Moyra Peralta’s Worldly Goods
“These are all my worldly goods,” said Darren when he spread out these modest items to show Photographer Moyra Peralta in 1997. Moyra asked those she had befriended who lived upon the street to permit her to photograph the contents of their pockets and these pictures were the result.
Darren (Waterloo) – Dog, dog leads, keys on key-ring, penknife, cigarettes, lighter, matches, loose change, shoppers’ points card, religious medals on a string, prayer printed on a metal plate, photo of a dog, paperclip, safety pins, nine packets of sugar, paper serviette, personal papers, pain-killers, emery board and several plastic change bags.
Richard (Holborn) – Busking spoons (for `ham and egg-ing’, ie begging), diary, passport, one roll-up , matches, tobacco, cigarette papers, allowance book, medical prescription, Department of Social Security letter, penknife, photograph, paper tissues, and twenty-one pence.
Michael (Covent Garden) – Social Security book, moneybag, a pair of spectacles with case, a religious picture and prayer, a crucifix and chain, a five pound note, London Underground travel ticket, loose change, a US coin, two lighters, a pencil, comb, a chewing gum, a Medilink card and church postcards.
Chris, Malcolm & Jimmy (Trafalgar Sq) – Personal stereo, lighters, cigarettes, vitamin tablets, legal and medical papers, a photograph of Jack Nicholson, a cartoon drawing, copper coins, a match, a wristband and a lucky sprig of heather.
Sean (Covent Garden) – A Begging placard, a peeled orange, money tin, loose change, a paper hankie, cashew nuts, a pair of socks, an origami flower, a pocket dictionary, a postcard, a religious picture, a whistle, shoelaces, a plaster, a broken pencil and an Irish coin.
Rory – Virgin Atlantic docket, address book, a miniature elephant mascot, a personal stereo, two paperbacks, `british passport, an inhaler, a brush, two cigarette lighters, a matchbook, a pen, a hammer (for breaking into squats) and a torch (belonging to a friend).
Johnnie (Holborn) – A hairbrush, reading glasses, cigarette papers, tobacco, a lighter, a pair of scissors, a razor, a toothbrush, a toothpaste, vitamin capsules, a wallet, photographs, an envelope with more photographs, batteries, coins, a pen, a paperback and cream bath lotion.
Simon (Holborn) – A tobacco tin, some dog-ends, matches, a candle stub, loose change, paper towels, dog biscuits and bone, a collar and lead, a necklace, combs, a prescription, a notebook, a paperback, two photos, stamps, a copy of In & Around Covent Garden magazine, a cassette, a button, an envelope, a pencil, a bullet, a plastic knife and fork, and three tubes of glue.
Ray (Strand) – a wallet, a notebook, tissues, an address book, a news cutting, an Outreach contact card, phone cards, dice, a stamp, loose change, combs, a pair of spectacles, a watch, a pen, a playing card, a cigar stub, a pen cap, bottle of mouthwash, matches, buttons, shaving cream, soap, a piece of string, a needle, thread, a safety razor in a plastic case, throat sweets, scissors, antiseptic cream, wire and wire springs and a paperback.
Tommy (Holborn Station) – Copies of The Big Issue, a Vendor’s Identity Card, a spectacle case, cigarettes, peppermints, nail-clippers and a wristwatch.
Tony & Sandy – Rolling tobacco, a lighter, cigarette papers, painkillers, a plaster and a comb.
Richard displays his worldly goods in Holborn.
Photographs copyright © Moyra Peralta
Signed copies of ‘NEARLY INVISIBLE,’ including these photographs and more by Moyra Peralta plus writing by John Berger & Alan Bennett, are available directly from Moyra. Email moyra.peralta@zen.co.uk to get your copy.
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Winter Light In Spitalfields
The inexorable descent into the winter darkness is upon us, even if just two weeks from now we shall reach the equinox and days will start to lengthen. At this season, I am more aware of light than at any other – especially when the city languishes under an unremitting blanket of low cloud, filtering the daylight into a grey haze that casts no shadow.
