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At The Taj Stores

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The gentleman on the right is Abdul Khalique, standing with his shop assistant, in the early nineteen fifties outside the very first Taj Stores in Hunton St (now Buxton St). Abdul Khalique’s brother Abdul Jabbar, the founder of the grocery store, commonly known then as “Jabber’s Shop”, was a seaman who came here from Bengal to Spitalfields in 1934 after leaving the navy. He worked in textile sweatshops for two years before opening his store, which he ran with his Irish wife Cathleen.

These sparse facts, which I learnt from Abdul Jabbar’s nephew Jamal – who never met his uncle – are all that is known of this brave man who travelled across the world and undertook the risky venture of starting a business in another continent, working so hard to build it up until his death in 1969. He would be amazed to visit the Taj Stores today in Brick Lane and see how his modest enterprise has blossomed.

I enjoyed the privilege of a tour of the aisles in the company of Jamal (Abdul Quayum), who has been involved in the family business since he was seventeen years old, and now runs the store jointly with his elder brother Junel (Abdul Hai) and younger brother Joynal (Abdul Muhith).

It is a wonderful experience simply to explore here and savour the rich selection of produce on offer from all over the world in the Taj Stores. I love to study the beautifully organised displays of exotic fruit and vegetables, printed sacks of rice, tall stacks of brightly coloured cardboard packages, cans, bottles and jars – each with their distinctive fragrances. Then there is the cooking equipment, towers of plastic jugs and bowls, steel pots and pans, and scourers. There is a vast intricate diversity of attractive things collected here and it is a phenomenal feat of organisation that the brothers have pulled off, bringing this huge range of supplies together from the different corners of the globe.

Jamal explained to me how the business is run nowadays between the three brothers. Jamal does the hiring and the paperwork, while Joynal takes care of the day-to-day buying and selling, and Junel runs the catering supply and wholesale side of the business.”The beauty of it is, we have different responsibilities. We are a modern muslim family and we treat each other like friends,” says Jamal proudly.

Their father Alhaj Abdul Khalique first came to the United Kingdom in 1952 as a student before becoming involved in running the business with his brother. In 1956, the grocery shop moved to larger premises at 109 Brick Lane and then when Abdul Jabbar died in 1969, Abdul Khalique ran it with his brother Abdul Rahman. The pair were photographed looking every bit the sharp business men they were, in a handsome studio portrait taken at that time.

As the Taj Stores prospered, they moved again in 1979 to the current site at 112 Brick Lane and an era ended in 1994 when Abdul Khalique died. Then the family business passed from the brothers who had emigrated to this country, into the stewardship of the current generation who were born here.

In recent years, the stores have continued to expand with the purchase of the premises next door and the launch of the online business. When I took my portrait of Joynal, Junel and Jamal recently, the brothers explained to me that they now look back to their roots and, in the tradition of nineteenth century businessmen turned benefactors, they are funding a school and a mosque, building social housing, investing in irrigation and two cancer clinics back in Moulvibazar, Sylhet, Bangladesh – the home town where Abdul Jabbar set out from all those years ago when this story began.

Abdul Jabbar, the founder of Taj Stores

Abdul Khalique and his brother Abdul Rahman who ran the Taj Stores in the fifties

Brothers Joynal, Junel and Jamal who run Taj Stores today

Taj Stores, International Supermarket, 112 Brick Lane, E1 6RL

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Boundary Estate Cooking Portraits


Maintenance Announcement

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We are doing some work on the site this week and we hope it will proceed without disruption, but please be patient if it gets a little bumpy and normal service will be resumed shortly

Taverns of Long Forgotten London

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Leafing through the fat volumes of Walter Thornbury’s London Old & New is the least energetic form of pub crawl I know and yet I found I was intoxicated merely by studying these tottering old taverns, lurching at strange angles like inebriated old men sat by the wayside. Published in the eighteen-seventies, these publications looked back to London and its rural outskirts in the early nineteenth century, evoking a city encircled by coaching inns where pigs roamed loose in Edgware Rd and shepherds drove sheep to market down Highgate Hill.

White Hart Tavern, Bishopsgate

Bell Tavern, Edmonton

Jack Straw’s Castle, Hampstead

Spaniards’ Hotel, Highgate

Old Crown Inn, Highgate

Gate House Tavern, Highgate

The Brill Tavern, Somers Town

The Castle Tavern, Kentish Town

Old Mother Red Cap Tavern, Camden

Queen’s Head & Artichoke, Edgware Rd

Bell Inn, Kilburn

Halfway House, Kensington

Black Lion Tavern,  Chelsea

World’s End Tavern, Chelsea

Gun Tavern, Pimlico

Rose & Crown, Kensington

Tattersall’s, Knightsbridge

Three Cranes Tavern, Upper Thames St, City of London

The Old Queen’s Head, Islington

Old Red Lion, Upon the banks of the Fleet – prior to demolition

Saracen’s Head, Snow Hill – prior to demolition

Old Tabard Tavern, Southwark – prior to demolition

 

White Hart Tavern, Borough

Inns of the Borough

 

Images courtesy Bishopsgate Institute

You may like to take a look at other engravings from London Old & New

Long Forgotten London

More Long Forgotten London

and  more pubs

Antony Cairns’ East End Pubs

The Disappointment Of Historic England

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Historic England had no objection to Smithfield General Market being demolished, now it is to become the new home to the Museum of London

Historic England were fine with the Marquis of Lansdowne being demolished, now it is being restored as part of the Geoffrye Museum’s renovations

Historic England are advocating the redevelopment of the Whitechapel Bell Foundry into a bell-themed boutique hotel

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In recent years the government’s heritage agency, Historic England, has been on the wrong side of too many important planning battles in London. Of course, there are also cases where it has behaved laudably, notably in the listing of the eighteenth-century weaver’s houses in Club Row and in objecting to Sainsburys’ tower in Whitechapel that would have overshadowed the seventeenth-century Trinity Green Almshouses.

Yet these examples of Historic England doing its job properly make its failures to fulfil its declared responsibilities – ‘to protect, champion and save places that define who we are’ – appear especially capricious.

Perhaps most disappointing is Historic England’s advocacy of the redevelopment of the historic Whitechapel Bell Foundry into a boutique hotel. On the HE website there is a declaration dated 15th July 2019, announcing ‘We are supportive of the plans that the new owners of the Whitechapel Bell Foundry have submitted.’ This is justified by two statements, ‘Recognising there is no longer a market for large bells’ and ‘it closed as it was uneconomic to continue.’

What is astonishing about this is that Historic England has no remit to comment on business viability and there is no evidence that the Whitechapel Bell Foundry is no longer viable as a working foundry. They are simply restating the developer’s case.

No mention or recognition is made by Historic England of the viable proposal to reopen the Whitechapel Bell Foundry put forward by the UK Historic Building Preservation Trust in partnership with Factum Foundation, which would preserve the living heritage of the foundry for generations to come.

Most disappointing of all is that Raycliff, the would-be developers of the foundry into a hotel, paid Historic England for an ‘enhanced service.’ It begs the question of how much money Historic England received for their advocacy of the Raycliff scheme, conveniently restating the developer’s case without evidence.

On 14th November, Tower Hamlets Council Development Committee are due to make a decision on the developer’s planning application for change of use from bell foundry into boutique hotel and the opinion of Historic England will pay a major part in this judgement.

