This Week in London – A look inside The Crime Museum; Goya at The National Gallery; and, Africa on the Square…
October 8, 2015
• Objects and evidence from some of the UK’s most notorious crimes including the ‘Acid Bath Murder’ of 1949, the ‘Great Train Robbery’ of 1963 and the ‘Millennium Dome Diamond Heist’ of 2000 will go on show at the Museum of London from Saturday. Created with the support of the Metropolitan Police Service and the Mayor’s Office for Policing and Crime, The Crime Museum Uncovered exhibition features never-before-seen objects from the Metropolitan Police’s Crime Museum as it takes visitors through a series of real cases and tackles some of key challenges of policing in London – everything from terrorism and espionage through to counterfeiting and narcotics. The Crime Museum, which is now housed inside New Scotland Yard, was established in the mid-1870s as a teaching tool for police. Its Visitor’s Book contains some high profile names including that of King George V, Sir Arthur Conan Doyle – creator of Sherlock Holmes, illusionist Harry Houdini and comedians Stan Laurel and Oliver Hardy. Runs until 10th April. Admission charge applies. For more, see www.museumoflondon.org.uk.
• Almost half of Goya’s surviving portraits are on show in The National Gallery in an exhibition which opened yesterday. Goya: The Portraits features more than 60 of the celebrated Spanish artist’s surviving portraits, borrowed from public and private collections around the world. Highlights include the Duchess of Alba (a 1797 work depicting one of Goya’s patrons which has only left the US once before), the immense group portrait The Family of the Infante Don Luis De Borbon (pictured), the never-seen-in-public work Don Valentin Bellvis de Moncada y Pizzaro, the rarely exhibited Countess-Duchess Benavente, and the recently conserved 1798 portrait Francisco de Saavedra, exhibited for the first time in 50 years alongside a pendant painted the same year of Gaspar Melchor de Jovellanos. There are also works of royals including Charles IV in Hunting Dress and more personal works such as self portraits and paintings of his family members. Runs until 10th January in the Sainsbury Wing near Trafalgar Square. Admission charge applies. For more, see www.nationalgallery.org.uk. PICTURE: © Fondazione Magnani Rocca, Parma, Italy.
• Black History Month is being celebrated in Trafalgar Square this Saturday in Africa on the Square, a programme of events inspired by the traditions and cultures of the continent. The line-up includes a musicians and singers, acrobats, dancers, a fashion show and a market selling African-themed products as well as a host of activities for families, from hair braiding and face painting to mosaics and batik making. There will also be a talent show giving aspiring performances aged between 16 and 25 the chance to perform in front of a live audience. The free event runs between noon and 6pm. For more, see www.london.gov.uk/africa.
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October 7, 2015
We’ve mentioned the Geffrye Museum gardens before but they’re well worth a more detailed mention.
There are two distinct gardens at the Geffrye – the first are the public gardens located just off Kingsland Road which were originally laid out when the almshouses in which the museum is now based were constructed while the second is the walled herb garden and series of period garden ‘rooms’ which are much more recent additions.
While origins of the former date back to when the almshouses – 14 homes of four rooms each with a central chapel – were built in 1712-14 by the Ironmonger’s Company under instructions in the will of Sir Robert Geffrye (for more on him, see our earlier Famous Londoners entry here), they weren’t opened to the public until 1912 when the London County Council took over the site (for more on the history of the almshouses, see our earlier entries here and here).
These gardens originally featured a series of lime trees and by the early 19th century, an image shows lawns surrounded by railings with some flower beds and trees. The front lawns were apparently grazed by sheep or employed for growing crops of potatoes.
By the mid-1800s, the lime trees had been replaced by London plane trees, most of which are still standing. The gardens were again laid out in 1900-01 and again after the LCC took over in 1910 when a small pool was added in front of the chapel and a bandstand and playground elsewhere in the gardens.
The grounds also include a small graveyard – that of the Ironmongers’ – and among those buried here are Geffrye and his wife, their remains brought here from the chapel of St Dionis Backchurch in Lime Street when it was demolished in 1878.
The walled herb garden and period garden ‘rooms’, meanwhile, were added in the 1990s. The herb garden opened in 1992 on a what had been a derelict site to the north of the building – it features four square beds containing more than 170 different herbs and plants.
The period garden ‘rooms’, meanwhile, were laid out in 1998 to showcase middle class town gardens from different eras. They currently include a Tudor “knot garden”, a Georgian garden, a Victorian garden and an Edwardian garden.
Each of these gardens has been carefully constructed using evidence gathered from drawings and prints, maps and garden plans along with plant lists, diaries and literature.
WHERE: Geffrye Museum, 136 Kingsland Road, Shoreditch (nearest tube station is Old Street; nearest Overground station is Hoxton); WHEN: 10am to 5pm, Tuesday to Sunday (front gardens are open all year round by period and herb gardens are only open until 1st November and reopen on 28th March; COST: Entry is free; WEBSITE: www.geffrye-museum.org.uk/explore-the-geffrye/explore-gardens/.
October 6, 2015
Painted in 1890, the painting – never seen before in the UK – depicts people strolling along the clifftops at Coogee in Sydney, looking eastward over the gleaming blue of the Pacific Ocean.
Christopher Riopelle, the gallery’s curator of post-1800 European paintings, says Streeton’s use of the vertical format was “brilliantly calculated to exploit the contrast between the azure sheet of water and the subtly observed depictions of rock face and sky”.
“Still young, but at the height of his powers, Streeton demonstrates here how impression was a capacious and flexible tool for confronting the awesome landscape unique to Australia.”
