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Old Spitalfields In Colour

March 7, 2022
by the gentle author

Thank you to everyone who has contributed to my crowdfund to launch a COMMUNITY TOURISM PROJECT in Spitalfields as a BETTER ALTERNATIVE to the serial killer tours that monetise misogyny.

We have raised just over 80% of our target now and there are 7 days left, so please spread the word and search down the back of your sofa.

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Photographer Philip Marriage took these pictures on 11th July 1984

Crispin St

Widegate St

White’s Row

Artillery Passage

Brushfield St

Artillery Passage

Brushfield St

Fashion St

Widegate St

Artillery Passage

Gun St

Brushfield St

Gun St

Brushfield St

Parliament Court

Leyden St

Fort St

Commercial St

Brushfield St

Photographs copyright © Philip Marriage

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Philip Marriage’s Spitalfields

Photographs of Time Passing in Spitalfields

The Auriculas Of Spitalfields

March 6, 2022
by the gentle author

Thank you to everyone who has contributed to my crowdfund to launch a COMMUNITY TOURISM PROJECT in Spitalfields as a BETTER ALTERNATIVE to the serial killer tours that monetise misogyny. We have raised 80% of our target now and there are 8 days left, so please spread the word.

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An auricula theatre

In horticultural lore, auriculas have always been associated with Spitalfields and writer Patricia Cleveland-Peck has a mission to bring them back again. She believes that the Huguenots brought them here more than three centuries ago, perhaps snatching a twist of seeds as they fled their homeland and then cultivating them in the enclosed gardens of the merchants’ grand houses, and in the weavers’ yards and allotments, thus initiating a passionate culture of domestic horticulture among the working people of the East End which endures to this day.

You only have to cast your eyes upon the wonder of an auricula theatre filled with specimens in bloom in Patricia’s Sussex garden to understand why these most artificial of flowers can hold you in thrall with the infinite variety of their colour and form. “They are much more like pets than plants,” Patricia admitted to me as we stood in her greenhouse surrounded by seedlings,“because you have to look after them daily, feed them twice a week in the growing season, remove offshoots and repot them once a year. Yet they’re not hard to grow and it’s very relaxing, the perfect antidote to writing, because when you are stuck for an idea you can always tend your auriculas.” Patricia taught herself old French and Latin to research the history of the auricula, but the summit of her investigation was when she reached the top of the Kitzbüheler Horn, high in the Austrian Alps where the ancestor plants of the cultivated varieties are to be found.

Auriculas were first recorded in England in the Elizabethan period as a passtime of the elite but it was in the eighteenth and nineteenth centuries that they became a widespread passion amongst horticulturalists of all classes. In 1795, John Thelwall, son of a Spitalfields silk mercer wrote, “I remember the time myself when a man who was a tolerable workman in the fields had generally beside the apartment in which he carried on his vocation, a small summer house and a narrow slip of a garden at the outskirts of the town where he spent his Monday either in flying his pigeons or raising his tulips.” Auriculas were included alongside tulips among those prized species known as the “Floristry Flowers,” plants renowned for their status, which were grown for competition by flower fanciers at “Florists’ Feasts,” the precursors of the modern flower show. These events were recorded as taking place in Spitalfields with prizes such as a copper kettle or a ladle and, after the day’s judging, the plants were all placed upon a long table where the contests sat to enjoy a meal together known as “a shilling ordinary.”

In the nineteenth century, Henry Mayhew wrote of the weavers of Spitalfields that “their love of flowers to this day is a strongly marked characteristic of the class.” and, in 1840, Edward Church who lived in Spital Sq recorded that “the weavers were almost the only botanists of their day in the metropolis.” It was this enthusiasm that maintained a regular flower market in Bethnal Green which eventually segued into the Columbia Rd Flower Market of our day.