Meanwhile, Tower Hamlets Councillor Puru Miah has submitted a Freedom of Information request to Historic England requesting all communications with Raycliff and asking how much Historic England received for their ‘enhanced  service.’ Until this information is forthcoming, I do not see how the planning meeting can go ahead or any just decision on the Whitechapel Bell Foundry is possible.

Here is the text of the letter –

 

FAO Duncan Wilson

Historic England

10th October 2019

 

Dear Historic England

Re. Freedom of Information Request: The Whitechapel Bell Foundry, 32-34 Whitechapel Road E1 1DY

Under the Freedom of Information Act 2000 I would like to request the following information:

Confirm whether Raycliff and other owners of the site received advice from Historic England under the Enhanced Advisory Service Scheme for the redevelopment of the Whitechapel Bell Foundry site since January 2016, details of all the fee agreements and service advice by Historic England, amount of fees paid to date for the advice received, the date of the advice given, and the content of the advice given.

A full copy of the pre-application advice that Historic England has provided for this site in 2016, as referred to in your letter dated 1st March 2019 to the London Borough of Tower Hamlets, your ref. P01028757

What evidence have you to support the demise statement that a single-use foundry is not viable, referred to in your letter of 1st March 2019 Ref. P01028757, please provide evidence of how this assessment has been reached.

What advice or discussions have you had with UKHBPT since 2016 (not referred to in your letter of 1st March).

Provide all correspondence between Raycliff and Historic England since the first contact

With Regards,

Cllr Puru Miah

Mile End

London Borough of Tower Hamlets

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You may also like to read about

A Bell-Themed Boutique Hotel?

Nigel Taylor, Tower Bell Manager

Benjamin Kipling, Bell Tuner

Four Hundred Years at the Whitechapel Bell Foundry

Pearl Binder at Whitechapel Bell Foundry

Dorothy Rendell at Whitechapel Bell Foundry

Hope for The Whitechapel Bell Foundry

A Petition to Save the Bell Foundry

Save the Whitechapel Bell Foundry

So Long, Whitechapel Bell Foundry

Fourteen Short Poems About The Whitechapel Bell Foundry

Behind The Facade

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Book designer, David Pearson

To launch THE CREEPING PLAGUE OF GHASTLY FACADISM, I am giving an illustrated lecture behind one of the facades in my book, the former Whitechapel Public Baths of 1846, now part of London Metropolitan University.

It is at 7pm next Monday 4th November at The Wash Houses, The Cass, 25 Old Castle St, E1 7NT.

Click here to book your ticket

Presented with the gracious support of The Cass, London Metropolitan University.

12–13 Greek Street, Soho, W1

Built c.1683, this was originally the largest house in the street and known as Portland House. From 1774–97, it was Josiah Wedgwood’s London warehouse, showroom and enamelling rooms with five show- rooms on two floors, where a famous dinner service made for the Empress Catherine of Russia was displayed in July 1774. Repairs were carried out in 1786 by T.Freeman of Great Pulteney Street who made a valuation of the fixtures in 1790 – listing a hall, a counting house and a shop on the ground floor, and a great room, another room, a flowerpot room and a gallery on the first floor.

The White Hart, 121 Bishopsgate, EC2

‘Its history as an inn can be of little less antiquity than that of the Tabard, the lodging house of the feast-loving Chaucer and the Canterbury pilgrims, or the Boar’s Head in Eastcheap, the rendezvous of Prince Henry and his lewd companions,’ wrote Charles Goss, Archivist at Bishopsgate Institute in 1930.

The White Hart was a coaching house and tavern dating from 1246, positioned on Bishopsgate just outside the gate of the City of London. Rebuilt in 1470 and 1827, it retained its medieval cellars and was constantly busy until it was bought by Sir Alan Sugar’s company, Amsprop, in 2010 and reduced to a façade with a cylindrical office block on top, creating a monument to one man’s ego.

Former Unitarian Chapel, Stamford Street, Blackfriars, SE1

Designed in 1821 by Charles Parker, architect of Hoare’s Bank in the Strand, the Chapel was demolished in the sixties apart from the portico and part of the ground floor, which stood in front of a car park for many years.

The Grade II listed Doric hexastyle portico has a triglyph frieze and a pediment over. Its central door has a shouldered architrave and iron gates. Each of the walls on either side has three blank windows with shouldered architraves.

465 Caledonian road, Islington, N7

Mallett, Porter & Dowd constructed this modest yet handsome utilitarian building for their warehousing, storage and removals business in 1874.

Redevelopment by University College London for student housing was turned down by Islington Council in 2010, citing ‘adverse visual impact’ and inadequate daylight, due to the windows of the new building not aligning with those in the façade. This judgement was overturned by the government’s Planning Inspectorate on the basis that ‘due to intensive daytime activities taking place at the university campus,’ the absence of both light and view ‘would not be unacceptably oppressive.’

The development was winner of Building Design’s Carbuncle Cup for 2013.

CLICK HERE TO ORDER A COPY FOR £15

“As if I were being poked repeatedly in the eye with a blunt stick, I cannot avoid becoming increasingly aware of a painfully cynical trend in London architecture which threatens to turn the city into the backlot of an abandoned movie studio.”

The Gentle Author presents a humorous analysis of facadism – the unfortunate practice of destroying an old building apart from the front wall and constructing a new building behind it – revealing why it is happening and what it means.

As this bizarre architectural fad has spread across the capital, The Gentle Author has photographed the most notorious examples, collecting an astonishing gallery of images guaranteed to inspire both laughter and horror in equal measure.

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The Creeping Plague of Ghastly Facadism

Adam Dant’s Synonyms for Drunkenness

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There are many reasons to reach for the bottle these days and – recognising the spirit of the times – Adam Dant has made this drawing illustrating synonyms for drunkenness. Click on his picture to enlarge and see how many you can identify from the list below.

Roaring
Away with the fairies
Dead drunk
Caned
Pasted
Varnished
Howling
Dead headed
In ones cups
Oiled
Hammered
Snookered
Out of ones tree
Pickled
Sauced
Plastered
Smashed
Beer goggles
Juiced
Off ones trolley
Trolleyed
Drunk as a lord
Drunk as a bishop
Mullahed
Barking drunk
Pie eyed
Tied one on
Three sheets to the wind
Guttered
Pot valiant
Wormed
Banging ones head against a brick wall
Peely wally
Tanked
Moroculus
Jazzed
Ming-hoed
Tuned in
Puggled
Jacked up
Pissed
Dipso
Guttered
Canned
Falling over drunk
Spangled
Ferreted
Leathered
Tiddly
Oliver Twist
Dot cotton
Goosed
Steaming
Hair of the dog
Moulting
Etched
Hog drunk
Legless
Fixed
Under the table
Swilled
Sauced
Tie one on
Stiffener
Zombies
Boiled as an owl
See the French king
Trashed
Badgered
Barrel drunk
Sick as a parrot
High as a kite
On a campaign
Torn up
Pissed as a fart
Off the wagon
Tipsy

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CLICK TO ORDER A COPY OF MAPS OF LONDON & BEYOND BY ADAM DANT

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Adam Dant’s MAPS OF LONDON & BEYOND is a mighty monograph collecting together all your favourite works by Spitalfields Life‘s Contributing Cartographer in a beautiful big hardback book.

Including a map of London riots, the locations of early coffee houses and a colourful depiction of slang through the centuries, Adam Dant’s vision of city life and our prevailing obsessions with money, power and the pursuit of pleasure may genuinely be described as ‘Hogarthian.’