Streeton (1867-1943) was considered one of the most advanced landscape painters in Australia in the 1880s and 1890s and was one of the first to adopt an impressionist style. His masterpiece, Golden Summer (1889), was exhibited at the Royal Academy of Arts in 1891.
Blue Pacific is now on show in Room 43 at the gallery off Trafalgar Square alongside Monet’s Water-Lilies and Manet’s The Execution of Maximilian. Entry is free. For more on the gallery, see www.nationalgallery.org.uk.
PICTURE: Blue Pacific, 1890, Sir Arthur Streeton (1867 – 1943), oil on canvas, © on loan from a private collection/via National Gallery.
October 5, 2015
This year marks the 710th anniversary of the execution of Scottish rebel William Wallace in Smithfield so we thought we’d take a quick look at the circumstances of that event – made famous in recent times through the movie Braveheart.
For some eight years, Wallace had been a thorn in the side of the King Edward I, promoting active resistance to his rule in Scotland after Edward forced the abdication and usurption of the crown of John Balliol.
Following a crushing defeat at the Battle of Falkirk on 22nd July, 1298, however, Wallace went to France where he attempted to gain French support for rebellion in Scotland but the effort proved ultimately futile and Wallace, back in Britain but refusing to submit to English rule, remained on the run.
At least until he was captured on 5th August, 1305, by Sir John Monteith, who had been made Sheriff of Dumbarton by King Edward I, at Robroyston near Glasgow.
Taken to Carlisle, he was bound hand and foot before being taken south to London in chains.
Wallace’s trial took place on 23rd August that year at Westminster Hall and, despite his protestations that he couldn’t be guilty of treason having never sworn loyalty to the English Crown, a guilty verdict was handed down along with the sentence of a traitor’s death – being hung, drawn and quartered.
Taken to the Tower of London, Wallace was stripped naked and then strapped to a wooden hurdle which was dragged by two horses through the streets via Aldgate to The Elms at Smithfield where he was hanged on a gallows.
Cut down while yet living, he was disembowelled and castrated and his entrails burnt. Wallace was then decapitated and his body cut into quarters which were sent to Berwick, Newcastle, Stirling and Perth as a warning against treason. His tarred head, meanwhile, was put on a pike and set above London Bridge.
A memorial to Wallace can now be found on the wall of St Bartholomew’s Hospital at West Smithfield (pictured – for more on that, see our earlier post here).
October 2, 2015
This church, which survived until it was largely destroyed by bombing in World War II, isn’t completely lost – its tower still survives in the middle of Wood Street in the City.
The church, one of a number dedicated to St Alban (Britain’s first Christian martyr) in London throughout its history, was medieval in origin although it has been argued its foundation dates back to the 8th century Saxon King Offa of Mercia who is believed to have had a palace here with the chapel on this site (Offa is also credited as the founder of St Alban’s Abbey).
The church had fallen into disrepair by the early 17th century and was demolished and rebuilt in 1630s. It proved unfortunate timing for only 32 years later it was completely destroyed again, this time in the Great Fire of London.
Following the Great Fire, the church, now combined with the parish of St Olave, Silver Street, was among those rebuilt to the designs of Sir Christopher Wren and completed in the mid-1680s.
It was restored in the late 1850s under the eye of Victorian architect Sir George Gilbert Scott and the four pinnacles on the tower, which stood on the north side of the church, were replaced later that century.
It survived until World War II when the building was burnt out and partly destroyed on a single night during the Blitz in December, 1940. The remains, with the exception of Wren’s Perpendicular-style tower, were later demolished in the 1950s (by which time the church had been united with the parish of St Vedast, Foster Lane).
The Grade II*-listed tower was converted into a rather unusual private dwelling in the 1980s.
This Week in London – Indian textiles at the V&A; a “typical London street” on show; and, Nobel laureate given Blue Plaque…
October 1, 2015
• A spectacular tent used by the Tipu Sultan, ruler of the 18th century Kingdom of Mysore (pictured), is among highlights in an exhibition exploring the “incomparably rich world” of handmade textiles from India which opens at the V&A in South Kensington on Saturday. Part of the V&A’s India Festival marking the 25th anniversary of the opening of the museum’s Nehru Gallery, The Fabric of India has exhibits ranging from the earliest known Indian textile fragments (dating from the 3rd century) through to contemporary fashions. Among the around 200 handmade objects – which include everything from ancient ceremonial banners and sacred temple hangings to modern saris and bandanna handkerchiefs – are a Hindu narrative cloth depicting avatars of Vishnu dating from about 1570, an 18th century crucifixion scene made for an Armenian Christian church in south-east India, block-printed ceremonial textiles from Gujarat – made in the 14th century for the Indonesian market, bed-hangings originally belonging to the Austrian Prince Eugene (1663-1736), and a selection of clothing made using Khadi, a cloth which Mahatma Gandhi promoted using in the 1930s when he asked people to make the fabric as a symbol of resistance to colonial rule. Admission charges apply. Runs until 10th January. For more see, www.vam.ac.uk/fabricofindia. PICTURE: © National Trust Images.
• Westbury Road in Bounds Green, Haringey, is the subject of a new photographic and art exhibit which opened at the Geffrye Museum in Shoreditch this week. A Street Seen: The Residents of Westbury Road is a collaborative exhibition featuring the works of photographer Andrew Buurman and artist Gabriela Schutz as they document the homes, gardens and residents of what is described as a “typical London street”. The display includes a six metre long panoramic drawing of Victorian houses by Schutz and a series of photographs depicting residents in their back gardens taken over a two year period by Buurman. Runs until 3rd April. For more, see www.geffrye-museum.org.uk.
