Battersea | >Re-PHOTO

Lavender Hill & Wandsworth Rd – 1989

Lavender Hill & Wandsworth Rd: On Sunday 28th May 1989 I again took the train to Clapham Junction, with time for a rather longer walk than I had made the previous day.

*Battersea Reference Library, Altenburg Gardens, Battersea, 1989 89-5i-54*

A short walk up Lavender Hill from the station brought me to Altenburg Gardens and this remarkable Grade II listed ‘Arts and Crafts’ Reference Library. Initial designs by Borough Surveyor 1924 T W A Hayward were treated to considerable improvements by his architectural assistant Henry Hyams who was appointed in January 1924 and was responsible for the unusual building we see today.

Hyams was – as the Survey of London at UCL Bartlett suggests “an obscure but intriguing figure, who had spent time in central Europe in the Edwardian decade before settling in Devon. He had advanced views – Esperanto, theosophy – perhaps atypical of a Hackney publican’s son, and had spent time in Wandsworth jail during the First World War for his trenchant pacifism”. His rather eclectic “Arts and Crafts” design came well after the style had gone out of fashion and included some unusual decoration as well as the Council’s motto ‘ NON MIHI, NON TIBI, SED NOBIS’ (Not for Me, Not for You, But for Us) over the main doorway.

Altenberg Gardens had been developed in the late 1880s, and has some substantial late Victorian housing but I didn’t continue along it to photograph these but returned to Lavender Hill.

*Battersea Arts Centre, Lavender Hill, Battersea, Wandsworth, 1989 89-5i-56*

The reference library was an extension linked to the main Battersea Central Library on Lavender Hill which had been built in 1889-90, shortly after Battersea had managed to gain its status as a separate vestry from Wandsworth.

Battersea Vestry held a competition for the building of the central Library and the winner was local architect Edward Mountford who had submitted the only design of ten submissions that was within the Vestry’s budget of £6,000.

Edward Mountford went on to win a further competition against designs by another 11 architects to design a new town hall for the Vestry of St Mary Battersea which was erected in 1891-3 and continued to serve the local authority until 1965. Here the budget was considerably larger and it shows in this Grade II* building, which according to the listing text has “Relief sculpture by Paul R Montford. Decorative plasterwork by Gilbert Seale of Camberwell. Mosaic floors by the Vitreous Mosaic Co, Battersea.“

*Battersea Arts Centre, Lavender Hill, Battersea, Wandsworth, 1989 89-5i-44*

This is the Grand Hall Entrance on Town Hall Road, of which I made several pictures. The design was described by Mountford as ‘essentially English Renaissance, though perhaps treated somewhat freely’. And it had included this separate entrance on the east side to the large public hall at the rear of the building. There are detailed descriptions of the building in the Survey of London on the UCL Bartlett School of Architecture site.

*Battersea Arts Centre, Lavender Hill, Battersea, Wandsworth, 1989 89-5i-46*

When Battersea became again united with Wandsworth in the London Borough of Wandsworth in 1965, this building was made redundant. Wandworth’s plans to demolish much of it were defeated by a public campaign by the Victorian Society and Battersea Society and it was Grade II* listed in 1970. It became a community arts centre in 1974 and despite a major fire in 2015 which required extensive rebuilding continues in use as Battersea Arts Centre. I appeared briefly on stage there in 2017 in a after-performance panel discussion ‘Art & Accidental Activism’ after a Lung Theatre performance of ‘E15’.

*Scrap Metal Merchants, Lavender Hill, Battersea, Wandsworth, 1989 89-5i-34*

This whole section of Lavender Hill including the scrap metal merchants Chase Metals at 92 has been demolished. There is a building dating from 2015 at 100 Lavender Hill but nothing on the street between this an No 66 except a hedge in front of the five storey housing blocks on Wandsworth’s Gideon Road Estate.

*Houses, Lambourn Rd, Clapham, Lambeth, 1989 89-5i-35*

I walked to the end of Lavender Hill and continued along Wandsworth Road, walking a short distance down Lambourn Road to photograph these houses before returning to Wandsworth Road. This road was laid out at the start of large scale development of the area in the 1860s by Eken and Williams and the houses this terrace are larger than most with three storeys and a basement.

I liked the steps up in the roofline, partly with an extra storey but also as the houses go up the hill, as well as the repeated decoration abouve the windows and doors.

Hibbert Almshouses, 715-729 Wandsworth Rd, Clapham, Lambeth, 1989 89-5i-22 — *Hibbert Almshouses, 715-729, Wandsworth Rd, Clapham, Lambeth, 1989 89-5i-22*

The Hibbert Almshouses were built in 1859 to provide accommodation for older women from the Ancient Parish of Clapham, commissioned by Sarah and Mary Ann Hibbert, in memory of their father William Hibbert, a long-term resident of Clapham.

The Hibbert Almshouse Charity was established in 1864 to take over the running from the sisters and still manages the buildings for their orginal purpose, although married couples and single men of the appropriate age are now also accepted as residents – though preference is given to women if there is more than one applicant when a house falls vacant.

The architect of these Grade II listed almshouses was Edward I’Anson and the building is largely unchanged although bathrooms were added in the 1960s. The charity is currently raising funds for a manor renovation and donations are welcome.