Unparalleled in his draughtsmanship and inventiveness, Adam Dant explores the byways of London’s cultural history in his ingenious drawings, annotated with erudite commentary and offering hours of fascination for the curious.

The book includes an extensive interview with Adam Dant by The Gentle Author.

Adam Dant’s  limited edition prints are available to purchase through TAG Fine Arts

Rally To Save The Bell Foundry

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The application by developers to convert the historic Whitechapel Bell Foundry into a bell-themed boutique hotel will be decided by Tower Hamlets Development Committee next week on Thursday 14th November.

In advance of this, a rally is happening on Saturday. Please spread the word as widely as possible among your family, friends and workmates. It is very important that we demonstrate the strength of feeling in the local community for our bell foundry. Everyone bring a bell to ring!

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Photographs copyright © Peter Dazeley

Photos by Peter Dazeley from his book Unseen London

You may also like to read about

A Bell-Themed Boutique Hotel?

Nigel Taylor, Tower Bell Manager

Benjamin Kipling, Bell Tuner

Four Hundred Years at the Whitechapel Bell Foundry

Pearl Binder at Whitechapel Bell Foundry

Dorothy Rendell at Whitechapel Bell Foundry

Hope for The Whitechapel Bell Foundry

A Petition to Save the Bell Foundry

Save the Whitechapel Bell Foundry

So Long, Whitechapel Bell Foundry

Fourteen Short Poems About The Whitechapel Bell Foundry

Gram Hilleard’s Paintings Of Churches

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Gram Hilleard‘s exhibition ‘The Spaces Between’ opens next Monday 11th November at St Mary Abchurch, Abchurch Lane, EC4N 7BA, and runs daily 11am-3pm until Monday 18th November – with film screenings on 12th, 14th & 18th November at 1:30pm.

Christ Church Spitalfields seen from Brick Lane

“This began a few years ago when I painted St Leonards Church for an exhibition about the Bishopsgate Goodyard development and I became interested with how the space was used. It made me realise that these churches have always attracted the same types of people through the centuries – those looking for sanctuary from the city, the spiritual, the homeless, the lost, and the silent watchers.

I went on to paint another ten churches including those of Hawksmoor whose temple-like volumes have always fascinated me. They were built at the edge of the city next to vacant fields and were perhaps the dreadful developments of their day.

My paintings are best viewed in the half-light of a church and include metallic surfaces that shine in the gloom. They are painted on panel in many layers, sanded, scraped backed and painted again – a process which for me symbolises the strata of time.

As the ever-changing metropolis grows unrecognisable through overdevelopment, these churches remain the same. Their slowly-weathering stones carry the vibrations of past lives and events, giving each place a unique energy. London may be asset-stripping to its own destruction, but its people always gravitate toward the quiet spiritual spaces that have existed for centuries.

Gram Hilleard

St Giles in the Fields seen from the Phoenix Garden

Shoreditch Church seen from Boundary St

St Lukes Old St seen from St Lukes Close

St George in the East seen from Pennington St

London City Mission built upon the foundations of St John Horsleydown

St Georges Bloomsbury seen from Little Russell St

Churchyard of St Anne’s Limehouse

St Alfege Greenwich

St Mary Aldermary seen from Cannon St

St Mary Woolnoth

Paintings copyright © Gram Hilleard

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The City Churches of Old London

Spires of City Churches

More Spires of City Churches

Nicholas Hawksmoor’s Churches

The Oranges & Lemons Churches

 


Save Our Bell Foundry

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Raising the NOT FOR SALE sign on the Whitechapel Bell Foundry

Bells are a universal symbol of hope and freedom. Our Whitechapel Bell Foundry is the most famous bell foundry in the world. This is where they made the Liberty Bell which became the symbol of American independence in the eighteenth century, of the anti-slavery campaigners in the nineteenth century and the civil rights movement in the twentieth century. This is where they made the Bow Bells which were broadcast by the BBC to occupied Europe during World War II as a symbol of freedom and resistance to fascism. This is where they cast Big Ben, the voice of Britain.

The list of bells made here over the centuries and exported around the world is endless. Bells are still in demand and will always be in demand. Consequently, it would be an unthinkable act of vandalism if the Whitechapel Bell Foundry, its traditions and skills should be sacrificed for a bell-themed boutique hotel and private members club as developers Raycliff Capital are threatening to do.

Photographer Andrew Baker was there yesterday as protestors rallied at the East London Mosque before marching out in the rain, ringing handbells, to pin a NOT FOR SALE sign on the Whitechapel Bell Foundry.

Next Thursday 14th November, Tower Hamlets Development Committee meet to consider the planning application by the developers for Change of Use from bell foundry to boutique hotel.

The planning regulations for Change of Use for industrial premises are precise. Firstly, the owner must prove that the previous use is no longer viable. There is no evidence of this with the Whitechapel Bell Foundry. Secondly, the owner must prove that no-one wanted to buy the premises and continue the previous use. In this case, UK Historic Building Preservation Trust offered to buy the foundry to run it as a working foundry before the sale went through to Raycliff. Thirdly, the owner must market the property for a year seeking a company to continue the previous use. Raycliff have not done this.

Tower Hamlets Planning Committee’s legal responsibility is to decide the Optimum Viable Use for the foundry. By its nature, there can be only one Optimum Viable Use. So, while a boutique hotel might be viable, it is obvious that the Optimum Viable Use for the Whitechapel Bell Foundry is as a foundry.

It is disappointing that Historic England have chosen to support the boutique hotel proposal on the basis that a working foundry is no longer viable, without evidence to back this up. Even more disappointing is that Tower Hamlets Councillor Puru Miah’s Freedom of Information request, seeking all correspondence between Historic England and the developers, cannot be fulfilled before the planning meeting when the councillors will make their decision based upon Historic England’s flawed judgement.

Readers will recall how we collected more than two thousand signatures from residents of the borough back in August to trigger a debate at full council on the motion that Tower Hamlets Council adopt it as their policy to save the Whitechapel Bell Foundry as a working foundry. How unfortunate that the council ignored the wishes of those residents by refusing to have that debate.

Saturday’s protest was to have been held in Altab Ali Park in Whitechapel where rallies are frequently held. How unfortunate that the council which owns the park refused permission for the rally.

Mayor of Tower Hamlets, John Biggs, said in council in September that he was open to meet with UK Historic Building Preservation Trust to hear the full details of their business plan for their scheme to buy the foundry, re-equip it for the twenty-first century and re-open it – as they did with such success at Middleport Pottery in Stoke. How unfortunate that he has been unable to find any space in his schedule for this in recent weeks.

Are these the actions of a council which seeks to preserve the living heritage of the borough that the Whitechapel Bell Foundry represents?

More than 21,000 people have signed an international petition to Save the Whitechapel Bell Foundry. 780 letters of objection to the boutique hotel proposal have been submitted to the council, with only 6 in favour of it.

Within Tower Hamlets, people have met in mosques and churches, in a campaign that has brought together diverse communities for the first time in a shared desire to save our collective cultural heritage. As someone said to me at one of these campaign meetings, ‘If they can take the Whitechapel Bell Foundry from us, they can take anything.’

I hope that all those who rang bells at yesterday’s protest will ring them again from 6pm on Thursday 14th November outside Tower Hamlets Town Hall, Mulberry Place, 5 Clove Crescent, E14 2BG to demonstrate the strength of feeling on this subject prior to the council meeting. The more who can attend this public meeting the better.

