Henry Croft, Road Sweeper
Henry Croft
Trafalgar Sq is famous for the man perched high above it on the column, but I recently discovered another man hidden underneath the square who hardly anybody knows about and he is just as interesting to me. I have no doubt that if you were to climb up Nelson’s Column, the great Naval Commander standing on the top would have impressive stories to tell of Great Sea Battles and how he conquered the French, though – equally – if you descend into the crypt of St Martin in the Fields, the celebrated Road Sweeper who resides down there has his stories too.
Yet as one who was born in a workhouse and died in a workhouse, Henry Croft’s tales would be of another timbre to those of Horatio Nelson and some might say that the altitude history has placed between the man on the pedestal and the man in the cellar reflects this difference. Unfortunately, it is not possible to climb up Nelson’s Column to explore his side of this notion but it is a simple matter for anyone to step down into the crypt and visit Henry, so I hope you will take the opportunity when you next pass through Trafalgar Sq.
Henry Croft stands in the furthest, most obscure, corner far away from the busy cafeteria, the giftshop, the bookshop, the brass rubbing centre and the art gallery, and I expect he is grateful for the peace and quiet. Of diminutive stature at just five feet, he stands patiently with an implacable expression waiting for eternity, the way that you or I might wait for a bus. Yet in the grand scheme of things, he has not been waiting here long. Only since since 2002, when his life-size marble statue was removed to St Martin in the Fields from St Pancras Cemetery after being vandalised several times and whitewashed to conceal the damage.
Born in Somers Town Workhouse in 1861 and raised there after the death of his father who was a musician, it seems Henry inherited his parent’s showmanship, decorating his suit with pearl buttons while working as a Road Sweeper from the age of fifteen. Father of twelve children and painfully aware of the insecurities of life, Henry launched his own personal system of social welfare by drawing attention with his ostentatious outfit and collecting money for charities including Public Hospitals and Temperance Societies.
As self-appointed ‘Pearlie King of Somers Town,’ Henry sewed seven different pearly outfits for himself and many suits for others too, so that by 1911 there were twenty-eight Pearly King & Queens spread across all the Metropolitan Boroughs of London. It is claimed Henry was awarded in excess of two thousand medals for his charitable work and his funeral cortege in 1930 was over half a mile long with more than four hundred pearlies in attendance.
Henry Croft has passed into myth now, residing at the very heart of London in Trafalgar Sq beneath the streets that he once swept, all toshed up in his pearly best and awaiting your visit.
Henry Croft, celebrated Road Sweeper
At Henry Croft’s funeral in St Pancras Cemetery in 1930
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In Search Of Val Perrin’s Brick Lane
In recent days, the weather in London has been bright so I waited for a suitably occluded sky to set out with my camera in search of Val Perrin’s Brick Lane and below you can see my photographs beneath Val’s shots from 1972, revealing more than forty years of change in Spitalfields
Brick Lane 1972
Brick Lane
Cheshire St 1972
Cheshire St
Cheshire St 1972
Cheshire St
Brick Lane 1972
Brick Lane
Cheshire St 1972
Cheshire St
Brick Lane 1972
Brick Lane
St Matthew’s Row & The Carpenters’ Arms 1972
St Matthew’s Row & The Carpenters’ Arms
St Matthew’s Row 1972
St Matthew’s Row
Sclater St 1972
Sclater St
Corbett Place from Hanbury St 1972
Corbett Place from Hanbury St
Bacon St 1972
Bacon St
Code St & Shoreditch Station 1972
Code St & Shoreditch Station
Pedley St Bridge 1972
Pedley St Bridge
1972 Photographs copyright © Val Perrin
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In Mr Pussy’s Chair
With your help, I am producing a handsome collection of stories of my old cat, THE LIFE & TIMES OF MR PUSSY, A Memoir Of A Favourite Cat to be published by Spitalfields Life Books on 20th September. Below you can read an excerpt.
Support publication by preordering THE LIFE & TIMES OF MR PUSSY and you will receive a signed copy when the book is published.
Click here to preorder your copy
Mid-afternoon in Spitalfields, Mr Pussy snoozes
Is that an old fur hat on that chair in the corner? You would be forgiven for making such a simple mistake, but in fact it is my old cat, Mr Pussy, slumbering the hours away in the armchair that is his ultimate home, the place where I first laid him down as a tiny kitten and the place where he has spent more hours of his life than anywhere else – even if it has now moved over two hundred miles from one end of the country to the other. It is Mr Pussy’s chair.