Yet on some recent mornings I have woken to sunlight and it always lifts my spirits to walk out through the streets under a clear sky. On such days, the low-angled sunshine and its attendant deep shadow conjures an exhilarating drama.
In these particular conditions of light, walking from Brick Lane down Fournier St is like advancing through a cave towards the light, refracting around the vast sombre block of Christ Church that guards the entrance. The street runs from east to west and, as the sun declines, its rays enter through the churchyard gates next to Rectory illuminating the houses opposite and simultaneously passing between the pillars at the front of the church to deliver light at the western end where it meets Commercial St.
For a spell, the shadows of the stone balls upon the pillars at the churchyard gate fall upon the houses on the other side of the street and then the rectangle of light, admitted between the church and the Rectory, narrows from the width of a house to single line before it fades out. At the junction with Commercial St, the low-angled sun directed through the pillars in the portico of Christ Church casts tall parallel bars of light and shade that travel down Fournier St from the Ten Bells as far as number seven, reflecting off the window panes to to create a fleeting pattern like stars within the gloom of the old church wall.
As you can see from these photographs, I captured these transient effects of light with my camera to share with you as a keepsake of winter sunshine, for consolation when those clouds descend again.
The last ray
The shadow of the cornice of Christ Church upon the Rectory
The shadow of the pillars of Christ Church upon Fournier St
Windows in Fournier St reflecting upon the church wall
In Princelet St
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My Cries Of London Scraps
It is my pleasure to publish these modest Victorian die-cut scraps which are the latest acquisition in my ever-growing collection of the Cries of London. The Costermonger scrap has the name “W. Straker, Ludgate Hill” rubber-stamped on the reverse and – sure enough – by pulling the London Trade Directory for 1880 off the shelf, I found William Straker, Silver & Copperplate Engraver, Printer, Die Sinker, Wholesale Stationer & Stamp Cutter, 49/63 Ludgate Hill. These mass-produced images appeal to me with their vigorous life, portraying their subjects with their mouths wide open enthusiastically crying their wares – all leading players in the drama of street life in nineteenth century London.
Newspaper seller (The Star was published in London from 1788-1960)
Sandwich-board man (Dan Leno started his career in Babes in the Wood at Drury Lane in 1888)
Milkman
Sweep
Watercress seller
Crossing sweeper
Shoe-shine
Buttonhole seller
Costermonger
You may also like to take a look at these other sets of the Cries of London
Geoffrey Fletcher’s Pavement Pounders
William Craig Marshall’s Itinerant Traders
H.W.Petherick’s London Characters
John Thomson’s Street Life in London
Aunt Busy Bee’s New London Cries
Marcellus Laroon’s Cries of London
More John Player’s Cries of London
William Nicholson’s London Types
Francis Wheatley’s Cries of London
John Thomas Smith’s Vagabondiana of 1817
John Thomas Smith’s Vagabondiana II
John Thomas Smith’s Vagabondiana III
Thomas Rowlandson’s Lower Orders
More of Thomas Rowlandson’s Lower Orders
East End Saree Shops
In these days, when it barely gets lighter than dusk and I walk around bent double in the driving rain, I find myself lifting my gaze occasionally in admiration at the illuminated windows of saree shops that cluster in Bethnal Green and Whitechapel. So, when Contributing Photographer Sarah Ainslie brought me these poignant images of saree shops glimmering with colour and light despite the pervasive gloom, I suggested we pay a few of these establishments a call and discover more of the world of the East End saree shops.
In Bethnal Green, at Zhara Fashion House we were greeted by three women, Majida, Shuheli and Afsana, who have just started in business one month ago, specialising in selling fabric lengths which permit their young customers to make sarees to their own patterns and thus avoid the ready made styles that fill the other shops. Their youthful optimism was in harsh contrast to Abdul Latif at Modhubon Ltd who had been trading for twenty-one years across the road in a shop stacked to the ceiling with sarees folded neatly on shelves. “I used to go to India once a year to buy stock, but not for the last three years,” he confessed with a frown, “I’ve had a very bad run.” Mr Latif’s customers are senior women who have been economising with their purchases, he revealed, and this week, far outside the summer wedding season, he was alone in his magnificently decorated shop like the host of a party to which nobody came.
