Signs Of Life
First Snowdrops in Wapping
Even now, in the depths of Winter, there is plant life stirring. As I travelled around the East End over the past week in the wet and cold, I kept my eyes open for new life and was rewarded for my quest by the precious discoveries that you see here. Fulfilling my need for assurance that we are advancing in our passage through the year, each plant offers undeniable evidence that, although there may be months of winter yet to come, I can look forward to the spring that will arrive before too long.
Hellebores in Shoreditch
Catkins in Bethnal Green
Catkins in Weavers’ Fields
Quince flowers in Spitalfields
Cherry blossom in Museum Gardens
Netteswell House is the oldest dwelling in Bethnal Green
Aconites in King Edward VII Memorial Park in Limehouse
Cherry Blossom near Columbia Rd
Hellebores in Spitalfields
Spring greens at Spitalfields City Farm
The gherkin and the artichoke
Cherry blossom in Itchy Park
Soft fruit cuttings at Spitalfields City Farm
Seedlings at Spitalfields City Farm
Cherry blossom at Christ Church
The Triumph Of Populations Bakery
It is my pleasure to publish these edited excerpts from this piece by Julia Harrison, author of the fascinating literary blog THE SILVER LOCKET. I am proud that Julia is a graduate of my blog-writing course.
There are only a few places available now on my course HOW TO WRITE A BLOG THAT PEOPLE WILL WANT TO READ on 7th & 8th February. Email spitalfieldslife@gmail.com to enrol.

George’s Galette des Rois
Spitalfields Life readers will already know about George Fuest’s Populations Bakery. In the past, I have collected pastries from George’s home on Fournier St but the discovery that he was offering Galettes des Rois at his new bakery at Corner Shop in Arundel St was just too tempting. On Saturday, I made my way down to the Embankment, almost next door to Temple Place, to collect one.
I was met with apologies from one of George’s team of bakers, Huey. My galette was still in the oven: would I sit down, have a cup of coffee and taste a slice? I eagerly agreed and when there was a pause in the morning rush, Huey took a few moments to talk to me. He started by explaining the reason for the name ‘Populations Bakery’.
‘George uses heritage wheat populations which are mainly ancient heritage grains, Populations-diverse wheat is where you have got lots of different species of wheat, meaning that the soil is in far better condition. If you go to these fields you can see it clearly because rather than weeds being around knee height the crop is up to waist height: so much healthier for you but also for the soil and the landscape.
He uses a lot of stone-milled flour in his pastries: stone-milled flour keeps all the properties of the wheat as opposed to regular sifted milled flour. It means that the pastries have a darker colour because there are more sugars, more nutrients to caramelise, which means more flavour.’
Then Huey handed me a box containing a delicate pastry that would not look out of place in a patisserie in Paris.
‘This is the perfect example of what he does: unbelievable technique as well as the provenance of the ingredients. The technique is cross lamination: if you are making a dough for pastries you laminate butter and then the dough. Once that is all done you slice it very thinly and then twist the segments ninety degrees, and then re-laminate it which means you have more texture and better flavour as well.
Then the clementine: you have candied clementine on top and then clementine creme inside with creme fraiche. The clementine comes from Vincente Todoli, grown just outside Valencia which has a long history of citrus farms. He moved away, became an art dealer, travelled the world, fell back in love with citrus and now has created this citrus sanctuary in Valencia. It has the biggest collection of citrus trees from around the world and they have all started cross breeding with each other and making new varieties. It is like a museum, but for citrus.’
I look up Vincente Todoli and discover that he was not just any old art dealer, but one-time director of Tate Modern. His Todoli Citrus Fondacio preserves rare citrus varieties for future generations.
When I remark on George achievement in scaling up his bakery from his garden shed in Fournier St, Huey says ‘I try and get the message through to as many guests as I can, such a variety of people come through these doors.’ The fact that my galette was still in the oven turned out to be a moment of serendipity. I am indebted to Huey for taking the time to share the philosophy which brings producer and baker together in such fine style.

