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Charles Jones, Gardener & Photographer

June 20, 2020
by the gentle author

Garden scene with photographer’s cloth backdrop c.1900

These beautiful photographs are all that exist to speak of the life of Charles Jones. Very little is known of the events and tenor of his existence, and even the survival of these pictures was left to chance, but now they ensure him posthumous status as one of the great plant photographers. When he died in Lincolnshire in 1959, aged 92, without claiming his pension for many years and in a house without running water or electricity, almost no-one was aware that he was a photographer. And he would be completely forgotten now, if not for the fortuitous discovery made twenty-two years later at Bermondsey Market, of a box of hundreds of his golden-toned gelatin silver prints made from glass plate negatives.

Born in 1866 in Wolverhampton, Jones was an exceptionally gifted professional gardener who worked upon several private estates, most notably Ote Hall near Burgess Hill in Sussex, where his talent received the attention of The Gardener’s Chronicle of 20th September 1905.

“The present gardener, Charles Jones, has had a large share in the modelling of the gardens as they now appear, for on all sides can be seen evidence of his work in the making of flowerbeds and borders and in the planting of fruit trees. Mr Jones is quite an enthusiastic fruit grower and his delight in his well-trained trees was readily apparent…. The lack of extensive glasshouses is no deterrent to Mr Jones in producing supplies of choice fruit and flowers… By the help of wind screens, he has converted warm nooks into suitable places for the growing of tender subjects and with the aid of a few unheated frames produces a goodly supply. Thus is the resourcefulness of the ingenious gardener who has not an unlimited supply of the best appurtenances seen.”

The mystery is how Jones produced such a huge body of photography and developed his distinctive aesthetic in complete isolation. The quality of the prints and notation suggests that he regarded himself as a serious photographer although there is no evidence that he ever published or exhibited his work. A sole advert in Popular Gardening exists offering to photograph people’s gardens for half a crown, suggesting wider ambitions, yet whether anyone took him up on the offer we do not know. Jones’ grandchildren recall that, in old age, he used his own glass plates as cloches to protect his seedlings against frost – which may explain why no negatives have survived.

There is a spare quality and an uncluttered aesthetic in Jones’ images that permits them to appear contemporary a hundred years after they were taken, while the intense focus upon the minutiae of these specimens reveals both Jones’ close knowledge of his own produce and his pride as a gardener in recording his creations. Charles Jones’ sensibility, delighting in the bounty of nature and the beauty of plant forms, and fascinated with variance in growth, is one that any gardener or cook will appreciate.

Swede Green Top

Broad Beans

Stokesia Cyanea

Turnip Green Globe

Bean Longpod

Potato Midlothian Early

Pea Rival

Onion Brown Globe

Cucumber Ridge

Mangold Yellow Globe

Bean (Dwarf) Ne Plus Ultra

Mangold Red Tankard

Seedpods on the head of a Standard Rose

Ornamental Gourd

Bean Runner

Apple Gateshead Codlin

Captain Hayward

Larry’s Perfection

Pear Beurré Diel

Melon Sutton’s Superlative

Mangold Green Top

Charles Harry Jones (1866-1959) c. 1904

Charles Jones photographs are currently being exhibited at the Michael Hoppen Gallery

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George Cruikshank’s London Summer

June 19, 2020
by the gentle author

JULY 1838 – Flying Showers in Battersea Fields

Should you ever require it, here is evidence of the constant volatility of English summer weather, courtesy of George Cruikshank’s Comic Almanack published by Henry Tilt of Fleet St annually between 1835 & 1853, illustrating the festivals and seasons of the year for Londoners. (Click on any of these images to enlarge)


JUNE 1835 At the Royal Academy


JUNE 1836 – Holidays at the Public Offices


JUNE 1837 – Haymaking

JULY 1835 At Vauxhall Gardens

JULY 1836 – Dog Days in Houndsditch

JULY 1837 – Fancy Fair

AUGUST 1836 – Bathing at Brighton

AUGUST 1837 – Regatta

SEPTEMBER 1835 – Bartholomew Fair

SEPTEMBER 1837 – Cockney Sportsmen

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Suresh Singh, The Cockney Sikh, On Zoom

June 18, 2020
by the gentle author

Stefan Dickers and Suresh Singh will be in conversation on Zoom tomorrow, Friday 19th June at 6pm, showing Suresh’s family photographs and discussing his book A MODEST LIVING, MEMOIRS OF A COCKNEY SIKH. All are welcome at this free event which is part of Newham Heritage Month.

