The Mosaic Makers Of Hackney

Thanks to readers’ contributions we have already raised over £2,800 since we launched our crowdfund on Saturday. Below you can read about the very first Hackney Mosaic Project mosaic created in 2012.
Click here to learn about our crowdfund to publish this splendid book
Next time you are walking up Shepherdess Walk in Hoxton and you pass that sinister tunnel with the worn flagstones, leading under the shabby nineteenth century terrace, I recommend you take courage and pass through it to the park at the other end where a wonderful surprise awaits you.
Artist Tessa Hunkin and around one hundred and fifty people worked for two years to create an elaborate set of mosaics in Shepherdess Walk Park. These breathtakingly beautiful pieces of work are destined to become an attraction in their own right – drawing people from far and wide to this corner of Hoxton – but before the crowds arrived, I had the pleasure of going over to admire them in the company of Tessa and couple of the stalwart mosaic makers, as they contemplated the completion of their mighty task which has transformed an unloved part of the park into an inspirational spot.
Taking the lyrical name of Shepherdess Walk as a starting point, the first mosaic portrays the shepherdesses that once drove their sheep through here when Hoxton was all fields. Next to this, a double wall panel illustrates park life throughout the seasons of the year in the East End while, underfoot, a pair of pavement mosaics show the wild flowers that persist, all illustrated in superb botanic detail. The quality of execution and subtle sense of colour in Tessa Hunkin’s designs combine with humorous observation of the detail of the social and the natural world to create works of lasting value which residents of Hoxton can enjoy for generations to come.
Ken Edwards
“That’s my little rabbit, I named him ‘Randy.’ I’ve been coming here for over a year but, the first time, I thought it was something I wouldn’t be able to do. Yet Tessa showed me how to do it and I’ve been coming ever since. We work each Wednesday and Thursday afternoon, and every other Saturday when the youngsters from the Estate come to help. Even when you are not here, it’s what you think about. I live over in Well St and I walk here. Coming here, it helps with your sanity. We talk, we laugh, we joke. I love coming here, it’s very therapeutic, it’s a family atmosphere. I was a painter and decorator before and when you paint a flat that’s it, but this work that we’ve done is going to be here long after we’ve all gone and that’s very important to me.”
Katy Dixon
“I joined the summer before last. I am an artist and maker and I believe that art can heal people. We work as a group and enjoy the art of conversation together, and I imagine that’s how people would have worked on mosaics a long time ago in Pompeii. We like to listen to music while we work but it’s not always easy to find music that we can all agree upon. We tend to listen to reggae because it has an earthy quality.”
Tessa Hunkin
“We’ve made a little bit of Carthage here in Hoxton. I was inspired by the Roman mosaics of North Africa. It was my idea, I’ve been making mosaics for twenty-five years and I started working with people with mental health problems. I like working with groups of people on large compositions that they can be proud of. Mosaic-making is very time-consuming and laborious, so it seemed a good idea to work with people who have too much time, for whom filling time can be a problem. Also, I’m very interested in the historical precedents and that gives the work another dimension. This project started in July 2011 and it was going to be for six months but, when we came to end of the first mosaic nobody wanted the empty shop that is our workshop, so we just carried on.”
Nicky Turner
“When Tessa showed me the work, I thought it was interesting and I wanted to try but, originally, it was only going to be until the end of the year and now I’ve been here two years. I live in Stratford, two bus rides away, but I come two or three times a week. It’s always different here, so I never get bored. I worked on the borders, and I get satisfaction and self-esteem from doing this work.
Work in progress on the new Pitfield St mosaic, celebrating the former Hoxton Palace of Varieties
Nicky shows off his rings.
Ken with the poem he wrote about the mosaics
Katy with one of the sheep she will lead to the ceremony on Thursday, dressed as a shepherdess
The old tunnel from Shepherdess Walk that leads to the mosaics in the park.
Click on this image to enlarge
Click on this image to enlarge
Spring At Spitalfields City Farm

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Contributing Photographer Rachel Ferriman has been documenting the seasons at Spitalfields City Farm

