At The Boar’s Head Parade
The annual Boar’s Head Parade in the City of London takes place this afternoon at 3pm
When I arrived at The Worshipful Company of Butchers, I was greeted outside their Hall in St Bartholomew’s Close by Neil Hunt, the Beadle. Already a small crowd were gathered, eagerly awaiting the annual appearance of the celebrated Boar’s Head, marking the beginning on the Christmas season in London.
This arcane tradition has its origin in 1343 when the Lord Mayor, John Hamond, granted the Butchers of the City of London use of a piece of land by the Fleet River, where they could slaughter and clean their beasts, for the token yearly payment of a Boar’s Head at Christmas.
To pass the time in the drizzle, the Beadle showed me his magnificent staff of office dating from 1716, upon which may be discerned a Boar’s Head. “Years ago, they had a robbery and this was the only thing that wasn’t stolen,” he confided to me helpfully, ” – it had a cover and the thieves mistook it for a mop.”
Before another word was spoken, a posse of members of the Butcher’s Company emerged triumphant from the Hall in blue robes and velvet hats, with a livid red Boar’s Head carried aloft at shoulder height, to the delighted applause of those waiting in the street. Behind me, drummers of the Royal Logistics Corps in red uniforms gathered and City of London Police motorcyclists in fluorescent garb lined up to receive instructions from Ian Kelly, the Master of the Company.
Everyone assembled to pose for official photographs with the perky red ears of the Boar sticking up above the crowd, providing the opportunity for a closer examination of this gloss-painted paper mache creation, sitting upon a base of Covent Garden grass and surrounded by plastic fruit. As recently as 1968, a real Boar’s Head was paraded but these days Health & Safety concerns about hygiene require the use of this colourful replica for ceremonial purposes.
The drummers set a brisk pace and before I knew it, the parade was off down Little Britain, preceded by the police motorcyclists halting the traffic. For a couple of minutes, the City stopped – astonished passengers leaned out of buses and taxis, and office workers reached for their phones to capture the moment. It made a fine spectacle advancing down Cheapside, past St Mary Le Bow, with the sound of drums echoing and reverberating off the tall buildings.
The rhythmic clamour accompanying the procession in their dark robes, with the Boar’s Head bobbing above, evoked the ancient drama of the City of London and, as they paraded through the gathering dusk towards the Mansion House looming in the east on that occluded winter afternoon, I could not resist the feeling that they were marching through time as well as space.
Neil Hunt, Beadle of The Worshipful Company of Butchers
The Beadle’s staff dates from 1716
Leaving St Bartholomew’s Close
Advancing through Little Britain
Entering Cheapside
Passing St Mary Le Bow
In Cheapside
Approaching the Mansion House
The Boar’s Head arrives at the Mansion House
Photographs copyright © Estate of Colin O’Brien
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The Trade Cards Of Old London
Is your purse or wallet like mine, bulging with old trade cards? Do you always take a card from people handing them out in the street, just to be friendly? Do you pick up interesting cards in idle moments, intending to look at them later, and find them months afterwards in your pocket and wonder how they got there? So it has been for over three hundred years in London, since the beginning of the seventeenth century when trade cards began to be produced as the first advertising. Here is a selection of cards you might find, rummaging through a drawer in the eighteenth century.
Images courtesy Bishopsgate Institute
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In Old Marylebone
I took the Metropolitan Line from Liverpool St Station over to Baker St and spent a pleasant afternoon exploring the wonders of Marylebone. Peeling off from the teeming crowds heading for Madame Tussauds and the Planetarium, I crossed Euston Rd to the parish church of St Mary, that once stood upon the banks of the bourne which gives the place its name and flowed south from here towards Oxford St where it became the Tyburn. Thomas Hardwick’s cool classicism of 1813 promised a welcome respite from the clamour of the traffic racing past outside, an effect only marginally undermined by the array of gruesome Lentern sculptures of the Crucifixion including a skeleton carrying a cross.
From here, I took the shortcut through the cobbled churchyard, beside St Marylebone School founded as the Day School of Industry in 1791, and turned right past the obelisk commemorating Charles & Sarah Wesley that commands a tiny yard, offered now as a garden of ease and reflection for exhausted shoppers struggling up from Oxford St. Lest I should get distracted by the fancy shops in the High St myself, I turned right again into Paddington St to peer into James Taylor & Sons, Shoemakers since 1857, when the founder walked from Norwich to start the business.