Robert  Oliver, holding the bell made by his father, the Oliver family worked at the foundry for 250 years

Photographs copyright © Andrew Baker

You may also like to read about

A Bell-Themed Boutique Hotel?

Nigel Taylor, Tower Bell Manager

Benjamin Kipling, Bell Tuner

Four Hundred Years at the Whitechapel Bell Foundry

Pearl Binder at Whitechapel Bell Foundry

Dorothy Rendell at Whitechapel Bell Foundry

Hope for The Whitechapel Bell Foundry

A Petition to Save the Bell Foundry

Save the Whitechapel Bell Foundry

So Long, Whitechapel Bell Foundry

Fourteen Short Poems About The Whitechapel Bell Foundry

Adam Dant’s Children’s Games

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Click on this image to enlarge

If I admit that Breugel is my favourite artist, perhaps you will not be surprised to learn that I got up the middle of the night in January to fly to Vienna and walk through a blizzard in the dawn in order to stand in front of his painting Children’s Games on the last day of the exhibition of his paintings?

Adam Dant has created this magnificent homage to Breugel’s picture for an auction at Christies in aid of the Well Child charity. How many of the games listed below can you spot in his drawing?

Gun run

Kiss chase

Fox hunt

Keepy-Uppy

Boules

Twister

Pogo stick

Parachute

Swing ball

Stick and railings

Head through the railings

Dolls

Dog dress up

Space hoppers

Broom Jousting

Skipping

Skateboarding

Rollerskating

Scooters

Blind mans bluff

Tag

Duck duck goose

Trolley dash

Noughts and crosses

Leapfrog

Sardines

Hide and Seek

Stilt walking

Hanging upside down

Tightrope walking

Balancing

Paratroopers

Drones

Monopoly / Cluedo / Ludo / snakes and ladders / chess / board games / racing games

Nintendo / Games boy / X box / Fortnite / ‘console’ games

Grab the i-pad

Ice bucket challenge

Hoopla

Spinning top

Poking poo

Blow football

Tin can telephone

Rock, paper, scissors

Follow the leader

Bumps

Beanpole swords

Capture the flag

French cricket

Catapult

Burst the balloon

Pirates

Hot lava

Obstacle course

Musical statues

Kite flying

Shoe chimes

Pinata

Window stickers

Ghosts

Ring a ring a roses

London Bridge is falling down

Hopscotch

Wink murder

Marbles

Ball games

Hobby horse

Cowboys and Indians

Chasing games

What’s the time Mr Wolf

Conkers

Make the Ice Cream last longest

Brain Freeze

Hula hoop

Tug o War

Love hearts

Window smashing

Hangman

Builders and Destroyers

Falling over

Red Rover

Go carting

Pumpkin carving

Window licking

Texting / Snapchat / Instagram etc

Breugel’s Children’s Games, 1560

.

CLICK TO ORDER A COPY OF MAPS OF LONDON & BEYOND BY ADAM DANT

.

Adam Dant’s MAPS OF LONDON & BEYOND is a mighty monograph collecting together all your favourite works by Spitalfields Life‘s Contributing Cartographer in a beautiful big hardback book.

Including a map of London riots, the locations of early coffee houses and a colourful depiction of slang through the centuries, Adam Dant’s vision of city life and our prevailing obsessions with money, power and the pursuit of pleasure may genuinely be described as ‘Hogarthian.’

Unparalleled in his draughtsmanship and inventiveness, Adam Dant explores the byways of London’s cultural history in his ingenious drawings, annotated with erudite commentary and offering hours of fascination for the curious.

The book includes an extensive interview with Adam Dant by The Gentle Author.

Adam Dant’s limited edition prints including CHILDREN’S GAMES are available to purchase through TAG Fine Arts

An Old Whitechapel Bell

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This Thursday 14th November Tower Hamlets Planning Committee meet to decide the fate of the Whitechapel Bell Foundry. Bring a bell and join the protest before the meeting at 6pm outside the Town Hall, Mulberry Place, 5 Clove Crescent, E14 2BG

‘Robert Mot made me’

This is one of the oldest Whitechapel Bells still in use, cast by Robert Mot in 1588, the year of the Spanish Armada and also the year William Shakespeare arrived in London. Yet, even though Robert Mot is remembered as the founder of the Whitechapel Bell Foundry in 1570, he did not begin the industry of founding in this location since bells are recorded as having been cast in Whitechapel as early as 1360.

Adorned with the sparse text of ‘Robertus Mot me fecit,’ this bell declares its birth date of 1588 in delicate gothic numerals and indicates its origin through use of the symbol of three bells upon a disc – at the sign of the three bells – the Whitechapel maker’s mark.

I climbed the tower of St Clement Danes in the Strand to photograph this bell for you this week and discovered it shares a common ancestry with its fellows in the belfry which were also cast at the Whitechapel Bell Foundry, but by Mears & Stainbank in 1958 – nearly four centuries later. Close examination reveals they also carry the symbol of the three bells.

With a diameter of two feet and a weight of just over two hundredweight, Robert Mot’s bell is relatively modest in scale yet a dignified specimen nonetheless with its broken canons (the hoops that used to be attached to all bells to attach them to a beam) emphasising the exotic vulnerability of its age – as if it were a rare metal flower plucked roughly from a mythological tree, long extinct.

Today, the old Whitechapel bell rings the Angelus and may be heard by passersby in the Strand at 7:55am, 11:55am and 17:55pm. Its earlier function as the clock bell may be the reason the old bell has survived, since the other bells were removed by Rector William Pennington-Bickford during World War II for safe keeping at the base of the tower.

St Clement Danes was established in 886 when Alfred the Great expelled the Danes from the City of London and they settled along the Strand. Escaping the Great Fire, the church was in a decayed state and considerably rebuilt by Christopher Wren in the sixteen-eighties, with a spire added by James Gibbs on top of the old bell tower in 1719. During the eighteenth century, St Clement’s acquired a literary congregation including local residents Samuel Johnson, Oliver Goldsmith and David Garrick but, by the nineteenth century, fashionable society had moved to the churches of the West End.

Septimus Pennington, Rector from 1889, set out to minister to the flower girls and street traders of Clare Market and Drury Lane, work continued by his successor and son-in-law, Rector William Pennington-Bickford in the early twentieth century. Unfortunately, Pennington-Bickford’s worst expectations were realised when St Clement’s was hit by more than twenty fire bombs on the night of 12th May 1941, reducing the church to a shell.

Fearful that looters might steal the fire-damaged bells and melt them down, Pennington-Bickford had them bricked up in the Rector’s parlour and died from grief three months later, only to be followed by his wife who threw herself from a window shortly after. Yet through all this, Robert Mot’s bell was safe, hanging up in the bell tower. Postwar, St Clement’s was rebuilt again to Wren’s designs and the damaged bells recovered from the Rector’s parlour, recast in Whitechapel and rehung in the tower in 1958. Today, it is the church of the Royal Air Force.

When I asked Alan Taylor, Bell Ringer at St Clement’s, his opinion of the sound of the old Whitechapel bell, he wrinkled up his nose in disapproval. ‘Bell founding was a bit hit-or-miss in those days,’ he informed me, shaking his head.

As the Sanctus Bell, Robert Mot’s bell was originally used to summon the congregation to prayer, but I imagine it could also have been rung at the time of the Spanish Armada. Ancient bells connect us to all those who heard them through the centuries and, given the date of 1588, this is one that William Shakespeare could have heard echoing down the street, when he walked the Strand as a newcomer to London, come to seek his destiny.