At last, the spring that we all been yearning for has indubitably arrived and Spitalfields City Farm is open to east enders seeking solace, young and old waiting in eagerness to reacquaint themselves with Nature.
It was my pleasure to be greeted at the farm gate by development manager Jamie Morrish who kindly took me on a ramble around the precincts. With his worn tweed jacket and white beard, he looks the very picture of a rural retainer yet he revealed he is fascinated by the urban cobbled roads traversing the site, remnants of the streets that once stood where now are fields. ‘They tell a story of what used to be,’ he explained, ‘and I think that’s important.’
Already the vegetable patch at the farm is full of life, with lines of Swiss Chard flourishing, and potatoes, beetroot, onions and broad beans on the way. ‘As an experiment we are trying out a variety of different vegetables to see which things work,’ Jamie explained proudly. ‘It’s a bit of fun because when you see all these coloured leaves, it’s really attractive. We’re going to have an amazing array this year and we’re going to be producing salad boxes for local people.’
I was very impressed by the way rainwater is collected on the roof of a shed and drains along the gutters to pipes which run underneath the vegetable patch, automatically watering the plants. Jamie led me into a polytunnel where shiny green lettuces flourished in the humid moist atmosphere. Outside, the crab apples were heavy with pink blossom and, despite the late frosts, a plum tree had already developed hundreds tiny green fruit covering the branches. ‘It’s going to be good year for fruit,’ Jamie exclaimed in delight. ‘We’re in a warm pocket here.’
‘We’re going to plant a long border for bees and birds,’ he continued introducing a new idea and showing me a rectangle of bare soil. ‘We focus a lot on production for humans to eat and now we are going to pay attention to the needs of bees and birds. This is going to be a perennial bed and will take a few years to mature.’
A loud chorus of birdsong accompanied our ramble, interrupted only by the trains of the East End London line passing close by on their journey between Whitechapel and Shoreditch High St.
Jamie introduced me to a pair of handsome Buff Orpington chicks only a few weeks old. ‘One was born with splayed legs, so we splinted his legs together,’ Jamie admitted protectively. ‘When he hatched, he couldn’t balance, he kept tipping over and falling on his back, but Emma took care of him by bandaging his legs and, now his legs have straightened, he’s fine. He’s grown quite big.’
Thus I present my evidence to you, should you require it, that – after a few stumbles – spring has truly arrived in Spitalfields.

Crab apple in flower



Beatrix lost her right ear but survived a dog attack as a lamb in Surrey six years ago

Sarah, one of the volunteers



Buff Orpington chicks at five days old

One of the Buff Orpington chicks, around two weeks old


Patricia watering


Tess with freshly harvested Chard leaves


Tanya & Tess in the potting shed


Bella, the farm cat, dozes in the warmth of a polytunnel


Holmes, the kune kune pig, emerges for spring










Photographs copyright © Rachel Ferriman

Cover design by Friederike Huber
Since 2012, I have followed the exemplary work of Tessa Hunkin’s Hackney Mosaic Project which has been responsible for some of the most witty and imaginative mosaics of recent years.
Please help me publish a handsome hardback monograph this autumn to honour the work of the hundreds of local people who have come together over the past decade to contribute their time and creativity to this magnificent collective endeavour to beautify Hackney.
Click here to support TESSA HUNKIN’S HACKNEY MOSAIC PROJECT
In a bold reinvention of the classical tradition, designer Tessa Hunkin has assembled a passionate and diverse team of makers, creating dozens of breathtaking mosaics that have become cherished landmarks, celebrating community and elevating the streets of East London.
Hackney Mosaic Project has led the contemporary renaissance of the art of mosaic and this inspirational collection will reveal the scope of their phenomenal achievement for the first time, ranging from modest pieces in private gardens to expansive murals and pavements in public parks.
I want this book to take the story of Hackney Mosaic Project to the widest audience and inspire a flowering of community mosaics across the land.
The book will include high quality photographs of all the major mosaics, an interview with Tessa Hunkin outlining the nature of the project, commentary on the background to each mosaic by Wendy Forrest, illustrations of the working process by which the mosaics are created, a map showing the locations of the mosaics, and the names of everyone involved.
Click here to support TESSA HUNKIN’S HACKNEY MOSAIC PROJECT
All money raised will go towards the design, printing and promotion of the book and income from sales will go to towards publication of our next title Women at Work in the East End by Sarah Ainslie next year. We print within Europe on paper from sustainable sources and have established relationships with booksellers and distributors, locally and nationally.

