Rose Henriques’ Paintings
A few years ago, Clive Bettinson of the Jewish East End Celebration Society rescued a series of watercolours from the basement of the Whitechapel Library where they were being walked upon. Today, Rose Henriques’ Paintings have been restored and are the subject of a new exhibition at Tower Hamlets Local History Library & Archives researched by Sara Ayed.
Born into an Orthodox Jewish family in Stoke Newington, Rose devoted herself to life of altruistic endeavour, serving as a nurse at Liverpool St Station in the First World War and then as an ambulance driver based in Cannon St Row in the Second World War.
In 1917, she married Basil Henriques and together they established and ran the settlement in Berners St (later known as Henriques St) pursuing philanthropic work among the Jewish community in the East End for more than half a century.
Yet somehow Rose also managed to produce a stream of paintings that document the times she lived in intimate human detail, exhibiting her work at the Whitechapel Gallery from 1934 onwards and holding two solo shows there,’Stepney in War & Peace’ in 1947 and ‘Vanishing Stepney’ in 1961.
Coronation Celebrations in Challis Court, 1937
Nine O’Clock News, The Outbreak of War
The New Driver, Ambulance Station, Cannon St Row
Next Day, Watney St Market, 1941
Bombed Second Time, The Foothills, Tilbury & Southend Railway Warehouses, 1941
Dual Purpose, School Yard in Fairclough St, Tilbury & Southend Railway Warehouses, forties
Line outside Civil Defence Shelter, Turner St, 1942
Stepney Green Synagogue, forties
The Brick Dump, Exmouth St, forties
Club Row Animal Market Carries On, 1943
Fait Accompli, Berner St, 1951
Workrooms for the Elderly, 1954
Rose Henriques (1889- 1972)
Portrait of Rose Henriques © Ian Berry
Archive images courtesy Tower Hamlets Local History Library & Archives
Stepney in Peace & War, The Paintings of Rose Henriques runs until 6th March at Tower Hamlets Local History Library & Archives, 277 Bancroft Rd, E1, with a talk by the curator on Thursday 30th January at 6:30pm
Antony Cairns’ Old Shops
Complementing Antony Cairn’s elegaic series of East End Pubs, today I present his ethereal portfolio of shops, created using the same nineteenth century Vandyke Brown process, and evoking those commercial premises which exist as receptacles of collective memory for the communities they served.
The first picture is of The Handy Shop, Tony’s first local shop when growing up in Plaistow, and the last picture is W.F.Arber & Co Ltd in Roman Rd, of which my friend Gary Arber is the proprietor.
The Handy Shop, Ruskin Ave, E12
M.J. Evans, Warren St, W1
Unknown shop, Mile End, E12
Unknown shop, Bonsor St, SE5
Unknown shops, unknown street
Unknown shop, Copenhagen St N.1
Unknown shops, Morning Lane, E8
Unknown shop, Oswin St, SE11
Unknown shops, Hackney Rd, E2
Fishmonger, Commercial Rd, E1
Unknown shop, St Pancras Way, NW5
Printworks, Blackfriars Rd, SE1
Gari’s, Northwold Rd, N16
George Harvey, Bougourd Chemist & Droys, Rochester Row, SW1
Gricks Jellied Eels, Rosebery Ave, Manor Park, E12
Arber & Co Ltd, 459 Roman Rd, E3
Photographs copyright © Antony Cairns
You may also like to take a look at
and these other photographs of shops
A Plaque For Nicholas Culpeper
Please help me to get a People’s Plaque to commemorate the famous herbalist, Nicholas Culpeper (1616-1654), who lived in Spitalfields. Residents of the Borough of Tower Hamlets have until this Sunday 8th December to cast their votes online here.
Culpeper’s Herbal has been continuously in print since he published it in the seventeenth century and – by example – he was one of the first to propose that healthcare should be given free as a basic human right. His house was demolished in the nineteenth century but 92 Commercial St is the closest to the site today – coincidentally the premises of Spitalfields Organics.
Read this portrait of Nicholas Culpeper by gardener & writer, Patricia Cleveland-Peck, to learn more about why he deserves to be remembered.