Cast in 1588 by Robert Mot, Founder of the Whitechapel Bell Foundry

Whitechapel bell cast in 1958 by Mears & Stainbank

Panel in the bell ringing chamber

Old church board, now in the crypt, indicating this was once the church for Clare Market & Drury Lane

Nineteenth century photograph of Clare Market (Courtesy Bishopsgate Institute)

Nineteenth century photograph of Drury Lane (Courtesy Bishopsgate Institute)

St Clement Danes – Robert Mot’s bell is in the belfry above the clock

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Dorothy Rendell at Whitechapel Bell Foundry

Hope for The Whitechapel Bell Foundry

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Save the Whitechapel Bell Foundry

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D Day For The Whitechapel Bell Foundry

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Schrodinger says, bring a bell and gather at 6pm tonight outside the Town Hall, Mulberry Place, 5 Clove Crescent, E14 2BG prior to the public Planning Committee Meeting which will decide upon the developers’ application for change of use from bell foundry to bell-themed boutique hotel

Planning reasons why Tower Hamlets Council should reject the application for change of use from bell foundry to boutique hotel

1. The developer Raycliff is proposing constructing a hotel on land at the rear of the foundry and using the listed foundry buildings as a café and workspaces. This change of use of the foundry buildings causes ‘substantial harm’ as defined by the National Planning Policy Framework.

2. The benefits that the developer claims the hotel will bring cannot be used to justify the harm done to the foundry itself.

3. The foundry site and the foundry business within it comprise the listed building and the heritage asset. Raycliff, Historic England and Tower Hamlets Council, ALL recognise that the conversion from a working foundry is harmful to this heritage asset.

There is NO justification for this substantial harm.

BECAUSE:

A. The hotel can happen anyway.

B. The foundry can continue as a working foundry.

C. There is no evidence that this cannot happen since no marketing to find a company to continue the foundry use has been done.

The planning argument put forward by Tower Hamlets Planning Officers, recommending approval of Raycliff’s application, is flawed and this is set out in detail in the legal statement by Litchfields, UK Historic Building Preservation Trust’s planning advisors, which is attached below.

The Trust’s scheme for the listed foundry buildings delivers highly skilled artisan and contemporary jobs for the youth of the borough AND apprenticeships, JUST as they have done in Stoke, one of the most deprived communities in this country. This scheme does not preclude the construction of a hotel on the land at the rear of the foundry.

There is overwhelming international and local support for the retention of a proper working foundry at Whitechapel Bell Foundry.

STOP THIS HERITAGE VANDALISM and throw out this application.

TELL THE APPLICANT to come back with a planning application for the land at the rear of the foundry only, AND sell the foundry to someone who will run this country’s oldest business for the benefit of everyone.

Click on the legal statement below by Litchfields, (UK Historic Building Preservation Trust’s planning advisors) to enlarge and read

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Dorothy Rendell at Whitechapel Bell Foundry

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The Fate Of The Whitechapel Bell Foundry

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Geoffrey Chaucer wrote of bell casting to the east of the City of London when he lived above the gatehouse in Aldgate and the earliest record of bell founding in Whitechapel is 1360. Yet last night a decision was made by Tower Hamlets Council which could draw this noble foundry history to an end after seven centuries in this place.

I arrived at the Town Hall for the meeting to decide the fate of the Whitechapel Bell Foundry with a sense of foreboding and unfortunately it was not dispelled. It was obvious something was amiss when the international petition of over 20,000 people to save the foundry, another of over 2000 residents of the borough and 780 letters of objection to the hotel proposal were passed over by the planning officer in the blink of an eye. Instead, careful attention was paid to the points raised in the five letters of support received for the bell-themed boutique hotel proposal for the foundry.

The emphasis throughout was on how the hotel scheme guaranteed the preservation of the listed eighteenth-century buildings, while the most significant heritage asset – that of the foundry usage itself – was dismissed as having being extinguished when it shut two years ago. As if a theatre is no longer a theatre when a play is not being performed.

Bippy Siegel, the New York plutocrat who bought the foundry to redevelop it as a hotel, sat in the council chamber presiding as his silver-tongued minions played their roles to deliver his desired outcome. Bippy recently bought a stake in the Soho House chain and this Whitechapel development with its rooftop swimming pool has all the characteristics of a Soho House property.

In Bippy’s first proposal, the foundry buildings were to become restaurants and bars. But when this attracted public objections and UK Historic Building Preservation Trust published their alternative proposal for a revitalised foundry, he amended his scheme to include some of the elements of the UKHBPT scheme. His second application deliberately played down the boutique hotel and played up ‘re-instating the foundry.’ In this version, the new hotel is separate at the back of the site and the front buildings become creative workshops with a coffee shop overlooking a small foundry.

Yet Councillor Leema Qureshi spoke for many when she said, ‘I am not convinced by the benefits of the Raycliff scheme. The history is going to be wiped out.’

Bearing in mind UKHBPT’s award-winning track record at Middleport Pottery which has led the regeneration of Stoke, she asked if Bippy’s company, Raycliff, had undertaken any projects of this nature before. The council adviser informed her that this question was not relevant to the application in front of them, but I believe the answer is that Raycliff are solely in the hotel, restaurant and hospitality business.

It would not be hard for Raycliff – once their hotel tower is built – to revert to their original plan of absorbing the foundry buildings into the hotel, using these spaces for bars, restaurants and a private members’ club. And by then, it will be too late for anyone to object and the opportunity of continuation of real foundry usage in Whitechapel will be gone forever.

Some attention was paid by the councillors to the UKHBPT/Factum Foundation scheme to continue a proper working foundry and it was queried why they had not submitted their own planning application if there were really serious. Yet UKHBPT/FF want to continue the previous use and therefore require no planning permission.

The debate over the issue of Optimum Viable Use grew rather convoluted, starting from the unproven position that the previous use was no longer viable because the foundry shut in 2017 and concluding that Raycliff’s proposal is the Optimum Viable Use because it is ready to go and it protects the building.

Yet Councillor Dan Tomlinson made the most important statement of the evening when he said, ‘If we approve this now and we don’t give an opportunity to the people who are proposing an alternative scheme, then we have missed that opportunity forever.’

It was like watching the execution of an innocent man where everyone agreed that – bearing in mind the lack of evidence – the most prudent option was to execute him anyway because the noose was ready and it ensured there could be no future harm.

They voted three against and three in favour, with the chairman using his casting vote to approve it. Then the council chamber broke up in disorder.

In fact, while the Planning Consent had been voted on and approved, the Listed Building Consent had not been voted on by the committee. In the uproar, Chairman Abdul Mukit had a brief discussion with the council advisor about whether they should assume the result was the same for both the Planning Consent and the Listed Building Consent. Astonishingly, they agreed to do so without this vote even taking place.

I walked to the station with Nigel Taylor who worked at the Whitechapel Bell Foundry for forty years. ‘It does not end here,’ he declared to me in exasperation, before running for his train.

Campaigners at the Town Hall photographed by Sarah Ainslie

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At The Mile End Assembly Room

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Today’s post is by Dr Heather Blasdale Clarke, a dance teacher and historian who is an authority on early Australian colonial dance

Music of the Mile End Assembly, 1748

In 1764, Captain James Cook moved with his young family to a new terraced house at 7 Assembly Row, Mile End. This area on the outskirts of London was developing as a respectable and convenient location for those with an interest in maritime affairs. Nearby were the fine houses of prosperous members of the East India Company, and along Mile End Rd stood the Trinity Almshouses, built in 1695 to house the  “decayed Masters and Commanders of ships or ye widows of such.”

