Tag Archives: hampstead

A versatile artist who was born in London

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THE CAMDEN ART Centre in London’s Hampstead area rarely puts on exhibitions that can be classed as dull. The current show, which runs until 22 June 2025, is certainly anything but dull. It is a solo exhibition of works by Richard Wright, who was born in London in 1960. After his family moved to Scotland, he attended Edinburgh College of Art from 1978 to 1982 and then was at Glasgow School of Art between 1993 and 1995. He lives in Glasgow and Norfolk. In 2009, he won the prestigious Turner Prize.

From what can be seen in the variety of art works on display in the Art Centre, it is difficult to pigeonhole his art in any particular category. The works that can be viewed in the exhibition include huge wall-paintings, stained glass windows, light-diffusing structures, framed paintings, decorated sculpture, books that have had had paintings added to them, and more. A note in the exhibition handout outlines some of the influences on Wright’s art:

“The exhibition also brings together more than 40 works on paper made over the last 30 years, drawing on languages of signwriting, 1970s subculture, album covers and poster-art, as well as Baroque painting, Renaissance frescoes, Islamic mosaics and early modern artists and movements including Kandinsky, Klee, De Stijl, Mondrian, and Russian Constructivism. Some of these works are made directly into the pages of books, another kind of site, surface or architecture for him to intervene in and occupy.”

Seeing this collection of refreshingly original artworks in the brightly lit galleries of the Camden Art Centre was a delightful experience.

An artist from India in London’s St Johns Wood

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THE BEN URI gallery in was established in 1915 in London’s East End. Named in honour of Bezalel Ben Uri, the craftsman who designed and built the Ark of the Covenant, it moved to Boundary Road in St Johns Wood in 2002. Originally, it was a place where Jewish immigrant artists and craftsmen could display their work. More recently, it has widened its remit to feature artists of all religions, who have migrated to Britain from other countries.

Until the 29th of November 2024, the gallery is holding an exhibition of works by an artist born in Goa (part of India since 1961): Lancelot Ribeiro (1933-2010). He came to England to study accountancy in 1950. He disliked the subject. At first, he lived with his half-brother, the artist FN Souza. Later, he resided in Hampstead. In 1951, he began studying art at St Martins School of Art, where my mother created sculpture between 1950 and the mid-1960s. The exhibition at the Ben Uri focusses on Ribeiro’s work in the field of portraiture, and displays his innovative and imaginative approach to this form of art. The exhibition is small but well displayed. I felt it was a more satisfactory showing of Ribeiro’s art than the exhibition that was held recently at Hampstead’s Burgh House.

Workers in London’s Hampstead and the historian Thomas Carlyle

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I AM NOT A GREAT fan of the style of painting found in pictures by the Pre-Raphaelite artists. Although not a member of that artistic circle, Ford Madox Brown (1821-1893) created paintings in the Pre-Raphaelite style.

The Manchester Art Gallery contains a large collection of Pre-Raphaelite style paintings. Amongst these, one caught my attention. Entitled “Work”, it was painted between 1852 and 1865 by Ford Madox Brown. What interested me is that it depicts a scene in north London’s district of Hampstead.

Detail from “Work”

“Work” depicts two labourers (‘navvies) digging a hole in the street as part of the preparations for laying sewers. In the background, there are houses that strongly resemble buildings that can be seen in Hampstead today. The painting was inspired by a book which Brown had read: “Past and Present” by the historian Thomas Carlyle (1795-1881) and published in 1843. The author discussed the nobility of labour in this book. Ford Madox Brown included a portrait of Carlyle on the right side of his painting. The canvas “Work” illustrates the contrast of the hard working labourers with the relatively wealthy, inactive bystanders.

An early study for Brown’s “Work” is his painting of Heath Street in Hampstead, which he created between 1852 and 1856 (https://artuk.org/discover/artworks/heath-street-hampstead-study-for-work-205501). The part of Hampstead depicted in “Work” is The Mount, which branches off Heath Street at an extremely acute angle. Brown had made a detailed study of the area in 1852.

Ford Madox Brown lived in many different places, including Manchester. However, I am not sure whether Hampstead was one of them until the end of his life. He did have a studio in Hampstead.He died in Primrose Hill (in his home at 1 St Edmunds Terrace), which is very close to Hampstead.

Lovers of Pre-Raphaelite artworks should not miss a visit to the Manchester Art Gallery. It should also appeal to those interested in modern architecture because the space between two parts of the institution has been roofed over and contains a interesting new staircase and a glass-floored bridge.

