It was the start of the final 100 days of the Bush adminstration and the ‘Hands off Iraqi Oil’ coalition whose members included Corporate Watch, Iraq Occupation Focus, Jubilee Iraq, PLATFORM, Voices UK, and War on Want and was supported by the Stop the War Coalition and others had come to Shell’s UK headquarters at Waterloo to protest against plans by Britain and the USA for Iraq to hand over most of the country’s oil reserves to foreign companies, particularly Shell and BP.
Iraq had nationalised its oil by 1972, and it provided 95% of its government income. Many had seen the invasion of Iraq by the US and UK (along with Australia and Poland) as largely driven by the desire to gain control of Iraq’s huge oil reserves and the US had engaged consultants to help it write a new oil law which it got the Iraqi cabinet to approive in 2007 which would give foreign oil companies – including Shell and BP, long-term contracts within a safe legal framework. But large-scale popular opposition meant the Iraqi parliament failed to approve the new law. But in June 2008, the Iraqi Oil Ministry went ahead with short-term no-bid contracts to the major foreign oil companies – including Exxon Mobil, BP, Shell, Total and Chevron and later these and other contracts were made more favourable to the oil companies.
After the protest at Shell’s offices the protesters marched to protest outside the BP HQ in St James’s Square and then to the US Embassy, and I left to cover the London Freedom not fear 2008 event outside New Scotland Yard. Similar protests were taking place in over 20 countries to demonstrate against excessive surveillance by governments and businesses, organised by a broad movement of campaigners and organizations.
The London event highlighted the restrictions of the right to demonstrate under the Labour government’s The Serious Organized Crime and Police Act 2005, (SOCPA),, the intimidatory use of photography by police Forward Intelligence squads (FIT), the proposed introduction of ID cards, the increasing centralisation of personal data held by government, including the DNA database held by police, the incredible growth in surveillance cameras, ‘terrorist’ legislation and other measures which have affected our individual freedom and human rights.
For something completely different I walked a quarter of a mile down Victoria Street to Westminster Cathedral where people were assembling for the Rosary Crusade of Reparation, one of the larger walks of public witness by Catholics in London.
This tradition began in Austria in 1947 with the roasary campaign begun by a priest praying for his country to be freed from the communist occupiers. The first annual parade with the statue of Our Lady of Fatima took place in 1948 in Vienna on the feast of the Name of Mary, Sept 12, which had been established by Pope Innocent XI in 1683 when Turkish invaders surrounding Vienna were defeated by Christian armies who had prayed to the Blessed Virgin.
As the procession to a service at Brompton Oratory began I walked back up Victoria St to Parliament Square, where a number of other small protests were in evidence. All over the centre of London there were people giving out leaflets about the growing problems faced by Tamils in Sri Lanka, where they allege a program of ethnic cleansing is being carried out by the government. International media are banned from the Tamil areas of the country and NGOs have been ordered out of some areas, so there are few reports of the war. Worse was to come and in 2009 in the final stages of the war conservative estimates are that 70,000 civilians were killed in the the Mullivaikkal massacre.
Others in the square were protesting against the UK’s scandalous treatment of asylum seekers and calling for the asylum detention centres to be closed down.
Brian Haw was still there, and I wrote:
Facing Parliament, Brian Haw‘s peace protest continues – he has been there for almost 2700 days – over 7 years – and it will soon be his 60th birthday. Brian says that now the police seem to have largely abandoned attempts to get rid of him legally there have been a number of odd attacks against him and others in the square – which the police have ignored. I took some time talking to a man who smelt of alcohol, was talking nonsense and acting unpredictably – and who then went and started to insult Brian. One of the other demonstrators stood between him and Brian who was filming him. I put down my bag as I took photographs in case I needed to step in and help, but fortunately he eventually moved away.
There were others protesting in Parliament Square, including one man who asked me to take his picture. He told me his name was Danny and that he had been there on hunger strike for two weeks, protesting over his failure to get his case investigated. He claimed to have been abused by police and social services following an incident in which as a seven year old child in Llanelli he was implicated in the death of a baby brother. I was unable to find any more information about his case.
Finally I saw a group of people walking past holding leafelts with the the word CHANGE on them and rushed after them to find they were Obama supporters hoping to persuade Americans they met to register and vote in the election. It was time for me to go home.