George’s Clementine Creme Fraiche Croissant

Populations Bakery goods on display at Corner Shop


Patricia Niven‘s portrait of George Fuest from 2023 in Fournier St
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C A Mathew’s Spitalfields

In Crispin St, looking towards the Spitalfields Market
On Saturday April 20th 1912, C.A.Mathew walked out of Liverpool St Station with a camera in hand. No-one knows for certain why he chose to wander through the streets of Spitalfields taking photographs that day. It may be that the pictures were a commission, though this seems unlikely as they were never published. I prefer another theory, that he was waiting for the train home to Brightlingsea in Essex where he had a studio in Tower St, and simply walked out of the station, taking these pictures to pass the time. It is not impossible that these exceptional photographs owe their existence to something as mundane as a delayed train.
Little is known of C.A.Mathew, who only started photography in 1911, the year before these pictures and died eleven years later in 1923 – yet today his beautiful set of photographs preserved at the Bishopsgate Institute exists as the most vivid evocation we have of Spitalfields at this time.
Because C.A.Mathew is such an enigmatic figure, I have conjured my own picture of him in a shabby suit and bowler hat, with a threadbare tweed coat and muffler against the chill April wind. I can see him trudging the streets of Spitalfields lugging his camera, grimacing behind his thick moustache as he squints at the sky to apprise the light and the buildings. Let me admit, it is hard to resist a sense of connection to him because of the generous humanity of some of these images. While his contemporaries sought more self-consciously picturesque staged photographs, C.A.Mathew’s pictures possess a relaxed spontaneity, even an informal quality, that allows his subjects to meet our gaze as equals. As viewer, we are put in the same position as the photographer and the residents of Spitalfields 1912 are peering at us with unknowing curiosity, while we observe them from the reverse of time’s two-way mirror.
How populated these pictures are. The streets of Spitalfields were fuller in those days – doubly surprising when you remember that this was a Jewish neighbourhood then and these photographs were taken upon the Sabbath. It is a joy to see so many children playing in the street, a sight no longer to be seen in Spitalfields. The other aspect of these photographs which is surprising to a modern eye is that the people, and especially the children, are well-dressed on the whole. They do not look like poor people and, contrary to the widespread perception that this was an area dominated by poverty at that time, I only spotted one bare-footed urchin among the hundreds of figures in these photographs.
The other source of fascination here is to see how some streets have changed beyond recognition while others remain almost identical. Most of all it is the human details that touch me, scrutinising each of the individual figures presenting themselves with dignity in their worn clothes, and the children who treat the streets as their own. Spot the boy in the photograph above standing on the truck with his hoop and the girl sitting in the pram that she is too big for. In the view through Spitalfields to Christ Church from Bishopsgate, observe the boy in the cap leaning against the lamppost in the middle of Bishopsgate with such proprietorial ease, unthinkable in today’s traffic.
These pictures are all that exists of the life of C.A.Mathew, but I think they are a fine legacy for us to remember him because they contain a whole world in these few streets, that we could never know in such vibrant detail if it were not for him. Such is the haphazard nature of human life that these images may be the consequence of a delayed train, yet irrespective of the obscure circumstances of their origin, this is photography of the highest order. C.A.Mathew was recording life.

Looking down Brushfield St towards Christ Church, Spitalfields.

Bell Lane looking towards Crispin St.

Looking up Middlesex St from Bishopsgate.

Looking down Sandys Row from Artillery Lane – observe the horse and cart approaching in the distance.

Looking down Frying Pan Alley towards Crispin St.

Looking down Middlesex St towards Bishopsgate.

Widegate St looking towards Artillery Passage.

In Spital Square, looking towards the market.

At the corner of Sandys Row and Frying Pan Alley.

At the junction of Seward St and Artillery Lane.

Looking down Artillery Lane towards Artillery Passage.

An enlargement of the picture above reveals the newshoarding announcing the sinking of the Titanic, confirming the date of this photograph as 1912.

