On the Foreshore at Limehouse

Earlier this month a few friends joined me for a forage on the foreshore at Limehouse.

The tide was particularly low that day and the sun was shining on us too. Afterwards we went to a nearby pub for food and chats. All-in-all a very nice day out.
If you'd like to come and join me sometime please do get in touch via email (see above).  The next meet up will be the morning of Sunday 10th April.
Please note that I hold an official Port Of London Authority Foreshore Permit – there are restrictions to what you are allowed to do when accessing the Thames beaches.

The shops of Fortis Green Road, Muswell Hill

Ooh I do love an old shop front, especially if it still retains its original curved window and tiled entrance. London has lost most of these beautiful old shops – only solitary examples remain here and there hinting at how the whole terrace might have looked 100 years ago.
Often the best examples of this kind are found outside London, say in seaside towns that lost favour at the end of the last century such as Leigh-On-Sea, Walton-On-Thames, Margate or Southsea, all of which have more recently become appreciated (as have their house prices).
However, some really good examples of early 20th century shopping streets can be found in Muswell Hill, London N10 and, in particular along the southern end of Fortis Green Road.

Some of the lovely old tiles are still visible. However, some of them have been painted over as shown in the middle row. Why oh why?

Walking north from the Art Deco cinema at the junction of Muswell Hill Broadway up to Queen's Avenue notice how almost every doorway on both sides of Fortis Green Road still retains its original curved window and tiled entrances leading to the upstairs apartments.
Also, be sure to stop and admire New Century Barbers on the corner of First Avenue, which also retains some fabulous period features and signs, and has a lot of archive photos of the local area.

Doorway Mosaics – shops and pubs

I am always on the look out for signs of original shop or pub names.
Often I spot these hints of the past embedded in the masonry near the top of a building or on hand-painted signs.
The ones that cheer me the most are the often intricate floor mosaics that can be found in the entrances.

Only a few of these are actually still relevant to the business that sits above them today

A Tour of Saddlers Hall – Just let your feet go clippity-clop

Another livery company tour organised by London Historians.

Saddlery is all the equestrian bits and pieces needed to deck out a horse, hence The Saddlers' Hall contains lots of beautiful and unusual leatherwork and bridleware, plus other related items such as silverware, artefacts and paintings including a lovely one of Princess Anne who, on 20th July 2015, was installed as the The Saddlers' Company's Third Perpetual Master (see more about this position below). Anne shares my birthday and therefore is my favourite Royal.
   

The Saddlers' Hall website doesn't give much info re history – it appears to be mainly about venue hire. Well, I suppose they need the money for the upkeep of the place and looks to be a great place for a posh party!

I have been singing a nursery rhyme this whilst writing this so I added a line from it into the title and put the whole thing here. I think I might be regressing!
    Horsey, horsey, don't you stop
    Just let your feet go clippity-clop
    Your tail goes swish and your wheels go round
    Giddy-up, we're homeward bound!

Also see my posts about tours of the Drapers', Cutlers', Skinners' and Vintners' halls, and the Mercers' Maiden. Or click on Livery Halls in the Labels list to the left.

Perpetual Master: An historic title specifically mentioned in the The Saddlers’ Company Royal Charter, created in 1737 for Prince Frederick, Prince of Wales. The Saddlers’ Company considers it to be the highest accolade that it can bestow. HRH Prince Arthur, The Duke of Connaught and Strathearn, filled the role between 1906 and 1942.
The Princess Royal was made an Honorary Freeman of the Saddlers’ Company on 30th November 1971 when she became a Yeoman as a 'distinguished user of the saddle' having won the Individual Gold Medal in the European Eventing Championships earlier that year.
When HRH is in the Hall on Saddlers’ business or when she represents the Company elsewhere, she is called “Master”. The role of Perpetual Master is not a day-to-day executive position. When HRH is not available the Prime Warden Saddler Mr Charles Barclay fulfills all her duties as effective head of the Company.