Depictions of Hampstead in painting always interest me because I was brought up in that neighbourhood and have researched it in detail whist preparing my book “BENEATH A WIDE SKY: HAMPSTEAD AND ITS ENVIRONS”. My title refers to the artist John Constable and his fascination with the cloudscapes that he could see from Hampstead, where he lived for many years .

He lived and painted in and around London’s Hampstead district

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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.

An almost hidden treasure on London’s Hampstead Heath

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ANYONE TRAVELLING BY ROAD along North End Way between Hampstead’s Whitestone Pond and Golders Green will pass Inverforth House (on the west side of the road). Now used as a luxury apartment house, the place has an interesting history and an even more interesting garden, some of which is open to the public.

Here is what I wrote about this property in my book “Beneath a Wide Sky: Hampstead and its Environs” (available from Amazon):

“Inverforth Close, a small private road open to pedestrians, leads off North End Way. At the end of it, there is a delightful garden with a wooden pergola, The Hill Garden, which is open to the public. It was once part of the gardens of Inverforth House. The present house was built in 1895 in a ‘neo-Georgian’ style to the designs of the architectural practice of Grayson and Ould. Between 1896 and 1904, Ronald Fisher (1890-1962) lived there as a child. He was one of the ‘fathers’ of modern biological statistics.

Between 1904 and 1925, the house was owned by William Lever, Viscount Leverhulme (1851-1925). He was one of the first men to produce soap on an industrial scale (in 1884) and was an enlightened industrialist. He built Port Sunlight near to Birkenhead to house his workers in pleasant surroundings. The house’s library was designed by built by William and Segar Owen of Warrington, who also designed buildings at Port Sunlight. In 1955, Inverforth House became a convalescent home of the (now closed) Manor House Hospital, and that is how I remember it from my childhood. The hospital was not part of the NHS. It was privately run by trade unions. The edifice ceased being a hospital in 1999. Now, the house contains privately owned, luxury flats; it has become a ‘gated community’.

The gardens of Inverforth House were laid out from 1906 onwards by Thomas Hayton Mawson (1861-1933), garden designer, landscape architect, and town planner. According to one source (www.historic-uk.com), Lord Leverhulme wanted the pergola:

‘…to be the setting for extravagant Edwardian Garden parties, while at the same time being a place where his family and friends could spend long summer evenings enjoying the spectacular gardens.’

In 1960, the London County Council (‘LCC’) bought the Pergola and associated garden areas, which had by then become very dilapidated. In 1963, part of the gardens was opened to the public, and called the ‘Hill Garden’…”

Today, the 12th of June 2024, we re-visited the pergola. We had not been there for at least 10 years. Most of the long pergola (about 300 yards in length) was open to the public – more than in the past, it seemed to us. Although some of the timber trellising, which is supported by stone pillars, was looking rather weatherbeaten, walking along the raised paths was a delight because of the flowering bushes blooming all along it. From the pathway, one gets good views over Hampstead Heath and into the well-manicured private grounds of Inverforth House.

Many locals and people who used to be locals in Hampstead and Golders Green know about the Pergola and the Hill Garden next to it. However, when you reach it, you are sure to get the pleasurable feeling that you have discovered a secret garden, and unless you suffer from hay fever (and have not taken antihistamines), a wonderful experience awaits you.

Son of missionaries at the Camden Art Centre in Hampstead

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MATTHEW KRISHANU WAS born in Bradford (UK) in 1980. His parents were Christian missionaries. His father was British, and his mother Indian. Their work took them to Bangladesh, where Matthew and his brother spent some of their childhood years. Matthew’s formal education in art took place at Exeter University, and then at London’s Central St Martin. Today, the 1st of June 2024, we viewed a superb exhibition of his paintings at the Camden Art Centre in Hampstead’s Arkwright Road. The exhibition continues until the 23rd of June 2024.

Many of the paintings on display include depictions of two young boys – the artist and his brother – often in a tropical setting that brings to mind places on the Indian Subcontinent. The paintings vary in size, but all of them are both pleasing to the eye and full of interest. His paintings of trees and other plants are impressionistic. Like many of the other pictures, they were inspired by the artist’s childhood in Bangladesh and later visits to India.

One room with several paintings contains works that must have been inspired by the artist’s memories of being brought up in a missionary family. The paintings in this gallery are depictions of the colonial legacy of Christianity in the Indian Subcontinent. Another indication of the artist’s upbringing in a Christian religious family setting is the appearance of small images of the Last Supper in several of the paintings, including those which are not specifically portrayals of religious environments.

Although, there is no doubt much that can be read into his paintings, Krishanu’s works are both approachable and engaging. I liked them immediately – as soon as I saw them. It is worth a visit to Arkwright Road to see this well laid-out exhibition.

