David Kira Ltd, Banana Merchants
To anyone that knows Spitalfields, David Kira Ltd is a familiar landmark at 1 Fournier St next to The Ten Bells. Here, at the premises of the market’s foremost banana merchant – even though the business left nearly thirty years ago – the name of David Kira still stands upon the fascia to commemorate the family endeavour which operated on this site for over half a century.
This is a story of bananas and it began with Sam Kira in Southend, a Jewish immigrant from Poland who became naturalized in 1929 and started a company called “El Dorado Bananas.” Ten years later, his son opened up in Fournier St as a wholesaler, taking a lease from Lady Fox but having to leave the business almost at once when the war came, bringing conscription and wiping out the banana trade. Yet after the war, he built up the name of David Kira, creating a reputation that is still remembered fondly in Spitalfields and, since the shop remains, it feels as if the banana merchants only just left.
“When I first came to the market as a child of seven, we lived in Stoke Newington and took the 647 trolley bus to Bishopsgate and walked down Brushfield St. Every opportunity, I came down to enjoy the action and the atmosphere, and the biggest thrill was getting up early in the morning – I always remember being sent round to the Market Cafe to get mugs of tea for all the staff. When I joined my father David in 1962, aged sixteen, my grandfather Sam had died many years earlier. There was me and my father, John Neil (who had been with my father his entire working life), Ted Witt our cashier, two porters, Alf Lee and Billy Alloway (known as Billy the thief) and we had an empty boy. Our customers were High St greengrocers and market fruit traders, and we prided ourselves on only selling the best quality produce. Perhaps this was why we had a lot of customers. It was hard work and long working hours, getting up at half past four every morning to be at the market by five thirty. I used to sleep for a couple of hours in the afternoon when I got home, until about six, then I’d get up and return to bed at eleven until four thirty – I did that six days a week.
We received our shipments direct from Jamaica through the London Docks – bananas in their green state on long stalks – they arrived packed in straw on a lorry and it was very important that they be unloaded as soon as they arrived, whatever time of day or night the ship docked, because the enemy of the banana is the cold. They were passed by hand through a hatch in the floor to the ripening rooms downstairs – it took five days from arrival until they were saleable. Since the bananas came from the tropics, it was not so much the heat you had to recreate as the humidity. We had a single gas flame in the corner of each ripening room, the green bananas hung close together on hooks from the ceiling and, when the flame was turned down, a little ethylene gas was released before the door was sealed. Once they were ripened, they had to be boxed. You stood with a stalk of bananas held between your legs and struck off each bunch with a knife, placing it in a special box, three foot by one foot – a twenty-eight pound banana box.
During the sixties, dates were only sold at Christmas but in the seventies when the Bangladeshi people arrived, we started getting requests for dates during Ramadan. I contacted one of the dates suppliers and I asked him to send me thirty cases, and they were sold to Bengali greengrocers in Brick Lane before they even touched the floor. Subsequently, we sold as many dates as we could get hold of, more even than at Christmas. During this period, we also saw the decline of the High St greengrocers due to the supermarkets, however we found we were able to compensate for the loss of trade by fulfilling the requirements of the Asian community.
Eventually, they started importing pre-boxed bananas in the eighties, so our working practices changed and the banana ripening rooms became obsolete. My late father would be turning in his grave if he knew that bananas are now placed in cold storage, which means they will quickly turn black once they get home.
In 1991, when the market moved, we were offered a place in the new market hall but trading hours became a free-for-all and, although we started opening at three am, we were among the last to open. By then I was married and had children, and without the help of my father and John Neil who had both retired, I found it very difficult to cope. It was detrimental to my health – so, after a year, I sold the company as a going concern. I didn’t know what I wanted to do, but by chance I bumped into a colleague who worked in insurance and he introduced me to his manager. I realised in that type of business I could continue to be self-employed, so I trained and qualified and I have done that for the past twenty years. When I think back to the market, I only got two weeks a year holiday and I felt guilty even to put that pressure on my father and John Neil when I was away.”
