Walking the City of London

Category: Social History Page 1 of 14

The extraordinary Illustrated Police News.

Last Friday I was watching a fascinating programme about Jack the Ripper, hosted by the historian Lucy Worsley, and noticed that she made occasional reference to this interesting publication.

Those of you who have read my book, Courage, Crime & Charity in the City of London, will know that I used illustrations from this journal in some of my stories. I hope, therefore, that you would like to know more about it …

The Illustrated Police News (1864 – 1938) was a weekly illustrated newspaper that printed accounts of the week’s most sensational crimes, tragedies, and scandals, in addition to regular updates from the police courts. Priced at a penny for the majority of its 74 years of publication, The Illustrated Police News (hereafter known as the IPN) had a large circulation across the country. It was particularly popular in the later decades of the nineteenth century, and according to an advertisers’ handbook, by 1888 the circulation had reached an impressive 300,000, eclipsing the News of the World (100,000) and Pictorial News (95,000). The newspaper continued to be printed up until 1938, long after other newspapers containing similar content ceased publication.

The first edition of the IPN, 20 February 1864 – The Great Murder and Piracy Case …

Despite its commercial success, it received regular criticism and opposition, which was particularly caustic during its early years. Such criticisms regarded the content and style of the IPN’s illustrations, reports, and advertisements as unsuitable for the reading masses and responsible for the degeneration of society. This will become more clear as you look at the examples of content I have included in this blog.

I’m writing this on 5th January 2025. If I were reading the IPN on this day in 1895, for example, what stories would I have been treated to? Well, here are some of them.

As well as high drama, ‘Extraordinary Murder by Women’, ‘Mysterious Death in Long Acre’ and a man who seems to mistake a Trafalgar Square fountain for a swimming pool …

… there is also some factual news. For example, progress on the excavation of the Blackwall Tunnel and some intriguing snippets about the population of America …

Plus some corny jokes and stories (which I rather liked) …

On another page in the same edition …

Apart from the dramatic illustrations, on the same page you can read about Christmas Burglaries, a Fire at the Royal Exchange, Jealousy and Spiritalism and the Most Powerful Ship Afloat. I’d happily tuck in to stories like these over breakfast.

I am indebted to Will Noble, writing in The Londonist, for these further excerpts.

An ice skating tragedy in Regent’s Park …

Around 200 skaters plunged into the icy waters of a lake in Regent’s Park in January 1867, prompting the horrific scene above — and the death of some 40 people. The image is so vivid, you can almost hear the melee. The tragedy prompted new safety measures, which ensured that when another similar accident happened a few years later, everyone survived.

A policeman gets a kicking in a bizarre attack …

Students from Paddington’s Civil Service Training College don’t take kindly to being arrested for throwing snowballs.

A horrific carriage accident at Hackney Marshes …

Before there were car accidents, there were horse and carriage accidents, and a tragic one occurred at Hackney Marshes in August 1867, when a horse pulling a phaeton containing a young family got spooked and tipped them into the Hertford Union Canal (then the Duckett’s Canal). The article reports that one of the young girls drowned, while another was not in a good way. “The carriage was completely destroyed, and the horse so much injured that it had to be killed,” ends the piece. Brutal. 

Suicide at the Crystal Palace …

“He shouted loyally ‘Good bye, chaps.’ He was standing on the rail that surrounds the gallery at the base of the great tank, and was waving his cap. Instantly he threw his cap up into the air, and sprang from the gallery.” Thus 43-year-old workman Thomas Jennings ended his life from high up on the North Water Tower of the Crystal Palace. Suicides were regularly covered in the news (the more shocking the better), and although in today’s tabloids depicting such a thing would be considered beyond the pale, it was par for the course on the front page of the IPN.

The boundaries of taste were most severely tested when to came to reporting the 1888 ‘Jack the Ripper’ murders …

Few women have had the moment of their deaths returned to more often, and with as much relish, as Mary Ann “Polly” Nichols, Annie Chapman, Elizabeth Stride, Catherine Eddowes and Mary Jane Kelly.

In each case their throats were cut, and four of them had their entrails removed. Kelly, the only one of “the canonical five”, as Jack the Ripper’s known victims are called, to die in her bed, was completely mutilated. Forests have been felled in the interests of unmasking the murderer, but until now no one has bothered to discover the identity of his victims. A superb recent book, The Five, is ‘an angry and important work of historical detection, calling time on the misogyny that has fed the Ripper myth’. It’s written by Hallie Rubenhold who Lucy Worsley interviews in her programme – do try and watch it on catch-up. There are further interviews and comments here and a detailed review of the book here.

Only one location of a ‘Ripper’ murder still exists. It is Mitre Square, near Aldgate, where poor Catherine Eddowes was killed on 3oth September 1888 …

You can find more details in my Exploring Aldgate blog.