Spitalfields as C.A.Mathew found it, Bacon’s “Citizen” Map of the City of London 1912.
Photographs courtesy of Bishopsgate Institute
Crowden & Keeves’ Catalogue
Richard Ince proprietor of James Ince & Sons, Britain’s oldest umbrella manufacturers, showed me this catalogue published by Crowden & Keeves in 1930 which had been knocking around his factory for as long as he could remember. Operating from premises in Calvert Avenue and Boundary St, they were one of the last great hardware suppliers in the East End, yet the quality of their products was such that their letterboxes and door knockers may still be recognised in use around the neighbourhood today.
The umbrellas were supplied to Crowden & Keeves by James Ince & Sons
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A Conversation With Milly Rich
My meeting with Milly Rich proved to be one of my most enlightening conversations with a centenarian

“You know, being a hundred is a lot of years to account for…”
Portrait of Milly Rich (1917-2017) by Patricia Niven
The Gentle Author – Are you from the East End?
Milly Rich – I am from the last place I have lived! But I was born at 19 Commercial Rd on October 23rd 1917, which of course was during the First World War and my mother, Leah, told me that the air raid warnings were sounding at the time. People were terrified of air raids but my she had a basement under her shop in Commercial Rd where she took shelter.
My mother made corsets and she taught me to make them too. Corsets were a vital part of a lady’s outfit in those days because – of course – smart clothes needed a good foundation and a good foundation was a nice heavily-boned corset with a strong steel bust in the front. Everybody had remarkably good posture, not slumped – like you see today – over a hand-held computer.
The Gentle Author – Your mother was proprietor of the shop?
Milly Rich – I have a picture of her standing outside the shop with her two assistants when she was not yet twenty. She was very creative, very artistic – and she got her first job in an embroidery factory in Hanbury St. Then she opened a shop at 87 Brick Lane and – many years later – it transpired that the young man I married was the son of the owner of the embroidery factory where my mother had once been a designer. So the world is full of concentric circles!
The Gentle Author – Tell me about your father.
Milly Rich – My father, Morris Levrant, was an ‘émigré of the Empire of Russia’ and I know that because he went to America first and patented an airtight valve for bicycle tyres when he was thirty. He was very clever. My mother said he spoke nine languages and he was an inventor. He was born in Siedlce in Poland where my daughter has traced our family back to 1733.
He left a wife and three children in New York when he came to London and my mother’s father was not very happy about that. Apparently, my grandfather put him through hoops to prove that he was properly divorced. I do not know how he got the divorce but he obviously did because otherwise they would not have allowed the marriage. My parents were married in Princelet St Synagogue and I was born in 1917, so I suppose they were married in 1916.
The Gentle Author – Do you have brothers and sisters?
Milly Rich – I had one brother, Mossy. He is dead now, he died at seventy-five years old. I suppose it speaks volumes for the kind of life we led that he had rickets, which is caused by malnutrition. He was very good with his hands and became a jeweller and worked in Black Lion Yard and Hatton Garden.
When the Jews were promised a homeland in the Balfour Declaration, my father decided he would settle in what was then Palestine. Of course, he was an inventor, and he was agog to go and be an inventor there – he was a clever chap. So in 1921 we set sail.
The Gentle Author – You shut the shop in Commercial Rd?
Milly Rich – Yes, we got rid of it and went off to Palestine but a war broke out there and, in the first month, my father was killed and he was buried there. He was only forty when he died and left three children in New York. We found them not very long ago. The two sisters were still alive, they were ten and eleven years older than me. We went and stayed with them, and they were lovely. They turned out to be artists and designers too
When my father died, my mother was expecting my brother, so she could not come back from Palestine at once but she did not speak the language and, of course, my father had all the money – she was stuck in Jaffa. Fortunately my uncle – my mother’s sister’s husband – came to the rescue and got us back to England. By that time, I was three, I remember. And we were stuck in Boulogne because I had a watery eye – they thought it was catching – an eye disease, maybe trachoma but it was just a trapped eyelash.
On our return, we stayed with my uncle in Whitechapel. He had a jewellery shop opposite the Whitechapel Gallery, it was museum as well in those days. I remember they had a septic mouse in a case on the stairs and an illuminated panorama of Medieval London on the landing. It was lovely, I used to stand and stare at it for hours.
We stayed there until my uncle found the shop at 192 Bethnal Green Rd. It was flanked on one side by the Liberal Party headquarters, Sir Percy Harris was the MP, and on the other side by a newsagent. They were not Jewish, but everybody was on excellent terms and there was no anti-Semitism where we were.
We lived above the shop and we had tenants as well, who had to come through the shop. Originally, it been a house and garden but it had been transformed into one great long space. My mother had a curtain put up to screen people walking through because they had to cross our parlour, which my mother also used as a fitting room for the corsets.
Women used to come in and treat her as an agony aunt. Like a hairdresser or a dressmaker, she was a recipient of confidences. All the locals would tell my mother their troubles which invariably were to do with their husbands. They used to speak Yiddish so that I should not hear but, knowing they were speaking so I could not understand, I soon picked up Yiddish. I never let on that I could and, of course, I would tell the stories to my friends at school which was a source of much merriment.
There was a window in the parlour so my mother could see if anyone came into the shop. My brother used to climb up to look through it at the women trying on the corsets and, of course, a good time was had by all!
The Gentle Author – What took you out of Bethnal Green?
Milly Rich – I won a scholarship to Central Foundation School in Spital Sq. It was a fee-paying school at the time and there used to be quite a division between the scholarship girls and the fee-paying pupils. I was a great reader and I have always loved words and I had a good vocabulary. The other children did not like it. “Oh you’ve swallowed a dictionary,” that was a great insult. I did not care, did I? From there, I won another scholarship but I could not make up my mind whether to go to the London School of Economics, because I wanted to be a journalist, or St Martin’s School of Art.