The launch of the Shepherdess Walk Mosaic

A panel of the Shepherdess Walk mosaic

At the launch of the Hounds Of Hackney Downs mosaic

A panel of the Hounds of Hackney Downs mosaic

The playground shelter on Hackney Downs

Hackney Mosaic Project at London Zoo

Mural on Somerford Grove Estate

Pavement in Regent’s Park

Tony Armstrong Jones’ East End

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Tony Armstrong Jones (1930-2017) is remembered today as Lord Snowdon, husband to Princess Margaret, yet – before all that royal hullabaloo took over his life – he was a jobbing photographer in his twenties and took these photographs of the East End, as published in his book LONDON in 1958.

Cheshire St

Sclater St Market, Sunday Morning

Bomb site, St Mathias School, Bethnal Green

Rathbone St Market, Canning Town

Rathbone St Market, Canning Town

Garage hand, Stepney

The Magpie & Stump, Cable St

The Railway Tavern, West India Dock Rd – open 6am to 8am

Cafe in East India Dock Rd

Wens Cafe, Bethnal Green

Tattoo parlour

Tower of London

Smithfield Market

Christmas in Cable St

Pub in Cable St

Juke Box Dance

Deuragon Arms, Hackney

Bethnal Green Rd
Photographs copyright © Estate of Tony Armstrong Jones
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In Stepney, 1963

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Contributing writer Gillian Tindall’s memoir of her first visits to Stepney in 1963 is accompanied by photographs of the East End taken in that era by her husband Richard Lansdown. Gillian’s account of post-war demolition and ‘relocation’ of residents is strangely familiar as history appears to be repeating itself in the redevelopment and ‘decanting’ of our own time.