Click here for more information and tickets

Suresh Singh has been wearing this tank top since 1973

Perhaps everyone has a favourite piece of clothing they have worn for years? I always admired Suresh Singh’s jazzy tank top and I was astonished when he told me he has been wearing it for nearly half a century.

Suresh’s father Joginder Singh came to London from the Punjab in 1949 and the Singh family lived at 38 Princelet St longer than any other family in Spitalfields.

In our age of disposable fashion, the story of Suresh’s treasured tank top is an inspiring example of how a well made garment can be cherished for a lifetime.

“My mum made this tank top for me in 1973 when I was eleven. She had friends who all knitted and they had bits of wool left over – what you would call ‘cabbage’ –  so mum collected all these balls of different coloured wool. Otherwise, they would have been chucked away. She kept them in her carrier bag with her needles that she bought at Woolworths in Aldgate East. They were number ten needles.

Mum said to me, ‘Suresh, I’m going to knit you a tank top.’ I never asked her because dad had taught me that I should always be patient, but I think mum saw the twinkle in my eyes and she knew I wanted one. I had asthma, so it was to keep my chest warm. She knitted it over the winter, from November to January. Mum never had the spare time to spend all day long knitting, she had to do it in bits as she went along and keep putting it away.

Mum did not follow a pattern, she just looked at me and sometimes took measurements. It started getting really huge, so I said, ‘Mum, it’s going to be too big.’ She had a sense of scale, she did not draw round me and cut a pattern. Mum never did that. She replied, ‘You’ll grow into it.’ The idea was you would slowly grow into new clothes.

When my tank top was finished, it hung down to my knees and the armholes were at my waist, but Mum was adamant I would grow into it. I loved it because it was all the rainbow colours. There was red, then yellow, then black, then pink and that really beautiful green. It was so outrageous. No other Punjabi kid had one like it. They all wore Marks & Spencer or John Collier grey nylon jumpers, but I had this piece of art. To me, it was a masterpiece. It was so beautifully made, it was mum’s pride and joy. When I wore it, people would exclaim, ‘That tank top, mate, it’s classic!’ I would say, ‘Yeah, my mum made it.’ Sometimes, because it was too big, I could pull it up and tie it in a knot at the front.

Mum made it with such love that I have always kept it. Eventually, my children wore it, but I am claiming it these days. It is a one-off. What made the tank top special for mum was that she was making it for her son. People often say it is a work of art but mum never went to art school. She picked up the tradition of making something for your child. She put so much love into it and I wear it today and it is still really nice. It gives me comfort and it keeps my chest warm.

It has got swag, you know what I mean?

It fits me now.”


Suresh and his mum at 38 Princelet St

Suresh Singh aged four

Suresh Singh & Jagir Kaur at 38 Princelet St (Photograph by Patricia Niven)

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Click here to order a copy of A MODEST LIVING for £20

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A London Herbal

June 17, 2020
by Margaret Willes

Margaret Willes introduces her new book The Domestic Herbal, Plants for the Home in the Seventeenth Century published by the Bodleian Library on 26th June
Mugwort
Artemisia vulgaris

London grew rapidly from the late fifteen-hundreds, becoming the largest city in western Europe by the end of the next century. The possession of a garden was a luxury for the few, so markets were a vital source of fruit and vegetables for the table, along with herbs for seasoning and remedies.

The number of doctors in London in relation to the population was tiny, no more than a hundred were licensed by the Royal College of Physicians in the seventeenth century. Their treatments were not only expensive but sometimes drastic, based on purgative drugs and bloodletting. One woman summed up this situation in trenchant terms, ‘Kitchen physic I believe is more proper than the Doctor’s filthy physic.’ Housewives usually had charge of the health of their families and needed to know what herbs they required for a range of ailments.