My mother bought this chair in 1963. She had been married five years and had a three year old child, and she was still struggling to furnish our house. She was patient, doing without and waiting until the opportunity arose to acquire suitable things. She had very little money to spend but she wanted furniture that would last, and the passage of time has proved she chose wisely. I think she bought this chair in a sale and, although I do not know if it can truly be memory on my part, I see her searching among the cut-price furniture in the shop and filling with delight to discover this handsome Queen Anne style wingchair that was within her budget.
It was a deep green velvet then and one of my earliest memories is of standing upon the seat, safe between the wings of the chair, and reaching up vainly attempting to grasp the top. I yearned for the day when I would be tall enough to reach it, for then I should grown up beyond my feeble toddler years. The chair seemed huge to me and I could climb beneath it comfortably, much to my father’s frustration when he was sitting in it on Saturday afternoons and attempting to take note of the football results from the television, in order to complete his pools form and discover if he had become wealthy.
He never became wealthy yet he never gave up hope of winning either, sitting in this chair and filling in the football scores every Saturday, for year after year, until he died. Just a few weeks after his funeral, I bought a small black kitten for my mother as a means to ameliorate her grief and the tiny creature slept curled up in the corner of the armchair, seeking security in its wide embrace. It was his earliest nest. By now the green velvet had faded to a golden brown and the cushion has disintegrated, so that if a stranger were to visit and sit down quickly upon it they would fall right through the seat. Yet this did not matter too much to us, because we kept the chair exclusively for the use of the cat who did not weigh very much.
Eventually, to rejuvenate the chair, we had a new seat cushion made and a loose fabric cover of William Morris’ Willow Leaves pattern, which is still serviceable more than ten years later. Once my mother began to lose her faculties in her final years, I often sat her in it that she might benefit from its protection, when her balance failed her, and not fall off onto the floor as she did from chairs without wings. After she died, it became the cat’s sole preserve and it still delights me to see him there in the chair, evoking earlier days. It is almost the last piece of furniture I have from my childhood home and, although I do not choose to sit in it much myself, I keep it because I can still see my father sitting there doing his football pools or my mother perched to read the Sunday supplement.
One day, I mean to have the armchair reupholstered in its original deep green velvet but until then, by his presence, Mr Pussy keeps the chair and the memories that it carries alive. I realise that Mr Pussy is keeping the chair warm for me and I am grateful to him for this service that he offers so readily.
With your help, I am producing a handsome collection of stories of my old cat, THE LIFE & TIMES OF MR PUSSY, A Memoir Of A Favourite Cat to be published by Spitalfields Life Books on 20th September.
Support publication by preordering THE LIFE & TIMES OF MR PUSSY and you will receive a signed and inscribed copy when the book is published.
David Mason, Wilton’s Music Hall
When I arrived to meet David Mason in the bar at Wilton’s Music Hall, the only person sitting there was a man who looked so at home I imagined he must be the caretaker, not David. In fact, this was David, who grew up in the flat above Wilton’s when his father was caretaker in the nineteen fifties and – more than half a century after he moved out – he still feels comfortable in the old place.
Although it was known as the Old Mahogany Bar when David’s family moved into four rooms up above in 1951, the building was not a music hall then but a Methodist chapel. “My father knew it had been a music hall,” David explained to me, “The story we were told was that Wilton’s was thought to be a place of debauchery, and one day three Methodists walking past were so shocked they bought tickets and kneeled down in front of the stage and prayed that it would one day be a place of worship – and, lo and behold, eighty years later the Methodists got it!”
Even in this incarnation, the old music hall was a place of wonder for a small child, granted free run of the building. “When I was eight, my father had to spend ten nights away in hospital. He said, ‘You’re the man of the house.’ and I had to go round with a torch in the dark checking all the locks at night. It was scary, I thought every single noise was someone creeping up on me,” David recalled affectionately, as we walked through the atmospheric empty theatre yesterday.