Of all Spitalfields’ past residents, one name stands out above others – Nicholas Culpeper, born on October 18th 1616, a herbalist and medical practitioner operating from Red Lion St (now Commercial St) who devoted his life to healing, and especially to healing the poor.
While apprenticed to the apothecary Francis Drake of Bishopsgate, Nicholas accompanied Thomas Johnson (later editor of the 1633 edition of Gerard’s Herball) on plant hunting excursions. He loved herbs since boyhood and became expert at their identification, essential in those days when almost all ailments were treated with plants. Herbals served as handbooks for doctors in which each plant was named together with its ‘virtues’ or uses. Nicholas’ skill in this subject, coupled with the fact that he was very caring, meant that the people of Spitalfields flocked to him – sometimes as many as forty a morning – and they commonly received treatment for little or no payment.
This was not popular among Nicholas Culpeper’s qualified medical colleagues who were infuriated by his view that, “no man deserved to starve to pay an insulting, insolent physician.” He also believed in “English herbs for English bodies,” and went out gathering his own herbs from the countryside for free which did not endear him to the apothecaries who often insisted on expensive imported exotic plants for their ‘cures’.
In those days, there were strict divisions between what university-educated physicians, apothecaries and barber-surgeons (who drew teeth and let blood) were allowed to do. Physicians were expensive, so for most sick people the first port of call would be their own herb garden or still room, the second the ‘wise woman’ down the road, the third a visit to the apothecary – after which, for many, there was no other option but to let the illness run its course.
In 1649, Nicholas inflamed the establishment by producing an English translation of their latin ‘bible’ the Pharmacopoeia Londinensis which included all the recipes for their medicines. Published as A Physical Directory, it not only revealed the secret ingredients but gave instructions on how to administer them – one of his most important contributions, as it provided the first effective self-help book to which people could turn.
Even more galling for the medical fraternity was the fact Nicholas had never completed his apprenticeship, and chose Spitalfields to set up a semi-legal practice because it was outside the City of London and thus not governed by the rules of the College of Physicians. Spitalfields in those days was quite different from today, beyond the site of huge priory of St Mary Spital stretched the farmland of Spital Field. The priory had been dissolved under Henry VIII although parts of the precincts were still inhabited, and it was an area which attracted outsiders like Nicholas who, as well as treating his patients, was something of a political radical. In his pamphlets, he railed against the king, priests and lawyers as well as physicians. Consequently he was no stranger to controversy and at one point was even accused of witchcraft – just one of the many troubles which accumulated to beset him during his life.
The first of these even occurred thirteen days before his life began, for it was then that his father died leaving his mother without support. She and the new-born Nicholas were obliged to return to the protection of her father, William Attersole, vicar of the little village of Isfield in Sussex. Attersole was not happy about this arrangement but, although he did not welcome the child, he did see it as his religious duty to provide instruction for him as he grew. Young Nicholas learned the scriptures and the classics, he studied mathematics and, under his grandfather’s guidance, began to take an interest in astrology which later featured in his own works. He even stole a book on anatomy out of the library (where he was only supposed to read the bible) and read it in a barn.
Importantly, he also spent a lot of time with his mother who we know owned a copy of Gerard’s Herball. She was responsible for the health of the household and, from his later works, we can glean the fact that he soon became familiar with all the local Sussex ‘simples’ or wild herbs. We know only little of this period of his life, although it is thought that he went to school in Lewes before – at the age of sixteen – setting off for Cambridge ostensibly to follow in his grandfather’s footsteps by studying theology. Once there, he began attending lectures on anatomy but, perhaps frustrated that he couldn’t change to medicine, spent most of his time smoking, drinking and socialising in taverns.
Yet the reason for his dropping out is a sad one. Young though he was, before leaving Sussex, Nicholas had fallen in love with Judith Rivers, a local heiress. She reciprocated his love and thus, knowing her family would never consent to the relationship, they planned to elope. They were to meet near Lewes and marry secretly, but on the way Judith’s coach was struck by lightning and she was killed. Nicholas was devastated and spent months sunk in melancholy. There was no question of his returning to Cambridge to study medicine or anything else. Eventually he chose to come to London and become an apothecary. Socially, this was a step down but he enjoyed his time at Bishopsgate and became very proficient.