The account of my walk will continue in a later post.

Clapham and The Grand

Clapham and The Grand: It was not until near the end of May 1989 that I found time to return and take pictures in south London. On Saturday 27th May I took the train to Clapham Junction and a bus up Lavender Hill to begin my walk in Clapham.

*Shops, Spiritualist Church entrance, North St, Clapham, Lambeth, 1989 89-5h-21*

I took a couple of pictures at the east end of Lavender Hill and the start of Wandsworth Road, not on-line, and then walked down North Street to make a couple of pictures of the entrance to the Spiritualist Church and the shops on each side.

Shops, Old Town, Clapham, Lambeth, 1989 89-5h-22 — *Shops, Old Town, Clapham, Lambeth, 1989 89-5h-2*2

Walking down the street took me the Old Town, where the light was showing the device on the house at No 12 here with its proverb ‘CONTENTEMENT PASSE RICHESSE’, the motto of the Atkins-Bowyer family. Richard Bowyer (d1820) had taken on the name when he inherited the Manor of Clapham from Sir Richard Atkins of Clapham. I’ve never quite worked out what the relief which is thought to have come from the old Manor House is meant to depict.

My walk continued along Clapham Common Northside, but it was some distance before I made my next picture.

*60 Clapham Common Northside, Lambeth, 1989 89-5h-23*

Maitland House at 60 Clapham Common Northside dates from 1790-1792 and is Grade II listed. According to the Survey of London it was one of a pair and “was built originally for one John Bleaden, but took its name from its next occupant, Ebenezer Maitland, a Coleman Street merchant, who lived here from 1796 until his death in 1834“. Maitland House’s “distinctive entrance porch of Tuscan columns supporting a bowed first-floor window” in my pictures appears not to have been a part of the original design but to have been added a few years after the pair was built. The other half of the once matching pair, Bell House, was demolished in the 1890s for the building of Taybridge Road and replaced by the current house at No 61, built along with No 59 in 1894-5.

*Forthbridge Rd, Clapham, Wandsworth, 1989 89-5h-25*

I continued along Clapham Common Northside but made no more pictures there. My next stop came after I turned up Forthbridge Road, one of streets built here between 1890 and 1895 by developers John Cathles Hill and Charles J Bentley who bought and demolished some of the earlier large detached houses.

These streets are not without detail of architectural interest but are relatively standard late-Victorian two-storey houses. However this particular house at No 20 stood out for its later added embellishments, perhaps not entirely appropriate or consonant with the Victorian doorways with the leaf motif concrete blocks and rather kitsch sculpture which occupied my next three near-identical frames – only one of which I’ve put on line.

*Sisters Avenue, Battersea, Wandsworth, 1989 89-5h-16*

I continued walking north, going up Nansen Road and Stormont Road to Lavender Hill and then walking west, looking down the various turnings but not finding much to excite my interest until
I came to Sisters Ave.

I made a picture of this row of three-story houses, but it was the incredibly solid gate posts that held my interest – and which I have put this picture online. I think I saw them as some giant row of pawns on the chessboard of Clapham, or perhaps some Maginot Line of soliders defending against marauders from Battersea, where I was now heading.

The Grand Theatre, St John's Hill, Battersea, Wandsworth, 1989 89-5i-51 — *The Grand Theatre, St John’s Hill, Battersea, Wandsworth, 1989 89-5i-51*

I continued walking down Lavender Hill and across the junction at The Falcon to St John’s Hill to photograph this building while the light was right. Designed by Ernest Woodrow and built for a group led by well-known music hall stars including Dan Leno it opened in 1900 as The New Grand Theatre of Varieties with a huge stage and room for an audience of 3,000.

It was a highly successful venue for many years and in 1927 began to show films as well as live variety shows as The Grand Theater. From 1950 to 1963 it was only a cinema, and after it was bought by Essoldo became Essoldo Cinema. Essoldo opened it as a Bingo club after closing it as a cinema and it continued under others as a bingo club until 1979. It was Grade II listed in 1983.

In 1989 when I took this picture it was still closed, but that year it was bought to be converted to a live music venue, opening in 1991 and closing in 1997. Wetherspoons then wanted to open it as a pub but were refused a licence. Eventually it was reopened as “an independently run venue which functions as a nightclub, live music venue, theatre and event space.”

Conveniently the entrance to Clapham Junction was now opposite and it was time for me to take the train home. This was a rather shorter walk than most of my wanderings and I had made relatively few pictures, but I was to return the following day to continue my photography of the area on my next walk.

Lung Theatre ‘E15’ Battersea March 2017

Lung Theatre ‘E15’ Battersea March: Thursday 16th March 2017 was a rather unusual day for me in that rather than photographing a protest I was being part of a theatrical performance, though not in a theatre but on the busy evening rush hour streets of Battersea.

But like many of the others there, I was playing myself as a photographer of protests, and taking pictures as I would if this had been a real protest.

This performance was to announce that Lung Theatre, a small theatrical group, were bringing their Edinburgh festival award-winning performance ‘E15’ to Battersea Arts Centre, and they were doing so with the help of many of the housing protesters, particularly from the Stratford-based Focus E15 campaign, on which their ‘verbatim theatre’ performance was based.

