The Gentle Author’s Diary 1
For months now, I have barely cast a glance upon my garden. It was only when the snow melted towards the end of January that I found there was already new growth, which I had neglected while my attention was drawn exclusively by the hearth. So it was a pure delight when I took a moment to study my sorry patch of cultivation this week and discovered three different varieties of Hellebore in bloom. Like the rest of us, these plants hang their heads against the winter weather yet, once I looked closer at the flowers sheltering under the leaves, their subtle beauty was revealed.
Each Sunday, since the beginning of the year when there were no traders at all, the markets of the East End have gradually returned to life and, in spite of the rain and snow, a momentum has been established that will carry us into spring. A certain doggedness is required of us all to endure such challenging conditions and thus any signs of transition are welcome indicators, seized upon with disproportionate joy because they confirm our tenderly-guarded anticipation of the respite that must come.
The East End in the Afternoon
There is little traffic on the road, children are at play, housewives linger in doorways, old men doze outside the library and, in the distance, a rag and bone man’s cart clatters down the street. This is the East End in the afternoon, as photographed by newspaper artist Tony Hall in the nineteen sixties while wandering with his camera in the quiet hours between shifts on The Evening News in Fleet St.
“Tony cared very much about the sense of community here.” Libby Hall, Tony’s wife, recalled, “He loved the warmth of the East End. And when he photographed buildings it was always for the human element, not just the aesthetic.”
Contemplating Tony’s clear-eyed photos – half a century after they were taken – raises questions about the changes enacted upon the East End in the intervening years. Most obviously, the loss of the pubs and corner shops which Tony portrayed with such affection in pictures that remind us of the importance of these meeting places, drawing people into a close relationship with their immediate environment.
“He photographed the pubs and little shops that he knew were on the edge of disappearing,” Libby Hall confirmed for me, ‘He loved the history of the East End, the Victorian overlap, and the sense that it was the last of Dickens’ London.”
In 1972, Tony Hall left The Evening News and with his new job came a new shift pattern which did not grant him afternoons off – thus drawing his East End photographic odyssey to a close. Yet for one who did not consider himself a photographer, Tony Hall’s opus comprises a tender vision of breathtaking clarity, constructed with purpose and insight as a social record. Speaking of her late husband, Libby Hall emphasises the prescience that lay behind Tony’s wanderings with his camera in the afternoon. “He knew what he was photographing and he recognised the significance of it.” she admitted.
These beautiful streetscapes – published here for the first time – complete my selection of pictures from the legacy of approximately one thousand photographs by Tony Hall held in the archive at the Bishopsgate Institute.
Three Colts Lane
Gunthorpe St
Ridley Rd Market
Stepney Green
Photographs copyright © Libby Hall
Images Courtesy of the Tony Hall Archive at the Bishopsgate Institute
Libby Hall & I would be delighted if any readers can assist in identifying the locations and subjects of Tony Hall’s photographs.
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Tony Hall’s East End Panoramas
Spires of City Churches
Spire of St Margaret Pattens designed by Christopher Wren in the medieval style
Yesterday, I took my camera and crossed over Middlesex St from Spitalfields to the City of London. I had been waiting for a suitable day to photograph spires of City churches and my patience was rewarded by the dramatic contrast of strong, low-angled January light and deep shadow, with the bonus of showers casting glistening reflections upon the pavements.
Christopher Wren’s churches are the glory of the City and, even though their spires no longer dominate the skyline as they once did, these charismatic edifices are blessed with an enduring presence which sets them apart from the impermanence of the cheap-jack buildings surrounding them. Yet they are invisible, for the most part, to the teeming City workers who come and go in anxious preoccupation, barely raising their eyes to the wonders of Wren’s spires piercing the sky.
My heart leaps when the tightly woven maze of the City streets gives way unexpectedly to reveal one of these architectural marvels. It is an effect magnified when walking in the unrelieved shade of a narrow thoroughfare bounded on either side by high buildings and you lift your gaze to discover a tall spire ascending into the light, and tipped by a gilt weathervane gleaming in sunshine.
While these ancient structures might appear redundant to some, in fact they serve a purpose that was never more vital in this location, as abiding reminders of the existence of human aspiration beyond the material.
