ON OUR WAY FROM Bury Street (near Piccadilly) to Trafalgar Square, we walked through the garden in the centre of St James Square. In addition to its permanent resident, a bronze equestrian statue of King William III (sculpted in 1807), the garden contained several sculptures by Helaine Blumenfeld, who was born in New York City in 1942. Her artistic education was in the USA and France. In 1970, she moved to Grantchester in Cambridgeshire where she lives and works. She was awarded an OBE in 2011.
The works on display in the square until the 26th of July 2024 have been presented by the Hignell Gallery. Although the sculptures, which are almost but not completely abstract, are made of folded sheets of metal, they look like large pieces of cloth being blown by the wind. To enjoy them fully, it is a good idea to walk around each of them. As you encircle each sculpture, you keep seeing something different. Some of the pieces reminded me a little of certain sculptures created by Tony Cragg (born 1949). Like Cragg’s sculptures, Blumenfeld’s creations are well-suited for open air display.
It was a pleasure to see these sculptures in St James Square on a hot, sunny day, when the garden was populated by office workers on the lawn, enjoying the sun and their lunches.
TWO HALF-BROTHERS from India were both artists, and spent time creating artworks in and around Hampstead. Lancelot Ribeiro (1933 – 2010) was one of them, and the other was his older and more famous brother Francis Newton Souza (1924-2002). Today (23rd of June 2024), we dashed up to Hampstead’s Burgh House to see an exhibition of works by Souza created when he lived in Hampstead and Belsize Park. This small, but superb exhibition closes today.
Born in Portuguese Goa, Souza studied art at the prestigious JJ School of Art in Bombay. A participant in the Quit India Movement, he was expelled from that school in 1945 when he pulled down a Union Jack flag at a school celebration. Souza migrated to the UK in 1949. By 1955, he was already making a success in London’s contemporary art world.
In London, Souza first lived in Paddington, then North Kensington, and by the mid-1950s, he had moved to Hampstead. By 1961, he had made enough money to buy a large house – number 9 Belsize Park. He remained there until he moved to the USA in 1968.
The exhibition handout (produced by London’s Grosvenor Gallery) described Souza as an Expressionist artist who:
“… conveyed the fear and anguish of the generation.”
One of the great fears was that of nuclear weapons. Souza became an anti-nuclear activist, taking part, for example, in the Aldermaston Marches. Three of the paintings at the exhibition, “The Mad Prophet of New York”, “The Apocalypse”, and “Oedipus Rex”, reflected Souza’s reaction to nuclear weaponry, and were painted during his time in the Hampstead area.
At least two of the paintings we viewed reflected Souza’s life in northwest London. One of them depicts a church in Chalk Farm (near Belsize Park), and the other, a parody of Picasso’s 1907 “Demoiselles d’Avignon”, has the title “Young Ladies of Belsize Park”.
The paintings were hung in the well-lit Peggy Jay Gallery in Burgh House, and were accompanied by informative panels. It is a shame that this excellent exhibition was only open for a few days (19th to 23rd of June 2024). I am glad that we made the effort to see it.
IN THE 1980s, there was a shop that sold a variety of products imported from Communist Albania, which was then ruled by the Stalinist dictator Enver Hoxha and, after 1985, by his successor Ramiz Alia. I visited it once or twice. Although it had a few items of interest, it was quite expensive. The shop, which had closed by 1990, was in Betterton Street, which leads from Drury Lane to Endell Street, which is not far from the Seven Dials.
Yesterday (20th of June 2024), we walked along a part of Endell Street and then into Betterton Street, on our way to the Garden Cinema (in Parker Street). We watched a completely weird, arthouse film called “Daisies”, which was made in Communist Czechoslovakia in 1966. Despite being awarded a Czech film prize in 1966, it was banned by the censors in 1967.
Returning to Endell Street, we spotted three buildings of interest. The first of these is on the southeast corner of Endell Street and Shorts Gardens. It bears a commemorative plaque that reads:
“Zepherina Veitch (1836 -1894) Dame Rosalind Paget (1855 – 1948) Pioneering midwives trained at the British Lying-in Hospital, founded 1739 and sited here, 1849 – 1913.”