Nicholas was twenty-four when he found love again. Called to treat a Mr Field for gouty arthritis, his eyes fell upon the fifteen-year-old daughter of the house, Alice. By a stroke of good fortune, she too was an heiress and it was her considerable dowry which enabled Nicholas to build a house in Red Lion St, Spitalfields from which he conducted his practice.
When the Civil War broke out two years later, the anti-royalist Nicholas signed up with Cromwell. Once his profession was discovered however, the recruiting offer commented, “We do not need you at the battlefield…come along as the field surgeon since most of the barbers and physicians are royal asses and we have use for someone to look after our injured.” Later, during the battle of Reading, Nicholas himself was wounded.
On his return to Spitalfields, he devoted himself to study and writing, and produced a number of books including a Directory for Midwives. Nicholas recognised that this was an unusual topic for a male herbalist, writing in the dedication, “If you (the matron) by your experiences find anything not according to the truth ( for I am a man and therefore subject to failings) first judge charitably of me…” Having grown up so close to his mother, Nicholas had a deep respect of women but this book may also have been inspired by some painful experiences in his own family for, although Alice bore him seven children, only one daughter lived to adulthood.
In 1652, Nicholas published his master work The English Physician also known as Culpeper’s Herbal which became the standard work for three hundred years and is still in print. It was sold cheaply and made its way to America where it had a lasting impact too. By 1665, ten years after his death, Nicholas’ name was so well-known that the Lord Mayor of London chose to use it alongside that of Sir Walter Raleigh in a pamphlet about avoiding infection from the Great Plague.
Nicholas Culpeper deserves to be remembered. He was always on the side of the underdog, he opposed the ‘closed shop’ of earlier physicians and he promoted sensible self-help. He also tried to offer reasonable explanations for what he wrote – “Neither Gerard nor Parkinson or any that ever wrote in a like manner ever gave one wise reason for what they wrote and so did nothing else but train up young novices in Physic in the School of Tradition, and teach them just as a parrot is taught… But in mine you see a reason for everything that is written.”
He died in 1654, aged only thirty-eight, of tuberculosis and is believed to be buried beneath Liverpool St Station.
Title page of the 1790 edition of Culpeper’s English Physician & Complete Herbal, published by C.Stalker, 4 Stationer’s Court, Ludgate St.
Plates from the edition published by Richard Evans, 8 White’s Row, Spitalfields, August 12th, 1814.
“Culpeper’s house, of which there are woodcuts extant, it is of wood, and is situated the corner of Red Lion Court and Red Lion Street, Spitalfields. It is now and has long been a public house, known by the sign of the Red Lion, but at the time it was inhabited by the sage herbalist, it was independent of other buildings. While in the occupation of Culpeper, who died in 1654, this house stood in Red Lion Field and was as a dispensary of medicines (perhaps the first) of very considerable celebrity.” The European Magazine and London Review, January 1812. Red Lion St and Red Lion Court as shown on John Horwood’s map (1794-99) before Commercial St was cut through in the nineteenth century.
Sebastian Harding’s model of Nicholas Culpeper’s house in Spitalfields.
Bandele “Tex” Ajetunmobi, Photographer
Bandele Ajetunmobi – widely known as Tex – took photographs in the East End for almost half a century, starting in the late forties. He recorded a tender vision of interracial cameradarie, notably as manifest in a glamorous underground nightlife culture yet sometimes underscored with melancholy too – creating poignant portraits that witness an almost-forgotten era of recent history.
In 1947, at twenty-six years old, he stowed away on a boat from Nigeria – where he found himself an outcast on account of the disability he acquired from polio as a child – and in East London he discovered the freedom to pursue his life’s passion for photography, not for money or reputation but for the love of it.
He was one of Britain’s first black photographers and he lived here in Commercial St, Spitalfields, yet most of his work was destroyed when he died in 1994 and, if his niece had not rescued a couple of hundred negatives from a skip, we should have no evidence of his breathtaking talent.
Fortunately, Tex’s photographs found a home at Autograph ABP where they are preserved in the permanent archive and it was there I met with Victoria Loughran, who had the brave insight to appreciate the quality of her uncle’s work and make it her mission to achieve recognition for him posthumously.