Situated behind Assembly Row terrace was the Mile End Assembly Room. In the eighteenth century, assembly rooms were important venues at a time when dancing was a noteworthy social activity. They also provided for meetings, concerts and other entertainments. This particular venue was celebrated in the dance Mile End Assembly, which was first published in 1748 and was reprinted four times over the next nine years, reflecting its popularity.

Very little is known about Cook’s personal or family life and it is entirely possible that he took advantage of the proximity to the Assembly Rooms for dancing, tea-drinking and socialising on his days of leisure. It would have been a central meeting place for the owners and captains of ships in the East India Company, as well as officers in the Royal Navy who lived in the area. It may have provided Cook with the opportunity to meet people who could help advance his career.

Another place nearby where dancing was popular was the Bell Tavern. Just a short walk from the wharves, shops and warehouses which lined the bustling waterfront, the Bell Tavern on the Ratliff Highway was one of the few reputable establishments in Shadwell, offering food and lodgings to visiting seamen.

It seems Cook stayed at the Tavern on occasions in the years from 1746 to 1755, on his trips from Whitby to London, delivering cargos of coal, wood, and other produce. It could take a week to unload a collier, during which time the crew was billeted in the wharf side taverns. He would have been aware that music and dance were key amusements for sailors, and conducive to their well-being and good humour, a factor he recognised when encouraging his crew to dance on the long voyages in the Pacific.

It was at the Tavern that Cook first encountered Elizabeth Batts, daughter of the well-respected proprietors, Mary and John. On 21st December 1762, James, aged thirty-four, and Elizabeth, aged twenty, married at St Margaret’s Church, Barking.  After the wedding they lived for a time with her parents in Upper St, Shadwell. Cook had returned to sea to survey the coast of Newfoundland but raced home when he learnt of the arrival of their first child, James. This addition to the family sparked the move to their own house at Mile End, where they enjoyed family life together whenever Cook was home from sea.

Although Elizabeth knew about the lives of seafaring men and the long separations which were the lot of sailors’ wives, little could she have anticipated the protracted voyages her husband undertook to the far side of the world. Of their seventeen years of marriage, approximately four were spent together, before they were parted by his death in 1779. Elizabeth lived for another fifty-six years, surviving all six of their children. George, Joseph and Elizabeth died in infancy, Nathaniel, aged fifteen died eight months after his father, Hugh died, aged seventeen in 1793, from scarlet fever and James, thirty-one, drowned in 1794. Throughout her life Elizabeth maintained the greatest respect for her husband and regarded her memories as sacred. Prior to her death in 1835, she destroyed all their private records and correspondence. Little is known of their life together, but perhaps one of her happy reminiscences was dancing at the Mile End Assembly.

Nothing remains of Cook’s home in Mile End. Despite the house being recognised as a significant historical building, it was demolished in 1958 to widen access to a car park. Now a plaque on a brick wall designates the site of his family home. The location of the once famous Assembly Room is still recalled by a thoroughfare named Assembly Passage.

Assembly Passage

Advertisement for the Mile End Assembly, Public Advertiser, October 18th 1769

Captain Cook’s house, c.1936

Captain Cook’s house, c.1940

Wall constructed after demolition of Captain Cook’s house, 1968

Civic dignitaries unveil a plaque to Captain Cook in 1970

Elizabeth Cook (1742–1835) by William Henderson, 1830

Captain James Cook (1728-79) by Sir Nathaniel Dance-Holland, c. 1775

Captain James Cook’s signature

Archive images courtesy Tower Hamlets Local History Library & Archives

Read more about Dr Heather Clarke’s studies at Australian Colonial Dance

Peri Parkes’ East End

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One of the great joys of compiling my book East End Vernacular, artists who painted London’s East End streets in the 20th Century was discovering artists who were new to me.

An outstanding example was Peri Parkes who painted the East End in the eighties and is now to have the first solo show of his paintings posthumously at Town House Gallery in Spitalfields, opening on Friday 22nd November and running until 8th December.

Many of these paintings are being hung publicly for the first time.

Email fiona@townhousespitalfields.com to attend the preview on Thursday 21st November.

House in the East, 1980-81

It was through the artist Doreen Fletcher, who is celebrated for her paintings of the East End, that I first learnt about the work of Peri Parkes.

Doreen wrote, ‘My good friend Peri Parkes was perhaps the artist with the most integrity I have ever met. His standards were so high that he was reluctant to exhibit anything he produced, always finding the outcome lacking somehow. Fellow artists tried hard to persuade him to have a one man show to no avail. He painted the East End assiduously during the eighties until he took a teaching post in Cornwall in 1992, however he continued to revisit to Bow right up until his death too soon at the age of fifty-six.’

On Doreen’s recommendation, I took the train to Hertford to meet Peri’s daughters, Lucie & Zoe who showed me fifty of their father’s paintings which have been mostly stored in a cupboard since he died in 2009. The quality and significance of this work was immediately apparent and I knew at once that I must devote a chapter in my book East End Vernacular, Artists Who Painted London’s East End Streets in the 20th Century to celebrate the rare talent and rigorous vision of Peri Parkes.

Out of the tragedy of a broken relationship, Peri Parkes created a transcendent series of paintings and it is impossible not to touched by the self portraits that he included in his work, of the lonely man walking in the park or climbing onto his bike.

Lucie & Zoe are the custodians of this legacy and they spoke affectionately to me about their father as we sat surrounded by his wonderful paintings.

Zoe – My father was from Hampstead Garden Suburb in Finchley. He had a Greek mother – who named him Pericles, she came from quite a well-to-do family and his father was a solicitor. Dad was born and grew up there but he left home very young, about sixteen. Then he met Lindsey, my mum, and they had me when he was just eighteen. My grandmother bought a house in Ridge Rd Crouch End and we all lived there.

Lucie – When he was nineteen, he got a scholarship to the Slade. I should add that when he was sixteen, he went off to Afghanistan, back-packing. He and mum first met at the railway station, just before he was about to leave and there was obviously a spark. Once he came back, they met up again and married when he was eighteen and mum was seventeen.

Zoe – When I was a baby, he used to take me off to college with him. He put me on his back and off we would go to the Slade.

Lucie – Mum had agoraphobia after she had Zoe, so he had to take her with him – a nineteen-year-old with his baby.

Zoe – They split up when I was six and Lucie was three, around 1979. He went to stay with his friend Martin Ives in a prefab in Condor St, Stepney and we stayed with our mum in her mum’s house. After that he got a housing association flat next to Bow Rd Station and then he moved just around the corner to Mornington Grove.

Lucie – He never had a studio, he just painted in the flat where he lived. He was completely unmaterialistic and his whole flat was his studio with bare floors, bare walls, furniture that he picked up from skips or off the street, boxes and then piles and piles of paints. All over the furniture there was paint splatters and full ashtrays. He did not really ever think about comfort.

Zoe – He was so driven by painting. He had a one track mind. He did not really want anything else in life but to be able to paint and to go to the pub.

Lucie – We used to go and stay with him every other weekend in the prefabs and hang around in the back yard, I remember doing snail races and counting slugs while he painted.

Zoe – He took us round galleries quite a lot, which as children was quite boring to us – but he used to get very enthusiastic about things he wanted to see.