An artist from Vienna who lived in Hampstead (north London)

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HAMPSTEAD HAS BEEN home to many artists – both painters and sculptors. Some of these are well-known, such as John Constable, George Romney, Stanley Spencer, Henry Moore, and Barbara Hepworth – to name but a few. Others are less widely known. Amongst the lesser-known is the late Marie-Louise von Motesiczky (1906-1996), some of whose paintings are on display in a special exhibition in Hampstead’s Burgh House until the 15th of December 2024. In addition to the works in the temporary exhibition, Burgh House’s permanent collection includes a few of her paintings.

Marie-Louise was born in Vienna (see: www.motesiczky.org/biography/). Her mother’s family were well-connected with Vienna’s flourishing intellectual circles in the early 20th century. Her grandmother, Anna Von Lieben, was one of Freud’s first psychoanalytical patients. At the age of 13, Marie-Louise left school, and began studying art in Vienna, The Hague, Frankfurt, Paris, and Berlin. In 1927, she joined the master classes held by the artist Max Beckmann (1884-1950) in Frankfurt-am-Main. This painter became an important influence in her life and work.

After the Anschluss (the Nazi annexation of Austria) in March 1938, Marie-Louise and her mother, Henriette, left Vienna. They went to Holland, where, in 1939, Marie-Louise had her first solo exhibition. Soon after this, she and her mother left for England, and settled in Amersham. There, she met the Bulgarian writer Elias Canetti (1905-1994) and his wife. Canetti was to become an extremely close friend of Marie-Louise. At Burgh House, we saw her portrait of him on display.

When WW2 was over, Marie-Louise and her mother moved into a flat in West Hampstead, which they rented until 1960. Then, they purchased a large house in Hampstead, number 6 Chesterford Gardens (a short road linking Frognal and Redington Road). While living there, she painted many portraits of her ageing mother. Some of these were on display at Burgh House.

Marie-Louise is now highly acclaimed as a 20th century artist in the country where she was born. Although the paintings I saw today at Burgh House are often imaginative and pleasant enough, I began to understand why she has not become as well-known as some of the many other artists who lived in Hampstead. However, everyone has different tastes in art. So, a good way to judge this artist’s work would be to pay a visit to Hampstead’s lovely early 18th century Burgh House.

Much Moore to be seen at Kenwood House in north London

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INSIDE KENWOOD HOUSE (in north London), the visitor can see a glorious collection of paintings by famous artists such as (to name but a few): Vermeer, Rembrandt, Constable, Gainsborough, Reynolds, Cuyp, Romney, and Van Dyck. These works are part of the Iveagh Bequest, which was the collection of paintings bought by the art collector, Irish brewing magnate, and philanthropist Edward Cecil Guinness, 1st Earl of Iveagh (1847-1927).

In the grounds of Kenwood House, there are two sculptures created after Iveagh’s death. They are both by sculptors, who are considered as some of the greatest British artists of the 20th century. One of them, which is near the house, is by Barbara Hepworth (1903-1975), and the other, which we examined when we walked past it today, illustrated above, is by Henry Moore (1898-1986). His large bronze sculpture is called “Two Piece Reclining Figure No. 5”, and was completed in 1963-1964. It has been lent to Kenwood by the Tate Gallery.

Apart from being superb sculptors and having works at Kenwood, Hepworth and Moore have other things in common. Both studied at the Leeds School of Art, where they met. And both lived in Hampstead, which is close to Kenwood, for a while between the two World Wars. While they were in Hampstead, they had studios close to each other: Hepworth in Mall Studios, and Moore in nearby Parkhill Road. You can find out more about their lives in Hampstead in my book “Beneath a Wide Sky: Hampstead and its Environs”.

A GARDEN IN HAMPSTEAD WITH A FASCINATING  HISTORY AND WONDERFUL PLANTS

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GAINSBOROUGH GARDENS IS a cul-de-sac that leads southeast from Hampstead’s Well Walk, not far from one of the former homes of the artist John Constable. Houses are arranged around an attractive sloping oval garden, which was once part of the grounds of Hampstead’s once famous, now defunct, spa water centre and resort – the lost since demolished Long Room, which I have described this in my book “Beneath a Wide Sky: Hampstead and its Environs” as follows:

“These extensive premises were demolished in 1882 to make way for an estate of residential buildings. The former Pump Room and Assembly Room occupied a plot that is bounded by Well Walk, East Heath Road, and Gainsborough Gardens. Present day Gainsborough Gardens runs around an oval open space, which is shown as a pond in the gardens of the former Pump Rooms on an 1866 map. The pond was later filled in.