Two herbals in particular offered a comprehensive survey. John Gerard, a barber surgeon, compiled his Herball, or Generall Historie of Plantes that was publishedin 1597. This provided not only information about the medicinal properties of herbs, fruit, vegetables and flowers, but also descriptions of their cultivation, often based on his own experience in his garden in Holborn. His book is huge, with over eighteen hundred woodcuts and so expensive that copies were passed down through generations just like the family bible.

Five years later came The English Physitian, a herbal by the radical apothecary, Nicholas Culpeper, who had his garden in Spitalfields. The subtitle, An Astrologo-Physical Discourse of the Vulgar Herbs of this Nation indicates his interest in the influence of the planets on medicine. His book had no illustrations because he wanted it priced at a few pence so that it could be widely available.

The seventeenth century saw women beginning to write their own household manuals. One was Mary Doggett’s, compiled at the very end of the century and now held in the British Library. She was the first wife of Thomas, theatre manager of Drury Lane Theatre and fondly remembered today for the annual  Doggett Coat & Badge race for Thames watermen. Mary’s book includes a wide range of recipes for cooking, distilling and brewing, for medicines, and care of the house.

Unlike many women of her time, Mary Doggett could read and write. Margaret Pepys, mother of the diarist Samuel, was a laundry maid who may well not have had her letters. But her son refers to Margaret sending out her maid to buy herbs from the market in Cheapside to cure his mouth ulcer. No doubt she learnt this remedy from her mother. Pepys does not specify the herbs but an early eighteenth-century recipe for mouth ulcers recommends rue, red sage, brambles and the leaves of ivy and honeysuckle added to vinegar and honey.


Garden Rue
Ruta Hortensis

Perhaps the greatest challenge facing seventeenth-century London households was the threat of bubonic plague. Brought by black rats on ships, it affected ports and spread to country villages as fleas were transferred to their brown cousins. There had been many visitations but the most devastating reached London in December 1664, known as the Great Plague.

The herb believed to be most efficacious against the plague was rue, known as the herb of grace because a bunch was added to holy water for exorcisms. John Gerard recommended mashing the leaves with the kernel of walnuts and figs as an antidote. A recipe ‘most esteemed of in the last Great Visitation’ was included in a printed cookery book seven years after the Great Plague. It took rue and sage and mixed them in wine with spices and a pennyworth of Mithridate. This last ingredient is named after Mithridates, ruler of Pontus in the first century BC, who was obsessed with the fear of being poisoned and had a remedy made up from no less than fifty-five herbs and spices. Apothecaries sold Mithridate, sometimes under the name Venetian Treacle.

The other most-feared disease was smallpox. While the plague proved most deadly for poorer people, living in close quarters, smallpox was no respecter of status, swooping upon the highest in the land. Several members of the royal family died from the disease, including Queen Mary in 1694 aged only thirty-two. Recipes for treating smallpox are rare, but one seventeenth century remedy, Lady Allen’s Water, used a range of herbs and flowers from the garden. Among these were powerful medicinal plants, such as henbane with painkilling properties, which was added to liquorice and white wine, and distilled.


Liquorice
Glycyrrhiza glabra

Smallpox left physical scars, particularly cruel when one of the most important signs of beauty was to have a fair, smooth face. One recipe advised that as the scabs of smallpox began to dry out, they should be treated with salves. John Gerard considered oil of figs to be particularly good, while rosewater was often added to bacon fat and applied. Many recipes called for rosewater. Damask roses were recommended because their stronger scent made them ‘fitter for meate and medicine’ according to Gerard. To make rosewater required such a very large amount of petals that country gardens often had beds set aside especially for the cultivation of roses. When Elizabeth I ‘persuaded’ the Bishop of Ely to give up his palace and garden in Holborn to her dancing partner favourite, Sir Christopher Hatton, he demanded that he should receive twenty bushels of rose petals each year. These surely would have been destined for the episcopal stillroom to make up into a water. One recommendation to Londoners was that they should purchase rose petals when there was a glut. Mary Doggett may have done this, although her recipe book includes a note that she purchased rose water for the goodly sum of £2 from her apothecary.


