At Spitalfields Fruit & Veg Market
Twenty-five years ago this summer, the wholesale fruit & vegetable market left Spitalfields, where it had been established in 1638 by charter of Charles I, and transferred to a site on the Hackney Marshes where it continues to operate today.
Mark Jackson & Huw Davies’ Spitalfields market photographs of 1990 seem now to be images from the eternal night of history – with fleeting figures endlessly running, fetching and carrying, pushing barrows from the flaring lights out into the velvet blackness, where a bonfire burns beneath the great tower of Christ Church looming overhead.
Mark & Huw were poets with cameras, aware that they were in an epic world with its own codes and customs, and they recognised the imperative to record it before it disappeared. No one asked them and no one paid them – as recent graduates, they shared a tiny flat and worked, as a courier and in a restaurant respectively, to buy film and subsidise their project. Each evening they took the last tube to Liverpool St Station and spent the night at the market, taking pictures and befriending the traders, before going straight back to work again in the morning, often without any sleep.
Like many of the most inspiring cultural projects, this remarkable body of photography was the result of individuals pursuing their own passion – Mark & Huw were committed to record what no one else was interested to look at. Neither became photographers, their greater project to record all the London markets was reluctantly abandoned when they went off to pursue other careers, but their Spitalfields Market photographs remain as an unrivalled achievement in the photography of markets.
Mark & Huw had only the resources to print a tiny fraction of their photographs, which means that this is the first time anyone has seen many of these pictures. Although there is a vivid realism in these photographs, there is an ethereal quality too, especially as many figures exist as mere shadows against the glimmering lights of the market. After the recent architectural interventions, there is an emptiness in the Spitalfields Market now it has been cleaned up, a tangible absence of everything that is here in these pictures. The chaotic beauty of market life has gone and these shadows haunt the market today.
Photographs copyright © Mark Jackson & Huw Davies
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Mark Jackson & Huw Davies’ Photographs of the Spitalfields Market
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Ivor Robins, Fruit & Vegetable Purveyor
In A Dinghy With John Claridge
You have until July 21st to visit John Claridge’s EAST END photography exhibition at Vout-O-Reenee’s in Aldgate and there are still tickets available for the EAST END documentary film show introduced by David Collard at Vout-O-Reenees this Thursday 14th July at 7pm. (Email info@vout-o-reenees.co.uk to reserve your free ticket)
Ship maintenance, 1964
Take a trip down the Thames at a relaxed pace with Photographer John Claridge, in his tiny inflatable dinghy with outboard motor attached. The journey begins in 1961 when the London Docks were still working and ends in the nineteen eighties once they were closed for ever. This set of photographs – published here for the first time – are some of the views to be seen on that voyage.
Setting out at dawn, John’s photographic adventures led him through smog and smoke, through early morning mist, through winter fog and haze upon the river, all filtering and refracting the light to create infinite luminous effects upon the water. In the previous century, Joseph Mallord William Turner and James McNeill Whistler had attempted to evoke the distinctive quality of Thames light upon canvas, but in the mid-twentieth century it was John Claridge, kid photographer from Plaistow, who came drifting out of the London fog, alone in his dinghy with camera and long lens in hand to capture his visions of the river on film.
Look, there is a man scraping an entire boat by hand, balanced precariously over the water. Listen, there is the sound of the gulls echoing in the lonely dock. “It smells like it should,” said John, contemplating these pictures and reliving his escapades on the Thames, half a century later, “it has the atmosphere and feeling of what it was like.”
“You still had industry which created a lot of pollution, even after the Clean Air Act,” he recalled, “People still put their washing out and the dirt was hanging in the air. My mum used to say, ‘Bloody soot on my clean clothes again!'” But in a location characterised by industry, John was fascinated by the calm and quiet of the Thames. “I was in the drink, right in the middle of the river,” John remembered fondly, speaking of his trips in the dinghy, “it was somewhere you’d like to be.” John climbed onto bridges and into cranes to photograph the dock lands from every angle, and he did it all with an insider’s eye.