An interesting article, Documentary & Verbatim Theatre by Tom Cantrell of the University of York gives a clear definition, “Verbatim theatre is a form of documentary theatre which is based on the spoken words of real people. Strictly, verbatim theatre-makers use real people’s words exclusively, and take this testimony from recorded interviews.”

The “protest” began in the rather dim light of the street outside Clapham Junction’s busiest entrance, and it was hard for me to distinguish the actors from the housing protesters by their speech and actions, though rather easier in that they were the only faces I didn’t recognise, having met and photographed the activists so often at previous events. But the group certainly put on a convincing performance as they handed out leaflets and fliers, both about the Focus E15 campaign and their forthcoming performances at the Battersea Arts Centre.

Focus E15 began when a group of young mothers housed in the Focus E15 hostel in Stratford were told that Newham council were going to evict them and they would be dispersed not just in the borough but to rented accommodation across the country in far away places where they had no friends, no family and away from any jobs, schools, familiar services and support.

Newham had adopted a policy which amounted to social cleansing, removing people from its area who, as the then Mayor put it, could not afford to live there. Rather than accept this they came together to fight the council, and inspired others across the country to fight for ‘Social Housing NOT Social Cleansing’.

And Focus E15 won their fight but didn’t stop there, continuing the fight for others in the area faced with homelessness and eviction, demanding the council bring empty council housing back into use in a campaign for ‘Housing For All’. They are still out on Stratford Broadway with a street stall every Saturday, still forcing the council to face up to its responsibilities despite considerable harassment (and more recently a change of Mayor.)

As well as some of the leading activists from Focus E15 at the eevent were also other campaigners including some from Sweets Way in north London and Lewisham People Before Profit and others fighting the demolition of council housing by London’s mainly Labour controlled councils, increasingly in league with estate agents and property developers scrambling for excessive profits from sky-high London market prices. And they had brought some of their banners with them for the event.

From Clapham Junction the “protesters” marched up Lavender Hill to the Battersea Arts Centre, where they occupied the foyer for a few final minutes of protest in what had been a pretty convincing event. And while actors had to go on stage and give their performance, the activists could sit down in the theatre and watch.

I didn’t join them, as I knew I had to come back to view it a week later and then be a part of a panel discussion Art & Accidental Activism, a week later. It was an impressive performance and gave a real impression of some of the more dramatic aspects of the real protests I had covered and made clear the political aspects of the housing crisis and why activism was necessary. But sometimes it did seem strange to hear words I remembered well coming out of a different person.

I couldn’t really enjoy it as much as I would have liked as I was very nervous, considerably daunted at having to appear afterwards ‘on stage’ to answer questions with fellow panelists Jeremy Hardy, journalist Dawn Foster and theatre legend Max Stafford Clark. But in the event it went well (my sternest critic says) and I rather enjoyed it and the session in the bar that followed.

More at Lung Theatre ‘E15’ march to BAC.

Brandt and Battersea – 2023

Last Tuesday – 10th January 2023 – I went for a walk with a couple of friends, both photographers. The pictures here were all taken by me on our walk. We met at Tate Britain where the exhibition on Bill Brandt was entering its last few days – it finishes tomorrow, 15th January. We hadn’t bothered to go before as all three of us were very familiar with Brandt’s work – and had seen previous and larger and better exhibitions. I think both the others had heard him talking about his work, we had all watched him on film and all owned several of his books, had in various ways studied his work and taught about it. I’d also published some short pieces about him when I wrote about photography for a living. We didn’t really feel a need to go to another show, but it was free and it fitted in with a couple of other things we wanted to do.

While its good that the Tate was honouring one of Britain’s finest photographers, we all found the show disappointing, both for the rather odd selection of works and prints and for some of the writing on the wall. Much of Brandt’s best work was missing, and it was hard to see why some images were included, and some prints also seemed to be of rather poor quality. Possibly this show reflects the failure of almost all British museums in the past to take collecting photography seriously – or perhaps a lack of real appreciation of photography by the Tate.

Brandt began his work in an era when photographs were seldom put on walls for anything other than illustrative purposes – there was no art market in photography. His work was largely produced for book projects and for magazine commissions, and he made prints largely for the platemakers who would prepare the plates for printing. To see the real object of his work you have to look not at the ‘original prints’ but at their reproduction in books and magazines. The strongest point in this show was the glass cases in which some of these were situated. But while we were there few of the other visitors to the show paid them more than a passing glance, instead filing reverently around the spaced out prints on the wall, pausing to pay homage at each of them before moving to the next.

I found it a disappointing show, and if you missed it you didn’t miss much. Far better to spend your time on his 1977 book, Shadow of Light for an overall view of his work, still available second-hand at reasonable prices. And should you want to know more about the man and his influences (neither of which the Tate show concerned itself with) Paul Delany’s Bill Brandt – A Life provides more information than anyone could ever want.

We left the gallery, crossing Atterbury Road to examine Henry Moore’s Two Piece Reclining Figure No. 1 in a small courtyard of Chelsea College Of Art and Design before proceeding to pay a courtesy visit to the Morpeth Arms which proved more to our taste than the Tate Show.