Damask rose
Rosa damascena

Mary used the rosewater in several of her recipes for keeping the house fragrant. One unusual idea was for aromatic beads, taking scented gums and rose water, and mixing them with the buds of Damask roses. These were coloured with lamp black, the soot collected from oil lamps, rolled in the hand with jasmine oil, and given a gloss before they were made into bracelets.

Housewives made up ‘sweet bags’ with flowers and herbs dried, powdered and distilled. Added to this mixture were aromatic gums expensively acquired from apothecaries or grocers, so it had to be long lasting. Unlike our potpourris, which are displayed in open bowls, the mixture would be kept in bags tightly sealed to retain the scent. One herb often used was sweet marjoram, which also featured in nosegays, carried to mask the smells of unwashed crowds, and against the plague.

Keeping houses sweet and clean presented a challenge. Floors were strewn with rushes acquired from barges that brought them to Thameside wharves. Added to these were sweet smelling herbs, such as bay and rosemary, which could be purchased from street vendors, as illustrated in Cries of London. The custom of strewing gradually declined with the century and instead straw matting was laid on floors. Marcus Laroon’s Cries of London of 1687 includes a pedlar offering door mats and strips of matting for the bedroom.


Seller of straw mats by Marcellus Laroon

A century earlier, a Dutch visitor remarked on how much the English appreciate flowers for their homes. Lemnius Levinus in his diary noted ‘altho’ we do trimme up our parlours with green boughes, fresh herbes or vine leaves scented … yet no nation does it more decently, more trimmely, nor more sightly than they do in England’. At Christmas evergreen shrubs and branches were brought in to decorate the house, a tradition that endures.


Orpine
Hylotelephium telephium

There was also a floral tradition at the opposite part of the year, to celebrate the festival of St John the Baptist on 24th June. John Stow in his chronicles of London described how every door was garlanded with birch, fennel, orpine and lilies. Orpine, a sedum, has the alternative names of ‘livelong’ because of its lasting qualities, and ‘midsummer men’ because of its connections with the summer festival. Another herb connected with midsummer was mugwort, which Culpeper attributed to Venus, hastening delivery in childbirth. Along with St John’s Wort, the herb was burnt on St John’s Eve to purify communities, probably one of a series of examples of how a pagan practice was adopted by the Church.

 
St John’s Wort
Hypericum perforatum

Woodcuts from Gerard’s Herbal © Bodleian Library

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A Brief Account of East End Garden History

The Shops of Old London

June 16, 2020
by the gentle author

Lack of social distancing at the butchers, Hoxton St c.1910

Are you wary about going shopping? Why not consider visiting the shops of old London instead? There are no supermarkets or malls but plenty of other diversions to captivate the eager shopper, without the requirement of hand sanitiser.

These glass slides once used for magic lantern shows by the London & Middlesex Archaeological Society at the Bishopsgate Institute offer the ideal consumer experience for a reluctant browser such as myself since, as this crowd outside a butcher in Hoxton a century ago illustrates, shopping in London has always been a fiercely competitive sport.

Instead of wearing masks and gloves, we can enjoy window shopping in old London safe from the temptation to pop inside and buy anything – because most of these shops do not exist anymore.

Towering over the shopping landscape of a century ago were monumental department stores, beloved destinations for the passionate shopper just as the City churches were once spiritual landmarks to pilgrims and the devout. Of particular interest to me are the two huge posters for Yardley that you can see in the Strand and on Shaftesbury Avenue, incorporating the Lavender Seller from Francis Wheatley’s Cries of London, originally painted in the seventeen-nineties. There is an intriguing paradox in this romanticised image of a street seller of two centuries earlier, used to promote a brand of twentieth century cosmetics that were manufactured in a factory in Stratford and sold through a sleek modernist flagship store, Yardley House, in the West End.

Wych St, lined with medieval shambles that predated the Fire of London and famous for its dusty old bookshops and printsellers is my kind of shopping street, demolished in 1901 to construct the Aldwych. Equally, I am fascinated by the notion of cramming commerce into church porches, such as the C. Burrell, the Dealer in Pickled Tongues & Sweetbreads who used to operate from the gatehouse of St Bartholomew the Great in Smithfield and E.H. Robinson, the optician, through whose premises you once entered  St Ethelburga’s in Bishopsgate. Note that a toilet saloon was conveniently placed next door for those were nervous at the prospect of getting their eyes tested.