In the event, I decided I would not train to be a journalist because I was not going to learn shorthand – I was not going to take down anybody else’s words. So I took the place at St Martin’s instead and hated it. We used to sign in and go off to the local Lyons teashop and sit there for hours, making patterns on the tablecloth with the salt cellar. Eventually, my mother could not afford for me to stay there any longer because I only got ten shillings a week and I did not like it anyway – I do not like any form of regimentation.
I got a job inscribing certificates because I was quite good at lettering and I did that for a couple of months. It was trees in Israel. They kept planting forests and I used to write ‘five trees planted in the name of so-and-so on the occasion of his this-and-that.’
I did not do it for long, I got a job in a drawing office instead. I told them I could do it, even though I had never held a drawing pen in my life. They said, “Well, here’s one – take it home and bring it back tomorrow, completed.” I went into an art shop and asked, “How do you do this?” They showed me a drawing pen and how you filled it and how you used it, so I went home and I did the drawing and I took it back the next day and I got the job. The drawing office was quite fun actually, I enjoyed it there. It was right at the top of Crown House, which is still there on the corner of Drury Lane and Aldwych. We used to feed the pigeons and there was a Sainsbury’s around the corner which delivered lunch in a box. You got a sandwich and some orange juice and a piece of cake for sixpence.
You know – being nearly a hundred is a lot of years to account for.
The Gentle Author – Tell me about Moss, your husband.
Milly Rich – We met at a play-reading group. He was a writer, and I always liked plays and acting and so on. We met there and he would walk me home.
The Gentle Author – Where did he come from?
Milly Rich – His father had the embroidery factory in Hanbury St, where my mother had once worked doing the patterns although we did not realise that at the time. It was only when our parents were introduced that they realised that they all knew each other already. Small world. People were so ready to help each other, I do not know if people are still like that in the East End, but they were once. I remember the blackshirts marching down Bethnal Green Rd and shouting “The Jews, the Jews, we’ve got to get rid of the Jews!” Whenever they passed our shop, my brother used to be outside yelling.
The Gentle Author – Did you feel threatened?
Milly Rich – I do not think I was aware of it, but I became aware because Moss used to take me to the political meetings and the Unity Theatre. When there was the Battle of Cable St, we went there. I remember leaning on the lamppost outside Gardiner’s Corner and we were all yelling, “They shall not pass, they shall not pass.”
The Gentle Author – That was eighty years ago.
Milly Rich – Then war was declared and we all thought the first air raid would obliterate London. Everybody was terrified and I had known Moss four years, so he said “We’d better get married right away, while we can,” and he got a special licence. I did not want any fuss and I told my mother, “I’m not having any ‘do’” because getting married, especially in Jewish families, was a great occasion you know. I said, “I’m not having any family there.” It was the custom then – I do not know what people do now– for the woman to take the man’s name but I did not like that, so I said, “If I have got to take your name, you have got to take my name.” His name was Rich and my name was Levrant so we became Levrant Rich, which sounds quite good.
The Gentle Author– Was that unusual in those days?
Milly Rich – Goodness knows! Moss was very easy about it, he said he did not care. My mother said she would kill herself if we did not get married in the synagogue, but I said “I’m not having anyone there , I don’t want a fuss,” so she agreed she would not tell anyone. But when Moss and I arrived at the synagogue, standing outside wreathed in smiles was my fat Aunty Milly and her husband. I said, “I’m not going to do it!” and we turned tail and ran away, so we did not get married that day.
We came back the next day and got married when nobody was there. We got no photographs, nothing. It was just the two of us, and Moss had to go back to work because he was in the timber importing business, doing the advertising, and everybody thought the work was absolutely vital. So he went back to work and I went shopping in Petticoat Lane for a couple of cups and saucers and a saucepan.
Moss had found us an attic room at 4 Mecklenburgh Sq and we went back there. It was one pound a week which was a lot of money for rent. There was an oven on the landing which four other tenants used and we each took a turn to put a shilling in the meter. Sometimes, I would come back early and find the landlady on her knees fiddling the meter!
When the air raid siren went, we dashed down to the shelter which was just opposite. One night we got a direct hit. The thing shuddered but it did not go off and we were marshalled out by wardens. I remember walking up Gray’s Inn Rd with fires blazing on either side right up to Euston Station. There were aeroplanes droning overhead and the church opposite the station was on fire. We were ushered into the station and we spent the rest of the night there, before returning to Mecklenburgh Sq.
Although our rent was one pound a week, Moss earned four pounds and I earned two pounds and a bit, so we only had just over six pounds as our total income. After our pound rent was paid and Moss had ten cigarettes delivered each day, I used to be able to send stuff to the laundry. They would come and collect and deliver it, all freshly ironed, and a sheet was tuppence to launder. Can you imagine? Shirts and everything. I never did any washing myself. As well as Mrs Pointy the landlady, there was a caretaker who kept our two rooms clean for two shillings a week, which was very nice. Mrs Pointy used to feed her cat cods’ heads and the smell – I can still smell it – was absolutely indescribable.
The Gentle Author – Nowadays in London, many people spend half their wages on rent.
Milly Rich – I was just thinking about the nature of progress. When I was young, it was usual for a woman to stay at home and the man would bring home the money – his wage could support the wife and the family. Now two wages are not enough, do you call that progress?
Transcript by Rachel Blaylock
Milly, aged one and a half in 1919
Milly, aged five in 1922
Milly, aged twenty in 1939
Moss in 1939
Milly & Moss’ Marriage Certificate, 1939
Milly’s London Transport card, 1939
Milly & Moss in the forties
Milly & Moss in the eighties – Milly & Moss were married for seventy-two years
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At Hiller Bros
Ten years have passed since I made my one and only visit to Hiller Bros, the last barrow-makers in the East End, prior to demolition. Now a new building stands there and no trace remains of the workshop that I documented in these photographs.