In the porch of St James Garlickhythe where I sheltered from the rain
St Margaret Pattens viewed from St Mary at Hill
The Monument with St Magnus the Martyr
St Edmund, King & Martyr, Lombard St
St Michael Paternoster Royal, College Hill
Wren’s gothic spire for St Mary Aldermary
St Augustine, Watling Street
St Brides, Fleet St
In St Brides churchyard
St Martin, Ludgate
St Sepulchre’s, Snow Hill
St Michael, Cornhill
St Mary Le Bow, Cheapside
St Alban, Wood St
St Mary at Hill, Lovat Lane
St Peter Upon Cornhill
At St James Garlickhythe
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At The Bruce Club Reunion
Celebrated Pianist Winfred Atwell arrives at The Bruce Club escorted by Ronnie Kray
This photograph records a strange moment in the brief history of The Bruce Club when, in 1963, the celebrated Trinidadian pianist Winifred Atwell, famous for playing boogie-woogie and ragtime, was brought to entertain the young people of the Boundary Estate at St Hilda’s East by notorious gangster and psychopathic killer Ronnie Kray. A photograph of the happy occasion, showing Winifred jazzing it up for the kids, found its way into 1964 Yearbook for St Hilda’s East which at the time was run by Cheltenham Ladies College but – unsurprisingly – that picture does not include either Ronnie or his equally malevolent brother Reggie Kray.
Last week, I joined a few members of The Bruce Club for an impromptu reunion in Bethnal Green to recall the glory days, half a century later and now that the nefarious twins are safely out of the way. “They came up to the club and gave us footballs for the boys,” recalled club member Lesley Keeper brightly, with a wry grin that admitted the futility of her apologia, “They weren’t all bad.”
We were sitting round a table with the photographs before us. Adopting his original role of youth leader, Derek Cox took the initiative in outlining the nature of the club while the members paid rapt attention. He showed me the letter that recruited him to the job in 1963 and summoned him to a whole new life.
“We started from scratch with The Bruce Club.” Derek explained, “What I was doing was not really approved of because we were giving people a chance to have fun, not doing do-goody things. But that was my way to do it, if you’re going to have influence you have to do it in a way that is non-judgemental.”
“I went there to make friends and because I wanted to play the piano,” confided Lesley picking up on Derek’s theme, and growing animated with affection,”They all used to shout at me, ‘Can’t you stop?’ I got involved in the social life. We had dances and it was very entertaining, I loved it. I joined in 1964 when I left school and I got married in 1966 at eighteen.”
“On Fridays, the seniors took the last tube from Liverpool St up to the West End, it was a bit dodgy.” revealed Derek, widening his eyes for effect, “There was a problem with purple hearts at the time and they took them so they could stay awake all night. They came back here on a Saturday morning looking rough. They were a tough bunch. It was the time of the Mods and Rockers. All the Mods went to a club in Barnet Grove and we were left with the Rockers. There were a lot of gangs and the youth workers used to get together to discuss problems. I remember the manager of the club in Hoxton was told to crack down on the drug scene by his employers and the next time we saw him, his head was in bandages.”
Letting the social commentary pass by, club member Kelvin Wing simply wanted to enthuse about the club.”It was somewhere to go, when there was nothing else do.” he assured me, “I lived nearby in Linden Buildings at the top of Brick Lane and I joined the club at eleven. I went three nights a week for dancing and seeing girls – hoping for a chance of y’know – and we played badminton and football. At sixteen, I joined the Repton Boxing Club, but I’d left school at fifteen and by then I was already working down Spitalfields Market as an empty boy.”
A silence fell among those at the table, enjoying a collective sense of well-being as they contemplated the value of The Bruce Club in the their lives.“I always wanted to be a youth worker. I was a boy scout and I was chair of Guildford Youth Committee.” confessed Derek, touched by the appreciation, “As an outsider to the East End, it took two years for me to feel safe on the streets in the area. I mixed with quite a lot of people who protected me, but I didn’t want to walk around on my own.”
Yet The Bruce Club only enjoyed an abrupt flowering before it was closed down. “The establishment, the warden and the others, they disapproved and The Bruce Club shut on 31st August 1965.” said Derek, “I was being housed by St Hilda’s in Grimsby St, off Brick Lane, and afterwards I didn’t want to leave the people and the life. I loved all the different cultures and the wonderful markets. I have lived in Tower Hamlets since 1963, and I have changed my name and become a Muslim.”