Crossing the road, I entered the narrow Grotto Passage which offers a portal to another Marylebone than the affluence which prevails elsewhere. Through the passage, you discover the Grotto Ragged & Industrial School beside a huge Laundry House at the centre of Ossington Buildings, a nineteenth-century complex of social housing dating from 1888. These narrow streets lead you through to the seclusion of Paddington St Gardens, a former burial ground, bordered by iron bollards with St Mary Le Bone 1828 in relief. Here in the gardens, school children at play and mothers with their tots attest to the domestic life of Marylebone, while in Chiltern St I discovered Webster’s Ironmongers in business since 1870, a rare survivor of the traditional businesses that once lined these streets before the chain stores of Oxford St ventured northwards. The current owner has been behind the counter for thirty years, cherishing Websters as a temple to the glories of hardware and household goods.
Turning another corner into Manchester St, with its magnificent early nineteenth century terraces, delivered my return to the London of wealth, ascending in architectural grandeur as I strolled down towards Manchester Sq, commanded by The Wallace yet fascinating to me for the elaborate drinking fountain given by the Citizens of Shoreditch and the wrought iron curlicules of the decorative lamps upon the stucco villas. Turning east across Thayer St and into Marylebone Lane, the Golden Hind Fish Bar has long been a personal landmark with its immaculate fascia of 1914, perfect save the loss of the letter ‘D,’ spelling “Golden Hin…”
A different urban landscape opens up beyond the charismatic meander of Marylebone Lane, it is that of wide boulevards and tall mansions comprising Wimpole St and Harley St, interwoven by cobbled mews in which you can wander, as if behind the scenes at the theatre, observing the scenery from the reverse – where the mish-mash of accreted structures concealed by those impermeable facades are revealed. Leaving these exposed thoroughfares where the traffic hurtles through and the pavement grants no shelter to the lone pedestrian, I set out to walk west as the shadows lengthened, crossing Marylebone High St again and following Paddington St as it became Crawford St where the neighbourhood declines towards Edgeware Rd.
My destination was Robert Smirke’s St Mary’s Bryanston Sq of 1823, defining a favourite corner of Marylebone where, bordered by the Euston Rd, Edgeware Rd and Oxford St, a quiet enclave of old London persists.
Marylebone Parish Church by Thomas Hardwick 1813
Inside Marylebone Parish Church
Staircase by Thomas Hardwick
Memorial to Charles & Sarah Wesley in Marylebone High St
James Taylor & Sons Ltd, shoes made since 1857
The late Lord Butler’s lasts
Industrial dwellings in Grotto Passage
The Grotto Ragged & Industrial School, Established 1846
Looking through Grotto Passage towards Paddington St Gardens
Old mausoleum in Paddington St Gardens
Websters of Chiltern St since 1870
In Manchester St
Drinking fountain from Shoreditch now in the grounds of The Wallace
Decorative lamps in Manchester Sq
The Golden Hind Fish Bar of 1914 in Marylebone Lane
44 Wimpole St
“cobbled mews in which you can wander, as if behind the scenes at the theatre”
90 Harley St, London’s oldest dental practice established 1924
“the mish-mash of accreted structures concealed by those impermeable facades”
Daunt Books, Marylebone High St
Meacher, Higgins & Thomas, chemist since 1814 – Purveyors of photographic chemicals
St Mary’s, Bryanston Sq, by Robert Smirke
At Baker St, the return to Whitechapel
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The Dogs Of Old London
Click to enlarge
Sometimes in London, I think I hear a lone dog barking in the distance and I wonder if it is an echo from another street or a yard. Sometimes in London, I wake late in the night and hear a dog calling out to me on the wind, in the dark silent city of my dreaming. What is this yelp I believe I hear in London, dis-embodied and far away? Is it the sound of the dogs of old London – the guard dogs, the lap dogs, the stray dogs, the police dogs, the performing dogs, the dogs of the blind, the dogs of the ratcatchers, the dogs of the watermen, the cadaver dogs, the mutts, the mongrels, the curs, the hounds and the puppies?