So let us set out together to explore the shops of old London. We do not need to worry about social distancing. We do not need a shopping basket. We do not need a list. We do not even need to pay. We are shopping for wonders and delights. And we shall not have to carry anything home. This is my kind of shopping.

Optician built into St Ethelburga’s, Bishopsgate, c.1910

Decorators and Pencil Works, Great Queen St, c.1910

Newsagent and Hairdresser at 152 Strand, c.1930

Dairy and ‘Sacks, bags, ropes, twines, tents, canvas, etc.’ Shop, c. 1940

Liberty of London, c.1910

Regent St, c.1920.

Harrods of Knightsbridge, c.1910

The Fashion Shoe Shop, c.1920 “Repetiton is the soul of advertising”

Evsns Tabacconist, Haymarket, c.1910

F. W. Woolworth & Co. Ltd. 3d and 6d store, c.1910

Finnigan’s of New Bond St, gold- & silversmiths, c.1910

Achille Serre,Cleaner & Dyers, c. 1920

Old Bond St. c. 1910

W.H.Daniel, Cow Keeper, White Hart Yard, c.1910

John Barker & Co. Ltd., High St Kensington, c.1910

Tobacconist, Glovers and Shoe Shop, c.1910

Ford Showroom, c.1925

Civil Service Supply Association, c. 1930

Swears & Wells Ltd, Ladies Modes, c. 1925

Glave’s Hosiery, c 1920

Shopping in Wych St, c. 1910 – note the sign of the crescent moon.

Horne Brothers Ltd, c. 1920

Tobacconist, High Holborn, c. 1910

Yardley House, c. 1930

Peter Jones, Oxford St, c. 1920

Confectionery Shop, corner of Greek St and Shaftesbury Ave, c. 1930

Bookseller, Wych St, c. 1890

Pawnbroker, 201 Seven Sisters Rd, Finsbury Park, c. 1910

Bookseller &  Tobacconist and Dealer in Pickled Tongues at the entrance to St Bartholomew’s, Smithfield, c. 1910

Oxford Circus, c. 1920

Glass slides copyright © Bishopsgate Institute

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Summer At Bow Cemetery

June 15, 2020
by the gentle author

At least once each Summer, I direct my steps eastwards from Spitalfields along the Mile End Rd towards Bow Cemetery, one of the “Magnificent Seven” created by act of Parliament in 1832 as the growing population of London overcrowded the small parish churchyards. Extending to twenty-seven acres and planned on an industrial scale, “The City of London and Tower Hamlets Cemetery” as it was formally called, opened in 1841 and within the first half century alone around a quarter of a million were buried here.

Although it is the tombstones and monuments that present a striking display today, most of the occupants of this cemetery were residents of the East End whose families could not afford a funeral or a plot. They were buried in mass public graves containing as many as forty bodies of random souls interred together for eternity. By the end of the nineteenth century the site was already overgrown, though burials continued until it was closed in 1966.

Where death once held dominion, nature has reclaimed the territory and a magnificent broadleaf forest has grown, bringing luxuriant growth that is alive with wildlife. Now the tombstones and monuments stand among leaf mould in deep woods, garlanded with ivy and surrounded by wildflowers. Tombstones and undergrowth make one of the most lyrical contrasts I can think of – there is a beautiful aesthetic manifest in the grim austerity of the stones ameliorated by vigorous plant life. But more than this, to see the symbols of death physically overwhelmed by extravagant new growth touches the human spirit. It is both humbling and uplifting at the same time. It is the triumph of life. Nature has returned and brought more than sixteen species of butterflies with her.