Yet just a couple of doors down, we discovered a brisk trade at Mahir where lots of saree bargains were to be had in the sale and the entire range of stock was accessible to the eager women browsing on rails. Sumsun Nahar Shirne, the briskly efficient under-manager, explained that this was one of seven branches scattered as far apart as Leeds and Luton, owned by her cousin Shurajul Islam Akbas. “Customers come from as far away as Germany, Italy, France, even America,” she bragged.
Similarly at Zari, next door, where Shofig Islam brought ten years of retail experience at Superdrug to the family business, there was no shortage of customers. Shofig had an impressive array of vibrantly coloured glittering sarees, yet he was eager to stress that he stocked a wide range of different garments to suit the tastes of younger women who like to mix western and eastern clothes in their every day wardrobes and only wear full sarees for special occasions. Alert to social trends, working closely with manufacturers in India to deliver the designs that women want and with his richly-coloured stock creating a dazzling display, Shofig admitted to me that he had been able to expand the business recently.
Taking the stroll down Vallance Rd, we set out to explore the saree shops shining in the shadows of the alleys leading off Whitechapel Rd and – among other delights – discovered the wonders of Zai, a compact traditional establishment where proprietor Helal Khan, who has been in business for ten years, welcomed us kindly. Mr Khan has a loyal trade of local women who frequent his discreet premises with its immaculately organised stock.
The dusk that had prevailed all day turned to darkness as the rain set in again and we just had time left to step into Cuckoo Fashions in Whitechapel Market, which we found remarkable for the selection of panels of richly patterned printed silks at just fifteen pounds each. It was tempting to carry some away but we were spoiled for choice, as we had been all day by the sensuous hues and tinsel on display at every shop we visited. In spite of social changes, we were reassured that the saree shops will be with us for the foreseeable future to bring glitz to our dowdy East End streets. So we set off into the murk with our spirits lifted by the exposure to so much glowing colour and vowed to come back another day.
Abdul Latif, Modhubon Ltd.
Shofig Islam at Zari.
Helal Khan at Zai in Whitechapel.
Fatima Chowdury, Jumara Noor Eli and Sumsun Nahar Shirna at Mahir in Bethnal Green.
Photographs copyright © Sarah Ainslie
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The Chicken Shops of Spitalfields
The Spitalfields Bowl
One of these streets’ most-esteemed long-term residents summoned me to view an artefact that – until today – few have seen, the fabled Spitalfields Bowl. Engraved by Nicholas Anderson, a pupil of the great master of the art, Laurence Whistler, it incarnates a certain moment of transition in the volatile history of this place.
I arrived at the old house and was escorted by the owner to an upper floor, and through several doors, to arrive in the room where the precious bowl is kept upon its own circular table that revolves with a smooth mechanism, thus avoiding any necessity to touch the glass. Of substantial design, it is a wide vessel upon a pedestal engraved with scenes that merge and combine in curious ways. You have the option of looking down upon the painstakingly-etched vignettes and keeping them separate them in your vision, or you can peer through, seeing one design behind the other, morphing and mutating in ambiguous space as the bowl rotates – like overlaid impressions of memory or the fleeting images of a dream.
Ever conscientious, the owner brought out the correspondence that lay behind the commission and execution of the design from Nicholas Anderson in 1988. Consolidating a day in which the glass engraver had been given a tour of Spitalfields, one letter lists images that might be included – “1. The church and steeple of Christ Church, Spitalfields, and its domination of the surrounding areas. 2. The stacks, chimneys and weaving lofts. 3. The narrowness of the streets and the list and lean of the buildings with their different doorways and casement windows.”
There is a mesmerising quality to Nicholas Anderson’s intricate design that plays upon your perception, offering insubstantial apparitions glimpsed in moonlight, simultaneously ephemeral and eternal, haunting the mind. You realise an object as perilously fragile as an engraved glass bowl makes an ideal device to commemorate a transitory moment.