Old Montague St
The number of people who actually remember the Blitz that struck the East End between 1940 and 1944 is fast diminishing, yet everyone has heard of it. Today, it is generally assumed that the acres and acres of undistinguished post-war flats that are now the dominant architecture of much of the East End are the result of post-Blitz rebuilding. In fact, the truth is rather different.
It was twenty years after the worst of the Blitz that I first got to know Whitechapel and Stepney, Tower Hamlets’ ancient heartlands. It was 1963, the summer after the coldest winter for a century and so long ago that I can almost see – separate from my present self – the girl that I was then. She wears a checked cotton dress she made herself on a sewing machine and her plait of hair is pinned up. She is walking rapidly round the area with a pack of index cards from the Stepney Old People’s Welfare Association in a small basket. In her flat sandals, she is exploring the East End for the first time.
In those days, a pungent scent of hops from Charringtons’ Anchor Brewery enveloped a stretch of the Mile End Rd, and sometimes a dray cart pulled by huge shire horses rolled sonorously past and turned in at the great gates. The jingling harness and the rhythmic clopping of heavy, whiskered hooves, were an assertion of a long tradition that in only a few years would become extinct, but the girl who was me did not know that. Nor could she guess that the small shops in Whitechapel with Jewish names over the doors, selling kosher meat or Fancy Trimmings or jellied eels, were in their final years too. You do not know much when you are young.
I was employed by the Welfare Association, on a casual basis, to find out how many of several thousand old ladies on their books, and a smaller number of old gentlemen, were still at their recorded addresses, and how well – or not – they were managing. Their children, I learnt from conversations with them, had usually moved to London’s northern suburbs, or to Dagenham or Basildon – or had been ‘relocated’ more recently under The Greater London Plan. The old people’s cards mostly showed birth-dates in the 1880s, some even in the 1870s. Some had been widowed ever since the War of 1914-18, and one or two were even old enough to have lost sons in that war. Often, when I was invited into their houses, the mantlepieces in their front rooms were dressed with the bobbled chenille runners of the Victorian age, with symmetric ornaments at each end – a décor almost extinct today but commemorated in the two china dogs that are the symbol of Spitalfields Life Books.
Some of them would try to detain me with sagas of ancient achievements or griefs, to which I listened with a guilty awareness that I had many more names to visit in the next two hours. Today, how much I would like to have these garrulous old people back, even for one afternoon! They spoke of happy times past, of ‘nice shops’ and good markets and celebrations for forgotten victories and jubilees, of synagogues and Baptist Sunday schools, a world of neighbourliness which they perceived as dispersed and lost. To prolong the chat they would offer me very strong tea, to which very sweet, tinned milk was automatically added. Then I would be taken to see the place in the cracked wall of the kitchen or the upstairs bedroom where “you can see the daylight through it, darlin’, can’t you?”, and the privy in the backyard with the perennially leaking roof – “It isn’t very nice, you see, ‘specially when it rains. My husband, he could have fixed that, but now I’m on me owney-oh…”
I would assure them that the Old People’s Welfare would try to do something about these things. It took me a while to discover the extent to which the forces of bureaucracy were preventing such simple, ad hoc improvements from being carried out. Not long before, Stepney Council had specifically refused a landlord permission to make good minor damage to three houses in White Horse Rd, near Stepney Green. ‘The carrying out of substantial works of repair to this old and obsolete type of property would seriously prejudice the Council planning proposals for the redevelopment for residential purposes of this part of Stepney and Poplar Reconstruction Area.’