The evident truth was that those gathered that day all still live in Bethnal Green and remain friends.”The Bruce Club was an experiment and it lived on,” Derek concluded, as those at the table eagerly concurred.
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Members of The Bruce Club, 1963
Members of The Bruce Club, 2013 – Derek Cox (Club Leader 1963-5), with Kelvin Wing, Lesley Keeper and Derek Martin.
Winifred Atwell jazzes it up for the kids at St Hilda’s East.
Most glamorous grandmother contest.
Mr Clements, Warden of St Hilda’s East in Old Nichol St.
Arriving for The Bruce Club
Members setting out for a summer trip to France.
“Where we used to buy our drinks and borrow glasses” – The Dolphin in Redchurch St.
Derek Cox’s contract as Club Leader at St Hilda’s East
Pictures reproduced courtesy of St Hilda’s East
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Colin O’Brien’s Pellicci Portraits (Part 7)
Who is sitting in the corner seat at Pelliccis this week? Contributing Photographer Colin O’Brien and I arrived for lunch, I had the steak and kidney pie again but Colin chose lasagne for a change. And then, fortified by treacle pudding, we set out to take these portraits of the afternoon trade at E. Pellicci, London’s best-loved family run cafe at 332 Bethnal Green Rd.
Therese Coil – “Me and my daughter, we’ve been coming to Pelliccis for twelve or thirteen years – sometimes a couple of times a week.”
Jonjo Lee – “I’ve been coming here since I was one.”
Khadra Aden – “I first came to Pelliccis three months ago after my friend Mai-Lynn suggested it and a lot of my friends always come here, so this is where we all meet up.”
Brian Stewart – “I first came to Pelliccis in 1965, I used to play football and this is where we’d all meet. Sometimes I come here with my mum now, it’s the only place she’ll come and eat.”
Julie Stein – “This is my first time at Pelliccis, I’ve come from New York.”
Cliff Collins – “I used to come to Pelliccis with my grandad and now I come with my grandson.”
Samoma Muresan – “I came from Romania a year ago with my sister.”
Matt Sexton– “I’m from Waterloo. I first came to Pelliccis about twelve years ago and now I come two or three times a week. I like it!”
Ania Muresan – “I’ve been coming to Pelliccis ever since I came from Romania.”
Abbey Osman – “I’ve been coming down here for a long time, a good couple of years. I eat here most days.”
Mai-Lynn Miller – “I used to pass by and then my father came to visit so I brought him here. I live just up the road and I’ve been here quite a few times, it’s so warm and it’s so much fun.”
Martin Lee – “I ‘ve been coming to Pelliccis for about five years, I come almost every day for breakfast.”
Alice Dunseath – “I live just down the road but this is my first time at Pelliccis.”
Bara Kem – “I read about it on Yelp.”
John & Jonjo Lee – “We’ve been coming to Pelliccis for years.”
Photographs copyright © Colin O’Brien
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Colin O’Brien’s Pellicci Portraits ( Part One)
Colin O’Brien’s Pellicci Portraits (Part Two)
Colin O’Brien’s Pellicci Portraits (Part Three)
Colin O’Brien’s Pellicci Portraits (Part Four)
Colin O’Brien’s Pellicci Portraits (Part Five)
Colin O’Brien’s Pellicci Portraits (Part Six)
and read these other Pellicci stories
Maria Pellicci, The Meatball Queen of Bethnal Green
and see these other Colin O’Brien stories
Colin O’Brien’s Clerkenwell Car Crashes
Colin O’Brien’s Kids on the Street
Travellers’ Children in London Fields
Colin O’Brien’s Brick Lane Market
Crowden & Keeves’ Hardware
Richard Ince proprietor of James Ince & Sons, Britain’s oldest umbrella manufacturers, showed me this catalogue published by Crowden & Keeves in 1930 which had been knocking around his factory for as long as he could remember. Operating from premises in Calvert Avenue and Boundary St, they were one of the last great hardware suppliers in the East End, yet the quality of their products was such that their letterboxes and door knockers may still be recognised in use around the neighbourhood today.
The umbrellas were supplied to Crowden & Keeves by James Ince & Sons
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John Claridge’s Lighter Side
“Coming from the East End, I used to go to sleep at night listening to the sound of the ships and my dad was a sailor who told me tales of his travels – so I wanted to see the world.” Photographer John Claridge confided to me, revealing the source of his wanderlust. Yet as a child in the nineteen fifties, growing up in the shadow of the London docks, I doubt if John ever imagined that he would one day be photographing a vessel like the one above, as he did for the Indian Tourist Board in 1980.