To be fair to the IPN, it played a part in drawing attention to the terrible poverty, crime and deprivation that was literally only a few hundred yards from the the City of London, the thriving heart of the Empire.

The Punch engraving of The Nemesis of Neglect

On 18 September 1888, in the wake of the murders of Mary Ann Nichols and Annie Chapman, The Times published a letter by philanthropist Lord Sidney Godolphin Osborne (1808–1889) that deplored the great social and economic divide that separated the West End from the East End. To Osborne, the murders were a consequence of the great poverty of the East End, and this poverty in turn a result of the people of the West End living lives of luxury. Inspired by this letter, Alice in Wonderland illustrator John Tenniel (1820–1914) drew “The Nemesis of Neglect” for Punch Magazine. The image, published 29 September, shows a semi-transparent spectre with a gaping maw, bulging eyes and a large knife in its hand. The illustration was accompanied by a poem, the last line of which gave it its name. 

I also feel I should point out that the IPN not only covered stories that featured female victims. Some of the women written about were responsible for truly heroic acts that confounded the female stereotypes of the times.

For example, it reported in great detail the heroism of the brave Alice Ayres …

And the self-sacrifice of Mary Rogers …

You can read more about them in my blog about Postman’s Park and the Watts Memorial.

The IPN ceased publication in 1938 when it transformed into The Sporting Record. Before its transformation, the editorial of the IPN would proudly state:
‘The Police News made its first appearance in 1864 and at once became a rare favourite. It created a sensation with its reports of the week’s most interesting court cases and by being the first newspaper to publish illustrations. Throughout the years the Police News has been in great demand, but…time marches on…now the topic of the day is sport, and then more sport’.

The last edition, 3 March 1938 …

If you would like to immerse yourself more fully in the history of the IPN and its times I strongly recommend Alice Smalley’s brilliant PhD Thesis Representations of Crime, Justice, and Punishment in the Popular
Press: A Study of the Illustrated Police News, 1864-1938
. It was the source for much of today’s blog. You can find it here.

All images from the IPN are © The British Library.

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https://www.instagram.com/london_city_gent

The Imaginary Institution of India – Art 1975-1998 – Barbican Art Gallery – Closes Sunday 5th January.

I ended the old year with a visit to this extraordinary exhibition which I highly recommend although, sadly, there are only a few days left.

It’s described in the introduction material as follows: Featuring artwork by over 30 Indian artists, this major exhibition is bookended by two transformative events in India’s history: Indira Gandhi’s declaration of a state of emergency in 1975 and the Pokhran nuclear tests in 1998. The fraught period between these years was marked by social upheaval, economic collapse, and rapid urbanisation.

Within this turbulence, ordinary life continued, and artists made work that distilled historically significant episodes as well as intimate moments and shared experiences. Across a range of media, the vivid, urgent works on show – about friendship, love, desire, family, religion, violence, caste, community, protest – are deeply personal documents from a period of tremendous change.

This is the first institutional exhibition to cover these definitive years, with many works never before seen in the UK.

You can buy timed tickets and watch a short video here.

I hope my images give you a sense of the experience of a visit. Of the published reviews I like these best : The one in The Guardian newspaper along with the review by Dr Pavan Mano of King’s College London

Here are some of the images I took:

Gieve Patel (1940-2023) Two Men with Hand Cart, 1979

Nilima Sheikh, Shamiana, 1996

Gulamohammed Sheikh (b. 1937) Speechless City, 1975

Photographs by Pablo Bartholomew (b. 1955)

Sudhir Patwardhan (b. 1949) Dhakka and Running Woman, both 1977

Gieve Patel Off Lamington Road, 1982-86

Sunil Gupta (b. 1953) Exiles, 1987

Arpita Singh Seashore,1984

Bronzes by Meera Mukherjee (1923-1998)

Himmat Shah (b. 1933) Untitled

K.P. Krishnakumar Boatman-2, 1988

In the foreground, N.N.Rimzon From the ghats of Yamuna , 1990 and on the wall M.F.Husain (1915-2011) Safdar Hashmi, 1989

Arpita Singh My Mother, 1993

N.N. Rimzon House of Heavens,1995

N.N.Rimzon The Tools, 1993

You can buy timed tickets and watch a short video here.

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‘Money Talks’ at the Ashmolean Museum.

Last Monday I had the pleasure of visiting this super exhibition and I hope you will enjoy my report even though I have travelled once more outside my usual beat of the City.