• One of the founding fathers of sports medicine, Nobel Prize winner AV Hill, has been honoured with an English Heritage blue plaque unveiled at his former home in Highgate in London’s north last month. Hill, as well as being noted for his work in the field of physiology, was also an independent MP during World War II and a humanitarian who is credited with helping more than 900 academics – including 18 Nobel laureates – escape persecution by the Nazis. He lived at the property at 16 Bishopswood Road for 44 years, between 1923 and 1967, 10 years before his death. For more on blue plaques, see www.english-heritage.org.uk/visit/blue-plaques/.
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September 30, 2015
The church – the third to serve the parish – was built here in 1740 but was replaced when the current parish church was built between 1813 and 1817.
In 1951, the St Marylebone Society created a Memorial Garden of Rest on the site (also known as the Old Church Garden). It was opened in March, 1952, by Viscount Portman.
The foundations of the former church were marked out in the sunken portion of the garden. The predominantly paved garden also contains numerous gravestones and memorials.
These include that of Methodist movement leader Charles Wesley, erected in 1858 to commemorate his burial in 1788 (pictured right). There’s also a plaque recording notable burials at the church, including the painter George Stubbs (1806), royal apothecary John Allen (1774), architect James Gibbs and bare knuckle boxer James Figg (1734). Other plaques detail some of the church’s history.
Also of note in the garden is a Judas tree (Cercis siliquastrum), named for being the variety upon which Judas hung himself or, alternately, because its fruit pods resemble bags of silver. The current tree replaces an earlier one.
WHERE: Garden of Rest Marylebone, Marylebone High Street (nearest tube stations are St Paul’s and Barbican); WHEN: 7am to dusk; COST: Entry is free; WEBSITE: www.myparks.westminster.gov.uk/parks/garden-of-rest-marylebone/.
September 29, 2015
London photographer Ian Wylie captures the “supermoon” rising over Canary Wharf in London’s east on Sunday, ahead of the lunar eclipse in the early hours of Monday. As seen from London Bridge at 6:54pm – 20 minutes after moonrise and six minutes after sunset. A supermoon occurs when the moon reaches the closest part of its orbit to Earth and hence appears larger than normal. This week’s supermoon coincided with a lunar eclipse – in which the moon passes behind the Earth through its shadow (also known as an umbra) – which later made the moon appear red (a lunar eclipse is also known as a “blood moon”). Last seen in 1982, the phenomena will apparently not be visible again until 2033. PICTURE: © Ian Wylie/Flickr
September 28, 2015
Famed as the court painter of King Henry VIII, Hans Holbein the Younger was one of the greatest portrait painters of the sixteenth century.
Born in Augsburg, in southern Germany, in 1497-98, Holbein was the son of painter and draughtsman Hans Holbein the Elder. Hans, like his brother Ambrosius, followed the family trade which he apparently learnt under the tutelage of his father and uncle until breaking away to make his own mark.
Journeying with Ambrosius to Basel in what is now Switzerland, the two brothers became apprenticed to the city’s leading painter Hans Herbster. In 1517, Holbein went with father to Lucerne where they worked painting murals for a leading merchant. It is thought while there, that he visited northern Italy where he studied Italian frescos.
Returning to Basel in 1519, he quickly re-established his business there, becoming a member of the artists’ guild, and married Elsbeth Schmid, their first son arriving in the first year of their marriage (the couple apparently had four children, two of whom are depicted in a portrait with his wife he painted in the late 1520s).
He was soon completing numerous major projects for the city – including painting internal murals for the Town Hall’s council chamber – and was also involved in creating illustrations for books – the most famous being the series of images known as the Dance of Death – and painting portraits, including his first portraits of the Renaissance scholar, Erasmus. It was these and other portraits that ensured his fame across Europe.
The decline in the production of religious art, thanks to the Reformation which was then sweeping over the continent, apparently led Holbein to look further afield for work and, having first gone to France, in 1526 he went to England.
There he was welcomed by Sir Thomas More, then a key figure in the regime of King Henry VIII, who soon found him some commissions. His works during this period included portraits of More, William Warham, Archbishop of Canterbury, astronomer Nicholas Kratzer and courtiers like Sir Henry Guildford.
He returned to Basel a wealthy and successful man in 1528 and remained there for four years before once again leaving his family and heading to England, this time finding favour with the Boleyn family and Thomas Cromwell.
It was early during this period – he remained in England until his death in 1543 – that he painted portraits of Hanseatic League merchants of the Steelyard (see our earlier post here) as well as The Ambassadors (see our earlier post here).
In 1536, he was employed as painter to King Henry VIII and the following year he painted what is arguably his most famous image – that of King Henry VIII in all his glory in the image known as the Whitehall Mural which pictured the king with his the wife, Queen Jane Seymour, his father, King Henry VII and his mother, Queen Elizabeth of York (the image was lost in the fire which destroyed Whitehall Palace in 1698 but copies were made and a copy is now at Hampton Court Palace).
King Henry VIII was to be his subject on numerous occasions as were other members of the Royal Family, courtiers and prospective wives including, famously, a portrait of Anne of Cleves which may have oversold her beauty to the king who was unimpressed with her in person (there is apparently no evidence the king blamed Holbein himself for this).