At the corner of Gainsborough Gardens and Well Walk, there is a tall building with attractive neo gothic windows. This was built in about 1704. Next to this house, but separated from it by Gainsborough Gardens, stands Wellside, a house built in 1892 on the site of the Pump Room.”

Yesterday, the 10th of April 2024, we visited Gainsborough Gardens with a friend of ours who introduced us to the friendly and highly informative couple, Adrian and Lynn, who look after the common garden within the oval. They had been the gardeners employed by the renowned pianist Katharina Wolpe (1931-2013), who had taken a great interest in the planting and planning of the oval garden. She had lived in Wellside, the house mentioned above. The gardeners told us that when she died, according to her wishes, she had bequeathed the plants in her garden to them, and they have since planted many of them in the oval garden.

Another famous person resided in Gainsborough Gardens. We were informed. That the author John le Carré (1931-2020) had lived in a house on the southwest part of the oval. As yet, there is no commemorative plaque for either him or Katharina Wolpe. According to Wikipedia, other notable residents of the Gardens included:

“ The family of songwriter Gary Osborne … The women’s suffrage campaigner Elizabeth Knight … The historian Bernard M. Allen … The Labour MP Arthur Greenwood … The former Governor of Northern Nigeria, George Sinclair Browne … Archibald Chisholm, the oil executive and former editor of the Financial Times … CE Maurice, who helped preserve Parliament Hill Fields and limit the expansion of construction onto nearby Hampstead Heath.”

Gainsborough Gardens, despite being a private ‘road’, is freely open to the public, and its centrally located garden is a delight to see.

[My book about Hampstead is available as a paperback and Kindle from Amazon:

https://www.amazon.co.uk/BENEATH-WIDE-SKY-HAMPSTEAD-ENVIRONS/dp/B09R2WRK92 ]

Taking the scenic route from St Pauls cathedral to Paddington

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ONE AFTERNOON IN April (2024), out of curiosity we travelled by bus number 46 from Smithfield to Paddington station instead of taking the much faster Underground train route. As we proceeded along the whole route of the number 46 bus, we realised that it links several places of interest to both Londoners and visitors to the city.

The 46 starts within easy walking distance of the BARBICAN CENTRE, SMITHFIELD MARKET, ST BARTHOLOMEW THE GREAT, and THE LONDON MUSEUM. Also, its first stop outside ST BARTHOLOMEWS HOSPITAL is not far from ST PAULS CATHEDRAL.

When the bus gets moving, you will soon pass the ornate Victorian HOLBORN VIADUCT and HATTON GARDEN – famed for its diamond merchants. Next, you will see the Victorian gothic PRUDENTIAL BUILDING and before turning on to Grays Inn Road, you will see a row of half-timbered houses – some of the only PRE-FIRE OF LONDON survivors. Much of the west side of Greys Inn Road is lined with the buildings of GREYS INN – one of London’s four historic Inns of Court.

KINGS CROSS STATION and the magnificent Victorian gothic ST PANCRAS STATION are the next things to look out for. You could leave the bus here to explore the new developments around Kings Cross including COAL DROP YARD and KINGS PLACE hall and events centre. If you remain on the bus, you will head north past the ROYAL VETERINARY COLLEGE to the not over attractive KENTISH TOWN. At CAMDEN ROAD STATION, you will not be far from the REGENTS CANAL and the popular CAMDEN MARKET.

Heading northwards, the 46 reaches Fleet Road in south Hampstead, which is a short walk from the famous Modernist ISOKON BUILDING in Lawn Road. You could disembark at South End Green and visit Mirko to enjoy refreshments in his small MATCHBOX CAFÉ. HAMPSTEAD HEATH is a few minutes’ walk away. If you remain on the bus, you will pass the ROYAL FREE HOSPITAL and next to it, the Victorian gothic ST STEPHENS CHURCH designed by SS Teulon.

The bus then heads up Rosslyn Hill into the heart of historic HAMPSTEAD, where there is plenty for the visitor to explore. Then, the 46 descends the steep Fitzjohns Avenue to Swiss Cottage. Just before it reaches there, look out for the statue of SIGMUND FREUD at the southern end of the Tavistock Institute. The house where Freud lived, now THE FREUD MUSEUM, is close by.

After passing St Johns Wood Station with its several scraggly palm trees, the bus winds its way through streets near Maida Vale until it reaches Warwick Avenue Underground station. Descend here to walk to the REGENTS CANAL near to where it enters the scenic LITTLE VENICE.

Soon, after passing beneath the elevated WESTWAY, the 46 heads for its last stop, which is on a bridge from which you can get a good view of the wonderful glass and ironwork roof of PADDINGTON STATION – a masterpiece of Victorian engineering.  From Paddington, there are a few bus routes that will allow you to continue your London sightseeing.