Posts Tagged ‘1980’

London 1980 (3)

Tuesday, December 24th, 2019

The third set of black and white pictures I took in London in 1980 together with the stories about them first published on Facebook.


Basement religion, Brixton, Lambeth. 1980
23u-41: house, notices, Christian, basement,

http://londonphotographs.co.uk/london/1980/23u-41.htm

Taken, again on the Minox, on a family outing to Brixton to an Open Day at the windmill which was then being restored. I didn’t take any black and white pictures of the windmill, but I think I may have taken a camera with colour film and made some family pictures with that, though I can’t at the moment find them.

We’d walked around Brixton in a slightly indirect way to get to the windmill, and on the way home I suggested another diversion, coming out from Blenheim Gardens and going across Brixton Hill to one of the roads opposite, perhaps Josephine Avenue.

A few years later I tried to go back and find this basement, but could not locate any properties in the area with similar short steps from the pavement up to the front door and down to a basement below. It may still be there somewhere, perhaps a little further away than I remember, or it may have been demolished.

I’d hoped to find it again, and perhaps to have stepped over the wall and gone down the steps to the door at the right and rung on the bell and found out more about the person who painstakingly created all of these signs with their curious mis-spelling such as ‘THE OLD WRAGGID CROSS’


Playground, Brixton, Lambeth. 1980
23u-53: children, swings, dog,

http://londonphotographs.co.uk/london/1980/23u-53.htm

Playground, Brixton, Lambeth. 1980
23u-54: children, swings, dog,

http://londonphotographs.co.uk/london/1980/23u-54.htm

I think this playground was close to Brixton Windmill in Blenheim Gardens. I had come with my family to visit the Windmill. My two young boys were too young to go on these swings even had they not been in used, and the dog didn’t seem too friendly.

It is a typical old-fashioned playground made when kids were made of tougher stuff and minor injuries from falling on tarmac and concrete were taken for granted.


Playground, Stockwell Park, Brixton, Lambeth. 1980
24a-34: children, BMX, track, flats, Stockwell,

http://londonphotographs.co.uk/london/1980/24a-34.htm

Playground, Stockwell Park, Brixton, Lambeth. 1980
24g-42: children, BMX, bikes, track, flats,

http://londonphotographs.co.uk/london/1980/24g-42.htm

Stockwell Concrete Bowl Skatepark is still there at the corner of Stockwell Rd and Stockwell Park Walk, along with the flats behind on Benedict Rd, Barrett House, part of the Stockwell Park Estate, which was completed in 1976.

The estate got a bad reputation, particularly following the 1981 Brixton riots, though it was one which, despite some crimes which got wide coverage in the scandal sheets, it never really deserved.

These flats were pretty new when I took this and several other pictures, as was the skatepark. The skatepark is now an “Asset of Community Value”, and street art from it was featured on the reverse of a Brixton Pound note commemorating Lenford (Len) Kwesi Garrison (1943 – 2003), co-founder of the Black Cultural Archives. The flats were refurbished in 2014 and considerable attempts have been made to improve the estate, including a very expensive CCTV system and much gardening.


Freedom With Anarchy, Aristotle Rd, Clapham, Lambeth. 1980
24g-14:

http://londonphotographs.co.uk/london/1980/24g-14.htm

Who could resist going to photograph Aristotle Road – and finding there this graffiti ‘Freedom With Anarchy’?

Anarchism has but one infallible, unchangeable motto, “Freedom. Freedom to discover any truth, freedom to develop, to live naturally and fully” according to US anarchist, writer, labour organiser and IWW founder Lucy E Parsons (1853-1942), a remarkable woman who was probably born a slave, though she claimed only Native American and Mexican descent. Chicago police described her as “more dangerous than a thousand rioters…”

Books have been written about Aristotle’s concept of freedom, and according to the Oxford Handbook of Freedom he thought that “a person is free to the extent that he is able to live a life of politics and philosophy, and a polis is free to the extent that its institutions promote such a life for each and every citizen by removing the impediments to its realization“.

You can still recognise the location, just off Clapham High St, at the rear of Pearl Pharmacy though the balustrade, roof and stained glass have gone, the road name with its old S.W. is still on the wall. The car parked there back in 1980 was a little unusual, and is I think a T-Series Bentley. I thought at the time it looked a suitable motor for gangsters.