Masks and a Monkey – In Your Face – Nina Conti at Criterion Theatre

Ventriloquism ... it's moved on since the days of Lord Charles and Orville.

Nina Conti, Criterion Theatre, Piccadilly Circus (right next to Eros)

This week and next Nina Conti brings to us her own version of this genre. Nina has, quite justly won awards for her ingenuity in this field. You may have seen her amusing and genuinely moving BAFTA nominated film on the subject.
I saw the Criterion show last night – Nina makes everything she is doing really obvious and yet we forget she is the voice behind everything we are hearing. She uses strap-on masks (as modelled by Nina above) on members of the audience and every night is different being as it's dependent on audience participation. It's a lot of hard work for her and yet she makes it look effortless.
That's all very clever, but my favourite bits were when Monk the monkey was [literally] on-hand making his often outrageous observations.

Until 12th March. See here for more details and how to book tickets.

Below are some other monkeys and apes I have spotted on my travels:

Graffiti in Kentish Town and Shoreditch, and a skeleton in the Natural History Museum foyer

Palmers pet store in Camden Parkway (now closed), windows in Holloway, a plastic bag in a tree.
And, spotted just last weekend at Portsmouth Cathedral – a monkey is the organ, and not just the organ-grinder's friend!!

London's architectural icons

'Icon' and 'iconic' are often-repeated words these days, usually used to describe new buildings that are very tall and shouty – ooh look at me... try avoiding me! Often the word is applied before the building is completed; it will be the biggest/tallest/pointiest/greenest/glassiest/etc

Perhaps the developers are using the word in the sense of those religious icons you can buy in the backstreets of Naples; the ones you add to a shrine or put on your mantlepiece? In which case those little souvenirs of The Eiffel Tower would fit the bill if architecture was your god of choice.

In the same way as a community can't just be created by bulldozing streets of small houses and putting up tower blocks with chain restaurants and homogenous coffee bars on the ground floor, I think icons, in the sense of architecture, are made over time and thus earn their iconic label.

I wrote about Centrepoint last year and it features in the ten pics below of London landmarks I believe have become iconic – tall, sometimes inspiring, structures that have become mostly well-loved points of reference; some as landmarks, others as architectural statements. 

This doesn't need captioning; these structures ought to be easily-identified by any Londoner

Beachcombing at Blackfriars

Here are some pics from last October when I met up with a few friends under Blackfriars Bridge for what I call A Forage on the Foreshore.

I particularly liked the time-weathered large wooden stump. I thought finding a beached comb was rather ironic.

As you may be aware, I am always on the lookout for fragments of nicely eroded clay pipe stems for my jewellery – we also picked up various pipe bowls from different periods of history – note the different sizes and shapes in the pic. Malcolm found one with flowers on it – I now wonder if these are roses and it could have been from The Rose Theatre which was nearby...?

Click here for an account of previous gathering.

Holland House in The City

Continuing on from last Thursday's post...

Holland House, 1-4 Bury Street, London EC3A 5AT.
This was the first steel framed buildingto be constructed in in Europe and ooh... I love it...
One hundred years ago, who'd have known that the windows on this beautifully-designed office building would one day reflect one of The City's most iconic glass buildings...?

Holland House was built during WW1. It was designed by the Dutch architect H. P. Berlage for the Rotterdam-based William H Müller & Co; a shipping and ore-mining company working out of Spain and North Africa – this is is shown by the wonderful stylised granite sculpture by J Mendes Da Costa of a ship powering through the waves on the rear corner of the building opposite Cunard Place.

These four pics show details of the lobby/reception area at the front of the building designed in the Art Deco style by Bart Van Der Leck featuring fabulous tiles, mosaics, metalwork and lighting.
Apart from a lovely art deco staircase leading down to the basement, the entrance at the rear has not retained the original features, and looks really bland in comparison.