Known variously in the past as ricklers, painted ladies and bears’ ears, auriculas come in different classes, show auriculas, alpines, doubles, stripes and borders – each class containing a vast diversity of variants. Beyond their aesthetic appeal, Patricia is interested in the political, religious, cultural and economic history of the auricula, but the best starting point to commence your relationship with this fascinating plant is to feast your eyes upon the dizzying collective spectacle of star performers gathered in an auricula theatre. As Sacheverell Sitwell once wrote, “The perfection of a stage auricula is that of the most exquisite Meissen porcelain or of the most lovely silk stuffs of Isfahan and yet it is a living growing thing.”

Mrs Cairns Old Blue – a border auricula

Glenelg – a show-fancy green-edged auricula

Piers Telford – a gold-centred alpine auricula

Taffetta – a show-self auricula

Seen a Ghost – a show-striped auricula

Sirius – gold-centred alpine auricula

Coventry St – a show-self auricula

M. L. King – show-self auricula

Mrs Herne – gold-centred alpine auricula

Dales Red – border auricula

Pink Gem – double auricula

Summer Wine – gold-centred alpine auricula

McWatt’s Blue – border auricula

Rajah – show-fancy auricula

Cornmeal – show-green-edged auricula

Fanny Meerbeek – show-fancy auricula

Piglet – double auricula

Basuto – gold-centred alpine auricula

Blue Velvet – border auricula

Patricia Cleveland-Peck in her greenhouse.

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In Celebration Of Cockneys

March 5, 2022
by the gentle author

Thank you to everyone who has so far contributed to my crowdfund to launch a COMMUNITY TOURISM PROJECT in Spitalfields as a BETTER ALTERNATIVE to the serial killer tours that monetise misogyny. We have raised over three-quarters of our target now and there are nine days left, so please spread the word.

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Portrait by James Pearson-Howes

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In popular lore, being born within earshot of the bells of St Mary-Le-Bow, Cheapside, in the City of London –  known as the Bow Bells –  is the defining quality of a true cockney. It is a charismatic myth that possesses its own quirky appeal, yet also reveals the elusive quicksilver nature of cockney identity.

Lexicographers propose multiple origins for the word, each of which reveals aspects of its meaning and timbre as a term that has never been far from derogatory. Yet cockney offers the only authentic piece of vocabulary we have to describe the indigenous culture of the people of the East End and, as such, its historical usage is commonly a measure of their standing.

The first recorded use of the word “cockney” is by William Langland in 1362, meaning a “cock’s egg”, an abnormality, and it crops up again in the work of Geoffrey Chaucer, meaning a spoilt child or effeminate man, dated to around 1386 when Chaucer was an East Ender dwelling above the gatehouse to the City of London at Aldgate. Both usages imply an antipathy to urban dwellers who were spared the labour of agricultural work and it is an equivocation about the status of the cockney that persists to this day.

Culturally, the identity of the cockney is inextricably bound up with the East End and the costermongers – roving vendors of fruit and vegetables who developed their own tribal code and practices that became formalised at the end of the nineteenth century as Pearly Kings & Queens. Rhyming slang is the braggadocio of the cockney, a flowering of the wit and theatre of street trading, while pies and mash and jellied eels are the cuisine of choice. There is also an aura of criminality that cannot be denied, yet it is perhaps merely indicative of our centuries-old collective anxiety over the morals of the poor.

Regrettably, the over-familiarity of these cockney tropes in popular culture has come to mask the sophistication and subtlety of this culture, just as the well-worn narratives of sensational crime and poverty have obscured the social complexity of the East End itself. But in all the interviews I have undertaken, I have never come across any of the feckless cockneys of popular lore.

“People like to think that we were all drunks who dropped their ‘h’s, and we were dirty,” said Mavis Bullwinkle, nonagenarian resident of Spitalfields and proud cockney, speaking to me in contempt at the common misrepresentation of her kind. Sacrificing a career in the City for a less-well-paid job as a secretary at the Royal London Hospital where she worked for forty years, Mavis exemplifies the best of the cockney East End – of those who grew up in modest circumstances within a close-knit community and developed a strong sense of social responsibility as a result.