NSSN, TUSC and Southwark Unison protested at the Care UK offices in Southwark during the nation-wide day of solidarity with Doncaster Care UK workers who had been on strike for 81 days after huge cuts in pay and services by a private equity company taking over a part of the NHS, part of the continuing largely hidden privatisation of our NHS.
This protest was one of many around the country outside offices of Care UK and Bridgepoint, the private equity firm that owns Care UK, as well as at shops including branches of Fat Face and Pret a Manger also owned by Bridgepoint. As I wrote:
Their strike is not just about their own cuts in wages, but a stand against the principles involved and the whole idea of a values-based health service. The workers at Care UK are no longer able to proudly address the needs of those with learning disorders in their own community, but are simply required to meet minimum needs at the lowest possible cost – and the greatest profit to Bridgepoint and the company to which they will be sold on once the private equity company has slimmed services and pay to the bone.
Protesters at outside SOAS called for the release of former SOAS Law student Ghoncheh Ghavami, held in prison for 104 days and on hunger strike for 10 days after being detained in Iran with other women after she went to watch a volleyball match. Among those who spoke at the protest was Ghavami’s brother.
According to Wikipedia, “Ghavami was released on bail on 23 November 2014. She was sentenced to a one-year jail term and a two-year travel ban.”
I had a little time to spare between events and took a short walk in the City, including along one of the remaining areas of ‘highwalk’ at the southwest of the Barbican site, part of the post-war plan to segregate pedestrians from traffic.
The Museum of London had decorated the wall at left with characters related to an exhibition about Sherlock Holmes.
This large building site was on what used to be St Alphage Highwalk. The ambitious post-war plans to separate pedestrians from traffic in the City were never really practical on a large scale and large sections such as this have been demolished, although there are still some highwalks including throughout the large Barbican estate.
The Palestinian Prisoners Campaign continued their campaign against Hewlett-Packard, which boasts of ‘a massive presence’ in Israel and are the IT backbone for the Israeli war machine with a picket outside their London offices in Wood St in the City.
The National Campaign Against Fees and Cuts organised a protest at the Chinese Embassy in solidarity with the ‘umbrella revolution’ of the students and workers of Hong Kong in their fight for democracy. Many of the protesters carried umbrellas and others had small yellow paper umbrellas as well as their posters and placards.
In an earlier job I used to often review anything concerned with photography, including hardware, books and exhibitions, but its now a while since I’ve done so, but I was pleased to be sent a Datacolor SpyderPRINT for review. It’s part of a whole range of Datacolor equipment for use in studios with cameras, computers and printers to provide professional image output. The Spyderprint enables users to produce specific profiles for each combination of printer, ink set and printing paper to provide prints which accurately match the on-screen image.
Years ago I used to do a lot of printing, locking myself in the darkroom for hours at a time. Printing black and white I enjoyed, but with colour, even after I’d installed a processing line it became something of a chore. Making quick proof prints was still reasonably fast, but to get good exhibition prints could mean a lifetime of test prints and fiddling.
Once inkjets became available I soon moved to them at least for the routine printing, and after I got a high quality pigment printer the results could – on the right paper – almost match the C-types I had been making in the darkroom – and were more archival. But getting a great exhibition print was still a matter of test prints and time. Fortunately you can put a sheet of A4 through a printer many times and make prints of small sections on different parts of the page, so it didn’t use too much paper, just time and time and time.
Printing from a computer – whether black and white or colour – differs radically from printing in the darkroom. Good darkroom printing is a performance, a ballet performed with hands and fingers, cut out cards on wires and precise timing to control the light reaching the paper – and with multigrade paper usually involving two or more exposures through different filter packs to control contrast in various areas. Some printers caressed areas of the print in the developer with their fingers to warm areas of the print and increase local agitation, or used chemicals such as ‘ferri’ to bleach highlights. Some used ‘flashing’, not the criminal offence but a short exposure to white light to lower contrast in some or all areas of the print.
Printing from a computer is quite different. All the manipulation takes place on the computer using software such as Photoshop. This enables much greater precision and makes it possible to reverse the mistakes you make without loss, giving unprecedented control. Good printing is still a skilled process – and at its basis is still knowing what you want to achieve, and what is possible from a specific negative or digital file. But the actual physical printing is simply a process of transferring the image you see on the screen accurately onto paper.