Refreshed we made our way across the river to Vauxhall to meet the Thames Path, following this upriver to Battersea Power Station. Much building work is still going on, including the construction of the Thames ‘Super Sewer’ and there is a lack of signs to show the way in the area close to the power station, but soon we found a side entrance to the recently opened interior.

I’d visited and photographed the interior years ago when it was derelict and was interested to see what the architects had done with it. Basically it is now an upmarket shopping mall full of shops selling goods and services that might appeal to the idle rich and wealthy tourists. It also has a cinema, an expensive lift up one chimney to a viewing platform from which we have already seen countless similar views, and, perhaps the only useful thing so far as I was concerned, toilets.

The architects have retained the huge scale of the two turbine halls, but the higher areas of them are now cluttered with huge hanging mock strings of giant fairy lamps and baubles, which failed to appeal to me. It was only at one that an uncluttered wall of windows really took me back to the atmosphere of the original.

The earlier of the two turbine halls was remarkable for its art deco decorative details – the later hall plain and utilitarian. Although at least some of the deco detail has been retained (or recreated) it no longer seems to have the impact it had formerly, perhaps because do the much higher lighting levels, perhaps because of the hanging distractors. But it remains an impressive building.

I’d left my two younger but less active companions to rush around and see the whole building, going up as high as I could while they stayed lower down. By the time we found each other again they had seen enough and were fed up with the place, and we left to the riverside terrace, walking along to catch a bus on Queenstown Road. It was dusk on a dull and damp day and we made our way to a cheap meal at a rather cosy pub in Battersea for a glass or two of wine and a remarkably cheap meal before walking to Clapham Junction for our three different trains home.

Shaker Aamer, Ricky Bishop and Pakistan Drones

On Saturday 23rd November 2013 I photographed three protests in London.

Free Shaker Aamer March – Northcote Rd, Battersea

The march and rally in Battersea began close to the family home of Shaker Aamer, a British resident charity worker kidnapped in Afghanistan and sold to US troops. There was no evidence against him and he was first cleared for release from Guantanamo in 2007, but was still there and still being routinely tortured in 2013.

It was convenient for me, being just a short walk from Clapham Junction station, but too far from central London for most of the photographers who cover protests who largely stick to Zone 1 of the London Underground, so I felt my coverage of the event was particularly important in recording the event.

Aamer had gone from London with his family in June 2001 to work for a charity in Kabul. Four months later when Kabul was bombed he took his family out from the city for safety. Local bandits then seized a money making opportunity, kidnapping him and selling him to US forces on November 24, 2001.

He was then tortured by the US in Bagram and Kandahar, at times in the presence of British intelligence agents, before being illegally rendered to Guantanamo Bay in February 2002. Abuse and torture continued daily there and much of the time he was being kept in solitary confinement, subjected to particularly extreme treatment for continuing to protest his innocence and acting as a spokesperson for other prisoners, demanding his and their rights.

In 2013 despite never having been charged with any offence and twice being cleared for release Aamer remained a prisoner, the last British resident there. Many think he was still being held as the testimony he would give about his torture would be highly embarrassing to both US and UK intelligence agencies, and that the British government had been halfhearted in their public demands for his release, and in private urging the US to keep him locked away.

The campaign by the Save Shaker Aamer Campaign with years of protests outside Parliament and elsewhere had attracted considerable public support, including from his local Conservative MP and other MPs from all parties. There was a short rally outside the Baptist Church on Northcote Road before the marchers, many in orange Guantanamo-style jump suits and some with shackles and black hoods, began the short march through the busy shopping streets close to Clapham Junction to hold a longer rally at Battersea Arts Centre. I said goodbye and left them going up Lavender Hill to catch a train to my next event.

More at Free Shaker Aamer March in Battersea.

Remember Ricky Bishop – Jail his Killers -Brixton Police Station

Twelve years earlier on November 22, 2001, young black man Ricky Bishop was in a car being driven by a white friend in Brixton. Police stopped the car under suspicion as part of their area-wide anti-drug ‘Operation Clean Sweep’, searched Bishop on the spot and found nothing, but still handcuffed the two men and took them to Brixton Police Station. The white driver was not searched and was released without charge.

In the police station Bishop was taken into a small room and attacked by officers, though there was no CCTV evidence available of what went on. He went in a healthy 25-year-old fitness trainer. The beating caused him to have a heart attack, but the officers simply held him to the ground and only later called for a paramedic. Drugs were pushed into his mouth and stories invented to justify the arrest and assault. He was probably dead before an ambulance arrived and took him, still in handcuffs, to A&E at King College Hospital, standing around his dead body and making jokes. By the time his mother was informed of his detention he was dead.

Police issued a misleading press report and covered up what had happened, hiding evidence both immediately and at the inquest, where the jury were not allowed to come to a verdict that would assign any blame to the police. The Bishop family have accused 12 officers of murder, and their names were chanted at the protest around the ‘Remembrance Tree’ in front of the police station, each followed by a loud shout of ‘Murderer!’.

The arrest and subsequent treatment of the two men clearly reflected the racist nature of policing in Brixton, and the events following the death showed the failure of any real accountability of the police, with a criminal justice system that is complicit in letting police in this and many, many other cases literally get away with murder. Ricky Bishop’s death is one of several high-profile cases to have involved Brixton police over the years, in particular the death here of Sean Rigg in similar circumstances in August 2008.