Proud of his father’s achievement as a banana merchant, Stuart delighted to tell me of Ethel, the rat-catching cat – named after the ethylene gas – who loved to sleep in the warmth of the banana ripening rooms and of Billy Alloway’s tip of sixpence that he nailed to the wall in derision, which stayed there as his memorial even after he died. Stuart cherishes his memory of his time in the market, recognising it as a world with a culture of its own as much as it was a place of commerce. Today, the banana trade has gone from Spitalfields where once it was a way of life, now only the name of David Kira – heroic banana merchant – survives to remind us.
Sam Kira (far right) dealing in bananas in London and Southend.
Sam Kira’s naturalization papers.
David Kira at the Spitalfields Fruit Exchange – he is centre right in the fifth row, wearing glasses and speaking with his colleague.
The banana trade ceased during World War II.
David Kira as a young banana merchant
David Kira (left) with his son Stuart and business partner John Neil
David Kira and staff
Stuart Kira in the doorway of his former office of twenty years, where his father and grandfather traded for over fifty years
David Kira Ltd, 1991
First and last pictures copyright © Mark Jackson & Huw Davies, 1991
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Jimmy Huddart, Spitalfields Market Porter
Peter Thomas, Fruit & Vegetable Supplier
Ivor Robins, Fruit & Vegetable Purveyor
John Olney, Donovan Brothers Ltd
Jim Heppel, New Spitalfields Market
Blackie, the Last Spitalfields Market Cat
and take a look at these galleries of pictures
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 side-streets 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 1920. 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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Pomegranates At Leila’s Shop
Now is the season for pomegranates. All over the East End, I have spotted them gleaming in enticing piles upon barrows and Leila’s Shop in Calvert Avenue has a particularly magnificent display of glossy red Spanish ones. Only a few years ago, these fruit were unfamiliar in this country and I do remember the first time I bought a pomegranate and set it on a shelf, just to admire it.
My father used to tell me that you could eat a pomegranate with a pin, which was an entirely mysterious notion. Yet it was not of any consequence, because I did not intend to eat my pomegranate but simply enjoy its intriguing architectural form, reminiscent of a mosque or the onion dome of an orthodox church and topped with a crown as a flourish. This was an exotic fruit that evoked another world, ancient and far away.
As months passed, my pomegranate upon the shelf would dry out and wither, becoming hard and leathery as it shrank and shrivelled like the carcass of a dead creature. A couple of times, I even ventured eating one when my rations were getting low and I was hungry for novelty. It was always a disappointing experience, tearing at the skin haphazardly and struggling to separate the fruit from the pithy fibre. Eventually, I stopped buying pomegranates, content to admire them from afar and satiate my appetite for autumn fruit by munching my way through crates of apples.
Then Leila McAlister showed me the traditional method to cut and eat a pomegranate – and thus a shameful gap in my education was filled, bringing these alluring fruit to fore of my consciousness again. It is a simple yet ingenious technique of three steps. First, you cut a circle through the skin around the top of the fruit and lever it off. This reveals the lines that naturally divide the inner fruit into segments, like those of an orange. Secondly, you make between four and eight vertical cuts following these lines. Thirdly, you prise the fruit open, like some magic box or ornate medieval casket, to reveal the glistening trove of rubies inside, attached to segments radiating like the rays of a star.
Once this simple exercise is achieved, it is easy to remove the yellow pith and eat the tangy fruit that is appealingly sharp and sweet at the same time, with a compelling strong aftertaste. All these years, I admired the architecture of pomegranates without fully appreciating the beauty of the structure that is within. Looking at the pomegranate displayed thus, I can imagine how you might choose to eat it one jewel at a time with a pin. It made me wonder where my father should have acquired this curious idea about a fruit which was rare in this country in his time and then I recalled that he had spent World War II in the Middle East as a youthful recruit, sent there from Devon at the age of nineteen.
