Spitalfields Life

Today I present another extract from my new book EAST END VERNACULAR, Artists who painted London’s East End streets in the 20th century to be published by Spitalfields Life Books in October. Click here to preorder your copy

Schoolyard, 1968 (Click to enlarge this image)

I thought you might like to see these three fascinating paintings by John Allin (1934-1991) which have just come to light recently and which will be displayed at Townhouse gallery in Spitalfields in October, when East End Vernacular is published. All are dated 1968, yet there is wide divergence of styles between these pictures. The painting of an East End laundry with customers delivering their sacks of dirty washing is characteristic John Allin territory, but the paintings of the schoolyard and the park stray into a different, more painterly realm.

John Allin is celebrated for his paintings of familiar East End streets, yet he also portrayed imaginary scenes that dramatised states of being, such as the school yard which resembles a prison yard above. These emotive, less literal pictures are painted in a freer style, suggesting that there is a greater complexity and creative depth to the work of John Allin than is commonly assumed, when the appreciation of his painting is burdened with the reductive label of ‘primitive’ or ‘outsider’ art.

Recently, as part of my research for East End Vernacular, I travelled up to Walthamstow to meet John Allin’s mentor, the artist Sotirakis Charalambou, who remembered his former friend and colleague with great affection, and spoke about the particular struggles encountered by an artist from the East End half a century ago.

“In the East End at that time, there were not many of us who were doing ‘alternative’ things and so we gravitated to each other. We came together on the street. I met John and we became fast friends. He had just got out of prison but it was not for theft, as is generally believed, it was for receiving. John had begun to paint in prison and wanted to continue and I encouraged him to do that. He would paint at home and then come and paint at my place. I’d wake up in the morning and he’d be painting on the wall in my bedroom. I never taught him because I don’t believe in teaching but I encouraged him, I thought he was extremely talented and it was just a question of finding the confidence in his talent. He had a great passion for painting and wanted to paint his life and his environment, and the people in the East End, and how he felt about it all.

Eventually, he thought he should show his work to a gallery, so he went along to the Portal Gallery and they were very enthusiastic. He had several show there and, for a short time, he took a studio in Space Studios at Fish Island, Hackney Wick, where I was, and he did some good work there but he was uncomfortable. He painted the studio red because he did not like the clinical white.

Success did not affect John’s personality, he was just happy that he could buy a decent car and have a bit more money. He got better at painting and, as his processes and techniques evolved, he became more ambitious with the work and was able to realise his visions more confidently. He worked very hard, I’ve got a painting he did on a plastic tablecloth because in the beginning money was a real problem. He was like Paul Gauguin, forced to paint on sackcloth!

As his technique improved, he used better materials. As you know, he used a lot of flat colour so, at first, he would use a lot of turps almost turning the oil paint into tempera which worried me because I thought the paint might fall off. But his technique improved incredibly and he began to use the oil paint more freely.

I think he was pretty angry about the way the council and the government were treating the working class, he felt very strongly about that. He was sent to prison for receiving some shirts but the reason he got such a long sentence was because he was a cockney working class kid. They were making an example of an East End lout, as they thought.

With John, I think painting was something he discovered that he could do and he could express himself, talk through his paintings about the things he enjoyed and the things that concerned him about the social and political reality that he experienced, the injustice of it. And the value of the people in the East End that he loved and admired. It was very personal. He was a warm, loving man and he loved the people he painted. He treated everybody equally and he wanted to say, ‘Here we are!’

He was a visionary artist and the fact that was not trained academically was to his advantage. He would have been completely destroyed at art school, his vision would have been crushed. He would not finish or even start a painting unless he had a very strong feeling or vision for it. He was complete in that sense. His vision was clear.

I think what happens to people who live in less privileged circumstances, if they cannot project themselves in any other way, they try to find a vehicle by which they can express themselves independently. In the East End, schools were set up so they fed local industry and the level of education was to prepare people for that. But what happens is that, if there is no outlet, people turn inwards and they might by accident come across a book of paintings or be inspired by a teacher and think, ‘Well, I can do that.’ It was an independent means of development which was out of the critical eyes of their peers or even their family, the could disappear into a room and do it independently, and it became a vehicle to grow and make association beyond the social limitations they found themselves living within.”