Generations of men in John’s family were dock workers or sailors, so John’s journey down the Thames in his dinghy became a voyage into a world of collective memory, where big ships always waited inviting him to depart for distant shores. Yet John’s little dinghy became his personal lifeboat, sailing on beyond Tower Bridge where in 1964, at nineteen years old, he opened his first photographic studio near St Paul’s Cathedral. John found a way to fulfil his wanderlust through a professional career that included photographic assignments in every corner of the globe, but these early pictures exist as a record of his maiden voyage on the Thames.
Across the River, 1965
Gulls, 1961
Quiet Evening, 1963
Smog, 1964
At Berth, 1962 – “It wills you to get on board and go somewhere.”
Three Cranes, 1968
Skyline, 1966 – “I climbed up into a crane and there was a ghostly noise that came out of it, from the pigeons roosting there.”
Steps, 1967
Crane & Chimney Stack, 1962
Spars, 1964
After the Rain, 1961
Capstan, 1968
From the Bridge, 1962
Across the River, 1965
Wapping Shoreline, 1961 – “I got terribly muddy, covered in it, sinking into it, and it smelled bad.”
Thames Barrier, 1982
At Daybreak, 1982
Warehouses, 1972
Photographs copyright © John Claridge
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Along the Thames with John Claridge
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George Cruikshank’s London Summer
JULY 1838 – Flying Showers in Battersea Fields
Should you ever require it, here is evidence of the constant volatility of English summer weather, courtesy of George Cruikshank’s Comic Almanack published by Henry Tilt of Fleet St annually between 1835 & 1853, illustrating the continuum of festivals and seasons of the year for Londoners. (Click on any of these images to enlarge)
JUNE 1835 – At the Royal Academy
JUNE 1836 – Holidays at the Public Offices
JUNE 1837 – Haymaking
JULY 1835 – At Vauxhall Gardens
JULY 1836 – Dog Days in Houndsditch
JULY 1837 – Fancy Fair
AUGUST 1836 – Bathing at Brighton
AUGUST 1837 – Regatta
SEPTEMBER 1835 – Bartholomew Fair
SEPTEMBER 1837 – Cockney Sportsmen
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Richard Ivey In Toynbee St
Photographer Richard Ivey took these pictures recording the extravagant derelection evident in the buildings to the east of Toynbee St in Spitalfields, some of which have been decaying for forty years
Photographs copyright © Richard Ivey
These photographs are reproduced courtesy of Architeckton
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Phil Maxwell in The Royal London Hospital
At Chatham Dockyard
Cliff, HMS Gannett
Behold the ancient mariner I met at Chatham Dockyard. After a long career navigating the seven seas, he now guides visitors around HMS Gannett permanently berthed in a dry dock on the Medway.
Over three hundred years, more than four hundred warships were constructed here and, during the eighteenth century, Chatham became one of this country’s largest industrial sites. Even today – thirty years after it ceased to be a working dockyard – the legacy of this endeavour over such a long period and on such a scale is awe-inspiring.
The vast wooden vault of the covered slipway, dating from 1834, is something akin to a cathedral or an aircraft hangar, and climbing up into the roof is a spatial experience of vertiginous amazement. At the other end of the dockyard, a ropewalk contains a room that is a quarter of a mile long for spinning yarn into cables. Midway between these two, I discovered the Commissioner’s Garden, offering a horticultural oasis in the midst of all this industry with a seventeenth century Mulberry at its heart.
Yet as my feet grew weary, my sense of wonder grew troubled by more complicated thoughts and emotions. The countless thousands that laboured long and hard in this dockyard through the centuries produced the maritime might which permitted Britain to wrestle control of the Atlantic from the French and the Spanish, and build its global empire, delivering incalculable wealth at the expense of the people in its colonial territories.
For better or worse, to see the machinery of this history made manifest at Chatham is an experience of wonder tinged with horror which cannot be easily reconciled, yet it is an inescapable part of this country’s identity that compels our attention if we are to understand our own past.