Looking at the fruit opened, I realised I was seeing something he had seen on his travels so many years ago and now, more than ten years after he died, I was seeing it for the first time. How magical this fruit must have seemed to him when he was so young and far away from home for the first time. They call the pomegranate ‘the fruit of the dead’ and, in Greek mythology, Persephone was condemned to the underworld because of the pomegranate seeds that she ate yet, paradoxically, it was the fabled pomegranate which brought my youthful father back to me when he had almost slipped from my mind.
Now, thanks to this elegant method, I can enjoy pomegranates each year at this time and think of him.
“its intriguing architectural form, reminiscent of a mosque or the onion dome of an orthodox church and topped with a crown as a flourish”
First slice off the top, by running a sharp knife around the fruit, cutting through the skin and then levering off the lid.
Secondly, make radiating vertical cuts through the skin following the divisions visible within the fruit – between four and eight cuts.
Thirdly, split open the pomegranate to create a shape like a flower and peel away the pith.
Leila’s Shop, 15-17 Calvert Avenue, London E2 7JP
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Vegetable Bags from Leila’s Shop
A Photograph of Jeremiah Donovan
Even five years after I published Horace Warner’s Spitalfields Nippers, new stories continue to appear about the subjects of these astonishing portraits taken in Quaker St around 1900
Jerry Donovan or ‘Dick Whittington & His Cat’
JEREMIAH DONOVAN was born in 1895 in the City of London. His parents Daniel, a news vendor, and Katherine Donovan lived at 14 Little Pearl St, Spitalfields. By 1901, the family were resident at Elizabeth Buildings, Boleyn Rd. In 1919, Jeremiah married Susan Nichols and they had one son, Bertram John Donovan, born in 1920.
I have always admired Horace Warner’s portrait of Jeremiah Donovan, not least because I know how hard it is to get a cat to look into the lens and it must have been especially difficult with a long exposure.
When we researched the lives of the Spitalfields Nippers, we were surprised by the range of outcomes. In spite of their modest beginnings, you could not generalise about their adult lives. We could not help becoming emotionally invested in their stories and were overjoyed when new facts came to light or living relatives got in touch. The brief biography above is all that we managed to discover about Jeremiah Donovan at that time.
You can imagine my delight when his granddaughter, Irene, contacted me recently with fond memories of Jeremiah – who she remembered as a quiet man. She was only thirteen he died and had never seen Horace Warner’s photograph until now. Sometimes people speculate whether Jeremiah was blind but she was able to dispel this notion, both he and his cat were simply photographed wincing into the sun.
There is a poignant quality to an account of an adult life when read while studying a picture of the child. Horace Warner’s portrait is a precious photograph because it is a rare piece of historical evidence of the Irish in the East End.
My response to Irene’s story is one of relief that Jeremiah Donovan lived until 1956 and died at the age of sixty-one – since around a third of the children in Horace Warner’s photographs did not reach adulthood. How fortunate he was to survive World War I and return and have a family.
Once you know the biography, his photograph becomes curiously emblematic. Jeremiah’s affinity with animals and his weak chest were to stay with him throughout his life
What I love about the stories of the Spitalfields Nippers is that they bridge the remote world of nineteenth century Spitalfields with our own present day.
JEREMIAH DONOVAN, my grandfather, by Irene Dean (Donovan)
‘His parents Daniel and Kathleen originated in Ireland, they came to England and settled in Spitalfields. He had two sisters, Kathleen and Bridget, and a brother, James, known as ‘Jimmy.’ He could have had more siblings but I do not recall any others being mentioned.
Jerry volunteered for World War I in 1914 when he was nineteen and was stationed at first at City of London Barracks in Moorgate. He joined the Royal Artillery and was gassed in France. As I child, I remember he always suffered with his chest.
The only photograph I ever recall seeing of him was as a very young man in his pill box hat and uniform with braid across the front. He told me that he looked after the horses for the gun carriages. After the war, I believe he worked in a cigarette factory on Kingsland Rd.