Park, 1968

Laundry, 1968

Paintings copyright © Estate of John Allin

Click here to see more paintings by John Allin

Take a look at some of the other artists featured in East End Vernacular

Pearl Binder, Artist

Roland Collins, Artist

Anthony Eyton, Artist

Doreen Fletcher, Artist

Barnett Freedman, Artist

Elwin Hawthorn, Artist

Rose Henriques, Artist

Dan Jones,  Artist

Leon Kossoff, Artist

Jock McFadyen, Artist

Cyril Mann, Artist

Peri Parkes, Artist

Henry Silk, Artist

Albert Turpin, Artist

I am sorry to report that after thirty seven years on Denmark St, Tim Marten is being evicted and has had his lease revoked by the developers currently redeveloping this corner of Soho

Tim Marten by Colin O’Brien

Guitars have been manufactured in Denmark St since the days of Queen Anne but now – thanks to the redevelopment of the neighbourhood – Tim Marten is one of the very last to make and repair instruments in this corner of Soho. I visited Tim in the tiny panelled workshop in the beautiful sixteen-nineties house where he pursues his trade, pending three months’ notice to quit at any time.

“When I was a teenager I wanted to learn to play guitar, and I couldn’t afford to buy one and I was reasonably good at woodwork, so I made one. It was horrible! As soon as I’d finished it, I began to understand where I’d gone wrong, so I embarked on my second one and I cured some of the mistakes I’d made the first time round. After about eighteen months – maybe longer – with the help of various other people, I’d finished my third, curing the mistakes I’d made the second time round. I refined it down and down, until I had a guitar I could actually go out and play. It held its own against factory-made bought guitars. That was quite a reasonable instrument, and I went from there!

I came from an engineering background. My father and my uncle were both very good engineers and I used to build Airfix kits and fly model aeroplanes. I was always interested in mechanics and quite good at understanding how things worked. I was one of those small boys whose immediate reaction after Christmas lunch was to start taking their toys apart to see how they worked.

I spent my late teens and early twenties playing in bands round London and Bristol and, if anyone had problems, I’d fix their guitars. It just escalated from there. I was fortunate to meet someone who worked behind the counter at Andy’s Guitar Workshop in Denmark St, just across the road from where I am now. It was the first specific guitar repair workshop in Central London. That was in 1979.

It was run by Andy Preston but it was called ‘Andy’s‘ because that was the name of the Greek greengrocers on the ground floor and we were in the basement. There were quite a few music shops in the street but Andy’s had flats above and a greengrocer at street level. Our customers had to go round the back and down the stairs to our workshop below. I was twenty-two and I had some ideas I was working on for designs for guitars, and my friend who was the counter hand said, ‘Why don’t you come down and speak to the guys I work with?’ So I did and we had a long chat, and I was offered my first job and I’ve been doing it ever since.

Then I joined Led Zeppelin as a guitar technician and went off touring for ten years. I worked for various other bands and had a shop of my own up in Church Lane, Hornsey, just underneath The Kinks‘ studio. So I got to know Ray Davies and did a lot of touring with The Kinks. I played guitar professionally and found I earned more money gigging three nights a week than I did mending guitars in my little workshop, so it became a necessity to go out each Thursday, Friday and Saturday and play. Back in those days, it was quite a lucrative thing to do.

Things went spectacularly wrong in 2000, and I lost the shop and my business. But within a couple of days of realising that was going to happen and wondering what on earth I was going to do with myself, Andy Preston rang up from his hugely-expanded guitar shop which had become internationally known and taken over the whole building. He asked me to come back and run his repair department because they needed somebody with experience. So the door opened and I walked into it.

I stayed there until Andy went bust and sold his shop onto Rick Harrison, when I started working independently and I’ve been independent ever since. I’ve had my workshop in this room for about six years, before that it was Central Sound recording studios. I have no proof but I have been told that David Gray recorded Babylon in this very room. The building has listed status and is as it was constructed after the Great Fire of London, one of four remaining buildings in Denmark St from that time.  This was originally intended as housing and it is slated to be returned to housing. I am going to be booted out and this is going to be turned into luxury flats.  I am on two months’ notice, so that could happen as soon as six months from now.