The whole building is clad in hand-made dark eau-de-nil coloured tiles. I love the way the windows are obliterated when one walks along the pavement; only the columns of tiles can be seen, making a wonderful geometric pattern. 

Pic2 shows a glimpse of the mahogany panelled offices on the first floor using wood reclaimed/stripped from Muller's ships.

At the rear (pic3) there are some lovely balconied tiers.

More pics and info here.

See also Summit House on Red Lion Square – built a few years later in a similar style – solid, beautiful functionality and classic no-messing design.

Art In The City, St Mary Axe and The Gherkin

Last weekend I finally found time to go and see [most of] the art installations in and around The Gherkin At St Mary Axe.

Ai Weiwei's bicycle rack and Damien Hirst's donation's box

Tomoaki Suzuki's little people and Keita Miyazaki's car parts.

I was also interested by other things that were not part of the trail; a sobbing woman near the air filters and a drain full of fag ends in Lime Street.

Near the Hirst piece a bollard made from a cannon can be found.

Every time I visit the Gherkin, love it as I do, after all, it may be the only truly beautiful and beautifully designed glass structure made in the past twenty years, I am always distracted by the rhythmic solidarity of Holland House across the road in Bury Street.
But I will save that for another day...

The Venus Fountain, Sloane Square

This is the final part of my walk along Kings Road

I bet most people walk past this beautifully understated piece and don't even notice it. But, please do stop and take a look, because it's lovely.
A bronze life-sized Venus, holding a vase and pouring water from a conch shell, kneels upon a bronze vase-shaped basin decorated with a whimsical relief of Charles II and Nell Gwynn along the Thames. This sits within and above an octagonal stone pool lined with blue ceramic tiles.

It was created by sculptor Gilbert Ledward R.A. (1888-1960) and was intended to be ready for Queen Elizabeth II's coronation but, sadly, there were problems over its instalment and the deadline was not met despite the date inscription*.
It is a reference to the Kings Road which was built during Charles II's reign. Just to the west of Sloane Square was the house where Nell Gwynn, his mistress, stayed on occasion. The vase depicts the lovers seated by the Thames – Charles picks fruit from a tree, whilst Nell Gwynn fans herself. An impish cupid sits nearby with two arrows ready and a deer and hound run in the background whilst a swan swims past.
The inscription around the top of the basin reads, "Sweet Thames run softly, till I end my song", from 'Prothalamion' by Edmund Spenser (1552-1599). The poem was a spousal verse written to honour a double marriage, the title meaning a song preceding the marriage ceremony.
A proposal in 2006 for Grade II listing was not approved.

*The inscription at the bottom of the basin reads: 'GLIBERT LEDWARD RA 1952', and beneath this, 'PRESENTED BY THE ROYAL ACADEMY OF ARTS THROUGH THE LEIGHTON FUND'.

London Lumiere – a review

Malcolm and I decided to spend two evenings taking in as much of this event as possible.

Friday 15th January
We first went to see the installation at Oxford Circus. It was marvellous and we admired the colour-changing mesh for perhaps ten minutes and then moved off to find new things, thinking that everything would be up to that standard. But no. I think we peaked too early...

We looked for something at Liberty's. We spotted a crowd of people at a window and could make out what we think was a dress in a window. The pic shown here isn't mine; it's one from their website that was at Granary Square (see also KX later on). So we moved on to Brown Hart Gardens where some cute little bird boxes edged the upper level, but that was it. Did we miss something better?
In Grosvenor Square lots of people were queuing to get inside the square at each of the four corners. Peering over the hedges it didn't look very busy in there and from what we could see it didn't look worth the scrum, so we gave up and went to see what everyone was crowding around on the south east corner; an illuminated old telephone box containing fish. This looked good (see pic above from Lumiere website) but, again, being a small installation it was hard to get anywhere near it. Shame.