In the twenties, he lived with my grandmother – who I never met until after he died – in Kenning Terrace near Hoxton Market. The reason I did not meet her – Susan but known to us as ‘Betty’ until later was that she left Jerry when my dad was six years old and he was fostered by another family during the week while Jerry was at work.
My dad did not like the name of Bertram and was always known as ‘Jack.’ He was born in Kenning Terrace in 1920. My mum was also born in Hoxton in 1920 and they grew up together. She came from a family of eleven and my dad was best friends with her brother Joe, so he was always at her house.
My grandad was very good to my mum during World War II when my dad was away in the Eighth Army in North Africa and Italy. He made sure that my mum and I had what we needed if he could, so I grew up very close to him in place of my father.
My first memories are from when I was five, staying with my grandfather for weekends when he lived in Cowper Rd, Stoke Newington. Later I visited him in Boleyn Rd with my mother and sister, but by then he was very sick man – almost bed-bound.
At this funeral in 1956, there was only my dad, mum and me, together with his partner of many years, Emma – who disappeared days after the funeral and was never heard of again.
I think Jerry would be proud to know, after only having one child, that he has nine great-grandchildren who all doing well and flourishing. Many of whom have graduated from university.”
Click here to buy a copy of Spitalfields Nippers for £20
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An Astonishing Photographic Discovery
The Wax Sellers Of Wentworth St
Franceskka Abimbola, Franceskka Fabrics
On a rainy Sunday in Spitalfields when everything is grey, I wend my way to Wentworth St to visit the African textile stores, that glow like multicoloured lanterns illuminated in the dusk – where a troupe of magnificent women preside, each one a shining goddess in her own universe. A radiance which photographer Jeremy Freedman celebrates in his exuberant portraits.
Sunday is when it all happens in Wentworth St, when customers coming from as far as away as Aberdeen and the Netherlands converge to savour its wonders as the international destination for the best Holland Wax, French Lace, Swiss Voile and Headties to be found anywhere.
Weaving through the Petticoat Lane Market and pausing in the drizzle to gaze into the shop windows, you will spy the fine ladies of Wentworth St holding court in their shops to the assembled throng, simultaneously displaying the wit of matriarchs, the authority of monarchs and the glamour of movie-stars, and all dressed up to show off the potential of their textiles. Identified upon the fascias by their first names, as Franceskka Fabrics, Tayo Fashions & Textiles, and Fola Textile, many of these women put themselves forward personally as bold trendsetters, designing their own fabrics, defining the fashion and styling their customers too. In this, the oldest part of Spitalfields, the textile industry which has defined this neighbourhood for centuries is alive and thriving today thanks to the talents of these shrewd businesswomen of Wentworth St.
Franceskka Abimbola, whose business is the longest established here, welcomed me into her kaleidoscopic shop with mirrored ceiling and walls draped in lush fabrics, just as there was a brief lull in the mid-afternoon trade. “In the late eighties, I came here from Edinburgh to Petticoat Lane to buy this fabric and I found the dealers didn’t wear it and didn’t understand it,” she explained with a humorous frown, “I spoke to Solomon at Renee’s who introduced me to his supplier. So then I wanted to be the first African woman to open a shop, and I used to buy it and sell it from the back of a car. But when I spoke to the supplier about opening my own place, he said, ‘You want to open a shop and start selling my fabrics? I’m going to break you into pieces!'”
Undeterred, Franceskka bravely opened her shop in the Kingsland Rd – at a respectable distance – and, fourteen years ago, she was one of the very first to open in Wentworth St, thus initiating this extraordinary phenomenon where now every other shop here sells Wax, all fiercely competing with their own styles and prices. Thankfully, Franceskka is still in one piece and, in reward for her courage, she is a big success.