I don’t think the ethos of Denmark St has changed very much at all since I first came here in 1979. Up until four or five years ago, when Cliff Cooper sold out the leases to the current owners who are property developers, there was very little change in the street apart from the signs above the shops as businesses came and went. Denmark St has always been a bit of a shabby sideshow in very nice way.

From the fifties, it was always the centre for music, when the music publishers started moving in and then the recording studios followed. There were three recording studios here in the sixties. From the eighties, shops came and went but they were always music shops, and the place was in need of a lick of paint. It has always been like that and, to a certain extent, that is its charm. Now restaurants are moving in, the developers are taking over and we are being moved out. It’s coming to an end despite our loudest protests.

We got hit very hard by the internet and it took the industry a while to adapt. I think that was one of the reasons Andy got into financial difficulties. For the repair side of the business, the internet helps no end. I get a lot of work from people who have bought guitars online. They come in the door, I take one look at it and say, ‘You just got this on ebay, didn’t you?’ and they ask, ‘Yes, how did you know?’ and I say, ‘Because if you’d played it before you bought it, you’ never have bought it!’ I tell them, ‘Yes I can fix it for you but it’s going to cost more money than if you had bought it properly from a shop in the first place.’ So I view the internet as a mixed blessing, although I do make a lot of money out of people who buy stuff  and find that it is not as described. I end up sorting it out.

It’s the tinkering side of things, the satisfaction of getting things right, that I like. I do mostly repairs now and only a little design work. There’s a lot of satisfaction in getting something working properly and you give it back to the customer, and a big smile comes over them. ‘Oh wow, that’s brilliant! I’ve been fighting this thing for years – if only I’d known you ten years ago!’

Like any job, it can become repetitive. There are certain repairs you do in your sleep. That’s what I call the bread-and-butter work. It’s well paid, so – if I spend three days a week doing that – I know that I’ve made enough to sit down and do something a bit more creative.

In this industry, it’s a great way to spend a day but it’s a lousy way to make a living. Especially making guitars, because it is so time-consuming and you can’t compete with the guys who have got all the machinery and industrial spraying facilities. The quality of the stuff coming out of the far east now is so good that you have to be able to charge a disproportionate amount of money for a guitar because it is handmade. Or you do bespoke work, I enjoy making things that you couldn’t buy in a shop.

If you look around my workshop, you will see that I am surrounded by projects that I have got halfway through but never got around to finishing. It’s what I do in the quiet periods, but I’ve acquired a reputation for being good at repairs and it’s getting to the point where I have more work than I can do. If you look around, there’s thirty guitars here waiting to be repaired. They are numbered up to fifty-seven and I am working on number twenty-six at the moment. Some of them will take five minutes but others will take me three weeks to fix.

I’ve always got three or four jobs on the go at once and, as you can see, there there are guitars lying around in various stages of repair. While I am waiting for glue or lacquer to dry, I will put it on one side and return to it tomorrow. Repairing instruments is a job where you don’t work on one at a time and finish it.

When I was running the repair department at Andy’s Guitar Workshop, I had four people working under my supervision and I enjoyed the responsibility and the teaching and the social life as well. Now it’s just me yet I am not alone because I have a constant stream of customers and the phone never stops ringing.”

Photographs copyright © Estate of Colin O’Brien

Tim Marten, Guitar Repairs, 9 Denmark Street, London, WC2H 8LS

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At Denmark St

Today I present another extract from my new book EAST END VERNACULAR, Artists who painted London’s East End streets in the 20th century to be published by Spitalfields Life Books in October. Click here to preorder your copy

Twilight at London Fields, 2012

Recently, I met with the artist James Mackinnon (born 1968) whose streetscapes of the East End in general and London Fields in particular have captivated me for years. The seductive sense of atmosphere and magical sense of possibility in these pictures is matched by the breathtaking accomplishment of their painterly execution to powerful effect.