The initial step is to make sure you have a good monitor and proper working conditions and to ensure that the monitor displays images accurately and to the normal standards of colour temperature and gamma. A colour temperature of 6500K is standard for normal computer use and for sRGB files, while gamma is normally either 1.8 or 2.2. Windows 10 and MacOS both include display calibration tools and there are various web based tools that give a more precise result, including the free https://www.calibrize.com/ Calibrize 2.0 software. (See more at https://www.digitaltrends.com/computing/how-to-calibrate-your-monitor/ How to Calibrate Your Monitor.) For an even more accurate calibration you can buy hardware tools such as those from Datacolor or X-Rite.
Of course not all monitors are created equal and most are not capable of displaying the full colour range or sRGB or AdobeRGB files. Older monitors in particular may have a problem, but may still be good enough for all practical purposes.
Years ago when I bought a relatively expensive pigment inkjet printer I invested in expensive hardware and software, made my own printer profiles, had also had printer profiles made for me. Things almost worked, but for those exhibition prints I still had to tweak things at little – though with rather fewer test prints.
Eventually that pigment printer came to an end of its life (and so earlier had the calibration hardware). I pulled an cheap inkjet out of my loft, old but unused, bought for a project that never materialised and put it to work. The prints aren’t bad, but often a bit darker than they should be, and I thought it would be nice to get a profile that did a better job.
Datacolor SpyderPRINT
I installed this on my Windows 7 computer which has this cheap Epson inkjet attached, slotted the installation CD into a drive, then followed the installation instructions, selecting English (US) as the language. After agreeing to the usual set of licences and installation choices installion continued smoothly.
My next step, following the Quick Start Guide, was to plug the supplied Datacolor 1005 Spectrocolorimeter into one of the spare USB ports on the rear of my computer, and then to start the Sypderprint software from the desktop icon. For some reason it didn’t work the first time I tired, but removing it and replacing worked and it then asked me to put in the 16 bit serial from the CD envelope. I did so, putting in my personal details as requested, and tried to activate the software online. On-line activation failed, but the alternative manual process going to the Datacolor web site provided the new serial number needed to run the software. When I did it told me a rather newer version of the software was available, which I immediately downloaded and installed.
Next step was the page setup. I thought I’d just change to landscape and accept the default margins, but that gave me a warning that the margins were too large. I put in a smaller value, 6mm, for all four and continued. Next I was invited to learn about colour management before profiling my printer and took a quick look at what seems to be a clear exposition before returning to start printer profiling.
First I entered a printer name, paper name and ink name and driver media setting. The Media Setting Check help page gave me information about the settings for the print driver and invited me to print out small samples to see which would be optional, printing out up to 4 on the same A4 sheet to compare.
Next came printing the targets, pages with small blocks of different shades and tones. There are a choice of nine targets in two groups taking from 1 to 9 sheets of A4 paper. I went for the Help button to read more and as a first attempt I chose the single page Classic ‘High Quality Target’.
At this point I thought ‘How will I know if the calibration will have improved things’ and stopped to print out a copy of a Datacolor test target, labelling it ‘Before’, and then went on to print the target page. By now it had taken me a couple of hours work – though next time it would have only been a few minutes – and I was ready for a rest and a drink while the print was drying for at least 30 minutes before the next step.
I taped the target print to a flat surface and put the supplied plastic guide on it, again following the fairly lengthy help. It required some practice to move the colorimeter along the guide smoothly and at the correct speed – and there is some good advice and a practice tutorial in the help. Even so I made rather a mess of it the first time I tried. By the second try I was getting better, having learnt how to recognise when I hadn’t scanned a row properly and using the arrow key to repeat any of the 15 rows where I thought I hadn’t done the job properly – the software sometimes accepts a badly scanned row. Perhaps because my computer is now a little old and slow, the audio signals which help greatly in getting the right scan speed as you push the colorimeter across sometimes lagged a little.
It was only after I’d printed the target that I came across the advice that on Windows systems it is sometimes best to print the target at 110% and it required very careful alignment of the guide on my one I had printed at 100%.
I would have liked the colorimeter to engage a little more on the guide and run more smoothly, it sometimes seemed to slip a little, perhaps because I was pushing down too hard. Some rows I had to measure 3 or 4 times to get acceptable readings. I’m sure this would become easier with practice, but calibrating printers and papers etc isn’t something you do every day.
I think too that the packaging could have been better designed with storage of the equipment in mind – somehow I couldn’t quite get everything back into the box nicely. This is equipment that most of the time will be left on a shelf, and only got out when you change printer or paper or inks, and it would be nice to have a better storage box.