“Lots of Nigerian women came at first to buy and ask advice,” she revealed delightedly, “but then women from Gambia, Senegal, Sierra Leone, Zimbabwe and Ghana came too. Many didn’t know how to tie the headtie so I teach them how to do it.” With an unassuming relaxed presence, Franceskka, who has a Post Graduate Diploma in Business Studies, controls her international business empire from this tiny shop, extending to two more in Lagos and a third in Abuja. “I go to the fabric exhibitions in Paris and Spain to get inspiration, I design the fabrics myself and get them manufactured in Switzerland. The French Laces are in vogue at the moment and they are very expensive, but if it’s for a wedding people will go all out to look beautiful,” she said, with a delicate smile and lift of her brow, merely hinting at the razzle-dazzle on offer.
Banke Adetoro at Royal Fashions incarnates the notion of sassy with her extravagant eyelashes, constantly fluttering like butterflies. “There’s nothing you want that you can’t get here,” she informed me with an amused gesture of unqualified authority, when I dropped in, “I get all the latest stuff. I can do as many as twenty buying trips in a year. My shop is the biggest and the most beautiful!” You really need to visit this shop to experience the vast phantasmagoria of patterns on display.
By contrast, across the road at Tayo Fashions & Textiles, I met the alluring Tayo herself in her modestly-sized shop. “My mother used to do this back in Africa, and I picked it up,” she confided to me quietly, “I just started trading at home and through the church, and then I started in a small shop with a little help from the bank. Now I have a shop in Lagos too and I go three times a year.” Outlining the convenient balance between the trade in both continents, “At Christmas it’s busy there when it’s quiet here, and it’s busy here in the Summer when it’s quiet there,” she said. Tayo’s two sons help her out in the shop and I was fascinated that in every single shop I visited these women had their children present. In fact, most had come into it through their families and some already had their children working with them, and I found it an interesting contrast to the perceived dilemma between children and career that many European women face.
Betwixt the fabulous fabric shops in Wentworth St are those selling the accessories to complete the outfit, the gleaming metallic pointy shoes and matching bags in multiple colourways and, of course, the jewellery. My favourite is Beauty Stones, lined entirely with coral necklaces that cascade like a waterfall down the walls to create an environment enraptured like a magic cave in a fairy tale. “In the beginning of African culture, anyone that wears it will be honoured,” declared Onome, the gentle custodian of the coral, “In Africa, we believe it is more precious than gold but, in this market, I have realised that lots of people are in love with it too.” Standing proud, Onome who is a celebrant in her own tribe, gestured to the coral that surrounded her, feeling its benign presence. “It’s my mother’s business,” she continued fondly,”but when she died ten years ago I couldn’t let the business die too.” And today the business is lively, since Onome’s nine children work in the shop (two were adopted after her sister’s death) and, as we spoke, happy little children ran around our legs playing with strings of corals beads they were threading. “It’s really is lovely to look at – sometimes when I put my hand on a bead, it tells me what to do, how to make the necklace,” Onome admitted, clasping a string of coral in her hand, “and the children are very good at the beads too, it’s in the family.”
Speaking with the Wax sellers of Wentworth St, who taught me the Yoruba concept of “Aso- Ebi” – using co-ordinated textiles at a social gathering to express the inter-relationships of all the people there – I realised that these shops contain an entire cultural universe with its own sophisticated language spoken in the vocabulary of textiles. Fashion exists here but, more than this, each decision taken, both in the choice and combination of fabrics makes a personal statement, which gives every single outfit a vibrant poetry all of its own.
Sheba Eferoghene, Novo Fashions
Tayo Oladele, Tayo Fashions & Textiles
Onome Efebeh-Atano, Beauty Stones
Josephine Yokessa, Beauty Solutions
Tayo Raheem, Royal Fashions
Fola Mustapha, Fola Textile
Honey, Honey Textiles
Bola Ilori AKA Madame Boltex, Boltex Textiles
Veronica Ogunmola, Monique Texiles
Tayo Oladele, Tayo Fashions & Textiles
Benke Adetoro, Benke Fashions
Monique Azenabor, Monique Textiles
Franca Aina, Vina Textiles
Photographs copyright © Jeremy Freedman
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At Simpsons Chop House
Occasionally I make forays into the City of London to visit some of my favourite old dining places there, and Simpsons Chop House – in a narrow courtyard off Cornhill since 1757 – is one of the few establishments remaining today where the atmosphere of previous centuries still lingers. Thomas Simpson opened his “Fish Ordinary Restaurant” in 1723 in Bell Alley, Billingsgate, serving meals to fish porters, before moving to the current site in Ball Court, serving the City gents who have been the customers ever since.