To tell the story of the cockney is to recount the history of poverty in the East End, yet in my work I propose a parallel history of resourcefulness as the definitive trait of the region. To me, the cockney embodies this quality as one who has the moral courage and wit to invent a means of living out of nothing, creating employment for themselves and others. And it is a sensibility that still prevails in the streets and markets of the East End, where today we have Scots cockneys, Sikh cockneys, Italian cockneys and cockneys of every nationality and race to be found in the territory.

Being a cockney is not simply about being born within earshot of Bow Bells. To me, cockney is a state of being and a relationship to existence. Cockney embodies the virtues of self-reliance and magnanimity that are characteristic of these unjustly misrepresented people. Let us celebrate the commercial nous, the independence of spirit and the egalitarianism of the cockney – because, God knows, we need them now.

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Click to learn about the series of COCKNEY CONVERSATIONS happening this month

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Victorian scrap of a costermonger

Lithograph of a Costermonger by H W Petherick, 1874 (courtesy of Bishopsgate Institute)

Costermonger and child from Wonderful London  by Donald McLeish published in the twenties (courtesy Bishopsgate Institute)

Costermonger by William Nicholson, 1898 (courtesy Desmond Banks)

Engraving of a Costermonger by Marcellus Laroon, 1687 (courtesy Bishopsgate Institute)

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Pearl Binder, Artist

March 4, 2022
by the gentle author

Thank you to everyone who has so far contributed to my crowdfund to launch a COMMUNITY TOURISM PROJECT in Spitalfields as a BETTER ALTERNATIVE to the serial killer tours that monetise misogyny. We have raised over three-quarters of our target and there are ten days left, so please spread the word.

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“City and East End meet here, and between five and six o’clock it is a tempest of people.”

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At the outbreak of war, it is salutary to recognise the close connections between the East End and Ukraine. Many thousands of the refugees who fled here, escaping pogroms against Jewish people in the late nineteenth century and early twentieth century, came from this region. Here is just one of those stories.

This is Aldgate pictured in a lithograph of 1932 by Pearl Binder, as one of a series that she drew to illustrate The Real East End by Thomas Burke, a popular writer who ran a pub in Poplar at the time. Among the many details of this rainy East End night that she evokes so atmospherically with such economy of means, notice the number fifteen bus which still runs through Aldgate today. In her lithographs, Pearl Binder found the ideal medium to portray London in the days when it was a grimy city, permanently overcast with smoke and smog, and her eloquent visual observations were based upon first hand experience.

This book was brought to my attention by Pearl Binder’s son Dan Jones who is also an artist. He explained that his mother came from Salford to study at the Central School of Art and lived in Spread Eagle Yard, Whitechapel in the nineteen twenties and thirties. It was an especially creative period in her life and an exciting time to be in London, when one of as the first generation after the First World War, she took the opportunity of the new freedoms that were available to her sex.

In Thomas Burke’s description, Pearl Binder’s corner of Whitechapel sounds unrecognisably exotic today, “It is in one of the old Yards that Pearl Binder has made her home, and she has chosen well. She enjoys a rural atmosphere in the centre of the town. Her cottage windows face directly onto a barn filled with hay-wains and fragrant with hay, and a stable, complete with clock and weather-vane; and they give a view of metropolitan Whitechapel. One realises here how small London is, how close it still is to the fields and farms of Essex and Cambridgeshire.” From Spread Eagle Yard, Pearl Binder set out to explore the East End, and these modest black and white images illustrate the life of its people as she found it.

Her best friend was Aniuta Barr (known to Dan as Aunt Nuta), a Russian interpreter, who remembered Lenin, Kalinin and Trotsky coming to tea at their family home in Aldgate when she was a child. Dan described Aunt Nuta announcing proudly, “Treat this bottom with respect, this has sat upon the knee of father Lenin!” He called her his fairy godmother, because she did not believe in god and at his christening when the priest said, “In the name of the father, the son and the holy ghost…”, she added, “…and Lenin”.