Lucie – To say he was very self-absorbed is only half the picture because he was not egotistical, he was actually quite a humble person, and a loving and affectionate dad. I remember lying in bed in the prefabs when it was freezing cold and he used to tell us stories, and they were brilliant. We loved him and loved being with him, but he was not really able to give to his relationships because everything was about painting.

Zoe – I think he struggled with depression a lot, whether it was to do rejection as an artist or with not getting things right. He was a real perfectionist and he had massive temper flare ups if he was not satisfied with his work. Yet he had a real community in London. He used to go to the Coborn Arms every night and he had a crew of friends there.

Lucie – Nothing he did was ever right or good enough for him. He was always striving to be better. He could not give his paintings away let alone sell them but, if he did give one away to a family member, he took it back because it was not quite good enough. If he was here now, he would be looking at his paintings, very dissatisfied, and he would want to make changes.

He was driven to paint what he saw in front of him. I do not think he was driven to tell the story of the East End, it was just that, wherever he was, he painted obsessively to capture what he was seeing. Most of them are from his window in his living room or the back of his prefab.

Zoe – He was always submitting pictures for exhibitions and competitions, and he took the rejection quite personally.

Lucie – When his relationship broke down with mum he was deeply hurt. I think the more things went wrong in his life, the more he channelled everything into painting. I can remember him taking us home on the tube once and him looking at us and tears pouring down his face. That sticks with me because I knew then that he really cared and was hurt by the whole thing, but he could not express any of that – it all went into his painting.

Zoe – I look at these paintings and I see them as dad’s life at the time, from the time arrived in the East End in 1977 until he left in 1992. The style at the beginning is quite different from the later ones. He went on holiday to the tiny town of St Just on the farmost westerly point of Cornwall and fell in love with it. The day after returning from holiday he saw a job for a part time art teacher there in the newspaper, it was like an act of fate. He had taught Art at the Blessed John Roche School in Poplar and he wanted out of London. He loved it in Cornwall and lived in the most remote place. He said Cornwall was as close as he could get to Greece in this country.

Arnold Circus, 1990-92

The Dinner Ladies, c.1986-9 (Wellington Way School, Bow E3)

Wellington Way School E3, 1985-6

Bow Triangle in Winter, 1990-92

The Departure, c.1992-4 (Mornington Grove, Bow E3)

Bow Church, c.1987-92

Condor St, Stepney, 1977-80

Condor St, Stepney, c.1980

City view from St Bernard’s School, St Matthew’s Row, E2, c.1987  (Click on this image to enlarge)

Paintings copyright © Estate of Peri Parkes

Click here to buy a copy of EAST END VERNACULAR for £25


A Bloomsbury Jamboree

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In gleeful collaboration with Tim Mainstone of Mainstone Press and Joe Pearson of Design for Today, I am organising a BLOOMSBURY JAMBOREE, as a one-day festival of books and print, illustration, talks and seasonal merriment on SUNDAY 8th DECEMBER from 11am until 5pm.

It takes place at the magnificent ART WORKERS GUILD, 6 Queens Sq, WC1, which was founded in 1884 by members of the Arts & Crafts movement including William Morris and C R Ashbee. These oak panelled rooms lined with oil paintings in a beautiful old house in Bloomsbury offer the ideal venue to celebrate our books, and the authors and artists who create them.

There will be book-signings and a programme of ticketed lectures, as well as live music and entertainment for all ages, plus we have invited twenty friends to exhibit, including print and paper makers, small press publishers, toy makers, bee keepers, potters and craft workers.

Genius inventor Tim Hunkin will be bestowing instant beatifications for the festive season – King of the Bottletops, Robson Cezar, has made fifty bottle top crowns for parties and celebrations – favourite illustrators Alice Pattullo and Paul Bommer will be selling their prints – silhouette cutter, Matyas Selmeczi will be doing free portraits – New Dawn Traders will be offering olive oil and other produce from small farmers in Portugal imported by sail power – Caroline Bousfield of Victoria Park Village will be displaying her own pottery, and Tessa Hunkin of Hackney Mosaic Project will bring small mosaics for purchase.

All our Spitalfields Life Books titles will be in stock and there will be opportunities to meet Eleanor Crow, Adam Dant, Doreen Fletcher, Suresh Singh, Julian Woodford and The Gentle Author who will be signing and inscribing copies of their books.

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Art Workers Guild

Art Workers Guild

Art Workers Guild

Click here for a talk on JOHN MINTON’S COMMERCIAL ART by Martin Salisbury at noon

Click here for a talk on MEMOIRS OF A COCKNEY SIKH by Suresh Singh at 1pm

Click here for a talk on JOHN PIPER’S BRIGHTON AQUATINTS by Alan Powers at 1pm

Click here for a talk on SHOPFRONTS OF LONDON by Eleanor Crow at 2pm

Click for a talk on ERIC RAVILIOUS’ LOST PICTURE PUFFIN by Joe Pearson at 2pm

Click here for a talk on GHASTLY FACADISM in London by The Gentle Author at 3pm

Click here for a talk on MAPS OF LONDON & BEYOND by Adam Dant at 3pm 

Click here for a DARKTOWN QUIZ by Jonny Hannah at 4pm

Genius Inventor, Tim Hunkin in his workshop

King of the Bottletops wearing one of his bottletop crowns (Photograph by Sarah Ainslie)

Illustrator Alice Pattullo

 

Silhouette Cutter Matyas Selmeczi (Photograph by Colin O’Brien)

New Dawn Traders import produce to London from small farmers in Portugal by sail power  

Caroline Bousfield makes pots in Victoria Park Village

Tessa Hunkin & Hackney Mosaic Project

At Clapton Community Football Club

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Photographer Max Reeves has been documenting the drama and delight of the extraordinarily successful phenomenon that is Clapton Community Football Club over its inaugural year. With a shirt inspired by the colours of the International Brigades and the Spanish Republican flag, CCFC defines itself as an inclusive endeavour, celebrating the heroic East End Brigades of the thirties.

Large attendances and enthusiastic crowds demonstrate that CCFC has become a genuine community focus in Clapton. Owned by the fans and collectively-run, the club is a co-operative with 1300 members internationally, including a majority from Spain who joined in solidarity with the Republican flag.

Wilberforce Wanderers, winter 2018

The Curve, late autumn 2018

Samurai Rovers, early spring 2019

FC Roast, early autumn 2018

Eastfield FC, late autumn 2018

Stonewall FC, early winter 2018

Stonewall FC, early winter 2018

Chipperfield Corinthians, winter 2018

Ware Sports, midwinter 2018

Clapton Legends XI, early spring 2019

The Curve, late autumn 2018

Ware Sports, midwinter 2018

Samurai Rovers, early spring 2017

Eastfield, midwinter 2018

Eastfield, midwinter 2018

Samurai Rovers, winter 2018

Photographs copyright © Max Reeves

Copies of Max Reeves’ photographic book ‘TON’ are available direct from www.claptoncfc.co.uk

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A Letter To The Secretary Of State

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Casting a bell at Whitechapel Bell Foundry in July 1933

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We were appalled by the disgraceful decision of Tower Hamlets Council in November to grant permission for change of use from bell foundry to boutique hotel. This destroys any future for the Whitechapel Bell Foundry as a working foundry, reducing centuries of our history to a side-show for tourists in a quirky bell-themed hotel.