Once you pass through the shadowy passage tapering from Cornhill and emerge into the sunlight descending upon Ball Court, you feel transported into a different era, as if you might catch a glimpse of Charles Dickens and William Thackeray arriving for one of their customary lunches from the office of the Cornhill Magazine next door. Ahead of you are the two seventeenth century dwellings combined by Thomas Simpson, where a menu unchanged in two hundred and fifty years is still served upon each of the three floors, in rooms that are domestic in scale, linked by the narrow staircases of a private house.
The lunchtime rush comes late, around one, which makes midday the ideal time to arrive – permitting the opportunity to climb the stairs and explore before the City gents arrive to claim their territory with high spirits worthy of schoolboys, and, most importantly, it affords a chance to introduce yourself to the noble ladies of Simpsons, who gather in the grill room on the ground floor from around eleven thirty for a light snack and a lively chat to brace themselves before meeting their admirers.
These fine waitresses preside with such regal authority and character, they welcome customers as if they were old friends come to pay court at their personal salon or boudoir. And it is only appropriate that it should be so, since Simpsons was the first establishment to employ waitresses at the beginning of the twentieth century, even though women were not admitted as diners until 1916 – which licences the current females, making up for more than two centuries of lost time.
The redoubtable leading ladies among the coterie of Simpsons’ chop house goddesses are Jean Churcher and Maureen Thompson, who have both been here over thirty years, know all the regular customers, and carry between them the stories and the spirit of this eminent landmark, which has an atmosphere closer to that of a private lunch club than a restaurant. “I do feel like I’ve been here since the eighteenth century,” admitted Maureen, chuckling with self-effacing humour, “I’ve served three Prime Minister’s grandsons, Macmillan, Lloyd George and Churchill.”
“Midday was the bankers, one o’clock was the insurance people from Lloyds and two o’clock was the metal exchange brokers, and then they’d all mix up,” recalled Jean, waving her hands in a gesture of crazed hilarity to communicate the innumerable long afternoons of merrymaking she has seen here, in the days when banks allowed their staff to drink at lunchtime. Let them tell you tales of the old days when the chops were grilled on an ancient contraption which set the chimney on fire with such regularity that patrons would simply take up their lunch plates and copies of the Financial Times, and step out into the courtyard until the fire brigade appeared.
Before too long, the first diners arrived to interrupt our tête à tête, and I was despatched to the nether regions of the basement to meet the object of all the ladies’ affections, Scotsman Jimmy Morgan, still lithe and limber at seventy-eight, and cycling twenty miles every day thanks to a pacemaker and an artificial hip. I found Jimmy in his tiny burrow of an office deep beneath the chop house, sorting out paperwork. “I worked as a waiter at the George & Vulture next door for three years and E.J.Rose & Co, the company who were reopening Simpsons in 1978, after a two year closure, offered me the job as manager.” he explained to me politely in his lilting Glaswegian cadence,”It was a success right away, people were waiting for it to reopen. We did a free day on the first day to get in touch with all our old customers who worked around the corner.”
“I think my name’s still above the door and it’s gone all brown, it needs a wash. I was going to retire fifteen years ago but they asked me to stay on and , as my assistant manager was a friend, a waiter from the George & Vulture days, I asked if we could swap wages because I wanted him to get more money. I come in two days now. I live in New Eltham. I bicycle, I used to come by train but I’ve been coming by bike for nigh on twenty years. It takes me an hour, I tie it up on the railings and that’s it. It’s not too bad in this heat, I take my jacket off and put it in the saddle bag.”