“He was the youngest brother and he was disabled as well but he was very good at art, so they apprenticed him to a portrait photographer in Lagos. It suited him yet it wasn’t enough, so he packed up and, without anything much, left for England with my Uncle Chris.
Juliana, my mum had already come from Nigeria and, when I was born, she lived in Brick Lane but, after a gas explosion, we had to move out – that’s how we ended up in Newham. When I was a child, we didn’t come over here much – except sometimes to visit Brick Lane and Petticoat Lane on a Sunday – because we had moved to a better place. I understood I was born in Bethnal Green but I grew up in a better class of neighbourhood.
I knew that she didn’t approve of my uncle’s lifestyle, she didn’t approve of the drinking and probably there were drugs too. They were lots of rifts and falling out that I didn’t understand at the time. When everything became about having jobs to survive, she couldn’t comprehend doing something which didn’t make money. In another life, she might have understood his ideals – but we were immigrants and you have to feed yourself. She thought, ‘Why are you doing something that doesn’t sit comfortably with being poor?’
He did all this photography yet he didn’t do it to make money, he did it for pleasure and for artistic purposes. He was doing it for art’s sake.He had lots of books of photography and he studied it. He was doing it because those things needed to be recorded. You fall in love with a medium and that’s what happened to him. He spent all his money on photography. He had expensive cameras, Hasselblads and Leicas. My mother said, ‘If you sold one, you could make a visit to Nigeria.’ But he never went back, he was probably a bit of an outcast because of his polio as a child and it suited him to be somewhere people didn’t judge him for that.
He used to come and visit regularly when we lived in Stratford and there are family pictures that he took of us. His pictures pop out at me and remind me of my childhood, they prove to me that it really was that colourful. He was fun. Cissy was his girlfriend, they were together. She was white. When Cissy separated from her husband, he got custody of her children because she was with a black man – and her family stopped talking to her. She and Tex really wanted to have children of their own but they weren’t able to. They were Uncle Tex and Aunty Cissy, they would come round with presents and sweets, and they were a model couple to us as children. To see a mixed race couple wasn’t strange to us – where we lived it was full of immigrants and we were poor people and we just got on with life, and helped each other out.
He used to do buying and selling from a stall in Brick Lane. When he died, they found so much stuff in his flat, art equipment, pens, old records and fountain pens. He had a very good eye for things. Everybody knew him, he was always with his camera and they stopped him in the street and asked him to take their picture. He was able to take photographs in clubs, so he must have been a trusted and respected figure. Even if the subjects are poor, they are strutting their stuff for the camera. He gave them their pride and I like that.
He was not extreme in his vices. He died of a heart attack after being for a night out with his card-playing friends. He lived alone by then, he and Cissy were separated. But he was able to go to his neighbour’s flat and they called an ambulance so, although he lived alone, he didn’t die alone.
I thought he deserved more, that he was important. I just got bloody-minded. It wasn’t just because he was my uncle, it’s because it was brilliant photography. He deserved for people to see his work. There were thousands of pictures but only about three hundred have survived. Just one plastic bag of photos from a life’s work.”
Tex was generous with his photographs, giving away many pictures taken for friends and acquaintances in the East End – so if anybody knows of the existence of any more of his photos please get in touch so that we may extend the slim yet precious canon of Bandele “Tex” Ajetunmobi’s photography.
Whitechapel night club, nineteen-fifties
East End, nineteen seventies
On Brick Lane, seventies
Bandele “Tex” Ajetunmobi, self portrait
The East End Preservation Society Launch
Main Hall at the Bishopsgate Institute, 27th November
In recent years, as I found myself writing the same story about the loss of old buildings in the East End, its repetition dishearterned me.
First, there was the threat to demolish the Jewish Nursing Home in Underwood Rd and, in spite of a petition and widespread opposition, it went ahead. Then, there was the proposed redevelopment of the Spitalfields Fruit & Wool Exchange which was rejected twice by the elected members of Tower Hamlets Council but Boris Johnson, Mayor of London overturned the decision. And most recently, the overbearing housing project that will entail razing the Queen Elizabeth Children’s Hospital in Hackney has been given the go-ahead, again by the Mayor, ignoring the wishes of the local community.
