his namesake Hans Greiner who set up the glassworks in 1597 with Christoph Muller – began producing ornaments by blowing glass into wooden moulds. The inside of these ornaments was at first coloured to appear silvery with mercury or lead and then later by using a compound of silver nitrate and sugar water. In 1863, when a gas supply became available to the town, glass could be blown thinner without bursting and by the eighteen seventies the factory at Lauscha was exporting tree ornaments throughout Europe and America, signing a deal with F.W.Woolworth in the eighteen eighties, after he discovered them on a trip to Germany.
Bauble is a byword for the inconsequential, so I do not quite know why these small glass decorations inspire so much passion in me, keeping their romance even as other illusions have dissolved. Maybe it is because I collect images that resonate personally? As well as Father Christmas and Snowmen, I have the Sun, Moon and Stars, Clocks and even a Demon to create a shining poem about time, mortality and joy upon my Christmas tree. I cannot resist the allure of these exquisite glass sculptures in old-fashioned designs glinting at dusk amongst the dark needles of fir, because they still retain the power to evoke the rich unassailable magic of Christmas for me.
This pierrot dates from the nineteen eighties
Three of my grandmother’s decorations. The basket on the left has a piece of florists’ wire that she placed there in the nineteen fifties
This snowman is one of the oldest of my grandmother’s collection
Bought in the nineteen eighties, but from a much older mould
Baubles enhanced with painted stripes and glitter
The moon, sun and stars were acquired from a shop in Greenwich Avenue on my first visit to New York in 1990, amazingly they survived the flight home intact
These two from my grandmother’s collection make a fine contrast of colour
Even Christmas has its dark side, this demon usually hangs at the back of the tree
It is always going to be nine o’clock on Christmas Eve
Three new decorations purchased at Columbia Rd
A stash of glittering beauties, stored like rare eggs in cardboard trays
Russian cosmonauts from the sixties that I bought in Spitalfields Market
My first bicycle, that I found under the tree one Christmas and still keep in my attic
The Robin’s Christmas
This extract is from ‘Aunt Louisa’s Keepsake’ published by Frederick Warne which was given to me by Libby Hall. The copy is inscribed ‘Christmas 1896’ inside the front cover.
‘Twas Christmas-time, a dreary night,
The snow fell thick and fast,
And o’er the country swept the wind,
A keen and wintry blast.
The Robin early went to bed,
Puffed up just like a ball,
He slept all night on one small leg,
Yet managed not to fall.
No food had touched his beak,
And not a chance had he
Of ever touching food again,
As far as he could see.
The stove had not burnt very low,
But still was warm and bright,
And round the spot whereon it stood,
Threw forth a cheerful light.
Now Robin from a corner hopped,
Within the fire’s light.
Shivering and cold, it was to him
A most enchanting sight.
But he is almost starved, poor bird!
Food he must have, or die,
Unless it seems, alas! for that
Within these walls to try.
Perhaps ‘t is thought by those who read
To doubtful to be true,
That just when they were wanted so
Some hand should bread crumbs strew.
But this is how it came to pass,
An ancient dame had said,
Her legacy unto the poor
Should all be spent on bread.
Enough there was for quite a feast,
Robin was glad to find.
The hungry fellow ate them all,
Nor left one crumb behind.
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Midwinter At Christ Church, Spitalfields
The shortest day of the year approaches on Wednesday 21st December, when at forty-seven minutes past nine we pass the solstice taking us back towards shorter nights and longer days. At this time when the sun is at its lowest angle, Christ Church Spitalfields can become an intricate light box with powerful rays of light entering almost horizontally from the south and illuminating Nicholas Hawksmoor’s baroque architecture in startling ways. Yesterday’s crystalline sunlight provided the ideal conditions for such phenomena and inspired me to attempt to capture of these fleeting effects of light.
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Robson Cezar’s Whitechapel Houses, 2022
Spitalfields artist Robson Cezar has been collecting wooden fruit crates in Whitechapel Market on the way to his studio in Bow again, and making them into little wooden houses.
Each one is a day’s work for Robson and many are recognisable as inspired by buildings around the East End. Photographer Sarah Ainslie visited him in his studio this week to document his creations. Every one is different and each comes with an LED light and battery.
We are selling them on a first-come-first-served basis, so if you would like one please email spitalfieldslife@gmail.com giving your first, second and third choice, and we will supply payment details. We can only post these within the United Kingdom.
ALL ROBSON’S HOUSES ARE SOLD BUT HE WILL MAKE YOU ONE TO ORDER IF YOU DROP US A LINE!
These houses are sculptures not toys and we do not recommend them for children under the age of twelve.