Down in the cellar bar, the customers had not begun to arrive yet and, since we were alone, Jean took this discreet opportunity to bring out her calendar from under the counter, featuring all the staff in their birthday suits. My eyes popped at the impressive pairs of stiltons and jugs of ale placed strategically in these images, while Jean confided that she had been diagnosed with breast cancer in 2007 at the age of fifty-seven and that Clive Ward the current manager had lost his wife to cancer. Consequently, the staff got together and decided, as an act of solidarity, to bare all for this calendar which sold out within six weeks to their customers, raising more than ten thousand pounds for charity. It was indicative of the unique sense of community that exists at Simpsons chop house, where diners return, even long after they have retired, to maintain friendships with those they have known all their working lives.
Climbing the stairs again up to the sunlight in Ball Court, I found it full of City gents chattering like a flock of birds. There I met Alex who has been coming since 1972. “The menu hasn’t changed since then,” he reassured me, ‘The stewed cheese is still a favourite.”
Awaiting the lunchtime rush at Simpsons, the oldest tavern in the City of London.
Jimmy Morgan, manager since 1978, cycles ten miles from Eltham to Cornhill and back
Jean Churcher, Queen of the basement bar
In the Grill Room
Maureen Thompson, Queen of the Grill Room
The brass rails were installed for the top hats of the gentlemen of the stock exchange and the bowler hats worn by the brokers
In Ball Court
Clive Ward, manager
Emerge into the sunlight descending upon Ball Court and you feel transported into a different era
The staff of Simpsons in 1922
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Peri Parkes’ East End
One of the great joys of compiling my book East End Vernacular, artists who painted London’s East End streets in the 20th Century was discovering artists who were new to me.
An outstanding example was Peri Parkes who painted the East End in the eighties and is now to have the first solo show of his paintings posthumously at Town House Gallery in Spitalfields, opening on Friday 22nd November and running until 8th December.
Many of these paintings are being hung publicly for the first time.
Email fiona@townhousespitalfields.com to attend the preview on Thursday 21st November.
House in the East, 1980-81
It was through the artist Doreen Fletcher, who is celebrated for her paintings of the East End, that I first learnt about the work of Peri Parkes.
Doreen wrote, ‘My good friend Peri Parkes was perhaps the artist with the most integrity I have ever met. His standards were so high that he was reluctant to exhibit anything he produced, always finding the outcome lacking somehow. Fellow artists tried hard to persuade him to have a one man show to no avail. He painted the East End assiduously during the eighties until he took a teaching post in Cornwall in 1992, however he continued to revisit to Bow right up until his death too soon at the age of fifty-six.’
On Doreen’s recommendation, I took the train to Hertford to meet Peri’s daughters, Lucie & Zoe who showed me fifty of their father’s paintings which have been mostly stored in a cupboard since he died in 2009. The quality and significance of this work was immediately apparent and I knew at once that I must devote a chapter in my book East End Vernacular, Artists Who Painted London’s East End Streets in the 20th Century to celebrate the rare talent and rigorous vision of Peri Parkes.
Out of the tragedy of a broken relationship, Peri Parkes created a transcendent series of paintings and it is impossible not to touched by the self portraits that he included in his work, of the lonely man walking in the park or climbing onto his bike.
Lucie & Zoe are the custodians of this legacy and they spoke affectionately to me about their father as we sat surrounded by his wonderful paintings.
Zoe – My father was from Hampstead Garden Suburb in Finchley. He had a Greek mother – who named him Pericles, she came from quite a well-to-do family and his father was a solicitor. Dad was born and grew up there but he left home very young, about sixteen. Then he met Lindsey, my mum, and they had me when he was just eighteen. My grandmother bought a house in Ridge Rd Crouch End and we all lived there.