For years, I longed to visit Hiller Brothers, the last barrow workshop in the East End, at 64 Squirries St, Bethnal Green, but – until yesterday – I had to content myself with peering through a tiny glass panel in the metal shutter each time I passed to wonder at the piles of old wooden barrows within.
The last of the Hiller Brothers, Bob, left here in 1991 when the workshop was let to tenants who carried on the work of repairing and maintaining barrows. Then, earlier this year, Bob Hiller died and now the building has been sold for demolition and redevelopment. Within a matter of weeks the workshop must be cleared out, which means that I was able to pay a visit at last to view the barrows for sale.
Hiller Brothers began manufacturing and hiring barrows in the eighteen-sixties at 67 James St on the other side of Bethnal Green, moving to these premises in 1942 which they bought from Oswald Mosley and the British Union of Fascists who opened it as their East End office in 1933.
The history of Hiller Brothers is all there to be read in the addresses carved onto the side of the barrows in elegant italic letters. From outside on the street, all that is visible is a non-descript rendered house with a battered door and two squat windows, and a tall metal shutter screening off the adjoining yard. Once you go inside and step down into the workshop, you realise it is a nineteenth century building. From the workshop, a side door leads into the cobbled yard which was once a cowshed, now piled high with dozens of costermongers’ barrows and beyond lies a pile of hundreds of steel-rimmed handmade wooden wheels, each with lettering incised into them.
It is an overwhelming vision, the graveyard of lost barrows in last days of the last barrow-maker in the East End.






