Finally came the acid test. Did the new profile actually produce a better print? The software now provides an option for testing it with a Datacolor test print, similar but not identical to the one I had printed earlier. And I was impressed as the print was significantly improved, and a good match to the on-screen original. Not a perfect match, but very close and very acceptable. So good that I didn’t feel I needed to do more tests with targets with more patches to get any closer. I’ve not included before and after images becuase the differences are fairly small and unlikely to be too clear in web images – but you can take my word for it. The difference was particularly noticeable in the black and white images included on the test image,
Despite minor quibbles this is hardware and software I can recommend, and in the UK it currently sells for a penny under £300. If you are a professional photographer or someone who does a lot of printing who wants to make good quality prints or proofs of their own work it would be money well spent.
Printing photographs well is never cheap, and with my old pigment printer I would get through several hundred pounds of ink a year even doing relatively little printing. Good quality photographic printing paper now costs over £2 for an A3 sheet, and anything that will both reduce waste and make better prints is work considering. When you consider the total costs of printing the cost of the SpyderPrint doesn’t seem excessive.
There are other ways to get printer profiles and paper manufacturers such as Hahnemühle or Canson provide a range of generic ICC profiles, though these may not include any for your printer model or particular inks you use. These generic profiles if available are better than nothing but your printer is not going to be exactly the same as another of the same model, and for best results you need a specific profile, like that I made with the SpyderPrint. Some paper sellers provide a free service to make specific profiles from a target print you send them, while others offer a paid remote profiling service, with the best costing around £95 a profile. Printers and inks do age, and it’s probably a good idea to profile your monitor each month and your printer perhaps each year – or when you change to new inks, so having your own profiler seems a good idea.
System Requirements:
▪ USB Port ▪ Windows 7 32/64, Windows 8.0, 8.1 32/64, Windows 10 32/64 ▪ Mac OS X 10.7, 10.8, 10.9, 10.10 ▪ Monitor Resolution 1280×768 or greater, 16-bit video card (24 recommended), 1 GB of available RAM, 500MB of available hard disk space ▪ Internet connection for software download
Back in October 2006, October 8th saw the celebration of the 70th Anniversary of the Battle of Cable St. The battle took place on Sunday 4th October 1936, but the celebrations now take place on the nearest Sunday – which was the 8th. You can see my pictures of the 85th anniversary this year on Facebook.
Some of those taking part dressed in clothes of the 1930s and others carried the letters T H E Y S H A L L N O T P A S S though it wasn’t easy to photograph the whole message with them all facing the right way.
Several who took part in the event had been there and played a part in the events in 1936, including Beattie Orwell and Max Levitas (in the group below next to Dan Jones, one of the organisers of the event.)
There were many reminders too that many who fought the fascists on the streets of London (though most of the actual fighting on that day was with the police) went on to join the International Brigades to fight the fascists in the Spanish Civil War, with banners and a flamenco dancer – and there was more music too, including by a Bangladeshi group and a klezmer band.
On 7th October 2017 I started the day at a silent vigil for Elephants and Rhinos in Parliament Square before going on the the main event, the Football Lads Alliance and Veterans Against Terrorism rally and march. They were protesting against the recent terror attacks in the UK and Europe, remembering the victims and calling on government to take decisive action against the extremist threat, including locking up all terrorist suspects and deporting those of foreign origin.
I had some slight hopes that the FLA would turn out not just to be another extreme right organisation like the EDL and the organisers had emphasised that they were opposed to all extremism and racism, but the speeches at the rally in Park Lane and the response from the crowd soon made their position clear, with demands for many thousands of British Muslims to be locked up as extremists. And as I wrote “there was a huge outcry when the name of Diane Abbott was mentioned, with a loud shout from behind me that she should be raped. It was hard to avoid the impression that it was a meeting to stir up Islamophobia, and there seemed to be a total lack of sympathy with refugees fleeing their countries to seek asylum here.”
Although most of the supporters were happy to be photographed with their wreaths there were a few times when I was greeted with abuse and threats and moved quickly away from some groups.
More people joined the march as it moved up Picadilly and by the time it reached Trafalgar Square what had been billed as a silent march had become very noisy. There it was joined by a couple of hundred Gurkhas, many wearing medals, who marched at the front for a short distance before being overtaken by some of the organisers and fans.