Lucie – When he was nineteen, he got a scholarship to the Slade. I should add that when he was sixteen, he went off to Afghanistan, back-packing. He and mum first met at the railway station, just before he was about to leave and there was obviously a spark. Once he came back, they met up again and married when he was eighteen and mum was seventeen.
Zoe – When I was a baby, he used to take me off to college with him. He put me on his back and off we would go to the Slade.
Lucie – Mum had agoraphobia after she had Zoe, so he had to take her with him – a nineteen-year-old with his baby.
Zoe – They split up when I was six and Lucie was three, around 1979. He went to stay with his friend Martin Ives in a prefab in Conder St, Stepney and we stayed with our mum in her mum’s house. After that he got a housing association flat next to Bow Rd Station and then he moved just around the corner to Mornington Grove.
Lucie – He never had a studio, he just painted in the flat where he lived. He was completely unmaterialistic and his whole flat was his studio with bare floors, bare walls, furniture that he picked up from skips or off the street, boxes and then piles and piles of paints. All over the furniture there was paint splatters and full ashtrays. He did not really ever think about comfort.
Zoe – He was so driven by painting. He had a one track mind. He did not really want anything else in life but to be able to paint and to go to the pub.
Lucie – We used to go and stay with him every other weekend in the prefabs and hang around in the back yard, I remember doing snail races and counting slugs while he painted.
Zoe – He took us round galleries quite a lot, which as children was quite boring to us – but he used to get very enthusiastic about things he wanted to see.
Lucie – To say he was very self-absorbed is only half the picture because he was not egotistical, he was actually quite a humble person, and a loving and affectionate dad. I remember lying in bed in the prefabs when it was freezing cold and he used to tell us stories, and they were brilliant. We loved him and loved being with him, but he was not really able to give to his relationships because everything was about painting.
Zoe – I think he struggled with depression a lot, whether it was to do rejection as an artist or with not getting things right. He was a real perfectionist and he had massive temper flare ups if he was not satisfied with his work. Yet he had a real community in London. He used to go to the Coborn Arms every night and he had a crew of friends there.
Lucie – Nothing he did was ever right or good enough for him. He was always striving to be better. He could not give his paintings away let alone sell them but, if he did give one away to a family member, he took it back because it was not quite good enough. If he was here now, he would be looking at his paintings, very dissatisfied, and he would want to make changes.
He was driven to paint what he saw in front of him. I do not think he was driven to tell the story of the East End, it was just that, wherever he was, he painted obsessively to capture what he was seeing. Most of them are from his window in his living room or the back of his prefab.
Zoe – He was always submitting pictures for exhibitions and competitions, and he took the rejection quite personally.
Lucie – When his relationship broke down with mum he was deeply hurt. I think the more things went wrong in his life, the more he channelled everything into painting. I can remember him taking us home on the tube once and him looking at us and tears pouring down his face. That sticks with me because I knew then that he really cared and was hurt by the whole thing, but he could not express any of that – it all went into his painting.
Zoe – I look at these paintings and I see them as dad’s life at the time, from the time arrived in the East End in 1977 until he left in 1992. The style at the beginning is quite different from the later ones. He went on holiday to the tiny town of St Just on the farmost westerly point of Cornwall and fell in love with it. The day after returning from holiday he saw a job for a part time art teacher there in the newspaper, it was like an act of fate. He had taught Art at the Blessed John Roche School in Poplar and he wanted out of London. He loved it in Cornwall and lived in the most remote place. He said Cornwall was as close as he could get to Greece in this country.
Arnold Circus, 1990-92
The Dinner Ladies, c.1986-9 (Wellington Way School, Bow E3)
Wellington Way School E3, 1985-6
Bow Triangle in Winter, 1990-92
The Departure, c.1992-4 (Mornington Grove, Bow E3)
Bow Church, c.1987-92
Conder St, Stepney, 1977-80
Conder St, Stepney, c.1980
City view from St Bernard’s School, St Matthew’s Row, E2, c.1987 (Click on this image to enlarge)
Paintings copyright © Estate of Peri Parkes