While he had successfully navigated his way past the downfall of Sir Thomas More and then the Boleyn family, the fall of Sir Thomas Cromwell did cause significant damage to his standing. Nonetheless he retained his official position at court and it was during this time that he painted some of his finest miniatures including those of the sons of Henry VIII’s friend, Charles Brandon, 1st Duke of Suffolk.
It is believed Holbein may have returned to visit his family in late 1540 before returning to London where he died sometime in October or November, 1543, having made his will on 7th October at his home in Aldgate (plague has been suggested as the cause of his death). The site of his grave is unknown.
Holbein’s legacy is such that the portraits he created in his two stints in London have become a key component in how we view Tudor England – and in particular, the Tudor court – today.
His works can be seen in key locations across London including the National Gallery (pictured above), the National Portrait Gallery (where his bust is one of a series of artists on the exterior) and Hampton Court Palace.
September 26, 2015
This striking ruin perched on the shore of Herne Bay in Kent is all that remains of a 12th century church which once stood here, itself constructed on the ruins of a Saxon monastery and, earlier still, a Roman era fort.
The site once faced the now swallowed up Isle of Thanet across a narrow waterway to the east and it was this location which made it a prime spot for the Romans, in the early to middle years of the 3rd century AD, to build one of what became known as Saxon Shore forts, constructed to watch over waterways and resist raiders from across the sea. The square fort – known as Regulbium – featured walls supported by earthen ramparts containing a range of military buildings including a headquarters building at the centre. It’s main entrance was located in the north wall.
The fort ceased to be garrisoned by regular troops by the end of the 4th century and archaeologists have found little sign of any activity there at the start of the next century.
Following the arrival of St Augustine in 597 AD and the conversion of local Saxon kings to Christianity, Egbert, the King of Kent, gave land which included Reculver (Raculf) to one Bassa for the foundation of a church or minster (this has been dated to 669 AD). A monastery was subsequently founded on the site which remained there until the 10th century after which the church, which stood roughly at what was the middle of the Roman fort and which had been enlarged during the Saxon period, became a parish church of Reculver.
Remodelled in the 12th century (from which period the towers date), it was visited by Leland in 1540 who wrote of a stone cross which stood at the entrance to the choir and was carved with painted images of Christ and the 12 Apostles (fragments of the cross are now in the crypt at Canterbury Cathedral).
The encroaching sea, meanwhile, continued to move closer and closer to the northern side of the church, seriously so by the end of the 18th century when the vicar persuaded parishioners to demolish the church and build a new one at nearby Hillsborough. Thankfully, while much of the stone from the church was used in the new building, the twin west towers were left standing.
Their value as a landmark was recognised in 1809 when the ruin was bought by Trinity House as a navigation marker. They subsequently strengthened the towers’ foundations to ensure they weren’t undermined any further. Further strengthening measures took place in later years. About half of the Roman fort remains. The site is now managed by English Heritage.
Reculver is a site richly evocative of England’s past with a history going back more than 1,700 years. The remains may only be fragments of what once stood there but they nonetheless tell a myriad of stories.
WHERE: At Reculver, three miles east of Herne Bay (nearest train station is Herne Bay (four miles); WHEN: Any reasonable time in daylight hours; COST:Free; WEBSITE: www.english-heritage.org.uk/visit/places/reculver-towers-and-roman-fort/.
This Week in London – Celts at the British Museum; the Fallen Woman at the Foundling; and Ai Weiwei…
September 24, 2015
• The story of the Celts and their culture is being explored in a new exhibition which opens at the British Museum in Bloomsbury today. Celts: Art and Identity, being run in partnership with National Museums Scotland, is the first British exhibition on the Celts in 40 years. Highlights of the display include a hoard of four gold torcs found at Blair Drummond in Stirling in 2009, Christian artefacts including iron handbells used to call people to prayer, elaborately illustrated Gospels, carved stone crosses and, a gilded bronze processional cross which, dating from 700-800 AD and coming from Tully Lough in Ireland, will be on show for the first time in Britain. Also present will be the Gundestrup cauldron, which dates from 100 BC-1 AD and comes from Denmark (pictured), London artefacts such as the Waterloo helmet and Battersea shield, and works created more recently which reflect on an often mythical Celtic past such as George Henry and Edward Atkinson Homel’s 1890 painting The Druids: Bringing in the Mistletoe. Runs until 31st January in the Sainsbury Exhibition Gallery (Room 30). Admission charge applies. For more, see www.britishmuseum.org. PICTURE: © The National Museum of Denmark.
• A new exhibition exploring the myth and reality of the ‘fallen woman’ in Victorian Britain opens at the Foundling Museum in Bloomsbury tomorrow. The Fallen Woman features works by artists including Dante Gabriel Rossetti, Richard Redgrave, George Frederic Watts and George Cruikshank, displayed alongside stereoscopes and depictions of the fallen woman in the era’s popular media. It also looks at the petitions of women applying to the Foundling Hospital, bringing to life the real ‘fallen women’ of the period through a specially-commissioned sound installation by artist and musician Steve Lewinson. The exhibition runs until 3rd January. Admission charge applies. For more, see www.foundlingmuseum.org.uk.
• The London Transport Museum’s Depot in Acton hosts its autumn open days this weekend. The day includes the chance to see the original printing blocks used for the Johnston font – London Transport’s iconic typeface, expert talks on transport vehicles, a chance to see how the moquette – the seat covering on the tube – is made and film screenings from the LTM archive. From 11am to 5pm Saturday and Sunday. Admission charge applies. For more, see www.ltmuseum.co.uk.