Yet The Marquis of Lansdowne was the joyous exception, in which a campaign was successful in articulating the strength of public feeling and the consequent refusal of permission by Hackney Council for the demolition of the building was sufficient to save it. This example gave me hope and inspired the notion that it might be possible to bring everyone together to fight these battles more effectively.
It was a hope that was kindled into something larger last week, as an excited crowd packed the Main Hall of the Bishopsgate Institute for the launch of The East End Preservation Society. Spitalfields Life Contributing Photographer Simon Mooney was there to capture the drama of the night and Contributing Filmmaker Sebastian Sharples made the films which accompany this feature.
Dan Cruickshank, Architectural Historian & long-term Spitalfields resident, gave the inugural address and William Palin, ex-director of SAVE Britain’s Heritage, delivered an illustrated historical survey of buildings lost and saved in the East End. Beyond this, Marcus Binney reported on the fate of the Spitalfields Fruit & Wool Exchange, Matt Johnson & Brad Lochore reported on the looming outsize developments in Shoreditch, Lucy Rogers reported on the proposed demolition of the former Queen Elizabeth Children’s Hospital and, rounding off the evening, Saif Osmani reported on the monster scheme for Whitechapel.
The drama of the event came from the fact that no-one knew what anyone else was going to say. And, once we in the audience learned of the breakdown in the democratic process that will permit large-scale, destructive plans to be imposed upon the East End if we do nothing, there was an accumulating sense of horror as the list of imminent developments became apparent. Yet this was counterbalanced by the realisation that each of the reports by the different speakers shared a common thread, whether Dan Cruickshank speaking of the loss of eighteenth-century weavers’ cottages or Saif Osmani revealing that the future development plan for Whitechapel, of over one hundred pages, does not include a single mention of the Bangladeshi people.
The common thread was that of a respect and affection for the East End and its people, and how this culture has become manifest in the evolution of the built environment that we inhabit today. On this fundamental point, all the existing conservation groups are in accord, from The Friends of Christ Church Spitalfields to The Friends of Queens Market, and from The Friends of the Old Spotted Dog to The Friends of Arnold Circus. So now we must come together to support each other’s campaigns, swelling the numbers and making ourselves heard to preserve what we hold dear in the East End.
It is my hope that, in future, when I find myself writing stories about old buildings under threat, they will be accounts of how The East End Preservation Society saved them.
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Willam Palin summarises his introductory speech for The East End Preservation Society
Archivist Stefan Dickers welcomes The East End Preservation Society to the Bishopsgate Institute
Dan Cruickshank makes the inaugural address
Clive Bettinson of the Jewish East End Celebration Society
Bob Rogers of the East London History Society
“This is not just a debate about what kind of places we want our cities to be, but about who controls the process of change. Is it you – that is local people and communities – or is the developers, with their short-term interests, aided by highly-paid planning consultants and supported by the Mayor? The East End Preservation Society is about wresting back control and the fight-back starts tonight.” Will Palin
Marcus Binney founder of SAVE Britain’s Heritage on the loss of the Spitalfields Fruit & Wool Exchange
Matt Johnson speaks of the threat of the Bishopsgate Goodsyard development to Shoreditch
Brad Lochore speaks of the encroaching towers from the City of London into Shoreditch
Lucy Rogers explains the crisis with the former Queen Elizabeth Children’s Hospital
Saif Osmani of the Friends of Queens Market reveals the overbearing development for Whitechapel
Photographs copyright © Simon Mooney
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Dan Cruickshank’s Inugural Address for The East End Preservation Society
“It should now be possible to protect our historic buildings, to maintain and improve our conservation areas, to represent and reinforce traditional communities and to create and sustain well-balanced new communities – ones that build on the rich and inclusive cultural tradition of East London.
But it seems that all these worthy expectations will not be realised without drastic, radical action. East London has reached a critical time in its long and rewarding history. Massive new developments such as the one proposed for Bishopsgate Goodsyard (which includes a series of towers from twenty-eight to five-five storeys in height) threaten to overwhelm adjoining conservation areas and infrastructure, cast shadow over communities and cause irreparable damage to established areas which have a strong character.
There is no strong evidence that developers are actually acting on opinions expressed through the consultation process – and the feeling is that the welfare of many is to be sacrificed for profits for a few.