Voltaire Motors, Voltaire Rd, Clapham, Lambeth. 1980
24g-21: railway arch, garage,

http://londonphotographs.co.uk/london/1980/24g-21.htm

Not far from Aristotle Rd is Voltaire Rd, which runs from Clapham High St alongside the railway line and includes Clapham High Street station. Railway arches used to be cheap business properties including many garages such as Voltaire Motors but times are changing. These arches were refurbished around ten years ago and seem now to be largely Artisan Coffee Bars, bars and eateries. I think the arch which used to house this garage became The Bridge Cafe.

Voltaire Motors actually looked considerably better than any of the small row of businesses that now occupy these arches; although the interiors may have been improved by refurbishment the outside has certainly deteriorated since 1980.


Clapham, Lambeth. 1980
24g-23: houses, terrace, car, military,

From the fairly distinctive decorations above the upper floor windows and doors I think this picture was taken in Lendal Terrace, off Clapham High St, alongside the railway on the other side of road and railway from Voltaire Road.

Experts in military vehicles will probably recognise the vehicle parked here, with a high wheelbase for going off-road. It looks American to me, and vaguely like a Humvee, but I’m almost certainly wrong.


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.

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To be continued…

London 1980 (2)

Monday, December 23rd, 2019

More black and white images I made in 1980 and which I posted day by day on Facebook a year or so ago, along with comments and stories


Mural, Vauxhall, Lambeth. 1980
23j-33: mural

http://londonphotographs.co.uk/london/1980/23j-33.htm

The mural announcing the presence of Vauxhall City Farm has I think long gone, and there has been considerable development of the buildings there. It now seems to me obviously to be a picture I should have taken in colour, and possibly I did, though quite likely I had only a single camera with me loaded with black and white film.

This picture was taken on a Minox EL, a tiny 35mm camera hardly large enough to take the film cassette, with plastic case whose front folded down pulling out the lens into position. Said to be the smallest 35mm camera in the world, it had a 35mm f2.8 lens, weighed only 200g and fitted into even a shirt pocket. For over 20 years one of these cameras (I got through 3 or four) went with me more or less everywhere.

They weren’t cheap (they were distributed by Leica in the UK) and were tricky to use, and the auto-exposure was often unreliable – later I found it worked better if you held the camera upside-down. The first one I bought just couldn’t take sharp pictures, and I sent it back to Leica, who wrote a rather snooty letter saying there were no performance specifications for the lens, but did exchange it for one that was tack-sharp. A few years later, that stopped working after it jumped out of my pocket when I was cycling to work and I got it replaced on insurance (and a hefty jump in premiums the following year.) When I had to send that one back to Leitz they said it was beyond economic repair but sold me a replacement at cost.

The Russians liked the Minox 35mm cameras so much they produced their own exact copy, the Kiev 35A, and I expect their spies still carry one on their visits to English cathedrals.


Duck pond, Vauxhall City Farm, Vauxhall, Lambeth. 1980
23j-33: ducks, pond, farm,

http://londonphotographs.co.uk/london/1980/23j-46.htm

Rather more buildings along the riverside are now visible across Vauxhall Pleasure Gardens from Tyers St than when I took this picture, but the backs of the houses on Kennington Lane are still recognisable, and the shops along their front have changed only a little to reflect the increasing gentrification of the area – at had at least last time I walked along there from the station to take a camera in to Fixation. The buildings on the green have also been replaced by a newer block along Glyn St.

The area in the distance, where only two blocks of buildings appear has become one of the fastest growing areas in London. I think the block right of centre might be the Nine Elms Cold Store, closed in 1979 but not demolished until the late 1990s, but cannot identify the block at left. There are now high rise buildings covering almost the whole of Nine Elms with more still being built. Along with expensive flats for foreign investors there is also expensive student housing built to lower standards but equally tall.

I think the duck pond with its duck house (presumably less ornate than MPs can afford on their expenses) has also gone, with new building on the City Farm site and an expansion of the farm estate.


Jesus, Mornington Crescent, Camden, 1980
23l-65: graffiti, horse trough,

http://londonphotographs.co.uk/london/1980/23l-65.htm

Another picture of the faded message on a horse trough which I wrote about in an earlier post.


Lillieshall Rd, Clapham, Wandsworth. 1980
23q-56: house,

http://londonphotographs.co.uk/london/1980/23q-56.htm

The house here was clearly a corner shop in use as an off-licence and it can still be seen on the corner with North St, though now simply housing. The adverts, including that covering the window at right, are long gone.

It was that faded upper sign advertising ‘RADIO REPAIRS’, and under it what I think must have once been the word ‘EXPERTS’ above the blanked out doorway that attracted me to take the picture of what was otherwise a very ordinary Victorian working-class building, typical of the area.