• The Worshipful Company of Woolmen will be holding their annual sheep drive across London bridge this Sunday. The event, free to watch, kicks off at 10am and runs until 5pm. For more, see www.woolmen.com.
• On Now: Ai Weiwei. This landmark exhibition at the Royal Academy of Arts in Piccadilly celebrates the work of Honorary Royal Academician and leading Chinese artist Ai Weiwei with significant works from 1993 onwards and new, site specific installations. Among the key exhibits is Straight (2008-12), a body of work related to the Sichuan earthquake of 2008, fabricated from 90 tonnes of bent and twisted rebar which was collected by the artist and straightened by hand. Runs until 13th December. Admission charge applies. For more, see www.royalacademy.org.uk.
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September 22, 2015
Known as ‘The Quadriga’, this bronze monument atop Wellington Arch at Hyde Park Corner depicts Nike, goddess of victory, in a four horse chariot. The work of English sculptor Adrian Jones, the quadriga was part of Decimus Burton’s original early 19th century design but it wasn’t until 1911-1912 that this colossal piece – once the largest bronze monument in Europe – was installed, replacing an equestrian statue of the Duke of Wellington which was moved to Aldershot (a smaller equestrian statue of the Duke now stands nearby). For more on the arch, see www.english-heritage.org.uk/visit/places/wellington-arch/.
September 21, 2015
It’s the riverside location which gives the area its name – Kew is apparently a corrupted form of Cayho, a word first recorded in the early 14th century which is itself made of two words referring to a landing place (the ‘Cay’ part) and a spur of land (the ‘ho’ part). The latter may refer in this case to the large “spur” of land upon which Kew is located, created by a dramatic bend in the Thames. The former may refer to a ford which crossed the river here (explaining the name of Brentford on the other side).
While the area had long been the home of a small hamlet for the local farming and fishing community, more substantial houses began to be developed in Kew in the late 15th and early 16th centuries thanks to the demand for homes for courtiers attending the King Henry VII and his successors at nearby Richmond Palace (the royal connections of the area in fact go back much further to the early Middle Ages).
But it was during the Georgian era, when the Royal Botanic Gardens were founded and Kew Palace, formerly known as the Dutch House, became a royal residence (it is pictured above), that Kew really kicked off (and by the way, Kew Palace is not the only surviving 17th century building in the area – West Hall, once home of painter William Harriot, is also still here).
While King George II and his wife Queen Caroline used Richmond Lodge, now demolished but then located at the south end of what is now the gardens, as their summer residence, they thought Kew Palace would make a good home for their three daughters (their heir, Frederick, Prince of Wales, lived opposite his sisters at the now long-gone White House). Kew Palace, meanwhile, would later be a residence of other members of the Royal Family as well, including King George III during his bouts of madness.
Other buildings of note from the Georgian era in Kew include Queen Charlotte’s Cottage, a thatched property built between 1754 and 1771 and granted to Queen Charlotte by her husband, King George III (like the palace, it now lies within the grounds of Kew Gardens). St Anne’s Church, located on Kew Green, dates from 1714 and hosts the tombs of artists Johann Zoffany and Thomas Gainsborough.
In 1840, the gardens which surrounded the palace were opened to the public as a national botanic garden and the area further developed with the opening of the railway station in 1869, transforming what was formerly a small village into the leafy largely residential suburb which we find there today (although you can still find the village at its heart).
As well as Kew Gardens (and Kew Palace), Kew is today also the home of the National Archives, featuring government records dating back as far as 1086.
September 18, 2015
Spattered with mud, the cloak is made from blue wool and trimmed with a navy collar and facings. Purchased by the museum at auction for £38,000, it will now form part of a collection of other Waterloo and Napoleonic items in the museum’s permanent collection.
The cloak can apparently be traced back to Lady Caroline Lamb, who had an affair with Wellington in the summer of 1815 and is believed to have been given the cloak as a memento. The first documented owner was Grosvenor Charles Bedford who was given the cloak in 1823 by the surgeon and anatomist Anthony Carlisle.
On presenting Bedford with the cloak, Carlisle had commented that it had been given to him by Lady Caroline who had received it from the duke. The cloak has been passed down within Bedford’s family ever since.
The National Army Museum in Chelsea already possesses a portrait of Wellington by Edward Stroehling (1768-1826) which depicts him wearing a similar cloak.
The cloak will go on display when the museum reopens next year. For more on the museum in the meantime, see www.nam.ac.uk.
PICTURE: Courtesy National Army Museum.
This Week in London – Cosmonauts at the Science Museum; space on show at the Royal Observatory; Simon Schama’s portrait picks; and, celebrating iconic road signs…
September 17, 2015
• The greatest collection of Soviet spacecraft and artefacts ever exhibited outside of Russia can be seen at the Science Museum from tomorrow. Cosmonauts: Birth of the Space Age tells the story of Russia’s involvement in the ‘space age’ from the late 19th century through to life onboard Mir and the International Space Station. Exhibits cover the 1957 launch of Sputnik – the world’s first artificial satellite, the sending of the first human into space – Yuri Gagarin, in 1961, as well as the first women – Valentina Tereshkova – in 1963. Star objects include rocket pioneer Konstantin Tsiolkovsky’s 1933 drawings depicting spaceflight, an original model of Sputnik from 1957, and Vostok-6, the capsule that carried Tereshkova, as well as some of the many technologies developed for use on board the Salyut and Mir space stations and the ISS. The exhibition, a collaboration between the Science Museum, the State Museum Exhibition Centre ROSIZO and the Federal Space Agency Roscosmos, runs at the South Kensington museum until 13th March. Admission charge applies. For more, see www.sciencemuseum.ac.uk. PICTURE: Visitors study the Vostok 6 descent module, which safely returned Valentina Tereshkova from space. © Science Museum
• Still talking of space and an exhibition of images of space goes on show at the Royal Observatory Greenwich from tomorrow. The Insight Astronomy Photographer of the Year 2015 awards, now in its seventh year, received more than 2,700 entries from amateurs and professionals who live in more than 60 countries across the globe. The winners, which will be announced today at a special ceremony at the Royal Observatory, were selected from short-listed pictures which include a meteor flying through space above Mt Ranier in the US, the night sky mirrored on the world’s largest salt flat of Salar de Uyuni in Bolivia, and images capturing a range of phenomena from across the universe – from the hyper giant star, Eta Carinae, to the supernova remnant known as the Jellyfish Nebula. The exhibition is free. For more, see www.rmg.co.uk.