On Whitehall a group from Stand Up to Racism had gathered to stand as the march went past, handing out a flier ‘Some questions for the leaders of the FLA‘, which asked them to take steps to ensure their movement was not taken over by racists. The called on the marchers to stand together with the slogan ‘No to racism & Islamophobia, Football for All’.
Many of the marchers took exception to this, shouting insults and threats, with some taking the leaflets and tearing them up, though there were some who seemed to take an interest and read it. Police formed a line to protect those handing out leaflets – making both handing the leaflets and taking photographs difficult, but preventing us being assaulted – and eventually forced the marchers who had stopped in a block against Stand Up to Racism to move away. Relatively few of the marchers seemed to make it to the final rally and wreath-laying on Westminster Bridge, with pubs in the area getting crowded and others hanging around in groups in Parliament Square.
Proposals to close Accident and Emergency services at four of the nine hospitals in North West London provoked fury among local residents and opposition from local councils as they would mean slow journeys over heavily congested roads for those living in much of northwest London. The proposals seemed to be motivated simply by cost savings with no regard to the consequences.
This protest was one of a number that I photographed, particularly about the closure of A&E and some other services at both Charing Cross Hospital (which is in Hammersmith) and Ealing Hospital. The previous month I had photographed a http://mylondondiary.co.uk/2012/09/sep.htm#hospitals large march from Southall Park to Ealing Hospital against the closure plan and there was another march to Central Middlesex Hospital taking place that same day.
These large and widespread protests and legal actions taken by the protesters were almost certainly a major factor behind the decision in March 2019 by then Health Secretary Matt Hancock to finally scrap the plans for what was the biggest hospital closure programme in the history of the NHS. The campaigners welcomed the decision but said it should have come much earlier rather than after seven years of the Dept of Health supporting the plans, which would have involved demolishing Charing Cross Hospital and selling off most the site.
I photographed as people gathered for the march in Shepherds Bush but had to leave as the march was setting off for Hammersmith and a rally in Fulham to go to Westminster.
Britain First, a far-right anti-Muslim movement (it describes itself as “a modern, responsible patriotic political movement”) was protesting at Downing St against what they described as ‘Britain’s secret shame – Muslim Grooming’ and were joined on their protest by members of other extremist groups including the English Defence League. After protesting for around an hour at Downing St they marched the short distance to Parliament Square where they tried to burn an Islamic flag. It proved to be rather fire-resistant.
A few yards away, thousand of Muslims packed Old Palace Yard opposite the Houses of Parliament in a peaceful protest against an Anti-Muslim film made in the USA. They called for laws to protect religious figures.
The film, Innocence of Muslims, a crude video made by https://en.wikipedia.org/wiki/Nakoula_Basseley_Nakoula Egyptian-born American writer Mark Basseley Youssef had already prompted violent anti-American protests in various Muslim countries. Youssef was then in jail in Los Angeles for violations of a probation order which, among other things included making false statements regarding his role in the film, and his use of the alias “Sam Bacile”. He had a previous conviction for in 1997 for intent to manufacture methamphetamine and was under probation following release in June 2011 from being jailed in 2010 for his part in a bank fraud.
Youssef, under his alias Bacile, falsely claimed that the anti-Islamic film had been funded by $5 million from 100 Jewish donors and that he was an Israeli Jew. An Egyptian court tried him and others in absentia and sentenced them to death for defaming Islam in November 2012. He was released from prison in 2013 to serve the remainder of his sentence in a halfway house in Californinia followed by 4 years of probabation.
Finally I travelled to Kilburn for a march and rally demanding Brent council rehouse the Counihan family from South Kilburn. Two years earlier, Anthony Counihan, a London bus driver inherited a few acres of poor land in Galway on the death of his father. Rented out, it brings an income of £18 a week.
He reported this to Brent Council, who responded with an eviction order and a demand for repayment of £70,000 of housing benefit, later telling him he should move back with his family to Ireland where he was born – while continuing to drive a bus from Cricklewood Depot. His wife Isabel and five children were all born in Brent.
The case was complicated by the fact that the family had moved out of a council property to go back to Ireland for a year to look after his sick father, and had signed away their lease as the council had not told them they could sublet for the year, and by their treatment by the council after their return, when they were unable to find accomodation they could afford on a bus-drivers salary. Brent decided they had made themselves “intentionally homeless” and were refusing their statutory duty to rehouse the family.