Pearl Binder’s origins were on the border of Russia and the Ukraine in the town of Swonim, which her father Jacob Binderevski, who kept Eider ducks there, left to come to Britain in 1890 with a sack of feathers over his shoulder. After fighting bravely in the Boer War, he received a letter of congratulation from Churchill inviting him to become English. Pearl lived until 1990 and Nuta until 2003, both travelling to Russia and participating in cultural exchange between the two countries through all the ups and downs, living long enough to see the Soviet Union from beginning to end in their lifetimes.

Pearl left the East End when she married Dan’s father Elwyn Jones, a young lawyer (later Lord Elwyn Jones and member of parliament for Poplar), and when they were first wed they lived at 1 Pump Court, Lincoln’s Inn Fields, yet she always maintained her connections with this part of London. “Mum was trying to fry an egg and dad came to rescue her,” was how Dan fondly described his parents’ meeting, adding,“I think the egg left the pan in the process,” and revealing that his mother never learnt to cook. Instead he has memories of her writing and painting, while surrounded by her young children Dan, Josephine and Lou. “She was amazingly energetic,” recalled Dan,“Writing articles for Lilliput about the difficulties of writing while we were crawling all over the place.”

Pearl Binder’s achievements were manifold. In the pursuit of her enormous range of interests, her output as a writer and illustrator was phenomenal – fiction as well as journalism – including a remarkable book of pen portraits Odd Jobs (that included a West End prostitute and an East End ostler), and picture books with Alan Lomax and A.L.Lloyd, the folk song collectors. In 1937, she was involved in children’s programmes in the very earliest days of television broadcasting. She was fascinated by Pocahontas, designing a musical on the subject for Joan Littlewood at the Theatre Royal Stratford East. She was an adventurous traveller, travelling and writing about China in particular. She was an advocate of the pearly kings & queens, designing a pearly mug for Wedgwood, and an accomplished sculptor and stained glass artist, who created a series of windows for the House of Lords. The explosion of creative energy that characterised London in the nineteen twenties carried Pearl Binder through her whole life.

“She was always very busy with all her projects, some of which came about and some of which didn’t.” said Dan quietly, as we leafed through a portfolio, admiring paintings and drawings from his mother’s long career. Then as he closed the portfolio and stacked up all her books and pictures that he had brought out to show me – just a fraction of all of those his mother created – I opened the copy of The Real East End to look at the pictures you can see below and Dan summed it up for me. “I think it was a very important part of her life, her time in the East End. She was really looking at things and using her own eyes and getting a feel of the place and the people – and  I think the best work of her life was done during those years.”

A Jewish restaurant in Brick Lane.

A beigel seller in Whitechapel High St.

A Jewish bookshop in Wentworth St.

A slop shop in the East India Dock Rd.Pearl Binder’s self-portrait

Pearl Binder ( 1904-1990)

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Dan Jones, Artist

Bill the Ostler of Spread Eagle Yard

Milly Abrahams, Dressmaker

March 3, 2022
by the gentle author

Thank you to everyone who has so far contributed to my crowdfund to launch a COMMUNITY TOURISM PROJECT in Spitalfields as a BETTER ALTERNATIVE to the serial killer tours that monetise misogyny. We have raised three-quarters of our target now and we have twelve days left, so please spread the word.

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Milly Abrahams (nee Markovitch)

At the outbreak of war, it is salutary to recognise the close connections between the East End and Ukraine. Many thousands of the refugees who fled here, escaping pogroms against Jewish people in the late nineteenth century and early twentieth century, came from this region. Here is just one of those stories.