“It took him months and months,” admitted the proud owner,“and it represents the moment everything changed in Spitalfields, in which the first skyscraper had gone up and there were cranes as evidence of others to come. The Jewish people have left and the Asians are arriving, while at the same time, you see the last of the three-hundred-year-old flower, fruit and vegetable market with its history and characters, surrounded by the derelict houses and filthy streets.”
Sequestered in a locked room, away from the human eye, the Spitalfields Bowl is a spell-binding receptacle of time and memory.
The Jewish soup kitchen
To the left is the Worrall House, situated in a hidden courtyard between Princelet St & Fournier St
A moonlit view of Christ Church over the rooftops of Fournier St
The bird cage with the canary from Dennis Severs House
“He was a tinker who overwintered in Allen Gardens and used to glean every morning in the market…”
To the left is Elder St and the plaque commemorating the birth of John Wesley’s mother is in Spital Sq.
An Asian couple walk up Brushfield St, with the market the left and the Fruit & Wool Exchange and Verdes to the right
Photographs copyright © Lucinda Douglas-Menzies
On Missing Mr Pussy In Winter
There is an empty space by the fireside since the death of my beloved old cat in August
On dark winter nights, Mr Pussy seldom stirred from the chimney corner. Warmed by a fire of burning pallets, he had no need of whisky to bring him solace through the dark hours, instead he frazzled his brain in a heat-induced trance. Outside in the streets, Spitalfields might have lain under snow, the paths might have been coated in sheet ice and icicles might be hanging from the gutters, but this spectacle held no interest for Mr Pussy. Like the cavemen of ancient times, his sole fascination was with the mesmerising dance of flames in the grate. And as the season descended towards its nadir in the plunging temperatures of the frozen byways, at home Mr Pussy fell into his own warm darkness of stupefaction.
When Mr Pussy grew old and the world was no longer new to him, his curiosity was ameliorated by his love of sleeping. Once he was a brat in jet black, yet he became a gentleman in a chenille velvet suit, as tufts of white hair increasingly flecked his glossy pelt. One summer, I noticed he was getting skinny and then I discovered that his teeth had gone which meant he could no longer crunch the hard biscuits that were always his delight. Extraordinarily, he made little protest at this starvation diet, even as he lost weight through lack of food. I learnt to fill his dish with biscuits and top it up with water, so that he might satisfy his hunger by supping the resulting slush. And through this simple accommodation – plus a supplement of raw meat – his weight was restored to normal and he purred in gratification while eating again.
Once Mr Pussy was a wild rover, ranging over the fields in Devon, disappearing for days on end and returning proudly with a dead rabbit in his mouth. Yet in the end, he did not step beyond the end of the alley in Spitalfields and, in sub-zero temperatures, he only ventured outside to do his necessary business. Sprinting up the stairs and calling impatiently outside the door of the living room, he was ever eager to return to the fireside and warm his cold toes afterwards, sore from scraping at the frost in the vain attempt to dig a hole in the frozen earth. Like a visionary poet, Mr Pussy acquired a vivid internal life to insulate himself against the rigours of the world and, in the absence of sunlight, the fire provided his imaginative refuge, engendering a sublime reverie of peace and physical ease.
Yet Mr Pussy still loved to fight. If he heard cats screeching in the yard, he would race from the house to join the fray unless I could shut the door first and prevent him. Even when he had been injured and came back leaking blood from huge wounds, he appeared quite unconcerned. Only two small notches in his ears persisted as permanent evidence of this violent tendency, although I regularly checked his brow for tell-tale scratches and the occasional deep bloody furrows that sometimes caused swelling around his eyes. But I could stop him going out, even though it was a matter of concern to me that – as he aged and his reflexes lessened – he might get blinded in a fight one day, losing one of his soulful golden eyes. Since he was blissfully unaware of this possibility, I had no choice but to take consolation from his response when he could not eat, revealing that Mr Pussy had no expectations of life and consequently no fear of loss. His nature was to make his best accommodation to any exigency with grace.