Hiller Brothers as it once was
The Forgotten Corners Of Old London
Who knows what you might find lurking in the forgotten corners of old London? Like this lonely old waxwork of Charles II who once adorned a side aisle of Westminster Abbey, peering out through a haze of graffiti engraved upon his pane by mischievous tourists with diamond rings.
As one with a pathological devotion to walking through London’s sidestreets and byways, seeking to avoid the main roads wherever possible, these glass slides of the forgotten corners of London – used long ago by the London & Middlesex Archaeological Society for magic lantern shows at the Bishopsgate Institute – hold a special appeal for me. I have elaborate routes across the city which permit me to walk from one side to the other exclusively by way of the back streets and I discover all manner of delights neglected by those who solely inhabit the broad thoroughfares.
And so it is with many of these extraordinary pictures that show us the things which usually nobody bothers to photograph. There are a lot of glass slides of the exterior of Buckingham Palace in the collection but, personally, I am much more interested in the roof space above Richard III’s palace of Crosby Hall that once stood in Bishopsgate, and in the unlikely paraphernalia which accumulated in the crypt of the Carmelite Monastery or the Cow Shed at the Tower of London, a hundred years ago. These pictures satisfy my perverse curiosity to visit the spaces closed off to visitors at historic buildings, in preference to seeing the public rooms.
Within these forgotten corners, there are always further mysteries to be explored. I wonder who pitched a teepee in the undergrowth next to the moat at Fulham Palace in 192o. I wonder if that is a cannon or a chimney pot abandoned in the crypt at the Carmelite monastery. I wonder why that man had a bucket, a piece of string and a plank inside the dome of St Paul’s Cathedral. I wonder what those fat books were next to the stove in the Worshipful Company of Apothecaries’ shop. I wonder who was pulling that girl out of the photograph in Woolwich Gardens. I wonder who put that dish in the roof of Crosby Hall. I wonder why Charles II had no legs. The pictures set me wondering.
It is what we cannot know that endows these photographs with such poignancy. Like errant pieces from lost jigsaws, they inspire us to imagine the full picture that we shall never be party to.
Tiltyard Gate, Eltham Palace, c. 1930
Refuse collecting at London Zoo, c. 1910
Passage in Highgate, c. 1910
Westminster Dust Carts, c. 1910
The Jewel Tower, Westminster, 1921
Fifteenth century brickwork at Charterhouse Wash House, c1910
Middle Temple Lane, c. 1910
Carmelite monastery crypt, c. 1910
The Moat at Fulham Palace, c. 1920
Clifford’s Inn, c. 1910
Top of inner dome at St Paul’s Cathedral, c. 1920
Apothecaries’ Hall Quadrangle, c. 1920
Worshipful Company of Apothecaries’ Shop, c.1920
Unidentified destroyed building near St Paul’s, c. 1940
Merchant Taylors’ Hall, c. 1920
Crouch End Old Baptist Chapel, c. 1900
Woolwich Gardens, c. 1910
The roof of Crosby Hall, Richard III’s palace in Bishopsgate , c. 1910
Refreshment stall in St James’ Park, c. 1910
River Wandle at Wandsworth, c. 1920
Corridor at Battersea Rise House, c. 1900
Tram emerging from the Kingsway Tunnel, c. 1920
Between the interior and exterior domes at St Paul’s Cathedral, c. 1920
Fossilised tree trunk on Tooting Common, c. 1920
St Dunstan-in-the-East, 1911
Cow shed at the Queen’s House, Tower of London, c. 1910
Boundary marks for St Benet Gracechurch, St Andrew Hubbard and St Dionis Backchurch in Talbot Court, c. 1910
Lincoln’s Inn gateway seen from Old Hall, c. 1910
St Bride’s Fleet St, c. 1920
Glass slides courtesy Bishopsgate Institute
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