The sound and handsome nineteen-twenties London Fruit & Wool Exchange in Spitalfields is to be largely demolished for a scheme which includes no housing, and which entails the destruction of the popular local pub, The Gun, and the eradication of the important late seventeenth-century street, Dorset St. The site could hardly be more sensitive, located in a conservation area, and opposite Nicholas Hawksmoor’s Christ Church, one of most moving historic buildings in London.
After much debate and local opposition, the scheme was originally rejected by Tower Hamlets Council – a victory for community action and local democracy – but the Mayor of London intervened and, after acting as judge and jury, overturned the local authority’s decision and granted development consent. An alternative scheme – drawn up by local groups and which kept the important existing buildings and street pattern, which built on the history of the site – which proposed some housing and which would have created local employment – was dismissed out of hand.
This story represents a collapse of local democracy, and a cynical disregard of local people and opinion. So much for democracy when it comes to the protection and enhancement of East London! So much for the opinions of local communities! So much for history!
To me, it is obvious that an East End Preservation Society is needed a) to gather and represent local opinion b) to help East London people stand together c) to give them a voice and make that voice count (to ensure it is not only heard but also that it is acted upon) and d) to reveal and promote an urban vision which is not governed by short-term and personal profit, but which evokes and embraces more worthy and more communal aims – and which enshrines the spirit and character of East London.
Our opinions – the opinions of ordinary Londoners – matter, and must not be cast aside by corporations or corporate politicians. United we stand, divided we fall.
If we become a coherent pressure group, national and local politicians and planners will be obliged to listen to us. We have much to lose but – if we stick together – much to gain.”
Dan Cruickshank with John Betjeman on a visit to Elder St during the battle to save the eighteenth century houses from demolition by British Land in 1977
Thanks to David Pearson for designing the typographic logo and Truman’s Beer for providing refreshment to The East End Preservation Society
If you would like to join The East End Preservation Society and be kept in touch with the society’s plans please email eastendpsociety@virginmedia.com
You may also like to read about
The East End Preservation Society
Remembering The Queen Elizabeth Children’s Hospital
The Pub That Was Saved By Irony
Row Over Demolition at the Geffrye Museum
So Long, Spitalfields Fruit & Wool Exchange
So Long, Mother Levy’s Nursing Home
Dorothy Annan’s Murals At The Barbican
Two years ago, I wrote this appreciation of Dorothy Annan’s ceramic murals adorning Fleet House in Farringdon St which was due for demolition and now I am happy to report that these wonderful pieces have been moved to a new location in the Barbican – where they lighten a gloomy passage and bring joy to thousands every day, both residents of the estate and visitors to the arts centre alike.
1. Radio communications and television
Wandering down under Holborn Viaduct two years ago, I was halted in my tracks by the beauty of a series of nine large ceramic murals upon the frontage of Eric Bedford’s elegant modernist Fleet House of 1960 at 70 Farringdon St. Their subtle lichen and slate tones suited the occluded November afternoon and my mood. Yet even as I savoured their austere grace, I raised my eyes to discover that the edifice was boarded up and I wondered if next time I came by it should be gone. Just up from here, there were vast chasms where entire blocks had disappeared at Snow Hill and beside Farringdon Station, so I was not surprised to discover that the vacant Fleet House was next to go.
Each of the murals was constructed of forty bulky stoneware panels and it was their texture that first drew my attention, emphasising the presence of the maker. Framed in steel and set in bays defined by pieces of sandstone, this handcrafted modernism counterbalanced the austere geometry of the building to sympathetic effect. Appropriately for the telephone exchange where the first international direct-dialled call was made – by Lord Mayor of London Sir Ralph Perring to Monsieur Jacques Marette, the French Minister of Posts, Telegraphs and Telephones in Paris at 11am on 8th March 1963 – these reliefs celebrated the wonders of communication as an heroic human endeavour. In 1961, the General Post Office Telephonist Recruitment Centre was housed there at Fleet House and they paid telephonists £11 week, plus a special operating allowance of six shillings and threepence for those employed on the international exchange.