Remarkably, James is a third generation artist, with his uncle Blake and grandfather Hugh before him – which perhaps accounts for the classical nature of his technique even if his sensibility is undeniably contemporary.

We sat outside Christ Church, Spitalfields and chatted about the enduring allure of the East End for artists. I was sorry learn that James has been forced to leave due to a combination of the rising rents and lack of recognition for his work.

Like several others I have met while researching my book, he is an artist who is genuinely deserving of appreciation by a much wider audience. It is very disappointing that the rewards for such a prodigiously talented painter as James Mackinnon are so little that he can no longer afford to be in the East End, and the East End is lesser for it.

“I grew up in South London in Lee Green and I used to go to the Isle of Dogs through the foot tunnel under the Thames and I was mystified by the area north of the river. Sometimes I would bunk off school with a sketchbook and go wandering there. It seemed a mysterious land, so I thought ‘What’s further up from the Isle of Dogs?’ I was a kid and I had been taken up to the West End, but I had never been to the East End and I sensed there was something extraordinary over that way.

I had always loved drawing and I got a scholarship in art to Dulwich College when I was eleven. The art department was wonderful and I got massive support, so I used be in the art block most of the time.

Later on, having left home and gone through college, there was a big recession and it was tough, all the students were scrabbling around for work, I had an epiphany. I was sat next to the Thames and I realised I just wanted to look at buildings and paint them. Since I was a child, buildings and their atmosphere, the feeling of buildings always had this resonance that I could not put my finger on.

As a kid, I was painting with poster paint and drawing with felt tips, and I was obsessed with the Post Office Tower. There was an art deco Odeon in Deptford that was derelict for years and it was demolished at the end of the eighties, and that had a huge effect on me. I sat in the back of my dad’s car and we drove past on the way up to London, and I would see this building and almost have a heart attack, I had such strong feelings about it. My God this thing is extraordinary, I am in love with it! It was falling to bits, it had pigeons sitting in the roof and it had wonderful art deco streamlining but it had this atmosphere, an elegance and a sadness. Even with the Post Office Tower, I felt it had this presence as though it were a person. That comes to the fore when you paint and you feel the place. You are not just concentrating on the architecture, it’s an emotional thing.

So with painting and drawing skills, I wanted to explore the landscape and often the hinterland. There is something compelling about going to a place you do not really know about – the mysterious world of places. The atmosphere of places is borne out of people and their residue, it’s about people living in a place.

By exploring, I was slowly drawn to where my heart was guiding me. In the early nineties, I moved to the East End because it was affordable and I had always wanted to explore there. And I was there until around 2013. I lived in Hackney and had a great time there, and made some great friends.

I was struggling as an artist, there was a lot of signing on the dole, but it was an act of faith, I knew it was what I had to do. I had always painted buildings.

I lived near London Fields and there is this little terrace of Georgian houses with a railway line and overhead electric wires, and there are some tower blocks in the distance, and you have all this grass. That was at the bottom of my road, it was such an interesting juxtaposition. A lot of East London landscapes have that, you might get a church sitting next to a railway line, next to tower block, next to the canal and a bit of old railing and some graffiti. That funny mixture. So I would just go and paint what I wanted. I painted what I was drawn to. For a long time, I was obsessed with Stratford. No-one had done anything to it at that time and I would go round the back streets and I roamed the hinterlands. I walked through to Plaistow and it is all part of a certain landscape that you find in the East End. To make a picture, you have got to find something that moves you and it can be something at the bottom of your road that resonates for you and makes the right composition for a painting. It’s hard to explain.

I had a go at having a studio but I was always a struggling artist so, when it came to rent day, it got tricky. It’s lovely having a studio but I could not afford it. I tried living in my studio for a bit to save money on the rent but the landlord found out and there was a cat and mouse game.

By the time I left, I think I had found myself. There is something in the painting that says it is me rather than anyone else and that has evolved from having done it for twenty years. I just about managed to survive. I realised I have got the tenacity and self belief. This is what I love. You find your path after a lot of struggle but it only comes by doing it. You realise that a great painting can come from something very ordinary, you can go for a walk and there might be something round the corner that knocks you out. There was a lot of that in the East End and I am still obsessed by it though it is changing hugely. Some of the landscapes have changed and some of the shops have gone. I miss Hackney in many ways but I do not miss struggling and rents going up. The area has changed.