The exhibition is described as follows: ‘Art and money have much in common. Both influence who and what we think of as valuable. It can be surprising to think of money, so functional in form, starting its life as drawing or sculpture. The current Money Talks exhibition at the Ashmolean explores the place of money in our world through art, highlighting a multitude of global perspectives across time. Works on show range from rare monetary portraits and historic depictions of wealth to contemporary activist Money Art, alongside more unusual examples from some of the best-known artists including Rembrandt and Warhol. Together, they expose the tension between the power of money and the playfulness of art’.

Here are some of my favourite exhibits.

The exhibition entrance, with a dollar sign by Andy Warhol …

There is the fascinating story of the design for the coinage of Edward VIII who chose to abdicate before any came into circulation. I like the ‘warning’ on this box: NOT TO BE OPENED EXCEPT IN THE PRESENCE OF TWO SENIOR OFFICERS OF THE ROYAL MINT …

What it contained …

Edward proved rather difficult because he wanted the coins to incorporate his ‘best’ profile …

‘Cubist’ designs submitted for the reverse of Edward’s coinage. They were rejected, with the Mint Advisory Committe declaring that they ‘could not be taken seriously’ …

They probably had a point.

Her Majesty Queen Elizabeth II …

The slightly disconcerting hologram …

An enormous tapestry ‘Comfort Blanket’ by Sir Grayson Perry is based on the design of a very familiar monetary object – the £10 banknote. In Sir Grayson’s own words, it is ‘a portrait of Britain to wrap yourself up in, a giant banknote; things we love, and love to hate’

The two defining artistic movements of Art Nouveau and Art Deco left their imprint in monetary art, much as architecture, jewellery and furniture. ‘Jugendstil’ or German Art Nouveau in money can be best exemplified through the works of the Viennese ‘Avant Garde’ artists like Gustav Klimt, Franz Matsch and Koloman Moser. This is Moser’s draft artwork for 50-crown note for the Austro-Hungarian Bank …

The Inflation Display – some crazy high value notes …

Artists have always highlighted and reflected on wealth, power and money. But the contrasting way in which money is depicted and treated in Eastern and Western traditions of art is interesting in itself. Perhaps owing to the bad press money gets in the Bible and the Christian world view, money is often depicted in negative ways in Western Art.

Greedy usurers and tax collectors, miserly men, conniving and hoarding women are often the subjects associated with money. The ‘crookedness’ of money is also physiognomic: these subjects are often shown with grotesque features, unkempt appearances and unsavoury expressions.

Two Tax Gathererers, 1540s, Workshop of Marius van Reymerseale, an artist known for his satirical paintings of greed and corruption …

Tax collectors were paid percentages of the revenues they collected and would extort every last penny from taxpayers.

The Miser, 1780s, by Thomas Barker of Bath …

His unwillingness to part with money is underlined by the poor quality of his clothing and a generally unkempt look.

The man with the moneybag and his flatterers, Johnnnes Wierix, around 1620 …

This crude composition based on a Flemish proverb uses toilet humour to allude to the power of wealth. A defecating rich man scatters coins from a sack and ‘ass-kissers’ and ‘brownnosers’ scuttle up his humongous behind.

On the contrary, in the Eastern traditions, money is celebrated as an agent of fulfilment, plenitude and fertility. 

This shift in attitude prompts Eastern artistic engagement with money to be far more positive and fun. It celebrates money’s agency in bringing prosperity, wealth and happiness. Here we see representations of gods and goddesses, symbolisms and happy cultural associations with money …

A seated figure of Kubera, Buddhist god of wealth, Tibet, 18th–19th century.

Lakshmi, Hindu goddess of wealth …

Humour, satire, irony and wit are often deployed as critical tools by artists to playfully poke fun or shine a light on different social and political topics. These include many of the enduring questions and issues facing society, from the pressures of inflation to the intersections between gender, celebrity and status.

James Gillray lampoons a belching and farting prime minister …

Pitt the Younger, depicted as Midas, Transmuting All into Paper, 1797.

Another Gillray. Political Ravishment, or the Old Lady of Threadneedle Street in Danger, 1797 …

Prime Minister Wlliam Pitt, the young man, is shown trying to woo an old lady, the Bank of England, as he slips his hand into her pocket.

Bringing us up to date, a rather careworn looking King Charles III …

The final exhibit, Susan Stockwell’s sculpture ‘Money Dress’ is an excellent example of a ‘feminist’ intervention using money as medium. Shaped like an impressive Victorian gown, it is dedicated to the early 20th-century explorer and anthropologist Mary Kingsley (1862-1900) …

The exhibition is open until 5th January 2025 – highly recommended.

Finally, some images from the streets.

Last Saturday I was feeling a bit grumpy as I went to buy a paper when I met this lovely man pushing his beautiful Christmas dust cart …

We shook hands, wished one another a Happy Christmas, and I didn’t stop smiling for ages!

Obviously many people cycle to Oxford Station to catch the train. How do they get to their bike if it’s in the middle of this lot …

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