The tall Victorian building, to which this plaque is attached, is red brick with white stone facings. Between 1849 and 1913, this place housed a hospital for married women in the last month of pregnancy. A website concerned with former hospitals (https://ezitis.myzen.co.uk/britishlyingin.html) related:
“The staff consisted of two physicians and two surgeons who practiced midwifery, a Matron skilled in the same, a chaplain, an apothecary, nurses and ‘other inferior servants’. Women were admitted in the last month of their pregnancy – they were only permitted to stay for three weeks – and needed a letter of recommendation from a subscriber (patients were not charged by the Hospital) and an affidavit of their marriage and their husband’s settlement.”
Adjoining the former lying-in hospital, there is an edifice made with layers of bricks that vary in colour and white stone trimmings. It has Victorian gothic features, and its Endell Street facade bears an inscription, which reads:
“Lavers and Barraud Stained Glass Works”
This firm was founded in 1858 by Nathaniel Wood Lavers (1828–1911) and Francis Philip Barraud (1824–1900). When Barraud (of Huguenot descent) became dissatisfied with the firm’s designs, he was recommended to hire Nathaniel Westlake (1833-1921) as a designer. Westlake’s knowledge of mediaeval art and skills in the pre-Raphaelite style of art brought fame and fortune to the firm in the 1860s. In 1858. He became one of the firm’s partners, and in 1880, he became the firm’s sole owner.
A building on the corner of Betterton Street and Endell Street, across the road from the former stained glass works bears a plaque that informs the viewer that in this house, number 20 Endell Street, Westlake resided in the 1880s. His firm continued in business until his death.
So, today, neither the lying-in hospital nor the stained-glass works are still operating, and the Albanian shop has long gone. However, one place that would have been in business when those two places were functioning, is still in business: The Cross Keys Pub. Established in 1848, this pub has a baroque Victorian façade. The interior of this long narrow hostelry is most people’s idea of a real old-fashioned pub. A long bar with brass fittings runs along one side of the saloon, The walls are covered with numerous paintings and prints and several glass cases containing stuffed (taxidermy) fish. All manner of things, including a brass instrument and an archaic diver’s helmet, are suspended from the ceiling. Yet, despite this great amount of assorted ‘clutter’, the pub has a cosy atmosphere. When we dropped in for some mid-afternoon refreshment, there were a few other customers – mostly elderly local people. Although in the heart of the city, the pub has a rustic feeling about it. I suspect that workers and other staff from the stained-glass factory used to pop into the Cross Keys for liquid refreshment. But I wonder if many of those associated with the lying-in hospital -staff or patients – were patrons.
After dallying in Endell Street, we walked the short distance to the Garden Cinema in Parker Street to see the Czech film. If you have not been to this cinema, you are missing a treat – it is a truly independent, art-house cinema (see www.thegardencinema.co.uk).
THE GARDEN MUSEUM is next door to London’s Tudor Lambeth Palace and close to Lambeth Bridge. The museum has its own gardens – one within an enclosed courtyard, and the other, containing several glasshouses, outside the museum. Next to the latter, there is yet another garden, the St Mary’s Gardens. This slender garden, filled with a wonderful range of flowering plants, was created in 1932, and improved considerably in 2008.
In the centre of this almost rectangular garden there is a circular water feature, decorated with mosaics. This is surrounded by several smaller mosaics, each one depicting fruits and animals. From the northern end of the garden, you can catch glimpses of the Houses of Parliament and the towers associated with them.
Flanked by the busy Lambeth Road that leads to Lambeth Bridge, this garden is a pleasant oasis in one of the most traffic-infested parts of London.
WHENEVER WE VISIT the Newport Street Gallery in London’s Lambeth district, we pass the entrance to a small garden. Today (19th of June 2024), we decided to enter this little park – a peaceful haven only a few hundred yards south of Lambeth Bridge. It is called Old Paradise Gardens. Irregular in shape, it has one long main path leading from its northern entrance in a southeasterly direction towards its southern entrance, close to a busy railway line. Near the northern entrance, there is a small fenced off area, which is being developed as a community garden in collaboration with the nearby Garden Museum (next door to Lambeth Palace). Not being botanically knowledgeable, I cannot describe the wide variety of plants growing in the Gardens, but I can say that they make for an extremely pleasant green environment.