Eight years ago on Saturday October 5th 2013 I turned up outside the Old Bailey to cover a protest against the governments proposals to demolish a vital part of our justice system, Legal Aid. The proposals will mean that justice becomes largely only available to the very rich, with one law for the rich and another for the poor.
Of course our system of law in the UK is one which has as its base the protection of the wealthy and the establishment and in particular the rights of property owners, dating back to the ideas of private ownership of land introudced and used for its appropropriation by our Norman conquerers, but legal aid has provided a small and important gesture towards equality. The rich and powerful can still use the law to protect their interests, with injunctions and threats of libel and other actions. They can still call upon the police to protect their property and rely on our secret services to work for their interests.
Lee Jasper
The protest came after the government had been consulting on the changes to the legal aid system which proposed making it more restrictive and also cutting the fees to solicitors and barristers. Our combative in nature system of law is complex, time-consuming and allows those who can pay large fees to prolong litigation and have a better chance of success, with costs in some cases being in £millions. It’s a system that favours not the establishment of truth, but those who can employ the most persuasive liars.
From the Old Bailey the march made its way to the Royal Courts of Justice in the Strand, where I rushed ahead to find DPAC (Disabled Activists Agains Cuts) already making their way onto the pedestrian crossing to block the road. “They stopped on it and began to padlock together to form a block. The far half of the crossing was blocked by a line of figures dressed in gold, one holding the (plastic) Sword of Justice, and another her Scales.”
Police came and asked them politely to move but they didn’t respond. The marchers arrived for a noisy protest and then a mock trial of Justice Secretary Chris Grayling. A number of witnesses were called, some giving testimony of how without Legal Aid they would have been unable to fight their cases, and others reading written testimony from others, and then there was more chanting and drumming as well as poetry and some legal advice before the inevitable guilty verdict.
Police had been getting more impatient and insistent about the protesters leaving the road. They don’t like to arrest people in wheelchairs, partly because it looks bad in the photographs and videos, partly because of the difficulty of providing suitable transport, but also because like the rest of us (except possibly Tory ministers) they have a human sympathy with the disabled. “The DPAC activists in wheelchairs who were still blocking the road consulted with each other and decided it was time to leave, and that they would have a final five minutes of protest and then all leave together.”
I left for Parliament Square where a peaceful vigil was marking a year since British poet Talha Ahsan was extradited to the US. Those taking part, including his brother Hamsa and other family members said that his long-term solitary confinement comes under the UN definition of torture and call for him to be returned home and unjust US-UK extradition laws repealed.
As I wrote: “Talha Ahsan, an award-winning British Muslim poet and translator has been detained for over seven years without trial and was extradited to the USA on 5th October 2012 with his co-defendant Babar Ahmad. Although he was diagnosed with Asperger’s syndrome, the Home Secretary Theresa May refused to prevent his extradition, unlike that of Gary McKinnon, raising suspicions that this relected an anti-Muslim predjudice.”
Talha is a UK citizen and his supporters say that he should have been tried in the UK. Eventually in the US he accepted a plea bargain and pleaded guilty to one of the several charges and was sentenced. The time he had already served meant he was then free and was returned to the UK. His six years before extradition in detention without trial or charge here remains among the longest in British legal history.
Church Of The Ñazarene, Grant Rd, Battersea, Wandsworth, 1988 88-5j-54
I returned for another walk in Chelsea, taking the train to Clapham Junction and taking a few pictures on my short walk to the bus stop of the Church Of The Ñazarene close to the north entrance to the station on Grant Road. The church, a twelve-sided building by Green Lloyd Adams was built in 1970 on the edge of the Winstanley Estate, developed by Battersea Council in the 1960s. The lettering on the ramp ‘JESUS SAID I AM THE WAY’ is designed for maximum size rather than typographical nicety.
Currently extensive building work is being carried out to considerably extend the church, though its future may be threatened if Crossrail 2 goes ahead. Of the two pictures I made I preferred a view across the small area with seats to a cleaner architectural view also included in the album.
Falcon Rd, Battersea, Wandsworth, 1988 88-5j-55
On the bus I took advantage of an unusually clean front window on the upper deck to take a photograph of Falcon Road with the Queen Victoria pub. Also apparently known as ‘Spikey Hedghog’ the pub which had been there since the 1860s closed permanently in 1999 and was demolished to build the 8 flats of St Luke’s Court.