These appealing works, enriching the streetscape with a complex visual poetry, were created by Dorothy Annan (1908-1983) a painter and ceramicist with a Bohemian reputation who, earlier in the century, produced pictures in a loose post-impressionist style and was married to the sculptor Trevor Tennant. Although her work is unapologetic in declaring the influence of Ben Nicholson and Paul Klee, she succeeded in constructing a personal visual language which is distinctive and speaks across time, successfully tempering modernism with organic forms and a natural palette.
It was the abstract qualities of these murals that first caught my eye, even though on closer examination many contain figurative elements, illustrating aspects of communication technology – motifs of aerials and wires which are subsumed to the rhythmic play of texture and tone, they offered a lively backdrop to the endless passage of pedestrians down Farringdon St.
Once a proud showcase for the future of telecommunications, Fleet House had been empty for years and was the property of Goldman Sachs who won permission this summer to demolish it for the construction of a ‘banking factory.’ I feared that the murals might go the same way as Dorothy Annan’s largest single work entitled ‘Expanding Universe’ at the Bank of England which was destroyed in 1997. Yet although Fleet House itself was not listed, the City of London planning authority earmarked the murals for preservation as a condition of any development. And today, you can visit them at the Barbican where they have found a sympathetic new permanent home, complementing the modernist towers, bringing detail and subtle colour to enliven this massive complex. The age of heroic telephony may have passed but Dorothy Annan’s murals survive as a tribute to it.
2. Cables and communication in buildings
3. Test frame for linking circuits
4. Cable chamber with cables entering from street
5. Cross connection frame
6. Power and generators
7. Impressions derived from the patterns produced in cathode ray oscilligraphs used in testing
8. Lines over the countryside
9. Overseas communication showing cable buoys
Dorothy Annan’s murals upon Fleet House, Farringdon St, November 2011
Dorothy Annan’s murals at the Barbican Centre, November 2013
You might also like to take a look at
Philip Lindsay Clark’s Sculptures in Widegate St
Fifty People Of East London By Adam Dant
This week, Martin Usborne launches Hoxton Minipress to publish collectable art books about East London and it is my pleasure to preview his second title – Fifty People of East London by Adam Dant, to which I have contributed a brief introduction that is reprinted below.
Seller of Hair Brooms by William Marshall Craig, Shoreditch 1804
Adam Dant is the latest in a venerable tradition of artists stretching back more than five centuries who have portrayed the infinite variety of human life in our great metropolis in prints, chapbooks, and upon playing cards – creating sets of images commonly known as the “Cries of London,” featuring street traders and hawkers.
Spirited representations of the redoubtable female watercress sellers of Shoreditch abounded throughout the eighteenth and nineteenth centuries, and in 1804 William Marshall Craig depicted a vendor of brooms struggling heroically beneath the burden of his stock outside St Leonard’s Church, while in 1812 John Thomas Smith drew William Conway of Bethnal Green who walked twenty-five miles every day to sell metal spoons throughout the City.
William Conway, Spoon Seller of Bethnal Green, by John Thomas Smith 1812
Yet for Adam Dant, two hundred years later, the precise nature of commerce undertaken by many of his subjects is less overt, though it is readily apparent that many are on the hustle in some way or other, but I must leave it to you to resolve for yourself the intriguing question of what exactly these Londoners of our own day are selling ….
App Billionaire
Barge Dwelling Fantasist
Countrified Urbanite
Nigerian Shoe Seller
Well Off Art Student
Hoxton Elderly
Creative
Flower Market Shopper
Suburban Street Artist
Illustrations copyright @Adam Dant
Archive Images courtesy Bishopsgate Institute
Click here to buy your copy of 50 PEOPLE OF EAST LONDON by Adam Dant direct from Hoxton Minipress
You may also like to take a look at Adam Dant’s other cartoons
Soerditch by Dant (Chapter One)
Soerditch by Dant (Chapter Two)
Soerditch by Dant (Chapter Three)
Soerditch by Dant (Chapter Four)
Soerditch by Dant (Chapter Five)
Soerditch by Dant (Chapter Six)
And his maps
Map of the History of Shoreditch
Map of Shoreditch in the Year 3000
Map of Shoreditch as the Globe
Map of the History of Clerkenwell
Map of the Journey to the Heart of the East End
Map of the History of Rotherhithe