Libby Hall, who has gathered possibly the largest collection of dog photography ever made by any single individual, helped me select the dogs of old London from her personal archive. We pulled out those from London photographic studios and those labelled as London. Then, Libby also picked out those that she believes are London. And here you see the photographs we chose. How eager and yet how soulful are these metropolitan dogs of yesteryear. They were not camera shy.
The complete social range is present in this selection, from the dogs of the workplace to the dogs of the boudoir, although inevitably the majority are those whose owners had the disposable income for studio portraits. These pictures reveal that while human fashions change according to the era and the class, dogs exist in an eternal universal present. Even if they are the dogs of old London and even if in our own age we pay more attention to breeds, any of these dogs could have been photographed yesterday. And the quality of emotion these creatures drew from their owners is such that the people in the pictures are brought closer to us. They might otherwise withhold their feelings or retreat behind studio poses but, because of their relationships with their dogs, we can can recognise our common humanity more readily.
These pictures were once cherished by the owners after their dogs had died but now all the owners have died too, long ago. For the most part, we do not know the names of the subjects, either canine or human. All we are left with are these poignant records of tender emotion, intimate lost moments in the history of our city.
The dogs of old London no longer cock their legs at the trees, lamps and street corners of our ancient capital, no longer pull their owners along the pavement, no longer stretch out in front of the fire, no longer keep the neighbours awake barking all night, no longer doze in the sun, no longer sit up and beg, no longer bury bones, no longer fetch sticks, no longer gobble their dinners, no longer piss in the clean laundry, no longer play dead or jump for a treats. The dogs of old London are silent now.
Arthur Lee, Muswell Hill, inscribed “To Ruby with love from Crystal.”
Ellen Terry was renowned for her love of dogs as much as for her acting.
W.Pearce, 422 Lewisham High St.
This girl and her dog were photographed many times for cards and are believed to be the photographer’s daughter and her pet.
Emberson – Wimbledon, Surbiton & Tooting.
Edward VII’s dog Caesar that followed the funeral procession and became a national hero.
A prizewinner, surrounded by trophies and dripping with awards.
The Vicar of Leyton and his dog.
The first dog to be buried here was run over outside the gatekeeper’s lodge, setting a fashionable precedent, and within twenty-five years the gatekeeper’s garden was filled with over three hundred upper class pets.
Libby Hall, collector of dog photographs.
Photographs copyright © The Libby Hall Collection at the Bishopsgate Institute
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Libby Hall, Collector of Dog Photography
Jonny Hannah’s Fast Cars & Ukeleles
Our friends at Mainstone Press in Mile End who are famous for their illustrated books of the works of Edward Bawden and Eric Ravilious have just published Jonny Hannah’s Fast Cars & Ukuleles. Every page of this eccentric alphabet book is full to bursting, crammed with visual detail and graphic delights celebrating the artist’s personal obsessions. Visit an exhibition of Jonny Hannah’s original artwork at Vout O Reenees in the crypt of the Catholic Martyrs’ Church at 30 Prescott St, E1 until mid-January.
A for America
B for Brel
C for Coney Island
D for Dead Man’s Suit
E for Emporiums
K for Knitted Ties
U for Ukelele
Click here to order a copy of Jonny Hannah’s Fast Cars & Ukeleles from Mainstone Press
Q for Quintessentially English
Images copyright © Jonny Hannah
At Fishmongers’ Hall
This palatial building of Portland stone tucked under the west side of the foot of London Bridge is Fishmongers’ Hall. Many a time I have passed by on an errand to the Borough to buy fresh fish and cast my eyes upon it. So – as one for whom the worship of fish is almost a religion – I was delighted to enter this temple to the wonders of the deep.
The Fishmongers’ Company were already long-established on this site when they received their first Royal Charter in 1272 from Edward I, the fish-loving king, and their earliest hall on this site was recorded in 1301. A monopoly on fish trading brought great wealth to the Company, and in the fourteenth century three fishmongers were successive Lord Mayors of London, John Lovekyn, Sir William Walworth and William Askham. Subsequently, they secured Fishmongers’ Wharf in 1444 and retained its sole usage for unloading their catch until 1666, prior to the development of Billingsgate Market which traded on the east side of London Bridge until 1982.