There have been many marches and rallies in Brixton over these deaths in police custody, often at the tree in front of the police station, called the Remembrance Tree or the Lynching Tree by campaigners. There has been no sign that the police have taken real action to root out the systemic racism in the Metropolitan Police (and other forces.) The only action the police have taken is to remove all posters, candles, flowers and other signs of remembrance from the tree outside Brixton Police Station.

Remember Ricky Bishop – Jail his Killers

End Drone Attacks in Pakistan – Downing St to US Embassy

I arrived by Tube from Brixton too late for the start of the march by the PTI (Pakistan Movement for Justice party) from Downing Street to the US Embassy, then still in Grosvenor Square, but caught up with it as it went along Pall Mall, a few hundred yards from the start.

Around 500 supporters of Imran Khan’s Pakistan Tehreek-e-Insaf party and a few from Stop The War and anti-drone groups were marching in protest against US drone strikes in Pakistan which have killed many innocent men, women and children.

It was I think the first march which the PTI had organised in London, and this showed, with the march sticking to the pavement and stopping at crossing lights.

London’s pavements are too busy for marches of this size and the march was soon broken up into a number of small groups by the lights, as those at the front carried on regardless of what was happening behind them. Some were carrying coffins, others posters and flags.

From Hyde Park Corner they went up Park Lane, which although always busy with traffic has wide pavements with few people on foot, and the march gathered together again, to make the final part of its journey to the embassy, walking past a camp with hunger strikers from the People’s Mojahedin of Iran to hold a rally in front of the embassy.

It was a noisy rally and the amplification for the speakers was not really enough for an outdoors event of this size. I listened to a couple of speeches then left for home.

End Drone Attacks in Pakistan.

Digital Panoramas on the Thames Path

Digital Panoramas on the Thames Path
I’ve long had an interest in panoramic photographs, both in taking them and also appreciating the work of well-known photographers who have made panoramic images. From the earliest days some photographers wanted to make pictures with a wider field of view than was possible with a normal camera and lenses, and the first patent for a specialised panoramic camera was filed in Austria in 1843, using a curved Daguerreotype plate and rotating lens.

The earliest existing panoramic photographs appear to be those by Friedrich von Martens made in the early 1840s – such as this example on Wikimedia dated from 1846. There are also paper prints from the same era, presumably made from calotype negatives. As well as making single exposures with an angle of view of around 150°, von Martens and others made panoramas using multiple exposures, often with normal lenses. Martens produced what was probably the first 360° panorama using three curved Daguerreotype plates.

Normally we use cameras with rectilinear lenses to render straight lines in the subject as straight lines in the picture. But as the distance from the lens centre to the film or sensor gets longer towards the edges and corners, the image magnification also increases. This begins to be noticeable with extreme wideangle lenses, although more of a problem with some subject matter than others.

Although I’ve worked with a full-frame lens at 12mm, I’ve found that for general purposes a practical limit is around 15-16mm with 18mm generally more useful, corresponding to an horizontal angle of view of 90°. Beyond that the image stretching usually becomes too noticeable.

The first really popular specialised panoramic film cameras were the 1899 #4 Kodak Panoram and the Circut, patented in 1904 and produced in a range of sizes until 1945. Some were still in use until recently for producing long roll photographs of perhaps 800 pupils sitting in rows on the school field. They rotated slowly enough for some students to run around the back of the group and appear at both ends. Cameras of this type were used to great effect by photographers including Josef Sudek.

Having made several multi-image panoramas and found the process limiting I bought my first rather more modest panoramic camera, a Japanese Widelux taking images on 35mm film in 1991. Later I bought a Russian Horizon which gave similar results, and a 120 format Chinese model. I still have these along with a Hasselblad X-Pan, not really a true panoramic camera, but using a panoramic format – with the standard lens it only gives a similar angle of view to a 28mm lens, and even with the 30mmm wideangle I mainly used only around a 90° angle of view.

These cameras were the main reason I continued using some film after going digital in 2002. But some years later I found a way of working with digital cameras to make panoramic images, using a fisheye lens and then ‘defishing’ this with software to give a similar image to those made with the swing lens cameras.

These pictures were taken seven years ago on a short walk along one of my favourite sections of the Thames Path in London, from Vauxhall to Wandsworth on Sunday 5th January 2014.

I took images handheld with a Nikon D800E using a Nikon 16mm f2.8 fisheye lens, and later converted them using an Equirectangular projection in PTGui software. I now generally use the more convenient Lightroom Export plug-in https://www.imadio.com/products/prodpage_hemi.aspx ‘Fisheye-Hemi’ from Imadio.

You can see larger images and many more from the walk at Thames Path Panoramas on My London Diary.

Another Chelsea Walk – 1988

Church Of The Ñazarene, Grant Rd, Battersea, Wandsworth, 1988 88-5j-54-positive_2400 — *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-positive_2400 — 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.

Beaufort St, Chelsea, Kensington & Chelsea, 1988 88-5j-45-positive_2400 — *Beaufort St, Chelsea, Kensington & Chelsea, 1988 88-5j-45*

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-positive_2400 — *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.