This is the emotive spectacle that leads me here, turning right at Mile End tube station and hurrying down Southern Grove, increasing my pace with rising expectation, until I walk through the cemetery gates and I am transported into the green world that awaits. At once, I turn right into Sanctuary Wood, stepping off the track to walk into a tall stand of ivy-clad sycamores, upon a carpet of leaves that is shaded by the forest canopy more than twenty metres overhead and illuminated by narrow shafts of sunlight descending. It is sublime. Come here to see the bluebells in Spring or the foxgloves in Summer. Come at any time of the year to find yourself in another landscape. Just like the forest in Richard Jefferies’ novel “After London,” the trees have regrown to remind us what this land was once like, long ago before our predecessors ever came here.

Over time, the tombstones have weathered and worn, and some have turned green, entirely harmonious with their overgrown environment, as if they sprouted and grew like toadstools. The natural stillness of the forest possesses greater resonance between cemetery walls and the deep green shadows of the woodland seem deeper too. There was almost no-one alive to be seen on the morning of my visit, apart from two police officers on horseback passing through, keeping the peace that is as deep as the grave.

Just as time mediates grief and grants us perspective, nature also encompasses the dead, enfolding them all, as it has done here in a green forest. These are the people who made East London, who laid the roads, built the houses and created the foundations of the city we inhabit. The countless thousands who were here before us, walking the streets we know, attending the same schools, even living in some of the same houses we live in today. The majority of those people are here now in Bow Cemetery. As you walk around, names catch your eye, Cornelius aged just two years, or Eliza or Louise or Emma, or Caleb who enjoyed a happy life, all over a hundred years ago. None ever dreamed a forest would grow over their head, where people would come to walk one day to discover their stones in a woodland glade. It is a vision of paradise above, fulfilled within the confines of the cemetery itself.

As I made my progress through the forest of tombstones, I heard a mysterious noise, a click-clack echoing through the trees. Then I came upon a clearing at the very heart of the cemetery and discovered the origin of the sound. It was a solitary juggler practicing his art among the graves, in a patch of sunlight. There is no purpose to juggling than that of delight, the attunement of human reflexes to create a joyful effect. It was a startling image to discover, and seeing it here in the deep woods – where so many fellow Londoners are buried – made my heart leap. In the vast wooded cemetery there was just me, the numberless dead and the juggler.

Find out more at Friends of Tower Hamlets Cemetery Park

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The Statues Of Old London

June 14, 2020
by the gentle author

London is a city of statues that we mostly ignore until their meaning is pointed out to us. Then we have to consider the suitability of those whom we choose to glorify in this way and thus we constantly renegotiate our relationship with history as culture evolves. Here are the statues of old London, photographed a century ago by the London & Middlesex Archaeological Society for magic lantern shows at the Bishopsgate Institute.

Queen Anne gazes down Ludgate Hill, c.1910

Nelson’s Column in Trafalgar Sq, c. 1910

Achilles in Hyde Park, c. 1910

Prince Albert, c. 1910

Alfred the Great in Trinity Sq, Southwark, c. 1910

Charles II, c. 1910

Caroline of Brunswick, c. 1910

Thomas Coram, c. 1910

Charles Darwin in the Natural History Museum, c. 1910

John Franklin, c. 1910

General Gordon in Trafalgar Square, c. 1910

Crimean Memorial, c. 1900

Rowland Hill in King Edward St, c. 1910

Capt Maples at Trinity Almshouse, Mile End Rd,  c. 1920

Gog at the City of London Guildhall, c. 1910 – note the box camera caught in the left corner of the frame

Magog at the City of London Guildhall, c. 1910

Richard the Lionheart in Palace Yard, c. 1910

Sir Hans Sloane in Apothecaries’ Gardens, Chelsea, c. 1920

Temple Bar, Fleet St, c. 1870

Queen Anne at St Paul’s Cathedral, c. 1920

James II, c. 1910

House of Parliament, St Stephen’s Hall, c. 1920

One of Landseer’s lions at the base of Nelson’s Column, c. 1910

George Peabody, c. 1910

Peter Pan in Kensington Gardens, c. 1915

Physical Energy in Kensington Gardens, c. 1910

Duke of Wellington, c. 1910

Wellington Arch at Hyde Park Corner, c. 1880

Duke of York’s Column at Waterloo Place, c. 1900

Images courtesy Bishopsgate Institute

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