• Historian Simon Schama has joined with the National Portrait Gallery in creating five new temporary displays featuring portraits arranged by theme rather than year. Simon Schama’s The Face of Britain, which coincides with the launch of a five part TV series and book, will feature a range of portraits taken from the gallery’s collection around the themes of power, love, fame, people and self-portraits. It juxtaposes portraits of the likes of former PM Sir Winston Churchill and Margaret Thatcher with Queen Elizabeth I; and those of explorer Francis Drake and Thomas Carlyle alongside Amy Winehouse. The displays are integrated into a free trail with eight to 12 works in each of the five rooms. A full programme of events accompanies the displays which will be in the gallery, just off Trafalgar Square, until 4th January. Admission is free. For more, see www.npg.org.uk.
• The London Design Festival kicks off on Saturday and as part of the event, the Design Museum is marking the 50th anniversary of Calvert and Kinneir British road signage with a free exhibition. MADE NORTH has commissioned a number of leading designers and artists to create their own interpretations of Margaret Calvert and Jock Kinneir’s circle, triangle and square signs including Sir Peter Blake, Sir Terence Conran, Sir Keith Grange, Betty Jackson, Julian Opie and Richard Rogers. A display of more than 40 of the new signs – along with a number of Calvert and Kinneir originals and a one-off version of the Road Works sign specially created by Calvert – are on show at a free installation in the Design Museum’s Tank and Riverside Hall until 25th October. More of the newly designed anniversary signs can be seen at locations across the city and at www.britishdesignproject.co.uk. For more on the London Design Museum, see www.designmuseum.org, and for the full programme of the London Design Festival, which runs until 27th September, check out www.londondesignfestival.com.
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September 16, 2015
The park – which took its name from its popularity with postal workers who came here to escape their job at the nearby former General Post Office (read a Lost London article on the GPO here) – opened in 1880.
It was originally located on the site of the former churchyard of St Botolph’s-without-Aldersgate and was subsequently expanded to incorporate the adjacent churchyard of St Leonard, Foster Lane, and the burial ground of Christ Church, Greyfriars (also known as Christ Church, Newgate Street). Some of the headstones still stand along the park’s boundaries.
Its key feature is the G.F. Watts Memorial To Heroic Self Sacrifice (pictured, right). Victorian artist and philanthropist George Frederic Watts proposed the memorial commemorating “heroic men and women” who had given their lives to save others to mark Queen Victoria’s Jubilee in 1887 but the memorial which now stands there wasn’t built until 1900.
The memorial consists of a loggia, the inside of which is lined with glazed tablets. Each of these commemorates acts of bravery by “everyday heroes” as they attempted to rescue people from fires, runaway trains, sinking ships and drowning. There were 13 plaques at the time of his death in 1904 and his wife Mary added a further 34.
The latest of the memorials commemorating 62 individuals was added in 2009 (for more details, head to our earlier post here, part of our Curious London Memorials series; you can also find more about the memorial, including a free app, here).
The park also features a sundial and fountain amid bright flower beds and various species of trees including a large banana tree, a dove tree and Tasmanian tree ferns.
Claims to fame include its role in the 2004 film Closer, which starred Natalie Portman, Julia Roberts, Jude Law and Clive Owen (we won’t go into details, just in case you haven’t seen it!).
WHERE: Postman’s Park, between King Edward Street and St Martin’s le Grand (nearest tube stations are St Paul’s and Barbican); WHEN: The park, managed by the Corporation of London, is open 7am to 8pm or dusk (whichever is earlier); COST: Entry is free; WEBSITE: www.cityoflondon.gov.uk/things-to-do/green-spaces/city-gardens/visitor-information/Pages/Postman’s-Park.aspx.
September 15, 2015
Standing at St Martin’s Cross – the intersection of Cranbourn and Great Newport Streets, the memorial – which also marks 60 years and 25,000 performances of her record breaking long-running London play The Mousetrap – is the work of sculptor Ben Twiston-Davies.
It takes the form of a 2.4 metre high book with a bust of Christie in profile and features a series of motifs from Christie’s works as well as a ‘bookshelf’ of her best sellers in English and other languages, the titles of which were selected in a competition involving fans.
Christie, who was born on 15th September, 1890, in Torquay, Devon, and died on 12th January, 1976, is famous for the scores of detective novels she wrote – featuring the likes of detectives Miss Marple and London’s own Hercule Poirot – which have gone on to sell more than two billion copies around the world.
The memorial was unveiled on 18th November, 2012, by Christie’s grandson, Matthew Pritchard, along with Sir Stephen Waley-Cohen, chairman of Mousetrap Productions, and the Lord Mayor of Westminster, Cr Angela Harvey.