And so to Piccadilly. A Tracy Emin-style neon script saying something supposed to be clever was on each end of Piccadilly Arcade. Hmmm. We moved swiftly past and stopped to watch the colourful projection on the Bafta building. The short looped animation was good and showed famous actors and relevant motifs about them and their films, but apart from Tilda Swinton and only a few others it was really hard to make out who the people were as we were too close to view it properly even though we rammed ourselves up against the shops on the opposite side of the road. For instance, just who is that woman above left? Basically, the thing was too big. We, and the people around us, all agreed it was better to see what was going on if you watched it through a camera screen to get a better/smaller image. I thought the light well below my feet was also worthy of a pic.

I did like the lovely lanterns and flying fish kites at the eastern end of Piccadilly. Simple, mesmerising, effective and easy to see from a distance. It was this kind of thing that always made the parade at the end of The Mayor's Thames Festival such a delight.
We really enjoyed being able to walk in the road, as at Oxford Circus and Regent Street.
The loud trumpeting of an elephant pervaded the air. And above Air Street (see what I did there?!) there was an animated CGI projection of an elephant's arse swaying left and right.

We walked through to Regents Street to view the front of the elephant. The street was rammed with people watching it. I stood and wondered what the point of it was. This was a recurring thought over both evenings. I mean, what relevance did an elephant have in that place? It wasn't even a real elephant. Had it not been there in that position on that night would anyone have given it a second thought?
We forgot to look in at St James Square and somehow bypassed the light flowers at Leicester Square and headed for Trafalgar Square.

Here, the letters from the top of Centrepoint, which is being renovated at the moment, were placed against the wall of the National Gallery. Watching the people, I noticed the thing to do here was stand against it and either take a selfie or get a friend to take a shot. It's all about the me me me these days. Intrigued how all these these idiots would get would be themselves as silhouettes against the bright light (pic1) I attempted to do better myself (pic2), but found it more effective to use the lights properly (pic3).
The fountains in the square also had installations:

One was filled with empty plastic water bottles; rubbish as art. The other had two rings of light strings and some chicken wire mesh that I couldn't see the point of. Both looked as if someone had thought, quick, quick, we need to think of something for Trafalgar Square...!
At Coutts Bank, just around the corner in the Strand, there were some neon dogs that looked like bows. We couldn't see them; again, the installation was small and the crowd blocked the view. I wasn't bow-wowed.
Enough for one night. A beer in the Nellie Dean to warm up and discuss the above and then home.

Saturday 16th January
We met at Victoria and walked down to see the projection on Westminster Abbey.

WOW!  A lot of work had gone into this. Very clever. The front façade changed by the second and the sculptures of the people around the door had been carefully coloured in and then accurately projected onto the building to marvellous effect. Really beautiful. I was actually inspired; for I think that was the point of all this
And so we made our way to Kings Cross. The tube station was closed (due to over-crowding?) so we exited at Euston and mooched along with the crowds. At KX the first thing we encountered was the birdcage, a permanent feature, which had been given a simple rainbow light treatment. On the rear of the German Gymnasium (now yet another eatery; I liked it when it was an art space) there was a projection consisting of series of moving dots that on closer inspection were people in the gym. A nice idea, but it seemed to be lacking something.

There were lots of people there and it took a while to access Granary Square, but we felt it wasn't what has been reported as 'crowded'. I suspect this was just on the tube, in the station and in the narrow access sections and pathways.
A large-scale animation was being projected onto what is now St Martin's School of Art. This was like the one when Madness played Our House on Buckingham Palace for Queenie's birthday except that it had no relevance to art, Kings Cross, or much to do with London except a few tube stations and hints about Hyde Park. It was circus-themed with hybrid 2D animals and birds performing tricks. I felt it was kooky French(?) humour mixed with Peter Blake and I got bored with it about half-way thorough. Again, what was the point? Was it promoting? What was it trying to achieve?
Between the art school and Waitrose was a strange satellite dish thing; it moved around, it spun slowly, it reflected lights. The roof there is angled and so I think a lot of its impact may have been lost in that placement. The music was oooooh-aaaa and it evoked sci-fi films and having stood there for what seemed ages, we rather hoped that an alien might appear, or that lasers would shoot out from it and decapitate people. Now that would be art, and we had our cameras at the ready. But no.
Later we read that the thing reacted to movement around it. Well, had they made that clear on site perhaps people might have moved about instead of just gazing gormlessly at it waiting for something to happen.