Photographer Martin Usborne & I took the trip to Wembley to visit Milly Abrahams, whose late brother Joseph Markovitch was the subject of Martin’s book I’ve Lived In East London for Eighty-Six & A Half Years. Milly left the East End more than seventy years ago but, hale and hearty at a hundred years old, her childhood remains vivid to her today.

“I was born in a tenement house in Gosset St, Bethnal Green, but my mother got very ill and we were taken to Mother Levy’s Maternity Home in Underwood Rd, and we stayed there a little while – so my mother told me. In those days parents never told you much. If you asked questions, they’d say in Yiddish ‘What do you want to know for?’

I asked my mother, ‘How did you come over here?’ Somebody brought her over from Krakow and left her here and she went into service – that’s what she said. Krakow was Austria when she was born, but now it’s Poland. Neither of my parents knew what age they were when they came over. My mother had nobody here, though my father came over with his sisters and a brother who died, so I knew all the aunts. My father came from Kyiv, which was Russia then and now it’s Ukraine. He tried to trace my mother’s side of the family because she said something about them going to America, yet he never found anything. So she had nobody.

They met here when she was in service and he lived next door with his sisters. They liked chicken soup but they had to water it down to make it go round. My parents got married with nothing. My father was a sick man who was always ill, he was a presser in the tailoring trade. He had trouble with his hands and I remember my mother putting cream on for him and bandaging them up. So he never really worked, but the Jewish community in the East End were very good. We were never a burden on the State, because we had all these Jewish charities – the Jewish Board of Guardians, the Jewish Soup Kitchen and all that. I went to the Jewish Free School in Bell Lane where I got free uniform, meals and seaside holidays. We used to stay in these big houses by the sea and they brought kosher food from London

Where I lived, we had the Catholics, the Protestants and the Jewish but we were all together. Nobody had any money. The non-Jewish people were very good, they used to sit outside in the street and drink tea with us. We were so happy, we didn’t know anything else. Nowadays people expect to have bathrooms ensuite and three toilets, we had a toilet in the yard. Among Jewish people, if you lived next door and you had a little bit more, you would knock on your neighbour’s door on Friday or Saturday and give them some money, yet nobody would know about it. It was kept quiet.

My father wasn’t religious at all, he was a Communist more-or-less. When we used to smell the neighbours’ bacon and want to run upstair to have some, my mother would tell us we couldn’t have bacon. When the Yiddish Theatre in Whitechapel staged benefits, we used to go along. My parents only spoke Yiddish or broken English and, even now, sometimes I mix up my words. We saw plays with well-known actors entirely in Yiddish but we all understood it.

My mother had four children and she lost one – two girls, Leah and me, two boys, Morrie and Joey, Joseph. Leah was the eldest and I was second, then Morrie and Joey, he was the last. I have to say, my mother did the right thing with Joey. He couldn’t speak clearly, but we understood him because we were used to it. They called them ‘backward’ in those days. My mother sent him to a special school and that’s where he learnt to read and write, but people used to say, ‘Why are you sending him there? It’s the madhouse!’

From Gosset St, we moved to Sonning Buildings on the Boundary Estate where we had more room and it was much better. In Gosset St, we slept in one room, my mum and dad and the four of us children. In bed, two of us slept one way and two the other. On Fridays, we used to get out the bath and all have a wash. My father used to help my mother, bathing us with the same water – that’s how it was then.

After I left school at fourteen, I worked as a machinist in a factory in Fournier St making ladieswear. The manager was a nice young bloke but it was hard work. If you talked, they said, ‘Stop talking and get on with your work.’

I belonged to the Brady Club in Hanbury St. We were kept separate and the boys’ club was round the corner somewhere, yet they used to come on their bikes to meet us and take us home on the crossbar. We only got together on Sunday nights when they had dancing.

I met my husband, David, after the war and we married when I was twenty-seven. He was a gunner and he had been in the army for six years, fighting. He was wounded, he went deaf from the gunfire and he got dysentery, but he never had a penny in compensation or a war pension, just a basic state pension.