In 1951 when David was three, his younger brother and sister, John and Jean, were born unexpectedly as twins and the family could no longer live in two rooms in the Peabody Buildings in John Fisher St. His father, Harry, was offered number three Grace’s Alley by Mr Willis the minister in return for care-taking duties, stoking and lighting the boiler, laying out tables and chairs for prayer meeting and some occasional do it yourself, which included knocking up the little wooden cross for the altar. “My parents were married here in the Old Mahogany Bar,” David told me, gesturing around the empty bar where we sat, “He worked for the Port of London Authority as a docker in St Katherine’s Dock and his nan’s family were sugar bakers, they came from Ship Alley in Wellclose Sq – and my mother’s family came from Backchurch Lane.”
David went to St Paul’s opposite the music hall, a Church of England school presided over by Father Joe Williamson known as ‘Holy Joe.’ “He could walk into a fight in Cable St and kneel down and pray and they would stop brawling,” David assured me. The difference between the Methodism at the chapel and the Church of England practices at school was a source of bewilderment to David at an early age. “I was deeply confused, they covered their cross sometimes but we never did, and ours didn’t have a Jesus on it while theirs did. I asked one of the Methodist sisters why our cross did not have Jesus and she said, ‘We believe Jesus rose from the cross,’ but I think the real reason was that my dad made the cross and he couldn’t carve.”
In those days, the London Docks were still active and Wapping was scattered with bombsites where, as a child, David was free to wander. He remembers ships chandlers and mapmakers in the surrounding streets that were inhabited by a closely-knit community including significant numbers of Greek, Maltese and Turkish people. Before the slum clearance programme, Wellclose Sq and Swedenborg Sq stood lined with shambolic old houses and connected by a warren of alleys, in which was Roy’s sweet shop that David remembers as the last place he spent a farthing.
“My dad said that before the war they used to have a book appreciation club and I remember going with him to a Jewish-owned record shop in Aldgate where he reminisced about the record appreciation society. They had a Boys’ Brigade, Scouts, Magic Lantern Shows and there were Methodist Union meetings where ministers from other religions came to explain their beliefs. When we moved in, there was a still a youth club and there were always old ladies sitting knitting and chatting, but during the fifties they had fewer and fewer prayer meetings and my dad had to open up less and less, until it died.”
“In 1959, we were given fourteen days notice to leave by the Methodists and nobody was willing to help.” David confessed to me, “My dad wasn’t a bible bashing type, he wasn’t overtly religious even, but he went to church all his life and he carried the soldier’s prayer in the pocket of his battledress jacket. So I think it hurt him after all this time to feel we were being thrown out. The upshoot was we ended up in three rooms belonging to the Port of London Authority near the Woolwich Ferry and that was the end of our contact with this place.”
At fourteen years old, David came back to get his eyes tested at the Royal London Hospital in Whitechapel and took a stroll alone down to Wapping to see what was going on at his former home, now owned by the GLC. “I rang the bell that said ‘Ring for caretaker’ but no-one answered so I turned to walk away and a gruff voice called, ‘Who are you? What do you want?’ I explained that I used to live there and I knew how many steps there were up to the flat, and he let me in, saying, ‘You really did live here, didn’t you?'” Since David left, the building had become a warehouse for rags, guarded by fierce dogs that were described to him by a friend as “all-stations.”
Returning to witness the re-opening of Wilton’s Music Hall and visit the space he once knew intimately has been an equivocal experience for David, as he confided to me, ” The first time I came back there was a lot of strings being pulled in my heart. I never thought I’d stand in the Old Mahogany Bar in the Methodist chapel and have a glass of wine to drink!” .
“I have only got happy memories here, we laughed all the time – but when I lived here there didn’t seem to be as much love for the place as there is now,” he concluded, “When I come back now it isn’t like the place I grew up in, it’s a foreign country. It wasn’t the best of places then, yet it did have something – you could call it soul.”
Wilton’s Music Hall was known as the Old Mahogany Bar when David grew up here in the fifties.
Davis’s parents, Anne & Harry Mason, were married in the Old Mahogany Bar at Wilton’s.
St Paul’s School Wellclose Sq where David went to school.
St Paul’s School viewed from the living room window at Wilton’s.
The infants class at St Paul’s photographed on the lawn outside Wilton’s – Miss Webb and Father Joe Williamson (known as Holy Joe) officiate. David sits in the front row directly to the right of the sign.
David’s mother and younger brother John on the roof of Wilton’s where they grew tomatoes and flowers.
David with his mother and the twins in the living room at Wilton’s.