John’s family had worked as dockers for generations, but in John’s youth the docks were already in decline, so when he left school at fifteen and went to West Ham Labour Exchange, he told them he wanted to be a photographer. Blessed with precocious talent and easy charm, John was offered immediate employment by the photographic department of the McCann-Erickson advertising agency. It was the first step in an exceptional career which took him out of Plaistow and sent him on assignments all over the world, working at the peak of his profession for decades.
This selection of pictures from John’s global odyssey shows the flowering of his creativity in the commercial arena, which came after his East End documentary photography I have published over the past year.
“I think I lived through the golden age of advertising in which you could be creative with your art, I don’t think you can do that any more.” John admitted to me, “There was no photoshop, you had to go out and take the photograph – and you discovered things and you ran with it. All of these pictures were done in the frame. If you bolt it together from library images, you just get the bleeding obvious.”
Indian Tourist Board 1980
“I made several trips to India and came back with all kinds of pictures, and then I worked with a designer and a copywriter and we were free to be creative.”
Lloyds Bank 1975
“This was on a beach in Cornwall. It was probably the weather we didn’t want. We had a horse for two days and we just let it run. You got the best horse you could, so we got one that had been ‘Black Beauty.’ This picture was used for a forty-eight sheet poster.”
Jack Daniels 1986
“The guy was just whittling while he waited for the whisky to mature – it was his job, it was what he did. Tennessee was a dry state at the time.”
Land Rover 1989
“We stayed with Richard Leakey in Kenya and took a safari by Land Rover. I got pretty close, it’s surprising how close you can get to a Wildebeest in a Land Rover, but you don’t want to get out or it spooks them. The texture of a Wildebeest is fantastic, the hide has a luminosity. We did giraffes, zebras, everything…”
Adplates Calendar 1985
“This was for a calendar created for a reproduction house. The photograph was taken in daylight but the print is solarised in the processing.”
French Tourist Board 1974
“This is very early in the morning near the Jeu de Paume in the Tuileries where the Impressionists painted. It was an experiment to see if we could get the feel of those paintings in a photograph.”
Kodak 1978
“This was for a calendar Kodak did to demonstrate the qualities of different films they manufactured. So I said, ‘Let’s go to Venice.’ The light is very beautiful out of season and I used a mirror lens which gives the feel of a vignette.”
Goretex 1989
“This is in Alaska on Mount McKinley. We flew into base camp and climbed up to take the photo. The man in the picture is the guide who took us up there.”
Vichy Cosmetics 1972
“She was driving an old Rolls Royce that we hired for the day in Paris. The dress is her own, because it’s about her individuality – not about creating something fashionable, but about her complexion and how she sees herself.”
Porsche 1989
“We shot this in the South of France, the light is good there, and I treated the Porsche as sculpture – you don’t need to see the car.”
Great Ormond St Hospital
“They asked me to do a charity thing. I thought, ‘They mend broken children, so I’ll get a broken doll and let people figure it out.’ It’s not a happy picture, it reminds me of the figures at Pompeii.”
Carras (Hellas) Shipping 1974
“This was for the cover of the Annual Report of a Greek shipping line. I found this barrow of tomatoes just around the corner from the Blue Mosque in Istanbul, I couldn’t believe it was so beautiful – the red glowed. If you’re going to show Byzantium, you have to show it through something other than the obvious.”
Pirelli Calendar 1993
“We did this in the Seychelles and it was a lot of fun.”
Photographs copyright © John Claridge
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Along the Thames with John Claridge
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A Few Diversions by John Claridge
Signs, Posters, Typography & Graphics
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In Another World with John Claridge
A Few Pints with John Claridge
Some East End Portraits by John Claridge
Sunday Morning Stroll with John Claridge
Just Another Day With John Claridge
At the Salvation Army in Eighties
John Claridge’s Boxers (Round One)
John Claridge’s Boxers (Round Two)
John Claridge’s Boxers (Round Three)
John Claridge’s Boxers (Round Four)
John Claridge’s Boxers (Round Five)
John Claridge’s Boxers (Round Six)
John Claridge’s Boxers (Round Seven)
John Claridge’s Boxers (Round Eight)