Cheyne Walk, Chelsea, Kensington & Chelsea, 1988 88-5j-33-positive_2400 — *Cheyne Walk, Chelsea, Kensington & Chelsea, 1988 88-5j-33*

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.

Beaufort St, Chelsea, Kensington & Chelsea, 1988 88-5j-22-positive_2400 — *Beaufort St, Chelsea, Kensington & Chelsea, 1988 88-5j-22*

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.

Shop window, Kings Rd, Chelsea, Kensington & Chelsea, 1988 88-5j-23-positive_2400 — *Shop window, Kings Rd, Chelsea, Kensington & Chelsea, 1988 88-5j-23*

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.

30 Sept 2007 – Two Religious Events

Martydom of Ali

On Sunday 30th September 2007 I photographed two events in London connected with religion, the first Muslim and the second organised by Christian Aid.

Shia Muslims hold a large parade every year mourn the martydom of Ali, a cousin who grew up the the house of the prophet Muhammad and was one of the first to profess his belief when the prophet disclosed his divine revelation when Ali was around ten years old. Later he married Muhammad’s daughter Fatimah and was a great warrior and leader and one of the foremost Islamic scholars.

Ali was elected as the fourth Caliph at a time when civil wars were taking place between Muslims following the death of his predecessor, and he fought in a number of battles, eventually being assassinated in 661 CE by a member of a group who regarded him as a heretic while praying in the mosque at Kufa, now in Iraq. Many of the details of events around this time are disputed.

Ali is one of the central figures of Shia Islam and they regard him as having been the rightful successor to Muhammad while Sunni Muslims supported the father-in-law of Muhammad, Abu Bakr who became the first Caliph. The split led to various battles but only became a schism almost 20 years after Ali’s death, when Ali’s son Husayn and family were killed at the Battle of Karbala in 680 CE.

The ceremonies which involve a procession with an elaborate flower-decorated coffin, and tall banners about Ali, began at Marble Arch with a long period of mourning. There was much beating of breasts and then a procession moving very slowly down Park Lane with much continued mourning and beating of breasts. The men march in one group and then the women behind them, the two groups separated by the bier. Many of the men are stripped to the waist and their bodies become reddened by their powerful beating.

It’s an impressive event which I photographed on several occasions. The stewards at the event have sometimes told me “We do not photograph the ladies” but I’ve also had emails from some of the women thanking me for recording their participation in the ceremony.

Cut the Carbon

An event of a very different nature was taking place at St Mary’s Battersea, a church with fine views across the River Thames that Turner sat at window above the entrance to record – and a window inside remembers him, with another for William Blake, along with some splendid monuments, one with a relief illustrating Edward Wynter’s feats of crushing a tiger to death and overcoming 60 mounted moors.

I was there with others to photograph the arrival of Christian Aid’s ‘cut the carbon’ march, arriving in London at the end of a thousand mile journey from Bangor in Northern Ireland via Belfast, Edinburgh, Newcastle On Tyne, Leeds, Birmingham and Cardiff to London – including a detour to meet Prime Minister Gordon Brown at the Labour Party conference in Bournemouth. The following day they were going on to City Hall and then to finish at St Paul’s Cathedral.

This was a march 14 years ago with an international perspective on climate change, with walkers from Brazil, El Salvador, Kenya, India, Bangladesh, South Africa, Congo and elsewhere. When I photographed it the following day in front of Tower Bridge it was led by marchers from Brazil representing an organisation of landless farm workers – and I was very pleased a few months later to include picture of them in my show on environment protests as a part of Foto Arte 2007 in Brasilia.

More at:
Mourning the Martydom of Ali
Cut the Carbon march

and on October 1st 2007
Christian aid Cut the Carbon march – final mile

All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.

Sculpture and more – Battersea &Chelsea 1988

Sculpture, In Town, John Ravera, Battersea Bridge, Wandsworth, 1988 88-5f-12-positive_2400 — *Sculpture, In Town, John Ravera, Battersea Bridge, Wandsworth, 1988 88-5f-12*

My next walk in London on the following Friday started where I had finished the previous Sunday. I think I’d finished my teaching for the week at midday and jumped on a train to Clapham Junction then a bus to Battersea Bridge. I got off on the south side of the bridge to photograph a couple of pieces of sculpture and to enjoy the walk across the river.

Sculpture, In Town, John Ravera, Battersea Bridge, Wandsworth, 1988 88-5f-15-positive_2400 — *Sculpture, In Town, John Ravera, Battersea Bridge, Wandsworth, 1988 88-5f-15*

The first piece, just the the west of the bridge was the sculpture In Town by John Ravera (1941-2006), commissioned by Wates Built Homes Ltd who developed the area around it and dates from 1983. Ravera was born in Surrey and went to Camberwell School of Art and created many public sculptures still on display. This one was cast at the Meridian Foundry in Peckham, where two of Britain’s leading art foundries were located in the railway arches between Consort Road and Brayards Road.

Sadly this sculpture is no longer intact, and the dove for which the young child is reaching – the real climax of the piece – has gone.