These post-war plans were not dreamed up by individual Councils. The Greater London Plan was imposed by the London County Council (the fore-runner of the Greater London Council), but the local authorities had adopted its assumptions with blinkered enthusiasm. As early as 1946, warning local voices had been raised, especially about the way the envisaged Brave New Stepney of high-rise blocks set in ‘green spaces’ did not seem to allow any place for the small businesses that had long been the life-blood of the East End. The truth was that Labour thinking in those years had an aversion to small businesses. And so carried away were the Council by the prospect of reducing the borough’s population substantially by moving half of them out of London (a key element of the Plan) that the views of the inhabitants themselves counted for little. An early, enthusiastic description of the Plan in a popular illustrated magazine shocks the reader of today by its Stalinist disregard for the population’s own preferences:
‘A New East End for London… will create a new and better London, of town planning on scientific lines… [It] will make a clean sweep of two-thirds of Stepney and one-third of the neighbouring borough of Poplar… More than 1,960 acres will be transformed… 3 ½ miles long and 1 1/2 miles wide.’
I noticed that among all the old people I visited, whether in snug little houses that only need the roof mended and a bathroom added to the back or in multi-occupied, once-elegant terraces or in serviceable Victorian tenements, the refrain was “Oh, it’s all coming down round here, dear.” I could tell that though they were acquiescent about the change, believing it to be in some way inevitable, they felt hurt at a profound, inarticulate level by what was being done. It became clear to me that something terrible was happening, a social assault that went far beyond any rational response to the Blitz.
It was true that to the east of St Dunstan’s church, in the ancient heart of Stepney, the war had left a scene of devastation. The bombs arrived here in battalions, aiming at the gasholders and the docks, although the church itself was hardly touched. But why, over twenty years later, was the place still a wilderness reminiscent of Ypres just after World War I? On what must once have been a street corner, the remains of a shoe-shop stood, apparently untouched since it was set alight by an incendiary bomb in 1940. Burnt shoes still littered the dank interior of the shop, among other rain-sodden rubbish.
On the west side of the church, running towards Jubilee St, there was still whole grid of streets standing, solid, liveable homes, many of which seemed hardly touched by bomb-blast – indeed the London County Council’s own contemporary maps of bomb-damage show that to have been the case. But not long after I first walked those streets they had almost all been boarded up. Other streets were already being supplanted by long fences of corrugated iron, with just the occasional public house left isolated on a corner without anyone to go to it. Here, I was told, was where a ‘green space’ was arbitrarily planned. Yet it could have been sited to the east of the church without destroying a whole neighbourhood, reducing to worthlessness in the eyes of the dispossessed inhabitants what had been the fabric of their existence. All coming down – people’s memories, the meaning of their lives.
The Welfare Association’s annual report for that year had lots to report on gifts, fuel grants, outings, chiropody and meals-on-wheels but – perhaps diplomatically – on the subject of ‘relocation’ it had little to say.
Walking back up Stepney Green, an ancient curving route with trees and grass down the centre of it, a few runs of substantial old houses were still standing. I dreaded that, next time I came past, the iron screens would have taken over here too. In fact, this did not happen. Stepney Green itself was saved in the nick of time and rehabilitated. Unknown to me in that summer of 1963, a rebellious Conservation movement was beginning to grind into action. Post-war doctrines about the State knowing what was best for its citizens were at last being questioned, on the political Left as well as the Right. The ‘slum-clearing’ obsession, fixated on the need to destroy the architecture of the past in order to eradicate the poverty of that past, as if the streets themselves were somehow the source of urban ills, was at last perceived to be false. On the contrary, when whole districts were laid waste, crime and vandalism increased. By the seventies articles in illustrated magazines were not about a future of radiant towers but had titles such as ‘An Indictment of Bad Planning’. As the distinguished commentator Ian Nairn put it, the East End had not been destroyed so much by the War but had been ‘broken on the planners’ wheel’.
Today, it lives again in another form. The synagogues and Baptist chapels have been replaced by mosques, the Kosher butchers by Halal butchers. Whitechapel market is full of sarees and bright scarves. The Welfare Association is no longer in the same headquarters under the same name, but survives as Tower Hamlets Friends & Neighbours. We can at least be grateful for what has been saved – or re-born.