Horatio Nelson
HMS Gannet (1878)
The covered slipway (1838)
The covered slip was designed by Sir Robert Sebbings, Surveyor to the Navy Board & former Shipwright
HMS Ocelot (1962)
HMS Cavalier (1944)
Threads of yarn are twisted to make twine
Rope continues to be manufactured today in the ropewalk
Machinery from 1811 is still in use
The rope walk dates from 1729
Women were employed from 1864 when mechanisation was introduced
Officers’ houses (1722-33)
The Cashier’s Office where Charles Dickens’ father John Dickens worked as a clerk, 1817-22
Figures and coat of arms from HMS Chatham (1911) on the Admiral’s Offices
Sail & Colour Loft (1734) where the sails for HMS Victory were made
Admiral’s Offices (1808) with George III’s coat of arms
Entrance to the Commissioner’s Garden
Seventeenth century Mulberry tree in the Commissioner’s Garden
Richard Wellesley, brother of the Duke of Wellington, and Royal Dockyard Church (1755)
Main Gate (1720) with arms of George I
Visit CHATHAM HISTORIC DOCKYARD, open every day from February until November
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The Mile End Mulberry
Mulberry in Mile End Place
A tip-off from a reader sent me down to Mile End Place to visit an ancient Mulberry tree there and I was delighted for the excuse to visit this appealing hidden enclave of old cottages where an atmosphere of peace prevails that feels almost rural.
A Mulberry tree stands conspicuously in the front garden of a house on the west side of the Place, with a pair of branches outstretched which give it the appearance of a monstrous creature about to reach out and grab you. Yet this was not the object of my quest but perhaps a younger relative of the venerable Mulberry I was seeking, that crouches in the back garden of a cottage on the east side of the street. Traversing the boundary of two gardens, this is a black Mulberry which still bears prolific fruit each summer.
My first thought was that this Mulberry might be contemporary with the cottages in Mile End Place which date from the early nineteenth century, until I climbed up and looked over the garden wall to discover the Velho Sephardic Cemetery on the other side. This is Britain’s oldest Jewish cemetery, which opened in 1657, a year after Cromwell’s re-admission of the Jews – while upon the west side of Mile End Place is the Alderney Rd Ashkenazi Cemetery, which dates from 1697.
The proximity of these hidden green spaces flanking Mile End Place accounts for the peaceful nature of this secluded street and may also explain the presence of the ancient Mulberry tree, dating it to the seventeenth century.
Elsewhere in London, I have discovered Mulberry trees which predate the houses around, speaking of an earlier time when these urban locations were gardens, and I like to think this specimen in Mile End is another example. This is the enigma of these charismatic trees laden with stories as well as fruit, if only we know how to gather them.
The ancient mulberry in the back garden
The gardens of Mile End Place seen from the Velho Cemetery
Mile End Place seen from Alderney Rd Cemetery
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David O’Mara’s Spitalfields
I have published many pictures of renovations of old houses in Spitalfields but David O’Mara‘s candid photography reveals the other side of these stories, recording the back-breaking labour and human toil that is expended upon these endeavours
“For the past ten years I have worked as a painter & decorator in London, both as a means of surviving and also funding my artistic practice – but the roles of artist & decorator are not always easily reconciled, time demands and budgets often lead to a conflict of interests.
My work is described as ‘restoration,’ though I began to question the truth of this description. From the beginning, you strip back the layers of previous occupants. Cupboards, doors and walls that were later additions are all removed. At every turn and removal you notice the evidence of previous lives, all to be erased and replaced with freshly painted blank surfaces – everything is pared back to the tabula rasa.
This has a resonance with my own experience: the daily repetition of tasks erodes memory, time is distilled into but a few recollections. I started photographing my working life as a way of recording the disappearing history of the houses and also to combat the erosion of memory through the repetition of work.” – David O’Mara
Photographs copyright © David O’Mara
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