Two swans, Catherine Marr-Johnson, sculpture, Battersea Bridge, Wandsworth, 1988 88-5g-62-positive_2400 — *Two swans, Catherine Marr-Johnson, sculpture, Battersea Bridge, Wandsworth, 1988 88-5g-62*

On the Thames Path on the other side of Battersea Bridge Road in front of an office block is Two swans, by Catherine Marr-Johnson, born in Crickhowell in Wales in 1945. The two piece sculpture dates from 1984 and the swans taking flight reflected the formation of the new company in front of which it stood.

Two swans, Catherine Marr-Johnson, sculpture, Battersea Bridge, Wandsworth, 1988 88-5g-65-positive_2400 — Two swans, Catherine Marr-Johnson, sculpture, Battersea Bridge, Wandsworth, 1988 88-5g-65

I think on this visit I didn’t have a lens with a wide enough angle of view to take the picture I wanted with the pair of swans taking off across the river, though I returned at a later date to do so. It was rather easier to show both from the front, but not so satisfying as you can see if you browse the album.

Old Church St, Kensington & Chelsea, 1988 88-5g-56-positive_2400 — *Former Dairy, Old Church St, Kensington & Chelsea, 1988 88-5g-56*

I walked across the bridge and began taking pictures in Chelsea, including one of a house decorated with tiles at 46 Old Church St and, between the second floor windows a cows head, with another cows head on the building down the alley by its side, which is dated 1908, though it could be the date a much older building was restored.

Wrights Diary was first set up in 1796 with around 50 cows and a goat, though it moved slightly west to this site in the 1800s. Cows were kept here into the 20th century but eventually milk production moved completely out of London. The company was eventually bought by United Dairies probably in the 1950s. Their properties on Old Church St became shops but the courtyard building was converted into a recording studio, Sound Techniques which was in business from 1964-74, where, according to Metro Girl, “Among the acts to record at Sound Techniques Ltd included Sir Elton John, The Who, Jethro Tull, Judy Collins, Tyrannosaurus Rex and John Cale.” as well as Pink Floyd and Nick Drake.

Justice Walk, Chelsea, Kensington & Chelsea, 1988 88-5g-41-positive_2400 — *Justice Walk, Chelsea, Kensington & Chelsea, 1988 88-5g-41*

The picture looks up from Justice Walk into Lawrence St, and was probably named as the home of John Gregory, a Justice of the Peace, who possibly lived in the house which now has the name Judges House. An imposing building on the street, named The Court House has had many stories told about it by estate agents and others about trying highway robbers and other criminals is a former Wesleyan Methodist Chapel built in 1841 and used as a church until 1903.

This corner is the former site from 1750-84 of the Chelsea china works, demolished at the end of the 18th century. It was the first factory outside of Japan and China to produce high quality porcelain. Should you wish to walk around this area I recommend Adam Yamey’s Where A Judge Once Walked In Chelsea from which much of the information above comes. Nothing like this was available to me when I was walking around in 1988 before the days of the World Wide Web.

Lawrence St, Cheyne Walk, Chelsea, Kensington & Chelsea, 1988 88-5g-42-positive_2400 — *Lawrence St, Cheyne Walk, Chelsea, Kensington & Chelsea, 1988 88-5g-42*

Lawrence St took me back to Cheyne Walk, and on the corner was this side of Carlyle Mansions, No 54 Cheyne Walk, dated 1886 and named after Thomas Carlyle who lived nearby. The white-painted stone relief panels with cranes and flowers date from 1888.

The block is nicknamed the “Writers’ Block” and has been home to authors including Henry James, Somerset Maugham (briefly), Erskine Childers and Ian Fleming who wrote Casino Royal here. Henry James who lived and died in Flat 19 described his flat as his “Chelsea Perch…the haunt of the sage and the seagull“.

Untitled, bas-relief, Jacob Epstein, sculpture, Ropers Gardens, Chelsea Embankment, Chelsea, 88-5g-45-positive_2400 — *Untitled, bas-relief, Jacob Epstein, sculpture, Ropers Gardens, Chelsea Embankment, Chelsea, 88-5g-45*

More sculpture close to the riverside in Ropers Gardens – this by Jacob Epstein.

Awakening, Gilbert Ledward, nude, sculpture, Ropers Gardens, Chelsea Embankment, Chelsea, Kensington & Chelsea, 1988 88-5g-33-positive_2400 — *Awakening, Gilbert Ledward, nude, sculpture, Ropers Gardens, Chelsea Embankment, Chelsea, Kensington & Chelsea, 1988 88-5g-33*

And a rather more realistic nude by Gilbert Ledward in this very artistic area of London. Ledward (1888-1960), born in Chelsea, trained at the Royal College of Art (where he was later a professor) and the Royal Academy Schools and became one of the best-known of British sculptors. His works included many war memorials.

Click on any of the images to go to a larger version in the my album 1988 London photos from where you can browse other images.

All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.

Pimlico & Battersea 1988

Railway Bridge, River Thames, Battersea Power Station, Grosvenor Rd, Pimlico, Westminster, 1988 88-5f-62-positive_2400 — *Railway Bridge, River Thames, Battersea Power Station, Grosvenor Rd, Pimlico, Westminster, 1988 88-5f-62*

These seven pictures all come from the same film I took at the end of a fairly long day’s walk around Chelsea on Sunday 8th May 1988 which had taken me down to the Thames on Grosvenor Road. I spent some time wandering around on the road and also where it was possible to get onto the riverbank, though most was fenced off.