PICTURE: Diagram Lajard
September 14, 2015
This year marks the 500th anniversary of the building of Hampton Court Palace in Greater London’s south-west. We speak to Sheila Dunsmore, a State Apartment warder at Hampton Court Palace (pictured above in centre on the left)…
1. It’s Hampton Court Palace’s 500th anniversary – who first built the palace and why? “In 1514, Thomas Wolsey came to survey the land at Hampton Court. He wanted to find a suitable place to build a sumptuous country retreat away from the dirt of London, but close enough to the capital to travel back for meetings. It was also to be a place to entertain the important company his position as Archbishop of York provided, of which none were more important than young King Henry VIII.”
2. Where are the oldest parts of the palace today? “The oldest part of the palace is the Tudor kitchens, more specifically the area were the great fire is. This was once part of Sir Giles Daubeney’s original kitchen, and dates back to the manor already on the site when it was acquired by Wolsey. Sir Giles Daubeney was Lord Chamberlain to Henry VII, and acquired an 80 year lease on the property from the Knights Hospitallers of St John of Jerusalem, the then owners. The bell in the tower above the astronomical clock is also said to have come from the Knights Hospitallers’ original manor house.”
3. Hampton Court’s 500 years of history spans a number of definable eras – from Tudor to the 21st century. Which is your favourite and why? “My favourite era is the 1660s when Charles II came back to England to take up his rightful place as king. Although visitors do not really associate Charles with the palace, he did spend time here, most famously his honeymoon!”
4. With this in mind what is your favourite part of the palace? “I love the west front façade – it just looks so imposing and mysterious. Whether you are driving or walking past it it’s guaranteed to draw you in under its spell!”
5. Do you have a favourite anecdote from the palace’s history? “I love the story of Horace Beauchamp Seymour, a dashing military hero who had fought at the Battle of Waterloo. He came to live at the palace in 1827 and, as a handsome eligible widower, he caused quite a sensation amongst the ladies, especially when he joined the Sunday services at the Chapel Royal. It was not long before a series of fainting episodes began, with the strategically placed young lady fainting into the arms of the dashing Horace, who then proceeded to carry the lady out and stay with her until she regained her composure. After a third successive Sunday of fainting’s, the epidemic was brought to a swift halt by the aunt of Mr Seymour, herself also a palace resident. The feisty old lady pinned a sign to the chapel door warning any lady feeling faint that forthcoming Sunday that Bransome the dustbin man would be carrying her out. Needless to say the fainting ceased!”
6. A complex of buildings dating back as far as 500 years obviously requires considerable upkeep. What are the greatest challenges with regard to maintaining the palace? “I think the biggest challenge would have to be generating the money to keep restoring and conserving this historic palace. To do this we have to keep making sure that people want to visit, from international tour groups to local families who might visit again and again. To do this teams right across the palace work to create exciting exhibitions, immersive events and guided tours to ensure we’re offering people a memorable experience.”
7. Are there any areas of the palace which remain unseen by the public? And any plans to open further areas up? “The palace contains over 1,000 rooms, and visitors get to discover about a quarter of these during their visit. Some years ago we held a Servants, Soldiers and Suffragettes exhibition in a suite of rooms on the top floor of Fountain Court (previously unseen). It was incredibly popular so I’d imagine that in the future we’d look for other such opportunities to share other areas of the palace with our visitors. For anyone that can’t wait that long, on one night of the year (Halloween no less), our adults-only ghost tour offers the chance to peek behind the scenes and explore some areas of the palace off the beaten track!”
8. Are there any ‘secrets’ about the palace you can reveal to us? “A palace as old and as large as Hampton Court holds its fair share of secrets…When the fire took hold in 1986 it was devastating, but in a strange twist of fate some good came from it as well. As restoration of the damaged interiors took place little secrets were revealed to us; behind wood panelling in King William’s damaged rooms hand prints were found in the plaster from the palace’s builders, and sketches were found from the architects with designs for the rooms, all worked directly onto the bare walls. Most exciting of all, however, was the object found downstairs. During work to return King William’s private dining room (which had lost its original look over the years and been used as a function room for the grace and favour residents) to its former glory, a gun was found behind some wooden panelling. The gun dated from the late 1800s, and had a regimental dinner menu was wrapped around it. This is so intriguing – what was the story behind this gun? Who did it belong to? Why did they hide the weapon?”
9. If someone has just one day to visit the palace, what’s your ideal itinerary? “This is a tricky one, and depends very much on the individual…and the weather! I would say on a sunny day start by enjoying a historic welcome with our costumed interpreters, which really helps to set the scene. If it’s a bit chilly pick up a cloak to wear – you can choose between dressing as a Tudor or Georgian courtier. Heading inside, I’d start in the Tudor State Apartments to discover the rich opulence of Henry VIII’s Hampton Court, then visit the recently opened Cumberland Art Gallery, which contains masterpieces by Rembrandt, Canaletto and Van Dyck. Next I’d take in the baroque splendour of the Queen’s State Apartments, then explore the maze, East Front Garden and Privy Garden (weather permitting!). After a spot of lunch I’d suggest visiting the Mantegna Gallery, then the Young Henry exhibition which explores the life of the young Henry VIII, before finishing the day in King William III’s apartments.”