So now I have moved to Hastings. I had a little boy and it became untenable to carry on living in the East End. I had no choice.”

Homage to James Pryde, 2009 (The Mole Man’s House)

Broadway Market

Shops in Morning Lane, 2014

Hackney Canal near Mare St, 2012

Canal, Rosemary Works 2014

Savoy Cafe, Hackney, 2012

James Tower, London Fields, 2012

Alphabeat, 2007

Paintings copyright © James Mackinnon

James Mackinnon’s paintings are available from the Millinery Works

Take a look at some of the other artists featured in East End Vernacular

Pearl Binder, Artist

Roland Collins, Artist

Anthony Eyton, Artist

Doreen Fletcher, Artist

Barnett Freedman, Artist

Elwin Hawthorn, Artist

Rose Henriques, Artist

Dan Jones,  Artist

Leon Kossoff, Artist

Jock McFadyen, Artist

Cyril Mann, Artist

Peri Parkes, Artist

Henry Silk, Artist

Albert Turpin, Artist

With Henry Moore’s Draped Seated Woman – better known as Old Flo – due to return to the East End for a temporary stay at Canary Wharf prior to being permanently installed at the new Town Hall in Whitechapel in 2020, Mark Richards tells the story behind her troubled exile and explores London’s orphaned art, a legacy of post-war regeneration

Old Flo in happier days

In 2012, when Lutfur Rahman, then Mayor of Tower Hamlets, proposed to sell Henry Moore’s sculpture Draped Seated Woman, he was widely condemned by the media and the art establishment alike, and a public campaign was launched to prevent the sale, generating a great deal of publicity. What most people do not know is that this public campaign had no impact and was not a factor in the decision to abandon the sale, which happened due to work done by a small team behind the scenes. Most importantly, the wider implications of this attempted sale appear to have passed everyone by.

To understand the context and the scale of the issue we must go back to post-war London, when much of the city lay in ruins and the capital was a patchwork of bomb sites and partially demolished buildings.  The country’s finances were in ruins also and the London Olympics of 1948 were known as the ‘austerity games’ due to the shoestring budget. As one of the associated cultural events, the London County Council held the first of a series of outdoor sculpture exhibitions.  The first exhibition in 1948 was the precursor to the Patronage of the Arts Scheme, by which the LCC purchased sculptures to enrich the lives of Londoners as part of the post-war regeneration of the capital.

The driving force behind these exhibitions and the subsequent scheme for purchasing art was the LCC Parks Committee which announced, “…this is almost certainly the first time a municipal authority in this country has embarked on such a venture. It is, however, fitting that the Council as the largest municipal authority in the Empire, if not in the world, should take a share in the encouragement of visual arts both for the sake of the artists, whose work is part of our national heritage, and also to give Londoners an increased opportunity to enjoy art.” (Mrs Patricia Strauss, Chair of the Parks Committee, Open Air Exhibition of Sculpture, 1948)

This exhibition was a milestone of public art in London, representing a move away from the display of traditional statuary into the open air display of contemporary public art for the enrichment of the lives of Londoners, and it planted the seeds that would grow into the Patronage of the Arts Scheme over the following decade.

Following the exhibition, the Contemporary Art Society donated Henry Moore’s Three Standing Figures, 1947 to the LCC for permanent display at Battersea Park and this almost certainly triggered the scheme that resulted in the purchase of Draped Seated Woman some fourteen years later. Like Draped Seated Woman, this sculpture was abandoned when the Greater London Council was closed in 1986 and is an orphan artwork.

In 1956, a committee was formed to advise the LCC on the purchase of public art for London.  Sir Alan Bowness, Director of the Tate Gallery from 1980–88, was a member and knew both Henry Moore and Sir Isaac Hayward, then leader of the LCC, who encouraged the siting of works of art on new housing estates, schools and in parks, so that they could be enjoyed by the people of London.