At the northernmost point there was a neon art installation of a person diving. Hmm. Seen better. Move on. And then we found that colour-changing dress (like the one at Liberty's, mentioned above). We could only see the straps of it due to the amount of people there.
Inside St Martin's was a lovely installation – a light tunnel made from recycled plastic bottles filled with water. This really appealed to me, both artistically and ethically, and I felt I'd finally found something with a message and a function. Truly inspirational. We didn't bother queueing to walk through the tunnel as it looked so nice from the outside. Again, it was selfies-a-go-go, so I joined in.
On the walk back to the station we bypassed the colourful lights being reflected onto people though they did look good and would have been better placed in a larger environment. It reminded me of a a rave party (not that I have been to any) or that Indian festival where everyone throws paint powder, But the path was too congested so descended the stairs to he new foot tunnel that leads to the tube station.

And I like it. I think this one will remain. Seems daft if it doesn't stay cos the softly-changing coloured lights are all embedded behind white walls. Looking straight at a wall it just looks white, but look along it and see vertical panels of colour. Ooh – a vast improvement from those horrid little off-white bathroom-style mini tiles they have put everywhere else in Kings Cross tube station; they were poorly installed and have become so mucky so quickly.
And so our two evenings ended.

Conclusion
So, in no particular order, my favourite things were Westminster Abbey, the flying fish, the mesh at Oxford Circus, the bottle tunnel, KX tunnel, and being able to get up close to the Centrepoint lights.
Did I feel enLIGHTened by all this? Yes and no, but mainly no. Ultimately I was more impressed looking up at the beautifully-designed ceiling at Kings Cross station.

Gone but not forgotten

This is a sad time of year and my heart goes out to any of you who have lost someone recently.
So many people fade away from our lives around the Christmas period and into the new year. Do they hold on for us to be able to have one more festive season?

A selection of images of London funeral parlours and headstones, plus a couple of snuffers (for extinguishing lamp lighters)

This was set up before David Bowie left us. Ashes To Ashes, funk to funky. RIP Starman.

A tour of Hornsey Town Hall

Hornsey Town Hall is a wonderful example of modernist architecture. It sits behind the gardens on Crouch End Broadway between the old gas and electric stores (also constructed in the same period).
On Friday 2nd January I went on a guided tour of the internal rooms – what a delight...

Beautiful panelled rooms, original fitments, old toilets, bespoke metal and stone work and light fittings, and much more. Though I was saddened to see that some things have been only recently damaged (curtains and window handles).
Future tours listed here – all proceeds go to the upkeep of the building, the future of which is still under review as funding is needed to carry out repairs.
I was delighted to bump into Caroline who was also taking the tour that day. Read her more detailed account here.

Also worth a plug – my greeting cards featuring images of the town hall and its surrounding buildings plus details of the Crouch End area are available to buy from the Oxfam Bookshop, just around the corner in Park Road (£2.50 each, blank inside) or contact me direct (free p+p). A selection is shown below. See also here.

Hornsey Town Hall door top left.  Details from the adjacent gas and electricity buildings shown 2nd and 4th on middle row.