10. Finally, Historic Royal Palaces has already commemorated the 500th anniversary in numerous ways – from a spectacular fireworks display to a jousting tournament. Are there any more events coming up? “The beginning of September saw our costumed interpreters back with their own inimitable brand of entertainment, while at the end of September we’re hosting a sleepover inside the palace! As the evenings draw in, our popular ghost tours return for the winter season. Even further ahead we’ve got a series of carol evenings and even an ice rink for our visitors to enjoy!”
WHERE: Hampton Court Palace, East Molesey, Surrey (nearest station is Hampton Court from Waterloo); WHEN: 10am to 6pm until 24th October after which it’s open to 4.30pm); COST: Adult £19.30, Concession £16, Child under 16 £9.70 (under fives free), family tickets, garden only tickets and online booking discounts available; WEBSITE:www.hrp.org.uk/HamptonCourtPalace/.
September 11, 2015
The Great Conduit (the word conduit refers to column fountains fitted with ‘cocks’ or taps for dispensing the water) gave access to water piped using gravity four kilometres from the Tyburn into the City largely via lead pipes.
It was constructed by the City Corporation from the mid-13th century after King Henry III approved the project in 1237. It was rectangular-shaped timber building with an elevated lead tank inside from which the water was drawn.
It took the name ‘Great’ after further conduits were built further west in Cheapside in the 1390s. There were at least 15 conduits or standards scattered about the City by the time of the Great Fire in 1666.
It was rebuilt several times over its life, notably in the reign of King Henry VI, but after being severely damaged in the fire was deemed irreparable and orders were given for it to be taken down in 1669 (many houses by then had alternate water supplies, notably from the New River project). From the 1360s, management of the conduit was the responsibility of four wardens, maintaining the pipes and charging professional water carriers and tradesmen who required water by allowing free
The Cheapside Conduit was a notable landmark – some executions and other punishments were carried out here, speeches were made from here and the conduit building itself was used as a place for posting information. And to celebrate special occasions it was made to flow with wine – this took place in 1432 when King Henry VI marched through London after being crowned King of France, at the coronation of Queen Margaret in 1445 and at the wedding procession of King Henry VIII’s queen Anne Boleyn in 1533.
The substructure of the Great Conduit was rediscovered at the end of the 19th century and again in the 1990s. A plaque marking the location of the Great Conduit at the eastern end of Cheapside was unveiled in late 1994 by Thames Water and the Worshipful Company of Water Conservators. There’s also a memorial set into the pavement over the substructure.
This Week in London – Palaces mark Queen Elizabeth II’s long reign; Richmond Park’s open day; celebrating a famous London redhead; and, London shops features in new work…
September 10, 2015
• A special photographic display has opened at Buckingham Palace this week to commemorate the fact that Queen Elizabeth II has this week become Britain’s longest-reigning monarch. The outdoor photographic display Long To Reign Over Us features a selection of photographs spanning the period from 1952 to today including informal family moments, official portraits and visits of the Queen to places across the UK and Commonwealth. Highlights include a black and white portrait by Dorothy Wilding from the start of the Queen’s reign in 1952, Cecil Beaton’s official Coronation Day portrait from 1953 and a 2006 image of the Queen with her Highland Ponies. The displays, which are also being shown as Windsor Castle and the Palace of Holyroodhouse in Edinburgh, can be seen by visitors to Buckingham Palace’s summer opening until 27th September. Admission charge applies. For more, see www.royalcollection.org.uk. PICTURE: Dorothy Wilding. Royal Collection Trust/© William Hustler and Georgina Hustler/National Portrait Gallery, London
• Still celebrating the Queen becoming Britain’s longest reigning monarch, and a new film installation celebrating the reigns of Queen Elizabeth II and Queen Victoria – whose reign she has now surpassed – has opened at Kensington Palace. The film installation explores key moments in the reigns of both – coronations, weddings, births as well as other key moments in their public lives – and also examines the impact of new technologies in the reigns of both queens. For more, see www.hrp.org.uk/kensingtonpalace.
• Richmond Park in London’s south-west is holding its annual open day this Sunday with a range of activities for kids including pony rides, the opportunity to see inside a bug hotel with a fibro-optic camera and the chance make pills in a restored Victorian pharmacy. The Holly Lodge Centre, normally reserved for schools and learning groups, will open its doors to the general public will be at the centre of the day, offering a range of activities for children while there will also be a guided walk led by the Friends of Richmond Park, vintage car displays, and a World War I re-enactment. The day runs from 11am to 4pm. Entrance to the Royal Park is free but parking is £5. For more, see www.royalparks.org.uk.
• This Saturday is Redhead Day UK 2015 and to mark the occasion, the Guildhall Art Gallery in the City of London is inviting visitors to celebrate by taking a selfie with Dante Gabriel Rossetti’s iconic redhead La Ghirlandata. Painted by Rossetti in 1873, the artwork, said to be one of the finest pre-Raphaelite works in the world, is on permanent display at the gallery. The painting features on the cover of Jacky Colliss Harvey’s new book Red: A Natural History of the Redhead, three copies of which will be given away in a special draw at the gallery. Entry is free. For more, see www.cityoflondon.gov.uk/things-to-do/visit-the-city/attractions/guildhall-galleries/Pages/guildhall-art-gallery.aspx.
• A six metre high ceramic installation created for the V&A by artist Barnaby Barford has gone on display in the museum’s Medieval & Renaissance Galleries in South Kensington. The Tower of Babel is composed of 3,000 small bone china buildings, each of which depicts a real London shop. Bamford photographed more than 6,000 shopfronts in the process of making the work, cycling more than 1,000 miles as he visited every postcode in London. The work can be seen until 1st November. Admission is free. See www.vam.ac.uk.
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