David was a tailor in ladies tailoring, he didn’t want to be one but in those days you did what your parents told you. So when I got married, I helped my husband as a machinist because his family had a factory. At first, we lived with my mother-in-law in Old Montague St because we couldn’t afford a place of our own.

At last, when my son Alan was three, we moved here to Wembley. I missed the East End but I got used to it here, all these houses were brand new and inhabited by newly-weds from wealthy Jewish families – although we weren’t in that category. They all started having babies, and I had my second son Anthony and my daughter Shelley. The grandparents used to come to visit and bring expensive toys and, as the gardens were open, the children ran into each others’ gardens, saying ‘This is was what my grandma and pa brought me!’ My kids weren’t jealous, they just used to say, ‘Bubba and Nanny are poor.’

Joey never left home, he lived with my mother in Sonning Buildings and they used to come here to visit at weekends. He was lovely little kid, he was the only one of us that wasn’t ginger, he was blond. He never had a proper job, only odd jobs. It was very difficult, but my mother never put him in an institution like a lot of people did in those days. He was always unwell, with chest problems, yet he was always chatty speaking to everyone. He was very interested in Politics and always talking about Money and the Country. Joey and me used to go to the cinema in Hoxton together to see Dick Powell and Ingrid Bergman films. We saw Gone With The Wind and came out crying.”

Milly is on the left  and her sister Leah on the right of this family group from the twenties

Milly is in the centre, Leah on the right and Maurice on the left of this family group

Joseph is in the centre, Milly on the left, Leah at the top and Maurice on the right

Milly as a young woman

Milly and her husband David Abrahams, as photographed by Boris of Whitechapel

Milly Abrahams, Dressmaker

Portraits copyright © Martin Usborne

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So Long, Joseph Markovitch

At Rinkoff’s Bakery

March 2, 2022
by the gentle author

Thank you to everyone who has so far contributed to my crowdfund to launch a COMMUNITY TOURISM PROJECT in Spitalfields as a BETTER ALTERNATIVE to the serial killer tours that monetise misogyny. We have raised three-quarters of our target now and we have twelve days left, so please spread the word.

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CLICK HERE TO SUPPORT THIS PROJECT

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Ray Rinkoff braids his Challah

At the outbreak of war, it is salutary to recognise the close connections between the East End and Ukraine. Many thousands of the refugees who fled here, escaping pogroms against Jewish people in the late nineteenth century and early twentieth century, came from this region. Here is just one of those stories.

“Hold on a few minutes, I’ve got something in the oven!” exclaimed Ray Rinkoff, when Contributing Photographer Sarah Ainslie & I arrived at his family-run bakery in Jubilee St, Whitechapel, founded by Hyman Rinkoff in 1911. “I always wanted to be a Baker,” Ray continued, a moment later. “My grandfather was a Master Baker who came over from the Ukraine and opened up in Old Montague St, but – although my father couldn’t boil an egg – the talent was passed on to me.”

In this corner of London, Rinkoff’s Bakery is a major cultural landmark yet they wear their legendary status lightly. In 1906, Master Baker Hyman arrived fleeing the pogroms in Kyiv and opened his shop five years later in Spitalfields opposite Black Lion Yard, lined with jewellers and known then as the Hatton Garden of the East End. All the family, uncles, cousins and aunts lived up above the bakery and worked in the business which flourished there until 1971 – when a compulsory purchase order presaged the demolition of the building, along with the rest of Old Montague St.

Since he was ten years old, Ray came in to work in the bakery during his school holidays and discovered a natural affinity with baking. “By the time I was twelve, my grandparents would pick me up in their car and bring me in and I got paid £2 a day,” Ray recalled fondly, “I used to help my grandfather Hyman with the baking, serve in the shop and make dough.” At fifteen years old in 1968, Ray wanted to go to Switzerland to train as a patissier but he settled for working at the Floris Bakery in Soho. “But then my dad said, ‘We’ve got problems at the bakery,’ so I came in to the family business and stayed,” Ray admitted to me, “I can’t imagine doing anything else.”