It is imperative now that the Secretary of State call in this planning application, taking it out of the hands of Tower Hamlets Council and holding a Public Inquiry. Last month’s farcical planning meeting revealed that the national and international significance of the Whitechapel Bell Foundry render it too important for its fate to be decided by the local authority.

With the forthcoming General Election imminent, we have to move very fast. We need as many people as possible to write to Secretary of State immediately. Use your own words and give your personal opinions but be sure to include the key points listed here. Read the guidance below and write today, then forward this to your friends and family, encouraging them to do the same.

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HOW TO WRITE EFFECTIVELY TO THE SECRETARY OF STATE

  1. Address your letter to Robert Jenrick, Secretary of State for Housing, Communities & Local Government.
  2. Ask the Secretary of State to issue a ‘holding direction’ which means that planning permission cannot proceed.
  3. Ask the Secretary of State to call in the planning application for the Whitechapel Bell Foundry and hold a Public Inquiry.
  4. Point out that the hotel planning application causes ‘substantial harm’ to a very important heritage asset.
  5. Emphasise the significance of the Whitechapel Bell Foundry and the very controversial nature of this proposal, locally, nationally and internationally.
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Anyone can write, wherever you are in the world, but be sure to include your postal address and send your letter by email to

PCU@communities.gsi.gov.uk

or by post to

National Planning Casework Unit

5 St Philips Place

Colmore Row

Birmingham BP3 2PW

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The Bell of Hope in Manhattan was cast at the Whitechapel Bell Foundry and presented by the Lord Mayor of London to the people of New York on the first anniversary of the 9/11 attacks

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The Fate of the Whitechapel Bell Foundry

Save Our Bell Foundry

A Bell-Themed Boutique Hotel?

Nigel Taylor, Tower Bell Manager

Benjamin Kipling, Bell Tuner

Four Hundred Years at the Whitechapel Bell Foundry

Pearl Binder at Whitechapel Bell Foundry

Dorothy Rendell at Whitechapel Bell Foundry

Hope for The Whitechapel Bell Foundry

A Petition to Save the Bell Foundry

Save the Whitechapel Bell Foundry

So Long, Whitechapel Bell Foundry

Fourteen Short Poems About The Whitechapel Bell Foundry

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Peri Parkes’ Conder St Paintings

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Fiona Atkins who curated the current exhibition at Townhouse Spitalfields considers the first pictures Peri Parkes painted while living in Conder St, Stepney. In these works, he evolved subtly from the academic style of the Slade towards a recognition of the presence of people in the East End.

These paintings and more are on display until Sunday 8th December in ‘Peri Parkes, The Last View.’

Conder St 1, 1979

The years after Peri Parkes left the Slade were turbulent ones for him. He had married while he was there and they had the first of his two daughters shortly after, but by 1979 he and his wife had divorced and he moved in with his artist friend Martin Ives, who was living in a prefab run by Acme Housing Association on Conder St, off Salmon Lane in Stepney.

In the seventies, artists were at college for four or five years but were given no practical advice on how to survive or make a living in the world. Afterwards, they were faced with the prospect of finding a studio, buying materials and equipment and then, unable to make a living as artists, finding a job to pay for it. Inevitably, artists cut costs to reduce the amount of time spent working and devote as much time as possible to their art.

Acme Housing Association was started in 1972 to provide studio and living space for artists, by working with the Greater London Council and taking derelict properties for low rents. The GLC had thousands of such properties on its hands, bought by compulsory purchase as part of plans for post-war redevelopment before the money ran out in the economic downturn of the seventies.

Thus Peri Parkes lived at 9 Conder St in the late seventies and early eighties while working as an art teacher locally. His paintings show the influence of William Coldstream who had been Head of the Slade. During Peri’s time there, Coldstream had started to paint a series of views of Westminster from the seventeenth floor of the Department of the Environment. Although probably not originally conceived as a series, his biographer Bruce Laughton says he kept seeing new configurations each time he finished one. This may also be true of Peri’s paintings of the backs of houses in Conder St. They reveal the same desire to show new configurations, which can be used to put most of this series of paintings in order.

The painting above appears to be the first of the Conder St series of paintings of backs of houses and was probably painted shortly after Peri arrived in the East End in 1979. It has a tight, linear structure, the bricks in the walls at the front are all carefully delineated and Coldstream-style ‘dots and dashes’ for measurements are visible. The paint is applied in broad washes of colour, particularly on the backs of the houses themselves, which gives a luminous glow to the colour.

By the second Conder St painting below, Peri’s style is looser. The tree reflected in the window is painted more freely, the bricks are indicated rather than painted individually and the colour is no longer applied in expanses of colour. The angle of the painting is different too and Peri’s gaze is more focused on the foreground and the collection of a picket fence, a compost bin and a washing line.

The third painting of Conder St was titled ‘House in the East’ at the Tolly Cobbold Eastern Arts exhibition. The focus in this picture is on the same view as the previous painting but with the addition of foliage.

Peri Parkes wrote a statement in the catalogue: ‘This was painted in the space of a year. I hope something of the building’s organic structure (moisture, decomposition) has registered in the painting. At the very beginning, a rich snakeskin pattern of moss down a wall was the painting’s main focal point. One day it was scraped away. Nonetheless, I have determined that its absence remains the main focus of the painting.’

It is curious that, although for Peri the absence of the moss was the focus, it is not depicted in the finished painting. He had written in an essay for his teacher’s training: ‘By imagination I do not mean the ability to invent, but to inhabit, to find oneself in everything.’

This painting illustrates Peri’s desire to ‘inhabit’ his paintings and paint as though ‘touching the surface,’ in order that his brushstrokes reflected what he knew had once been there, so his sensation of it would inhabit the painting. This notion came from Peri’s teacher at the Slade, Patrick George, who had been at Camberwell College of Art after the war with William Coldstream. His paintings are a search for the essence of his subject rather than a literal representation. Patrick George was one of the curators of the Tolly Cobbold exhibition for which this painting was selected in 1981, Peri’s first recorded exhibited work.

The similarity in Peri’s style, palette and treatment of the foliage suggests that the fourth Conder St painting was done at the same time as ‘House in the East.’ Ten years later, Peri successfully submitted it for exhibition in the RA Summer Show of 1995, suggesting that this was a painting which continued to satisfy him.

The fifth Conder St picture represents a complete change of approach: an exploration of the visual logic of the relationship between the lines and the structure holding it all together, which renders the painting almost abstract in places. Interestingly though, there is the suggestion of two figures, the first in Peri’s work. They are faceless and probably hanging out washing – representing a virtual constant of life rather than any individual – but something so frequently observed it became a fundamental part of his world in the East End.

Conder St 2, c.1980

Conder St 3, House in the East, c. 1980-1

Conder St 4, c.1982

Conder St 5, c.1982 – in this painting, figures appear for the first time

Conder St 6, c. 1981-2

Conder St 7, c. 1981-2

Paintings copyright © Estate of Peri Parkes

You may also like to read about

Peri Parkes’ East End Paintings

An Important Correction

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The email address we published yesterday for you to write to the Secretary of State asking him to call in the Whitechapel Bell Foundry was incorrect.

You email you need to use is PCU@communities.gsi.gov.uk

If you wrote to the wrong address, please resend it to the email above.

We apologise for any confusion, and thank you for your patience and support.

Note that the incorrect email which we published yesterday in good faith was accurately quoted from ‘House of Commons Briefing Paper Number 00930, 31st January 2019, Calling-in planning applications (England).’

Read the full instructions here

A Letter To The Secretary of State

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