We saw a few worn, illegible tombstones propped up against one of the garden’s walls. These provide an important clue about the history of the Gardens. The place was:
“…previously a burial ground provided to the parish by the Archbishop of Canterbury in 1703. It was extended in 1816, but by 1853 was full and closed to burial. In 1880 it was decided to convert it into a public garden, which opened in 1884. Gravestones were moved to boundary walls … The recreation ground was extended in 1929 and by the 1970s was largely asphalted. Since re-landscaped, it has grassy mounds, a water feature, with shrubs and spring bulbs planted. In 2013 refurbishment was completed and the park was renamed Old Paradise Gardens. In 2023 a new community garden was introduced in the southeast corner designed by Dan Pearson Studios under the leadership of The Garden Museum nearby.” (https://londongardenstrust.org/conservation/inventory/site-record/?ID=LAM026&sitename=Old+Paradise+Gardens)
When we visited the Gardens at about 11 am today, we saw few other people. Probably, at weekends and after school is over, this delightful little open space becomes busier. It is always lovely to ‘discover’ yet another of London’s numerous green spaces – about 40% of London’s area is occupied by public green spaces.
If you happen to be in need of refreshment whilst visiting the Old Paradise Gardens, head for the elegant café attached to the nearby Garden Museum.
FACING THE THAMES near to The Dove pub in Hammersmith, there is an interesting little museum dedicated to exhibits relating to William Morris. In my book “BEYOND MARYLEBONE AND MAYFAIR: EXPLORING WEST LONDON”, I wrote about the museum as follows:
“ … Kelmscott House. Built on the site of an old warehouse, this became the home of Sir Francis Ronalds (1788-1873) in the early 19th century. Sir Francis, an inventor, laid eight miles of insulated electrical cable in the house’s extensive garden, which in his time stretched as far inland as King Street, and with that he demonstrated the use of telegraphy for the first time in history in 1816. When he reported his discovery to Lord Melville, the First Lord of The Admiralty, he was told (by Melville) that telegraphs were totally unnecessary, because the semaphore did the job of communication just as well.
In 1878, Ronalds’s house, known then as ‘The Retreat’, was bought by the writer and artist William Morris (1834-1896), who was a leading exponent of the Arts and Crafts Movement and a social reformer. According to his biographer Fiona MacCarthy, Morris did not like its name because ‘Retreat’ suggested that it might be regarded as an asylum. So, he renamed it Kelmscott House (the name of Morris’s Thames side dwelling in Oxfordshire).”
I wrote that the museum is housed in the:
“… long narrow coach house attached to the west side of Kelmscott House which was used as a lecture hall in William Morris’s time. It hosted many meetings of groups sympathetic to socialism, including one that which Morris joined in 1883: the ‘Democratic Federation’, later known as the ‘Social Democratic Federation’. Like some of today’s leading British socialists, Morris was also far wealthier than the people whom he hoped to help with his left-wing political sympathies.
Today, the coach house, which bears a plaque in memory of Sir Francis Ronalds, houses the offices of the William Morris Society and a small museum.”
Recently (June 2024), we visited the museum, which has a temporary exhibition called “The Art of Wallpaper: Morris & Co. in Context”. It will remain in place until the 11th of August 2024. According to the museum’s website (https://williammorrissociety.org/whats-on/):
“This exhibition focuses on William Morris (1834–1896), placing his wallpaper designs within the context of the radical changes in taste witnessed during the Victorian era. His distinctive patterning is set against a backdrop of the fanciful, naturalistic patterns that typified fashionable English and French papers in Morris’s youth.”
The visitor can admire a collection of framed, highly decorative wallpaper samples, including many designed by Morris and his associates. Apart from the Morris designed wall papers, there are examples of styles that were fashionable in the 19th century: French style, Reform Movement Styles (e.g., by Pugin), Japanese-influenced designs, and the Arts and Crafts Movement. The most interesting exhibit was a wooden printing block, which would have been carefully inked up in different colours, and used to create the wall papers. Next to this, there were a couple of pages from the Morris logbook used to record the colours and designs of the papers produced by Morris and his company.
The small museum is well worth a visit. It is a shame that the main house to which it is attached is not open to the public at present.
PS The book is available as a paperback and a Kindle from AMAZON
Set in about 1991, this recently made (2024) film, “Treasure”, is about a Ho;ocaust survivor, played by Stephen Fry, returning to visit Poland to re-visit where he was born and. then later interned (in Auschwitz). He travels with his 36 year old daughter, played by Lena Dunham. In brief, this film covers many aspects of the annihilation of Jews in Poland in a profound way, but with a delicate touch. The portrayal of a visit to the remains of the concentration camp at Auschwitz was handled beautifully – deeply moving but intelligently handled.