I’m surprised I didn’t take a picture of the whole side of the building, which actually has three such doors in a row, only the central one in use, each with a window above. But probably only the window in my picture was covered by advertising, and I suspect that the lens on my Leica simply did not have a wide enough view to show all three.

I also failed to photograph the now listed former “Tim Bobbin” pub, just down Lillieshall road, named after the Lancastrian schoolmaster, caricaturist and dialect poet who called himself the Lancashire Hogarth, and was a schoolmaster and notorious drinker born in Urmston who lived and died in Milnrow on the edges of Rochdale, where he is buried in St Chad’s Churchyard, his gravestone carrying the epitaph “Jack of all trades…left to lie i’th dark” he wrote for himself minutes before his death.

I don’t know why he should be celebrated by a pub in Clapham (there is one in Burnley too) nor why the owners should have decided around ten years ago to change the name to ‘The Bobbin’ and replace his rather pleasant portrait on the pub sign to a rather less interesting silhouette.


Death to Fascism, Bus Shelter, Battersea, Wandsworth. 1980
23t-32: house, graffiti,

http://londonphotographs.co.uk/london/1980/23t-32.htm

I can’t at this remove remember why I was wandering around South London taking pictures with the Minox on a day in April 1980, but I’m fairly sure I had not gone out with the main intention of taking pictures, otherwise I would have picked up the Leica or possibly my Olympus OM-1.

There must have been some other reason for my being there, and obviously having some time to spare. One possibility is that I had gone early and decided to walk from Queen’s Road Battersea to a meeting or exhibition at the Photo Co-op in Webbs Road in Clapham, which had started the previous year, rather than take the shorter walk from Clapham Junction.

As usual at the time I have no record of exactly where I was, and this street is fairly typical of many of the wider streets in the area, with its late Victorian housing. Only the main roads are this wide and have a pavement where I could get back far enough to make a picture like this with the 35mm lens.

I suspect I will have waited some time, not for the bus, but for people at the bus stop to arrange themselves rather better in the frames provided, but with little luck, and I think made this exposure as the bus the bus was about to arrive, knowing they would board.

Obviously it was the graffiti that attracted my attention. The large white letters of ‘DEATH TO FASCISM’ are easy to read in this small image but the smaller black ‘Kill A BLACK TODAY’ is perhaps harder to read.


House, Battersea, Wandsworth. 1980
23t-51: house,

http://londonphotographs.co.uk/london/1980/23t-51.htm

This is a section of a terrace somewhere in the Park Town estate in Battersea, around Queenstown Road, built up from the 1860s by James Knowles junior, one of London’s early organised and managed estates. Though well conceived it was not a great financial success, as the middle-classes for whom it was intended rather looked down on the pollution from the adjoining railways to north and east, and the estate was then re-purposed towards more working class artisan tenants.

Probably this property – a ‘six-roomed’ house – with external decoration to make it look rather grander than it was – was built as the three flats the doorbells now indicate, one on each floor. Much has been written about the estate, which led down to the rather grander buildings of Cedars Road and the North Side of Clapham Common.


Broughton St, Battersea, Wandsworth. 1980
23t-53: house, pub, church, hall

http://londonphotographs.co.uk/london/1980/23t-53.htm

This corner of Broughton St and St Philip St, looking towards Queenstown Road is still recognisable, though the Market House pub is now a private house and the RIdley Hall at the right of the picture has been rebuilt as Ridley Hall Evangelical Church, though in a similar design.

I took two frames with the Minox, with a fairly similar composition, but while the other was a little more upright, this is sharper. They were obviously taken within a few seconds, though the film wind on the camera was rather difficult to do at any speed, as neither the two men on the street corner or the group further down the street appear to have moved, but the cars are a few yards further down the road in the other image.

The ladders on the handcart reminded me of my father who often used a similar conveyance to take his ladders, paint, tools and occasionally beehives around Hounslow (and sometimes further afield) until his retirement in the late 1960s. By 1979 this was becoming rather less common, though one still saw window cleaners and others who had not yet acquired vans.


To be continued…

London 1980 (1)

Sunday, December 22nd, 2019

It may not have escaped your notice that we are approaching Christmas and the New Year. This is a time when I may not be at a keyboard every day and will be concentrating on other things than writing posts for this site. But also when those of you who read it (and about 4,500 pages are currently read each day) will perhaps want something to entertain you when suffering from an excess of Turkey and mince pies.