David with his nan and the twins. “Her name was Elizer Wiegle and she was of German extraction, and used to attend the Lutheran Church in Alie St.”
David sits on the big staircase at Wilton’s.
Methodist activities at Wilton’s in the fifties.
David recalls reading the theatre’s foundation stone by torchlight with his father as a child.
John Claridge’s portrait of the caretaker at Wilton’s, 1964, after the theatre became a rag store.
Caretaker portrait copyright © John Claridge
Charles Booth’s Spitalfields
In the recently published East London volume of Charles Booth’s notebooks of research for his Survey into Life & Labour of the People of London (1886-1903), I came upon an account of a visit to Spitalfields in spring 1898. when he walked through many of the streets and locations of the Spitalfields Nippers around the same time Horace Warner took his photographs. So I thought I would select descriptions from Booth’s notebooks and place Warner’s pictures alongside, comparing their views of the same subject. Click here to order a copy of The Streets Of London: The Booth Notebooks, East for £12
March 18th Friday 1898 – Walk with Sergeant French
Walked round a district bounded to the North by Quaker St, on the East by Brick Lane and on the West by Commercial St, being part of the parish of Christ Church, Spitalfields.
Back of big house, Quaker St
Starting at the Police Station in Commercial St, East past St Stephen’s Church into Quaker St. Rough, Irish.Brothels on the south side of the street past the Court called New Square. Also a Salvation Army ‘Lighthouse’ which encourages the disreputable to come this way. The railway has now absorbed all the houses on the North side as far as opposite Pool Square. Wheler St also Rough Irish, does not look bad, shops underneath.
Courts South of Quaker St – Pope’s Head Court, lately done up and repaired, and a new class in them since the repairs, poor not rough. One or two old houses remaining with long weavers’ windows in the higher storeys.
New Square, Rough, one one storey house, dogs chained in back garden…
Pool Sq
Pool Square, three storeyed houses, rough women about, Irish. One house with a wooden top storey, windows broken. This is the last of an Irish colony, the Jews begin to predominate when Grey Eagle St is reached. These courts belong to small owners who generally themselves occupy one of the houses in the courts themselves.
Isaac Levy
Grey Eagle St Jews on East side, poor. Gentiles, rough on West side, mixture of criminal men in street. Looks very poor, even the Jewish side but children booted, fairly clean, well clothed and well fed. Truman’s Brewery to the East side. To Corbet’s Court, storeyed rough Irish, brothels on either side of North end.
Washing Day
Children booted but with some very bad boots, by no means respectable….
Pearl St
Great Pearl St Common lodging houses with double beds – thieves and prostitutes.
South into Little Pearl St and Vine Court, old houses with long small-paned weavers windows to top storeys, some boarded up in the middle. On the West side, lives T Grainger ‘Barrows to Let’
Parsley Season in Crown Court
Crown Court, two strong men packing up sacks of parsley…
Carriage Folk of Crown Court – Tommy Nail & Willie Dellow
The Great Pearl St District remains as black as it was ten years ago, common lodging houses for men, women and doubles which are little better than brothels. Thieves, bullies and prostitutes are their inhabitants. A thoroughly vicious quarter – the presence of the Cambridge Music Hall in Commercial St makes it a focussing point for prostitutes
Detail of Charles Booth’s Descriptive Map of London Poverty 1889
Clennell’s London Melodies
Of all the dozens of woodcuts of CRIES OF LONDON I have come across, this anonymously-published set is my favourite – so I am very grateful to historian Dr Ruth Richardson who identified them for me as the work of Thomas Bewick’s apprentice Luke Clennell.
I will be speaking about the Cries of London and showing favourite pictures on Tuesday 21st August at the meeting of London Historians at Sir Christopher Hatton in Leather Lane, EC1. The theme of the evening is London Retail and includes Tina Baxter on Leadenhall Market, Jane Young on Co-operative Stores, Dave Whittaker on Gamages, Andrea Tanner on Fortnum & Mason and Diane Burstein on St James’s – Locke & Co, Lobb and Floris. Click here to book a ticket
Self-portrait by Luke Clennell (1781–1840)
The hawkers in Luke Clennell’s woodcuts look filthy, with bad skin and teeth, dressed in ragged clothes, either skinny as cadavers or fat as thieves, and with hands as scrawny as rats’ claws.You can almost smell their bad breath and sweaty unwashed bodies, pushing themselves up against you in the crowd to make a hard sell.