Robson Cezar – ‘These empty boxes are full of the good and true things of life …’
Photographs copyright © Sarah Ainslie
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Charles Goss’ Vanishing City
This Thursday 15th December at 6:30pm, I shall be giving a reading in company with my good friends, the novelist Sarah Winman and the poet Stephen Watts at Burley Fisher Books in Dalston, 400 Kingsland Rd, E8 4AA. Tickets are free – click here to book
33 Lime St
A man gazed from the second floor window of 33 Lime St in the City of London on February 10th 1911 at an unknown photographer on the pavement below. He did not know the skinny man with the camera and wispy moustache was Charles Goss, archivist at the Bishopsgate Institute, who made it part of his work to record the transient city which surrounded him.
Around fifty albumen silver prints exist in the archive – from which these pictures are selected and published for the first time today – each annotated in Goss’ meticulous handwriting upon the reverse and most including the phrase “now demolished.” Two words that resonate through time like the tolling of a knell.
It was Charles Goss who laid the foundation of the London collection at the Institute, spending his days searching street markets, bookshops and sale rooms to acquire documentation of all kinds – from Cries of London prints to chapbooks, from street maps to tavern tokens – each manifesting different aspects of the history of the great city.
Such was his passion that more than once he was reprimanded by the governors for exceeding his acquisition budget and, such was his generosity, he gathered a private collection in parallel to the one at the library and bequeathed it to the Institute on his death. Collecting the city became Goss’ life and his modest script is to be discovered everywhere in the archive he created, just as his guiding intelligence is apparent in the selection of material that he chose to collect.
It is a logical progression from collecting documents to taking photographs as a means to record aspects of the changing world and maybe Goss was inspired by the Society for Photographing the Relics of Old London in the eighteen-eighties, who set out to photograph historic buildings that were soon to be destroyed. Yet Goss’ choice of subject is intriguing, including as many shabby alleys and old yards as major thoroughfares with overtly significant edifices – and almost everything he photographed is gone now.
It is a curious side-effect of becoming immersed in the study of the past that the present day itself grows more transient and ephemeral once set against the perspective of history. In Goss’ mind, he was never merely taking photographs, he was capturing images as fleeting as ghosts, of subjects that were about to vanish from the world. The people in his pictures are not party to his internal drama yet their presence is even more fleeting than the buildings he was recording – like that unknown man gazing from that second floor window in Lime St on 10th February 1911.
To judge what of the present day might be of interest or importance to our successors is a subject of perennial fascination, and these subtle and melancholic photographs illustrate Charles Goss’ answer to that question.
14 Cullum St, 10th February 1910
3, 4 & 5 Fenchurch Buildings, Aldgate, 28th October 1911
71-75 Gracechurch St, 1910
Botolph’s Alley showing 7 Love Lane, 16th December 1911
6 Catherine Court looking east, 8th October 1911
Bury St looking east, 3rd July 1911
Corporation Chambers, Church Passage, Cripplegate, 31st January 1911 – now demolished
Fresh Wharf. Lower Thames St, 28th January 1912
Gravel Lane, looking south-west, 11th October 1910
1 Muscovy Court, 5th June 1911
3 New London St, 28th January 1912
4 Devonshire Sq
52 Gresham St, 17th September 1911
9-11 Honey Lane Market, Cheapside, 16th October 1910
Crutched Friars looking east from 37, 11th February 1911
Crutched Friars looking east, 28th October 1911
35 & 36 Crutched Friars, 28th January 1912
Yard of 36 Crutched Friars looking north, 11th February 1912
Yard of 36 Crutched Friars looking south, February 11th 1912
Old Broad St looking south, 24th July 1911
Charles Goss (1864-1946)
Photographs courtesy Bishopsgate Institute
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and see more of Goss’ photography
Chris Kelly’s Columbia School Portraits, 1996
It is my pleasure to publish Chris Kelly‘s portraits of an entire class at Columbia Primary School, Columbia Rd, Bethnal Green. Distinguished by extraordinary presence and insight, these tender pictures taken a quarter of a century ago are the outcome of a unique collaboration between the photographer and the schoolchildren. Chris has been taking photographs for education and health services, and voluntary organisations in the East End for almost thirty years, and these astonishing timeless portraits illustrate just one aspect of the work of this fascinating photographer.
I like myself because I am smart and cool and my name is Rufus and Rufus means red one and I really like to play with my friends.
My name is Abdul. I am eight years old. I was born in 7.10.88 and I like trainers called keebok classic.
When I grow up I want to be a singer and travel around the world. My name is Jay and I am eight years old.