Those of you who follow me on Facebook will know that for some time I have been posting an image and its story from my black and white work in the 1970s and 80s each day. But FB is pretty ephemeral, although it keeps a record of everything we post, comment or like to aid its profit-making activites, anything we posted more than a few minutes ago soon becomes hard to find. So as I’ve done previously I’ll post a series of digests here on >Re:PHOTO, where it is always easy to search the archives, and search engines should be able to find content. So here we go with the first set from 1980.


Jesus, Mornington Crescent, Camden, 1980
23i-15 factory, graffiti, horse-trough,

http://londonphotographs.co.uk/london/1980/23i-15.htm

I didn’t see this graffiti until it was faint, though its message was still clear, on the southern corner of Mornington Crescent. The wall is still there, though I can see no trace of ‘JESUS’, and the wall is now kept in better condition, doubtless having been painted several times since – and there is now a gate at its left.

The game ‘Mornington Crescent’ had made its first appearance on ‘I’m Sorry I Haven’t a Clue’ in August 1978, around 18 months before I made this picture, and it was doubtless in my mind on my wandering walk from Central London via St Pancras in February 1980 which took me to the street from which the Underground station and the great game were named.

The wall is at the end of the ‘Black Cat factory’, the former Arcadia Works of the Carreras Cigarette Factory, one of the finest remaining Art Deco buldings in London, controversially built between 1926-8 on the communal garden of Mornington Crescent. Designed by M.E and O.H Collins and A.G Porri, the long building (168m) was where Craven ‘A’ cigarettes were made, and the logo of the company, a rather domestic looking black cat, was reflected in two large Egyptian cats on each side of its entrance. High along the frontage, above the Egyptian-style pillars were a row of the trademark-style black whiskered moggies. But back when I made this picture, the factory was in a poor state, the decorations stripped when it had been converted to offices in 1961. The two giant Egyptian cats, representations of the Egyptian cat god Bast had been shipped out when the factory closed in 1959 to stand in front of other Carreras factories in Basildon and Spanish Town Jamaica. Apparently Carreras had originally planned to call the factory after Bast (aka Bastet) but then realised that everyone would refer to it as Bastard House.

Years later I got a shock when sitting on a bus going up the Hampstead Road, and had to rub my eyes and pinch myself to be sure I was not dreaming as I passed the factory restored to its former glory (almost) and with two black cats again guarding its entrance. The factory had been bought by a new company in 1996 who had restored it to an excellent replica of its Art Deco original. And had doubtless painted out any remaining traces of ‘JESUS’.


Fire Engine, Mornington Crescent area, Camden, 1980
23i-21: graffiti,

http://londonphotographs.co.uk/london/1980/23i-21.htm

Situsec seems to be a company which supplied asphalt and similar materials and made road repairs, but I can’t remember exactly where this picture of one of their yards was taken, though earlier in my walk I had been on Phoenix Road in Somers Town and a couple of frames later I was photographing painting on a fence on a corner site on Mornington Place for the Albert St Carnival. This yard was somewhere in my wandering between the two.

The walls are tall and thick, with buttresses; that in the foreground appears to have been built up with a thinner extension, which can also be seen on the rear wall, above which another brick structure, with arches roughly doubles the height to something like 20 ft, suggesting a building on a truly giant scale, which in this area suggests it was a part of some major work connected with the railways, either around St Pancras or Euston.

Clearly the wall on which the fire engine was painted has been fairly crudely breached since it was painted to provide or widen the entrance to the yard, where some cars are parked and notices on the wall read ‘Soft Sand’ and (I think ‘Sharp Sand’, though only a couple of letters of this are visible.)


Is Innocent O.K., Mornington Crescent area, Camden, 1980
23i-22: graffiti, shop,

http://londonphotographs.co.uk/london/1980/23i-22.htm

In 1974 the message ‘G Davis is Innocent, OK’ began to appear on walls, bridges and elsewhere across the country, protesting the innocence of the east London minicab driver jailed for his part in an armed robbery. Police were caught out as having lied to get his conviction, making up a statement he was alleged to have made, fiddling the results of ID parades, deliberately ignoring evidence. His conviction was clearly unsafe, and almost certainly he was innocent of that particular robbery at the London Electricity Board’s offices in Ilford for which the police had fitted him up – and for which he was the only man convicted.

Of course, though innocent of this particular crime, Davis was a villain, and within a couple of years of his release in 1976 by Royal prerogative he was back in jail again, this time admitting his guilt, for an armed robbery at the Bank of Cyprus on the Holloway Rd.