Luke Clennell was apprenticed as an engraver to Thomas Bewick and then moved to London in 1804 as a young man, seeking a career as a painter and winning a major commission in 1816 from the Earl of Bridgewater to do portraits of more than four hundred guests at dinner in the Guildhall. The impossibility of getting all these subjects to sit for him drove Clennell to a nervous breakdown and he was committed to Salisbury Asylum. Although he recovered sufficiently to continue his career, he was afflicted with mental illness for the rest of his life and died in Newcastle Asylum in 1840.
The distinctive quality of Clennell’s Cries, first published as ‘London Melodies & Cries of the Seasons’ in 1812, stands out among the hundreds of anonymous woodcuts published in chapbooks in the early nineteenth century by virtue of their lively texture and unapologetic, unsentimental portraiture.
Clennell’s hawkers are never going to be framed on the parlour wall and they do not give a toss. They own their defiant uncouth spirit. They are a rough bunch with ready fists that you would not wish to encounter in a narrow byway on a dark night. Yet they are survivors who know the lore of the streets, how to scratch a living out of little more than resourcefulness, and how to turn a shilling as easily as a groat.
With unrivalled spirit, savage humour, profane vocabulary and a rapacious appetite, Luke Clennell’s woodcuts are the most street-wise of all the Cries. He gloried in the grotesque features and unrestrained personalities of hawkers, while also permitting them an unbridled humanity that we can only regard with esteem. They call to me across the centuries, crying, “Sweet and Pretty Beau-Pots – One a-Penny” and “Buy my Live Scate.”
It is wonderful to learn the name of this artist who captured the vigorous life of these loud characters with such art. For a contemporary eye these are portraits that sit naturally alongside the work of Ronald Searle and Quentin Blake. Luke Clennell gloried in the grotesque features and unrestrained personalities of street people, while also permitting them a humanity which we can recognise and respect. Now at long last, I can publish them with the artist’s name beside them.
Rabbit, Rabbit – Nice fat Rabbit
All Round & Sound, Full Weight, Threepence a Pound, my Ripe Kentish Cherries.
Buy my Fresh Herrings, Fresh Herrings, O! Three a Groat, Herrings, O!
Buy a Nice Wax Doll – Rosy and Fresh.
The King’s Speech, The King’s Speech to both Houses of Parliament.
Here’s all a Blowing, Alive and Growing – Choice Shrubs and Plants, Alive and Growing.
Hot Spice Gingerbread, Hot – Come buy my Spice Gingerbread, Smoaking Hot – Hot Spice Gingerbread, All Hot.
Any Earthen Ware, Plates, Dishes, or Jugs, today – any Clothes to Exchange, Madam?
Hot Mutton Dumplings – Nice Dumplings, All Hot.
Buy a Hat Box, Cap Box, or Bonnet Box.
Buy my Baskets, a Work, Fruit, or a Bread Basket.
Chickens, a Nice Fat Chicken – Chicken, or a Young Fowl.
Sweet and Pretty Beau-Pots, One a-Penny – Chickweed and Groundsel for your Birds.
Buy my Wooden Ware – a Bowl, Dish, Spoon or Platter.
Six Bunches a-Penny, Sweet Lavender – Six Bunches a-Penny, Sweet Blooming Lavender.
Here’s One a-Penny – Here’s Two a-Penny, Hot Cross Buns.
Lilies of the Valley, Sweet Lilies of the Valley.
Cats Meat, Dogs Meat – Any Cat’s or Dog’s Meat Today?
Buy my Live Scate, Live Scate – Buy my Dainty Fresh Salmon.
Mackerel, O! Four for shilling, Mackerel, O!
Hastings Green and Young Hastings. Here’s Young Peas, Tenpence a Peck, Marrow-fat Peas.
Images courtesy Bishopsgate Institute
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Receipts From London’s Oldest Ironmongers
As any accountant will tell you – you must always keep your receipts. It was a dictum adopted religiously by the staff at London oldest ironmongers R. M. Presland & Sons in the Hackney Rd from 1797-2013, where this cache of receipts from the eighteen-eighties and nineties was discovered. All these years later, they may no longer be of interest to the tax man, but they serve to illustrate the utilitarian beauty of nineteenth-century typographic design and tell us a lot about the diverse interrelated trades which once filled this particular corner of the East End.
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