Old Montague St

Fruit Stall in Bow

Jubilee St

Jubilee St

Jubilee St

Jubilee St

Off Mile End Rd

Buxton St

Artillery Lane

Cheshire St

Bombsite at Club Row

Club Row Animal Market
Photographs copyright © Richard Lansdown
Gillian Tindall’s The Tunnel Through Time, A New Route For An Old Journey is out now as a Vintage paperback
You may also like to read these other stories by Gillian Tindall
John Thomas Smith’s Vagabondiana

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This is William Conway of Crab Tree Row, Bethnal Green, who walked twenty-five miles every day, calling, “Hard metal spoons to sell or change.” Born in 1752 in Worship St, Spitalfields, he is pictured here forty-seven years into his profession, following in the footsteps of his father, also an itinerant trader. Conway had eleven walks around London which he took in turn, wore out a pair of boots every six weeks and claimed that he never knew a day’s illness.
This is just one of the remarkable portraits by John Thomas Smith collected together in a large handsome volume entitled “Vagabondiana,” published in 1817, that I discovered in the collection of the Bishopsgate Institute. John Thomas Smith is an intriguing and unjustly neglected artist of the early nineteenth century who is chiefly remembered today for being born in the back of a Hackney carriage in Great Portland St and for his murky portrait of Joseph Mallord William Turner.
On the opening page of “Vagabondiana”, Smith’s project is introduced to the reader with delicately ambiguous irony. “Beggary, of late, has become so dreadful in London, that the more active interference of the legislature was deemed absolutely necessary, indeed the deceptions of the idle and sturdy were so various, cunning and extensive, that it was in most instances extremely difficult to discover the real object of charity. Concluding, therefore, that from the reduction of metropolitan beggars, several curious characters would disappear by being either compelled to industry, or to partake of the liberal parochial rates, provided for them in their respective work-houses, it occurred to the author of the present publication, that likenesses of the most remarkable of them, with a few particulars of their habits, would not be unamusing to those to whom they have been a pest for several years.”
Yet in spite of these apparently self-righteous, Scrooge-like, sentiments – that today might be still be voiced by any number of venerable bigots – John Thomas Smith’s pictures tell another story. From the moment I cast my eyes upon these breathtakingly beautiful engravings, I was captivated by their human presence. There are few smiling faces here, because Smith allows his subjects to retain their self possession, and his fine calligraphic line celebrates their idiosyncrasy borne of ingenious strategies to survive on the street.
You can tell from these works that John Thomas Smith loved Rembrandt, Hogarth and Goya’s prints because the stylistic influences are clear, in fact Smith became keeper of drawings and prints at the British Museum. More surprising is how modern these drawings feel – there are several that could pass as the work of Mervyn Peake. Heath Robinson’s drawings also spring to mind, especially his illustrations to Shakespeare and there are a couple of craggy stooping figures woven of jagged lines that are worthy of Ronald Searle or Quentin Blake.
If you are looking for the poetry of life, you will find it in abundance in these unsentimental yet compassionate studies that cut across two centuries to bring us a vivid sense of London street life in 1817. It is a dazzling vision of London that Smith proposes, populated by his vibrant characters.
The quality of Smith’s portraits transcend any condescension because through his sympathetic curiosity Smith came to portray his vagabonds with dignity, befitting an artist who was literally born in the street, who walked the city, who knew these people and who drew them in the street. He narrowly escaped a lynch mob once when his motives were misconstrued and he was mistaken for a police sketch artist. No wonder his biography states that, “Mr Smith happily escaped the necessity of continuing his labours as an artist, being appointed keeper of prints & drawings at the British Museum.”
Smith described his subjects as “curious characters” and while some may be exotic, it is obvious that these people cannot all fairly be classed as vagabonds, unless we chose instead to celebrate “Vagabondiana” as the self-respecting state of those who eek existence at the margins through their own wits. One cannot deny the romance of vagabond life, with its own culture and custom. Through pathos, John Thomas Smith sought to expose common human qualities and show vagabonds as people, rather than merely as pests or vermin to be driven out.
A Jewish mendicant, unable to walk, who sat in a box on wheels in Petticoat Lane
Israel Potter, one of the oldest menders of chairs still living
Strolling clowns
Bernado Millano, the bladder man
Itinerant third generation vendor of elegies, Christmas carols and love songs
A crippled sailor advertises his maritime past
George Smith, a brush maker afflicted with rheumatism who sold chickweed as bird food
A native of Lucca accompanying his dancing dolls upon the bagpipes
Blinded in one eye, this beggar seeks reward for sweeping the street
Priscilla who sat in the street in Clerkenwell making quilts
Anatony Antonini, selling artificial silk flowers adorned with birds cast in wax
This boot lace seller was a Scotman who lost his hands in the wars
Charles Wood and his dancing dog
Staffordshire ware vendors bought their stock from the Paddington basin and sold it door to door
Rattle-puzzle vendors
A blind beggar with a note hung round his neck appealing for charity
Pickled cucumbers!
Very fine, Very cheap
Tinker
Fly poster
Windmills
Henry Dinsdale
Plaster casts
Roasting Jack
Young lambs
The flying pie man
A poor painter removing
Umbrellas to mend
Images courtesy Bishopsgate Institute

CLICK HERE TO BUY A COPY OF THE CRIES OF LONDON
The Gentle Author assembles a choice selection of CRIES OF LONDON, telling the stories of the artists and celebrated traders, and revealing the unexpected social realities contained within these cheap colourful prints produced for the mass market.
For centuries, these lively images of familiar hawkers and pedlars have been treasured by Londoners. In the capital, those who had no other means of income could always sell wares in the street and, by turning their presence into performance through song, they won the hearts of generations and came to embody the spirit of London itself.
Meandering Along The Lea

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Taking advantage of the spring sunshine as an excuse to escape the city and seek some fresh air, I wandered along the river bank from Bow as far as Tottenham Hale

At Cody Dock

Sir Corbet Woodall, Gas Engineer and Governor of the Gas Light and Coke Company, with two of his historic gasometers at Bow

At Bow Lock

Looking towards the tidal mill at Three Mills Island

At Three Mills Island

Who can identify this water fowl?

Old Ford Lock

Beneath the Eastway

Sculling on the Hackney Cut

At Lea Bridge

Barge cat

The Anchor & Hope

Looking towards Clapton


The Lea Rowing Club


At Tottenham Lock

Two Thames Barges at Tottenham Hale

Coal & diesel delivery barge


At Stonebridge Lock
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