My name is Imran. I am eight years old. I like going to school. I like drawing. My sister Happy gives me sweets.
Hello my name is Salma and I was born in 1988. I am eight years old. I like to go to Bangladesh. At school I like Art. I go to Columbia Primary School. And my teachers name is Lucy.
I like myself because I am smart and cool. My name is Ibrahim. My age is eight years old.
My name is Jamal. I go to Columbia School and I am eight years old. I enjoy reading and art and the new book bags. I am special because there are no other people like me.
I’m eight. I like to play. My mummy loves me. My name is Shumin.
I am special because I am good at reading and maths. I am good at running. I am eight years old and I am year three. My address is London E2. My best friend is Rokib. My name is Kamal.
My name is Kamal Miah. I like chocolate cake with chocolate custard. I love computers at home. I learn at Columbia School. Before school I drink fizzy drink and I eat chips. My date of birth is 13.10.88. My best chocolate bar is Lion. My best colour is dark blue. I’m good at maths. Speling group is C.
I am eight years old. My name is Nazneen. I like doing maths and I like doing singing. I have three sisters. And I have lots of friends.
My name is Paplue. I like football and I like fried chicken because they give me chicken. I am eight.
My name is Rahima. I was born in October the eleventh. I’m eight years old. I go to Columbia School. I live in number thirty.
My name is Halil. I am eight years old. I like to play with my three game boys. I like to see funny films.
My name is Litha. I like chocolate. I was born in London. I am eight years old. I live in a flat. When I grow up I want to be a hairdresser.
My name is Robert. I am eight years old and I live in London E2. I like where I live because I have lots of friends to play with.
My name is Rajna. I’m good at running. I do writing at home. And I’m the middle sister.
I am eight years old. I go to school. I play in the playground and my name is Dale.
My name is Sadik. I’m eight years old. I am quite good at football. I practise with my uncle.
My name is Rokib, I am eight years old. I am special because I can read and write and I can do maths and I can be thoughtful and helpful.
My name is Shafia. I am eight years old. I have two sisters. My big sister is called Nazia and my baby sister is called Pinky.
My name is Shokar. I like kick boxing and swimming and I like football.
My name is Urmi and I like going to Ravenscroft Park. I have a black bob cut, browny skin and black eyes. I am eight years old.
My name is Wahidul. I am eight years old. My favourite prehistoric animals are dinosaurs and I like reading and science.
My name is Yousuf. I want to be a computer designer. If I want to be a computer designer I have to be an artist as well.
My name is Ferdous. I am eight years old. I go to Columbia School. My favourite thing is playing games. My date of birth is 10.12.88.
My name is Akthar. I like to go to Victoria Park. I am eight years old.
Hello my name is Fahmida. I am eight years old and I was born in 1989. I like to play skipping and Onit. I like going to school. In school I like Art.
I go to play out with my friends. I go to the shops with my mum. I go to my sisters new house. My name is Ashraf and I’m eight years old.
My name is Fateha. I go to school. I like art. I am eight years old. I am lucky that I’ve got a good art teacher.
Photographs copyright © Chris Kelly
Chris Kelly hopes to make contact with the subjects of these pictures again for the purpose of taking a new set of portraits. So, if you were one of these children, please get in touch with chriskellyphoto@blueyonder.co.uk
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Night At Spitalfields Market
Although they were taken only thirty years ago, these photographs by Mark Jackson & Huw Davies preserved in the archive at Bishopsgate Institute, seem now to be images from the eternal night of history – with fleeting figures endlessly running, fetching and carrying, pushing barrows from the flaring lights out into the velvet blackness, where a bonfire burns beneath the great tower of Christ Church, Spitalfields, looming overhead.
Mark Jackson & Huw Davies were poets with cameras, aware that they were in an epic world with its own codes and customs, and they recognised the imperative to record it before it disappeared. No one asked them and no one paid them. As recent graduates, Mark & Huw shared a tiny flat and worked, as a courier and in a restaurant respectively, to buy film and subsidise their project. Each evening they took the last tube to Liverpool St Station and spent the night at the market, taking pictures and befriending the traders, before going straight back to work again in the morning, often without any sleep.
Like many of the most inspiring cultural projects, this remarkable body of photography was the result of individuals pursuing their own passion. Mark & Huw were committed to record what no one else was interested to look at. Neither became photographers and their greater project to record all the London markets was reluctantly abandoned when they went off to pursue other careers, but their Spitalfields Market photographs are unrivalled in the photography of markets.
Photographs copyright © Mark Jackson & Huw Davies
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Mark Jackson & Huw Davies at the Spitalfields Market
Ivor Robins, Fruit & Vegetable Purveyor