Over the life of the Patronage of the Arts Scheme around seventy pieces of public art were purchased for London, including five by Henry Moore, as well as works by leading artists such as Barbara Hepworth, Elizabeth Frink, Lynn Chadwick and others.

You will no doubt have seen some of them dotted around London and perhaps never made the connection to the LCC.  As became evident later, all of them are now orphans with no clear title of ownership.  Their abandonment by the GLC, and subsequently the Department of the Environment, represents a staggering failure of governance during the closure of the GLC in 1986. A report was produced by GLC staff in 1983 recommending that the sculptures be put in trust for London but this was never followed through.

After the GLC was closed, only the late Tony Banks MP pursued the matter in the House of Commons but with little success.  Hansard records a series of exchanges that imply the government of the day knew about the sculptures and intended selling them to offset the cost of closing the GLC. Either way, when other artworks were transferred into and out of the London Residuary Body through a series of statutory instruments these sculptures were mysteriously left out.  They were not sold or transferred, and instead were simply allowed to drift into ambiguity of ownership to the detriment of London.

Since 1986, many of the sculptures have been stolen, mislaid, damaged or destroyed.  In a period of austerity, they remain at grave risk of being lost, stolen by metal thieves or sold to bolster failing local authority budgets.  Nobody has overall responsibility for this public collection which is worth tens of millions, and the various local authorities, schools and colleges where the sculptures stand appear to have no idea that they do not have clear title of ownership to the works in their possession.

When I heard about the proposed sale of Old Flo by Tower Hamlets, I was determined to stop it. I had some knowledge of the sculpture – it was an important work that was based on Henry Moore’s shelter drawings and so had a particular resonance for London, given that Stepney where it had been based was one of the most heavily-bombed areas of the city.  The drapery allowed Moore to create tension in the figure and, when you examine the shelter drawings, you can see the connection between those poignant drawings and this colossal sculpture.

I always thought of this sculpture as being of a mother listening to the fall of bombs outside the shelter and wondering whether her children, her friends or her house would survive the bombardment.  She represented for me a stoic figure full of resolve mixed with a sense of alertness, tension and vulnerability belied by her immense scale.

In the end, Old Flo was saved by the actions of a small group of people. Working with the support of the Art Fund and Farrer & Co solicitors, who provided pro bono advice, five of us went to the London Metropolitan Archives to do the research into the original purchase of Old Flo. It proved to be an exciting journey into the murky history of art acquisition and the regeneration of post-war London.

The story of this work of art began to reveal itself in the dusty, and often crumbling, minutes of the long defunct London County Council.  The original idea that the sculpture had been a gift to London by Henry Moore and was therefore held in trust turned out to be false, documentation showed it was purchased for a fair market rate by the LCC.

We discovered that Old Flo had been bought for the Stifford Estate in Stepney by the London County Council. Then I tried to find out how it ended up in the hands of Tower Hamlets Council, which did not exist at that time. I followed the trail through the files, minutes, transfer documents and statutes, showing the demise of the LCC, the rise and fall of the GLC and the creation and closure of the London Residuary Body. Eventually, I discovered that title of ownership to the sculpture had never been transferred to Tower Hamlets at any time in its history. Consequently, they were not the owner and therefore had no right to sell it.

The sculpture had gone from the LCC to the GLC and then, when the GLC was closed, had been transferred to the London Residuary Body. Subsequently, on the closure of the LRB, title of ownership to all seventy sculptures was accidentally transferred to the London Borough of Bromley via a ‘sweep-up’ order in 1997, even though Bromley had no knowledge of this.

Working with the Art Fund we persuaded the London Borough of Bromley to lodge a legal challenge to the sale acting in their capacity as successor to the LRB.  Bromley’s position was that the sculpture was a cultural asset and needed to be saved for London, and I have nothing but praise for their approach – they are the unacknowledged heroes of this case.  As a result of their intervention, Tower Hamlets was forced to remove the sculpture from auction after it had been listed for sale by Christie’s for January 2013. The case then became like Jarndyce & Jarndyce in Bleak House, with both sides arguing that the sculpture was theirs.