“I used to get up at two in the morning and be at work by three, to light the old ovens and warm them for two hours before we could start baking,” he confessed with a shrug, “and then I’d get home at nine at night, for ten years, seven days a week.” These days Ray takes it easy on himself by working a mere twelve hour day, five days a week.

In recent decades Rinkoff’s has operated from Jubilee St with a small shop and a large busy bakery behind, where the next generation have joined the family business. In 1982, Lloyd Rinkoff was only thirteen when his father told him he could either take Hebrew classes or work at the bakery on Sundays, so he chose the latter and stayed. More recently, in 2007, Jennifer Rinkoff joined and has expanded the bakery range to include Linzer biscuits and muffins.

“When you’ve worked hard all your life, you’re very proud of what you’ve got,” Ray assured me in haste, and then he had to run again because he had something in the oven.

Hyman Rinkoff, the founder

Max Rinkoff

The former shop in Jubilee St

The original shop in Old Montague St

Max in Old Montague St

Sylvie & Max Rinkoff

Max at the new bakery in Jubilee St

Rinkoff family group in Jubilee St with Ray (far right)

Lloyd, Jennifer & Ray Rinkoff

Aziz

Timothy, Head Pastry Chef – “I’ve been here thirty years”

Jamal

Sajez

Richard

Jennifer & Ray Rinkoff

New photographs copyright © Sarah Ainslie

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Night at the Brick Lane Beigel Bakery

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Charles Spurgeon’s Londoners

March 1, 2022
by the gentle author

Thank you to everyone who has contributed to my crowd-fund to launch a COMMUNITY TOURISM PROJECT in Spitalfields as a BETTER ALTERNATIVE to the serial killer tours that monetise misogyny. We have raised three-quarters of our target already, so please keep spreading the word.

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CLICK HERE TO SUPPORT THIS PROJECT

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Champion Pie Man – W.Thompson, Pie Maker of fifty years, outside his shop in the alley behind Greenwich Church

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Charles Spurgeon the Younger, son of the Evangelist Charles Haddon Spurgeon, took over the South St Baptist Chapel in Greenwich in the eighteen-eighties and commissioned an unknown photographer to make lantern slides of the street traders of Greenwich that he could use in his preaching. We shall never know exactly how Spurgeon showed these pictures, taken between 1884 and 1887, but – perhaps inadvertently – they became responsible for the creation of one of the earliest series of documentary portraits of Londoners.

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Hokey-Pokey Boy – August Bank Holiday, Stockwell St, Greenwich

Knife Grinder – posed cutting out a kettle bottom from a tin sheet

Rabbit Seller

Toy Seller – King William St outside Royal Naval College, Greenwich

Ginger Cakes Seller – King St, near Greenwich Park

Sweep

Shrimp Sellers – outside Greenwich Park

Crossing Sweeper (& News Boy) – Clarence St, Greenwich

Sherbert Seller – outside Greenwich Park

Third Class Milkman – carrying two four-gallon cans on a yoke, King William’s Walk, Greenwich

Second Class Milkman – with a hand cart and seventeen-gallon churn

Master Milkman – in his uniform, outside Royal Naval College, Greenwich

Chairmender – Corner of Prince Orange Lane, Greenwich

Kentish Herb Woman – Greenwich High Rd

Muffin Man

Fishmongers

Try Your Weight – outside Greenwich Park

Glazier

News Boy (& Crossing Sweeper) – delivering The Daily News at 7:30am near Greenwich Pier

Old Clo’ Man – it was a crime to dispose of infected clothing during the Smallpox epidemics of  the eighteen-eighties and the Old Clo’ Man plied a risky trade.

Blind Fiddler – outside Crowders’ Music Hall Greenwich

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Henry Mayhew’s Street Traders