The picture also includes a falcon – both image and text on the side of a lorry. Elsewhere you can read a short post Falcon Road – a Memory of Battersea by someone who grew up living in the pub which gives an idea what the area was like, probably in the 1950s.
I got off the bus in Beaufort St in Chelsea and photographed this doorway there before walking along Cheyne Walk. Although the door is on Beaufort St, this is Belle Vue Lodge with the address 91 Cheyne Walk. It gets a lengthy mention in the Survey of London, first published in 1913 which suggests it dates from before 1771. It states that in 1829 it was occupied by “Luke Thomas Flood, who was a great benefactor to the parish. He was evidently a friend of the historian, for he addressed some lines to him, which conclude with the halting line ‘Sweet Chelsea shall ever live in thee.’ Flood Street was named after him, and his benefactions are celebrated at the parish church by a service on January 13th,—’Flood’s Day.'”
Houseboats, River Thames, Chelsea Embankment, Chelsea, Kensington & Chelsea, 1988 88-5j-32
I walked across Cheyne Walk to make a photograph over the roofs of houseboats at the moorings, looking towards Chelsea Harbour and at left the Rank Hovis flour mills at Battersea and the Battersea Rail bridge. Then I think only used by goods trains this now carries frequent services of the London Overground as well as Thameslink trains.
I took a picture of houses in Cheyne Row. That at left is No 104 with two blue plaques, for the artist Walter Greaves (1846-1930) and Anglo-French ‘Poet, essayist and historian’ Hilaire Belloc (1870-1953) whose poem Jim (who ran away from his Nurse and was eaten by a Lion) ends with the famous lines: ‘And always keep ahold of nurse For fear of finding something worse.’
No 104 doesn’t get a mention in the Survey of London, but No 100 at right of the picture is part of Lindsey House which it suggests was “rebuilt much in its present external form by the third Earl of Lindsey in 1674” but then divided into separate houses as 95-100 around 1775. It gets a very long entry.
I walked back up Beaufort St, passing a long row of frontages with identical garden ornaments which I think is Beaufort Mansions, though the gardens now have hedges. I think these mansion flats probably date from around 1890.
I was on my way to take a few more photographs on the King’s Road, including a several shop interiors. I think the name of the shop is on the wall at left, part hidden, Pineapple.
More pictures from this walk in a later post.
Click on any of the images above to go to a larger version in my album 1988 London Photos from where you can browse other images in the album.
Dovehouse Green was the name given to the King’s Road Burial Ground on the corner of Dovehouse St and King’s Road when it was improved by the Chelsea Society and Kensington & Chelsea council to celebrate the the Queen’s Silver Jubilee and the Golden Jubilee of the society in 1977. The area was given to the parish by Sir Hans Sloane in 1727 and opened as a burial ground in 1736. Chelsea soon outgrew this small area and a new burial ground was opened on the east side of Sydney St in 1812 and there were no more interments here other than in existing family tombs.
The Millar Obelisk which became the centrepiece of this small public park was erected in the old burial ground in 1751, by the wealthy leading bookseller and publisher Andrew Millar to mark the family burial place. Buried close to it were three of his children who died before it was erected and Millar himself who died in 1768 and his wife who outlived him by 20 years. You can read more at Millar’s obelisk, a post by Baldwin Hamey on London Details.
The park has been refurbished a couple of times since I made this picture, but its basic layout remains. On the other side of Dovehouse St is Chelsea Fire Station with its tower. If Crossrail 2 is ever built this may be the site of a station on it. Dovehouse street got its name around 1880, having previously been called Arthur St; I think the name was probably ‘borrowed’ from an early Dovehouse Close some distance away on the other side of King’s Rd. Just to the north of the burial ground was the workhouse for St Luke’s Parish, Chelsea, demolished in the 1970s.
Chelsea Square, Chelsea, Kensington & Chelsea, 1988 88-5i-42
Chelsea Square is a couple of hundred metres to the northwest of Dovehouse Green, though a little further to walk. It was developed as Trafalgar Square in 1810, five years after the battle, with houses around a garden designed to encourage wealthier people to move to Chelsea, then something of a slum. The area came to the Cadogan estate when the lease ran out in 1928 and they redeveloped the area replacing the existing houses from 1931 and building on around a quarter of the garden. New houses were according to the Victoria County History, “designed in early Georgian style by Darcy Braddell and Humphrey Deane, and built of pinkish stock brick, with bright red brick dressings and green-glazed tiles.” and “neo-Regency villas in white stucco… designed by Oliver Hill and built in 1930 and 1934.”