Railway Bridge, River Thames, Battersea Power Station, Grosvenor Rd, Pimlico, Westminster, 198888-5f-64-positive_2400 — *Railway Bridge, River Thames, Battersea Power Station, Grosvenor Rd, Pimlico, Westminster, 19888 8-5f-64*

The views today are rather different, although the railway bridge carrying the main line to and from Victoria is still much the same. In the pictures you can see some work being carried on in Battersea Power Station, but now new flats hide most of the building apart from the chimneys from here, and the gas works have completely gone.

Railway Bridge, River Thames, Battersea Power Station, Grosvenor Rd, Pimlico, Westminster, 1988 88-5f-51-positive_2400 — *Railway Bridge, River Thames, Battersea Power Station, Grosvenor Rd, Pimlico, Westminster, 1988 88-5f-51*

You may still see lighters moored in the river here, but I think this rather odd structure close to the mouth of the vestigial Grosvenor Canal here has gone. I wasn’t absolutely sure why there was this wooden platform with what looked to me like small dog-kennels on it, but perhaps as the rope shows they were simply for mooring barges waiting to use the canal. Technically I think this is a dolphin, as the picture below shows.

Chelsea Bridge, River Thames,Grosvenor Rd, Westminster, 198888-5f-52-positive_2400 — *Chelsea Bridge, River Thames,Grosvenor Rd, Westminster, 1988 88-5f-52*

The first bridge here was built in 1858 when Chelsea Embankment was being built and was a suspension bridge intended to give the large population of Pimlico access to the new Battersea Park – if they could afford the toll – though it was made free on Sundays. It was then called Victoria Bridge, named like the station after the Queen. It became even less popular after Albert Bridge was built at the other end of the park in 1873. It was bought by the Metropolitan Board of Works in 1877 and they abolished the tolls in 1979. It was a narrow bridge and found to be structurally unsound, so fearing it might embarass the Queen if it collapsed they renamed it Chelsea Bridge. It didn’t collapse and apparently took several years to demolish when they decided to replace it with the current bridge which opened in 1937.

As the picture shows, the main cables are attached to the end of the bridge rather than on solid ground on the banks, and it was the first such ‘self-anchored’ suspension bridge in Britain. The LCC couldn’t afford to fund the entire cost and the Ministry of Transport only agreed to stand 60% oof the cost on the condition that all the materials used came from the British Empire.

When Billy Strayhorn named his most famous composition ‘Chelsea Bridge’ it was not this structure that he had in mind, but something more ethereal, probably Whistler’s Nocturne: Blue and Gold – Old Battersea Bridge.

Grosvenor Canal, entrance, River Thames, Pimlico, Westminster, 1988 88-5f-53-positive_2400 — Grosvenor Canal, entrance, River Thames, Pimlico, Westminster, 1988 88-5f-53

I wrote at some length in a previous post about the Grosvenor Canal, London’s last working canal, still in use when I took this picture. You can see part of one of the barges still in use to carry Westminster’s rubbish downriver through the bridge.

Chelsea Bridge, River Thames, Battersea Power Station, Chelsea Embankment, Kensington & Chelsea, 1988 88-5f-43-positive_2400 — *Chelsea Bridge, River Thames, Battersea Power Station, Chelsea Embankment, Kensington & Chelsea, 1988 88-5f-43*

The pictures here (and on Flickr) are from around 20 exposures I made on this small area of riverside, though many of the others are very similar. There were very few boats around moving on the river at the time.

Pagoda, Battersea Park, River Thames, Chelsea Embankment, Kensington & Chelsea, 1988 88-5f-34-positive_2400 — *Pagoda, Battersea Park, River Thames, Chelsea Embankment, Kensington & Chelsea, 1988 88-5f-34*

I walked upriver along Chelsea Embankment on my way to catch a bus across Battersea Bridge to take me to Clapham Junction for the train home. On my way I took a few pictures of the impressive late-Victorian houses – which haven’t made it to my Flickr album – and four pictures across the river of the Battersea Park Peace Pagoda, this one of which has. I’m not sure about the framing and I think it would perhaps be better in a square format but I felt it had a suitably Japanese feel to it.

*Reverend Gyoro Nagase at Hiroshima Day, Tavistock Square, 2019*

After the destruction of Hiroshima and Nagasaki by US atom bombs in August 1945, Nichidatsu Fuji who had in 1917 founded the Japanese Buddhist movement, Nipponzan Myohoji, in 1947 decided they would set up Peace Pagodas around the world to promote peace and non-violence. The first opened in Japan in 1954 and the London Peace Pagoda was built by Nipponzan Myohoji monks and opened in 1985, shortly after Nichidatsu Fuji died aged 100. Since 1978 it has been looked after by Reverend Gyoro Nagase who I have met and photographed at many events calling for peace. There are also Peace Pagodas in Milton Keynes and Birmingham among over 80 around the world.

Click on any of the black and white images to go to a larger version in my album 1988 London Photos from where you can browse to other images.

All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.