Be assured, Mr Pussy could still leap up onto the kitchen counter in a single bound. He could still bring in a live mouse from the garden when he pleased and delightedly crunch its skull between his jaws on the bedroom floor. If I worked late into the night, he would still cry and tug on the bed sheets to waken me in the early morning to see the falling snow. When the fancy seized him, he could be as a sprightly as a kitten. Come the spring, he would be running up trees again, even if – in the darkest depth of winter – he only wanted to sleep by the fire.
When I was alone here in the old house in Spitalfields at night, Mr Pussy became my sole companion, the perfect accomplice for a writer. When I took to my bed to keep warm while writing my stories, he was always there as the silent assistant, curled into a ball upon the sheepskin coverlet. As the years passed and Mr Pussy strayed less from the house, I grew accustomed to his constant presence. He taught me that, rather than fear for his well-being, I needed to embrace all the circumstances and seasons that life sends, just as he did.
In the spring of 2018 I will be publishing a memoir, collecting together all the favourite stories of my beloved old cat, entitled The Life & Times of Mr Pussy
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Harriet Slaughter, Florist
Harriet Slaughter
Last week, I braved the frost to visit the workshop of florist Harriet Slaughter and photograph her at work making festive wreaths for St Nicholas Eve celebrations at Leila’s Shop on Tuesday.
I found Harriet and her assistants Rowan Lewis and Camille Lambert surrounded by copious amounts of sweet-smelling greenery, including olive branches from Covent Garden Market and Scots Pine from her father’s garden. They had been awake since before dawn, and were trimming the pine and olive in sprigs and weaving them onto the moss bases. One held the twigs in place while the other wound the wire around to secure the wreath. Harriet’s hands soon became coated in sticky pine sap and she showed me the old florists’ trick of rubbing her hands with moss to absorb the surplus oil.
It was time-consuming, fiddly, repetitive work, yet it was compelling to observe how the diverse elements resolved into elegant finished wreaths set for front doors across the capital this Christmas. Beneath the bench sat buckets of white narcissi and anemones with some lush dark scabious nearby, all ready for arrangements to be delivered to the Garden Museum in Lambeth that evening. So, once I had taken my pictures and Harriet had told me her story, I left them to their day’s work.
“My dad’s a gardener, he spends every day in the garden and that is how I learnt about plants. My family are all gardeners. We are bonkers about it.
A couple of years ago, I got married and the florist who did our flowers was very inspiring to me. So I asked he if she would train me and in return I did office work for her. I realised that I really liked the work and it has now become a huge part of my life.
I am a studio florist, which means I do not have a shop, instead I do deliveries for restaurants, events including weddings, and photoshoots. It can be quite brutal getting up at three thirty if you have to run a shop as well!
When you get to the wholesale flower market in the middle of the night, you have to go in brave. Ninety-five per cent of those who work there are men and they see a lot of florists starting out but as soon as they realise you are serious then you win their respect. At four in the morning, there is quite a lot of banter and it is quite hard if you have feeling faint-hearted. The flowers do not look good under fluorescent light and it is cold, hard environment. Yet I have developed a good relationship with several traders and I usually bump into a couple of friends. You become really aware of the seasons. I always get excited when the first daffodils arrive and the first day that the English dahlias come into the market is something I look forward to.
It is nice to develop your own style in a saturated market. I love it when I get a sympathetic client and we can design what we are going to do together.
My work is very influenced by the garden, drawing the viewer’s attention to the natural quality of plants and flowers rather than dressing them up too much. I like to create an arrangement that looks like something which might have grown in the garden, but with an urban element too. I am not a country cottage florist. I like my work to communicate a sense of composure without being regimented.“
Harriet Slaughter operates her floristry studio under the name Bold Oxlip
Rowan Lewis
Camille Lambert
Harriet Slaughter’s wreaths will on sale as part of ST NICHOLAS EVE celebrations on Tuesday 5th December 6-9pm at Leila’s Shop, 15-17 Calvert Avenue, E2 7JP. Gimlet Bar will be serving cocktails and Rosie Sykes of The Sunday Night Book will be serving seasonal delicacies.
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