Chelsea Square, Chelsea, Kensington & Chelsea, 1988 88-5i-55
Presumably to avoid confusion with the rather better known Trafalgar Square in Westminster it was renamed Chelsea Square in 1938. Many other duplicated London street names were also replace at the time.
Church of Our Most Holy Redeemer and St Thomas More, Cheyne Row, Chelsea, Kensington & Chelsea, 1988 88-5i-61
Designed by Edward Goodie, this Grade II listed Roman Catholic church opened in 1895. It gained the dedication to St Thomas More after he was made a saint in 1935. Damaged by bombing in 1940, it was repaired after the war. Much internal work was carried out in the 1970s.
The Studios, Upper Cheyne Row, Lawrence St, Chelsea, Kensington & Chelsea, 1988 88-5i-62
Upper Cheyne Row is sometimes referred to as Millionaires’ Row, though that would now apply to most London streets. One house here was recently on the market for £22m. The sign ‘The Studios’ on No 27 has now gone.
Chelsea Pottery, plaque, Lawrence St, Chelsea, Kensington & Chelsea, 1988 88-5i-63
The LCC square blue plaque which can just be seen on 16 Lawrence St has the message ‘CHELSEA CHINA WAS MANUFACTURED IN A HOUSE AT THE NORTH END OF LAWRENCE STREET 1745-1784 TOBIAS SMOLLETT NOVELIST ALSO LIVE IN PART OF THE HOUSE 1750 TO 1762′. You can read more about Lawrence St from the article on ‘A London inheritance’ Lawrence Street And Chelsea China.
Click on any of the images above to go to a larger version in my album 1988 London Photos from where you can browse other images in the album.
Glebe Place on the southern side of the King’s Road is a curious street with two right-angle bends and includes a series of artists studios, some grander than others, and its residents over the years have included a huge list of artists and writers – Wikipedia lists around 30 – as well as Paul Robeson, Shirley Williams and Constant Lambert.
I don’t remember outside which house I found this rather fierce sculpture which I think is no longer present.
25 and 25a Glebe Place. The heraldic lions have since left and the roof has been replaced. No 25 was the home of artist George Washington Lambert (1873-1930) who was born in Russia, educated in Somerset and emigrated with his mother and sisters to Australia in 1887. There he began exhibiting paintings and working as a cartoonist and illustrator. In the 1900s he spent a year in Paris, then moved to London; in the First World War he was an official Australian war artist, and he returned to Australia in 1921. His second son, Constant Lambert (1905-51), a notable British composer, was born in London in 1905 and also lived here; he was the Founder Music Director of the Royal Ballet.
The houses at left of the picture are the pair at the north end of the east side, No 27 and 28 and to the right of them are the doors of No 25 and 24 on the north side.
This rather agonised looking sculpture on the balcony was at No 28 but is no longer present.
Carlyle Square was laid out by the Cadogan Estate in the 1830s after Lord Cadogan bought the land on the north side of King’s Road in 1835, quickly clearing it of the existing small houses and cottages and laying out Oakley Square around an ornamental garden. But development of the square was slow. As originally set out, there were entrances for vehicles from both the east and west sides to King’s Road; more recently an area of garden separates the square from King’s Road, allowing only pedestrian entrance, with vehicle entrance being only from Old Church St.
Development began with short terraces of 3 houses on both the east and west sides next to King’s Rd, all now Grade II listed. They were followed in 1855 by a couple of semi-detached villas on the west side and around 1860 the north side of the square was largely completed with some varied houses. The remaining gaps – including most of its east side – were completed not long after, mainly with large identical semi-detached houses with a few feet gap between them.
Among notable residents over the years were Osbert and Sacheverell Sitwell, William Walton, Sybil Thorndike, Edna O’Brien and David Frost (who held an annual summer party for some years in the garden.) No 21 was built for the Duke of Portland around 1860, and a later Duke of Portland who was Chair of the Joint Intelligence Committee during WW2 was still in residence.
No 37-40 have walls and gate posts like this, and this is the entrance of 38. Most of the rest of the houses on the east and west side have plain iron railings.
Click on any of the images above to go to a larger version in my album 1988 London Photos from where you can browse other images in the album.