Stephen Fry is excellent in the film. His Polish/English accent reminded me of that of a Holocaust survivor, K, whom I knew well. Although I never knew what K was thinking deep down inside him, some of his behavioural aspects were portrayed well by Fry. The character played by Fry adapts well to his return to the town where he was born and the camp where he last saw his parents. The survivor played by Fry brought back many memories of my friend K.
The other actors in the film were very good, but Fry’s performance was outstanding.
A few months ago, I watched another Holocaust themed film, “Zone of Interest”, which in many ways failed to impress me. “Treasure”, on the other hand, is very good both in what it covers and how it achieves that.
AFTER WATCHING A superb play, “Moffie” (a one man show about homosexuality in apartheid South Africa), at the Riverside Studios in London’s Hammersmith, we visited the nearby William Morris Museum, and then retired to its close neighbour, The Dove pub. This quaint little hostelry has a riverside terrace and the shortest bar counter in England. There has been a pub on its site since the 17th century. At one time, it was also a coffee house. The present building, whose interior is rich in timber beams, dates from the 18th century.
Being a sunny Sunday afternoon, the riverside terrace was full when we arrived at the pub. So, we found seats in the room with the short bar at the front of the pub. It was while we were enjoying our refreshments that I noticed a lovely white carving on the chimney breast above the fireplace – its style reminded me a little of the work of Eric Gill. Near to the carving there was a framed notice that provided the following information:
“As a result of old age and Hitler, this fireplace had to be re-built in 1948. It was re-built by Mr Ward of Barnes, in Elizabethan bricks, from a design by Mr Reece A.R.I.B.A.
The plaque was sculpted in white Portland stone by Ian Coleman, from a design prepared by John Worsley, after a woodcut in the possession of the landlord”
I have no idea about the woodcut that the landlord possessed, but I can tell you that John Worsley lived from 1919-2000. He painted at least one view of Hammersmith Bridge from a viewpoint close to The Dove – in 1948 (www.orleanshousegallery.org/collection/boat-race-hammersmith-bridge/). As for Ian Coleman, I cannot find any references to an artist with this name, who would have been alive in the late 1940s.
The fireplace alone is of interest, but there are also many other artworks – paintings and old photographs – that can be viewed in this delightful pub.
THE ALBANIAN EMBASSY is on St Georges Drive in London’s Pimlico. On our way there we passed a statue that stands on a triangular plot where St Georges Drive meets Denbigh Street at an acute angle. The statue commemorates Thomas Cubitt (1788-1855), who was born in Norfolk and died in Surrey. It was created in 1995 by William Fawke (1948-2018).
The metal sculpture depicts Cubitt standing on a platform facing a pile of building bricks. In his left hand, he holds a long, notched stick – a brick measure. The platform upon which he stands is supported by balustrade bottles (‘balusters’) that are used to support the railing that rests upon them. The bottles supporting Cubitt are the type found on the houses built by Cubitt.
Cubitt was the son of a carpenter. During his trip to India as a ship’s carpenter, Thomas earned sufficient money to be able to establish a building business in London’s Holborn. In cooperation with his younger brothers, William and Lewis (who designed Kings Cross station), his firm took off. He was an excellent organiser, and created teams of builders that included every branch of the trade. Some of his projects are listed in an interesting web page (https://victorianweb.org/art/architecture/cubitt/bio.html):
“By now he was a close friend of the royal family, having collaborated with Prince Albert on the design for Osborne House, which he then built for him. He also won the contract to extend Buckingham Palace, and it was Cubitt as well who orchestrated the dismantling of Nash’s Marble Arch there, and its reassembly at Hyde Park, ready for the Great Exhibition. The Exhibition itself was a project suggested to Prince Albert by Cubitt, after a conversation with a friend who had recently visited an exhibition in Paris. From 1839 Cubitt was an active member of the Institution of Civil Engineers; he was a leading figure in the campaigns for a main drainage system and a more extensive Thames Embankment, and rooted for limiting smoke emissions and conserving open space: Battersea Park owes its existence largely to him.”
In addition to this and other major projects, he built much of Tavistock Square and great swathes of housing in Pimlico. So, it is fitting that his statue has placed in the midst of the houses which his firm created in Pimlico. It was interesting to ‘discover’ the statue of Cubitt shortly before we entered the embassy which is housed in one of the houses he built in Pimlico.
yamey 