This most-recent Fishmongers Hall was constructed as part of the new London Bridge in the eighteen-thirties, designed by Henry Roberts but constructed from drawings by George Gilbert Scott. The tone is partly that of a stately home and partly that of a lofty public institution, yet salmon pink walls in the vestibule and mosaics gleaming like fish scales conjure an atmosphere unique to the Fishmongers’ Company, heightened by an astonishing collection of historic paintings, sculptures and artefacts which evoke all things fishy.
A lavishly embroidered funeral pall created by nuns around 1500, portraying Christ handing the keys of Heaven to St Peter the fisherman and embellished with mermen and mermaids, testifies to a former age of credulity, while a sturdy chair fabricated with timber from old London Bridge and with a seat containing a stone from the same source reminds us of the detail of history in this spot. The combination of architectural opulence and multiple fish references suggests that the Hall itself might be understood as a fishmonger’s distinctive vision of Heaven, where St Peter awaits the newly-departed at the head of a gilded staircase.
At every turn in this building, you are reminded of fish, the ocean and the ancient trade established more than seven centuries in this place, which fills your mind with thoughts of fishmongery and makes it startling to peer out from the prevailing silence in the Fishmongers’ Hall upon the clamour of the modern city with the Shard looming overhead.
Crest of the Fishmongers’ Company
Wonders of the Deep, 1 by Arnold Von Hacken
Wonders of the Deep, 2 by Arnold Von Hacken
Wonders of the Deep, 3 by Arnold Von Hacken
Arnold Von Hacken’s eight paintings of Wonders of the Deep
Wonders of the Deep, 4 by Arnold Von Hacken
Wonders of the Deep, 5 by Arnold Von Hacken
This stained glass of the earlier Fishmongers’ Crest dates from the before the Fire of London
Wonders of the Deep, 6 by Arnold Von Hacken
Wonders of the Deep, 7 by Arnold Von Hacken
Wonders of the Deep, 8 by Arnold Von Hacken
Chair made from the timber of old London Bridge with a seat including a piece of stone from the bridge and a back showing designs of subsequent bridges
Turtle shell painted with the crest of the Fishmongers’ Company
Figure of St Peter the Fisherman from the Fishmongers’ barge
Queen Victoria presides over the Great Hall
Fishmongers’ crest in the Great Hall
Fishmongers’ crest from a steel muniment box
Fishmongers’ funeral pall embroidered by nuns c. 1500
Christ hands the keys of Heaven to St Peter, the Fisherman
Merman from the pall
Mermaid from the pall
Fishmongers’ Hall, Fishmongers’ Wharf
Interior of Billingsgate Market at 6am by George Elgar Hicks
Fishmongers’ Hall, London Bridge
Paintings reproduced courtesy of Fishmongers’ Hall
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Painting The Hamlets
Tonight is the opening of a new exhibition of paintings from Tower Hamlets Local History Library & Archives, PAINTING THE HAMLETS, including several pictures from the collection that were featured in EAST END VERNACULAR, Artists who painted London’s East End streets in the 20th century. The show is at 277 Bancroft Rd, E1 4OQ and runs until 25th April 2019.
This Sunday 25th November at 3pm at Nunnery Gallery, Bow, we are throwing a tea party to celebrate the launch of DOREEN FLETCHER, PAINTINGS, serving complimentary tea and homemade sponge cakes to all. Doreen will be signing copies of her new monograph and in conversation with The Gentle Author. Doreen Fletcher’s RETROSPECTIVE opens at the Nunnery Gallery, Bow Arts on 25th January and runs until 24th March 2019.
Albert Turpin – Jolly Butcher’s, Cabbage Court, Brick Lane, c1953
Albert Turpin – Belle Vue Place, Cleveland Way
Rose Henriques – Coronation Celebrations in Challis Court, 1937
Rose Henriques – Fait Accompli, Berner St, 1951
Noel Gibson – Hessel St
Noel Gibson – Tower House, Fieldgate St, Whitechapel
Ronald Morgan – Salvation Army Group
Geoffrey Fletcher – D.Bliss, Alderney Rd, 1979
Geoffrey Fletcher – Half Moon Passage, Alie St, 1977
Doreen Fletcher – Snooker Club, Afternoon, 1985
Paintings courtesy of Tower Hamlets Local History Library & Archives
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Click here to order a signed copy of EAST END VERNACULAR for £25
Click here to order a signed copy of DOREEN FLETCHER, PAINTINGS for £20