The graffiti in this picture was clearly inspired by this case, though who was innocent I clearly intended to remain anonymous, with only the final ‘OUS’ of the name in frame, next to the former shop at no. 54. Which street this was on is also something of a mystery, and I think the house in question has probably been so altered as to be unrecognisable.


Circus, Mornington Buildings, Camden, 1980
23i-24: graffiti,

http://londonphotographs.co.uk/london/1980/23i-24.htm

Mornington Buildings were on Mornington Place, I think at its corner with Mornington Terrace, and were in process of demolition when I photographed this painted fence. At its left are two posters for the ‘Albert St Carnival’, too small for the details to be clearly read, but which had I think been on the 14th July, probably from the previous year, 1979, and for which I assumed the painting had taken place.

The 2nd Earl of Mornington was the elder brother of the Duke of Wellington and became Governor-General of India, defeating the French there and making it a part of the British Empire. During the Napoleonic wars, by now Marquess Wellesley, he became ambassdor to Spain. By the time this estate was being developed in the 1820s he was made Lord Lieutenant of Ireland.

FB comment by Ken Bates: There was 2 separate blocks for Mornington Buildings, the larger block was on Mornington Terrace (now Clarkson Row), this block went right up to the corner with Mornington Place. There was then a gateway into the grass area behind it before the smaller block that was in Mornington Place.


Corner Cafe, Phoenix Rd/Midland Rd, Camden, 1980
23i-32: cafe,

http://londonphotographs.co.uk/london/1980/23i-32.htm

It should be easy to locate an image which contains a street sign and a street number, but although the street sign says Phoenix Road NW1, this is misleading, and this picture was made at the corner of what is now Brill Place and Midland Rd. The 1894 OS map actually calls the road Phoenix St, and shows a railway line crossing it – which I think the arch at extreme left was supporting – leading to the goods yard now the site of the British Library and Francis Crick Institute.

The Brill was the area between Euston Square and Kings Cross Station, getting its name from a tavern there and had a Sunday market where the many navvies in the area would come to buy their boots and clothing. Why the pub was called ‘The Brill’ seems a mystery; perhaps it was from the fish of the same name, or some connection with the Buckinghamshire village (there is a Brill in Cornwall too as well as Den Briel in the Netherlands, and it is also a Dutch family name) or was the word ‘brilliant’ just too long to fit on the inn sign?


Corner Cafe, Phoenix Rd/Midland Rd and gas holders, Camden, 1980
23i-33: cafe, gas holders, traffic light,

http://londonphotographs.co.uk/london/1980/23i-33.htm

A second picture of the Corner Cafe makes its position clear, showing both the gas holders on the corner of Wharf Rd and Cambridge St (now Camley St) and the road under the railway lines from Midland Rd that led to them, though the scene has now changed completely with the rebuilding of St Pancras Station to provide a shopping precinct which makes the walk from the Underground platform to get on a train much longer, something I curse every time I use the station.

The site of the cafe is now a rather neglected piece of land at the edge of the parking area for Neville Close. The gasholders are no longer on their original site and have flats inside them and St Pancras station now extend much further to the north.


Shop fitting, Camden, 1980
23i-52: plastic sheet,

http://londonphotographs.co.uk/london/1980/23i-52.htm

Much of what people think of as central London is a part of the London borough of Camden and I think this shop being fitted out was somewhere in the area roughly between Trafalgar Square and Monmouth St, and the next frame on the contact sheet (not shown on this site) is in Monmouth St, with the name board for ‘Neon’ and the ‘ghost sign’ next door for B Flegg, saddlers. This picture could well also have been in Monmouth St.

I walked around this are fairly often when visiting the Photographers’ Gallery, then on Great Newport St. In 1980 it acquired a second space a couple of doors down from the original premises. As well as showing some great photography (and particularly in later years some rather less great) it also had a cafe where you could sit and look at one of the shows, as well as meeting people.

Somehow it seemed a much friendlier place than the much improved new premises on Ramillies St, and I often met people – staff and other visitors I knew there, and it seemed rather easier to talk with strangers, who were always a part of a wider photographic community.

As well as visiting to see the shows, as entry was always free you could drop in while passing for another look – or just to have a coffee or even just use the toilets – I also used to go with some of my pictures to a ‘young photographers’ group which met regularly there and to which sell-established photographers often dropped in to give their opinions too. Though we learnt much and enjoyed it, these meetings were clearly something the gallery’s education officer, who was responsible for them found an ordeal, with much questioning of some of the gallery’s practices and more. When London Independent Photography came along in 1987 she clutched to them as a lifebelt to end the group.


To be continued…


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.