A long legal case ensued at which I was a witness in the Court of Chancery in 2015. Lutfur Rahman was removed from office for electoral irregularities. Meanwhile, the whole focus of the campaign behind the scenes had been to delay any sale until he was gone, since the vast majority of councillors at Tower Hamlets were opposed to the sale.

Following Rahman’s removal, the outcome of the legal case was largely academic when it comes to Old Flo but, in the end, title of ownership was determined to sit with Tower Hamlets due to a legal technicality. They had ‘converted’ the sculpture by lending it to the Yorkshire Sculpture Park without Bromley’s permission and six years later it had become theirs under the rules on limitation. The judge in the case supported all aspects of Bromley’s claim to title of ownership except on the single issue of ‘conversion,’ and rejected Tower Hamlets’ other claims in their entirety.  The judgment is a matter of public record and can be found by clicking here.

What is not recorded is that the late Norman Palmer QC, the world’s leading authority on the law of bailment, believed that the Tower Hamlets case on conversion was flawed and could be defeated by an argument that Old Flo was held in bailment which is not covered by limitation. But this argument was never pleaded in the case, so we will never know if he was correct.

John Biggs, the new Mayor of Tower Hamlets, gave me his personal assurance that Old Flo would not be sold and she was therefore saved for the nation. My involvement ended in 2015 and, at that time, the plans were that the sculpture would be returned to London and displayed outside of the Museum in Docklands. This never happened and it is now destined for Canary Wharf instead, prior to installation at the new Town Hall in Whitechapel in 2020  As it stands, Old Flo remains in public ownership but her future is far from secure – as she is not held in trust, she could be sold at any time at the whim of a politician. If this was to happen, there are now no grounds to challenge the decision.

The future of the remaining sculptures is also less than rosy – their title of ownership remains uncertain and the failure to address this or put them into trust has left them with no clear owner. Had Bromley won the Old Flo case then all of the sculptures would have been put into trust and protected in perpetuity, but this is unlikely to happen now and no public bodies seem willing to pick up the baton and protect this remarkable series of sculptures, some of which are falling into disrepair.

They include many works of which you may be familiar such as The Watchers by Lynn Chadwick at Roehampton College (stolen in 2006 but now recast), Single Form Memorial and Monolith-Empyrean by Barbara Hepworth, Two-Piece Reclining Figures No. 1 and No. 3 by Henry Moore, The Lesson by Franta Belsky in Satchwell Rd, Robert Clatworthy’s The Bull in Danebury Avenue, opposite Portswood Place in Wandsworth, and many more.

Others have not fared so well and the list of important works which have been stolen includes like Elisabeth Frink’s Birdman from Sedgehill School in Lewisham and Georg Ehrlich’s Drinking Calf from Garratt Green School in Wandsworth, while sculptures like the Henry Moore on the Brandon Estate remain at serious risk of metal theft.

Someone needs to take the initiative and protect these sculptures as a legacy for London, but who is up to the task?

Old Flo at Yorkshire Sculpture Park (Photo by Mark Richards)

Poster for the 1948 open air art exhibition at Battersea Park

Programme for the 1948 exhibition with an introduction by Patricia Strauss

Three Standing Figures by Henry Moore, Battersea Park (Photo by Mark Richards)

Two Piece Reclining Figure No. 3 by Henry Moore, Brandon Estate (Photo by Mark Richards)

Old Flo on the Stifford Estate c.1964

Monolith-Empyrean by Barbara Hepworth, Kenwood House (Photo by Mark Richards)

Single Form Memorial by Barbara Hepworth, Battersea Park (Photo by Mark Richards)

Two Piece Reclining Figure No. 1 by Henry Moore, Chelsea School of Art (Photo by Mark Richards)

Woman Seated in the Underground, 1941 by Henry Moore

LCC report 19 March 1964 listing Draped Seated Woman and Single Form Memorial

CC minutes 27 July 1961 recording the decision to buy the sculpture

The Stifford Estate c.1965 showing the location of Draped Seated Woman

Mark Richards is the Chief Executive Officer at the Museum of Vancouver in British Columbia, Canada

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Frank Dobson’s Sculpture in Whitechapel

Franta Belsky’s Sculpture in Bethnal Green