A walk along Kings Road (part 5) leapfrog and Peter Jones

Short and sweet is this section of the walk (see previous posts for parts 1-4)

Walking East, Allister Botwell's "Two Pupils" (2002) can be found in a pedestrian side turn off Kings Road that leads to the new Duke of York Square. The leapfrogging boy and the seated girl are a reference to the Royal Military Asylum which occupied the site 1803–1909 and was opened by the 'Grand Old' Duke of York (the same fella from the nursery rhyme).
And finally we arrive at Peter Jones. Turn into Cadogan Gardens just before the store and admire the gorgeous tiled floor in the entrance there. I suspect all the entrances once had the same or similar designs, only it seems odd for there to have only have ever been this one. The building is not a uniform shape – I love the soft curves, especially at the corner.
That'll do!

Jane's Advent Calendar – 25th December

A little enamel sign I spotted in Savoy Street, WC2.

Ah... Oxford Street... today it will be blissfully and unusually quiet.
For an alternative Christmas morning treat, why not take a wander into Central London and stand in the middle of this major shopping thoroughfare with nary a car or person in sight.   

Jane's Advent Calendar – 24th December

Holloway N7.
It's not true – you never see gates with these signs on being used at all.

Jane's Advent Calendar – 23rd December

Elegant numbers badly painted in Wilton Crescent, Belgravia, SW1

Jane's Advent Calendar – 22nd December

An old vitreous enamel road sign in Bloomsbury.
See yesterday and Sunday 20th for two more 22s

Jane's Advent Calendar – 21st December

Sort of the same as yesterday really, but a bit different.
Soho, London W1.

Jane's Advent Calendar – 20th December

A lovely doorway mosaic in Maddox Street, London W1 clearly showing No.20 on the right and No.22 on the left. I just love the numbers and the elegant shape of the ampersand.
I was intending to link to a past post/collection of ampersands, but it appears I haven't done that yet. How strange. It's now on the list!

Jane's Advent Calendar – 19th December

Landseer House, 19 Charing Cross Road, London WC2.
I am not sure if the name of this building relates to Edwin Landseer who painted The Monarch of the Glen and sculpted the lions at the base of Nelson's Column in nearby Trafalgar Square.
This stretch of the road south from Leicester Square Station, is littered with fine examples of statement/personalised architectural details – be sure to look up next time you are there.

Jane's Advent Calendar – 18th December

An old Huguenot weavers' house at 18 Princelet Street, London E1.
Visit the fascinating museum at No.19 Princelet Street 

Jane's Advent Calendar – 17th December

A lovely cone-shaped candle snuffer at No.17 Savile Row, London W1

Jane's Advent Calendar – 16th December

Vitreous enamel hydrant maker showing distance to the access point.

Dalston, London E8.

Most of these are diamond-shape, except when they wrap around a corner in which case they are square. 

I have only ever spotted one oval-shaped specimen in Sclater Street, E1:

A walk along Kings Road (part 4) Santander vs modern

And so the walk continues east.
See my previous posts for earlier sections of this road.

These days Kings Road have devolved into just another bland high street with all the same brands and labels as every other major shopping thoroughfare in the UK. 

But you can still spot hints of its past in the architecture.

Top: almost opposite Wrights Dairy is an ornate grade II listed Victorian building with a bowed window, an iron balcony above the ground floor, Corinthian columns and shell motifs. This used to be the Markham Arms public house. It closed down in the early 1990s and is now a branch of Santander. Compare this ornate structure with the blandness that is Kings Mall a hundred metres further on. Progress? I think not.
Middle: At no.72, in a prime position on the corner of Lincoln Street facing Duke of York Square, is the Grade II listed 19th Century building that used to be The Colville Tavern and Wine Stores. At the top of some of the dividing Doric pilasters there are male and female (royal?) faces. I seem to recall this being home to a clothes shop in the early 80's but I might be mistaken. It's certainly a clothes shop now.
Bottom: The Sidney Smith Buildings run from No.50 down to No. 34 on the corner of Cadogan Gardens. But who was Sidney Smith?!  Look up to see the lovely Victorian moulded date and street name sign signs at the very top.  

Lots more info about the changing face of the Kings Road can be found here.

And here (I particularly like this one)

And this one too.