Wednesday 30 October 2024

William Armitage. An Artist born in Deptford at 10 Union Street now Albury Street.

 

An unlucky and forgotten Utah painter's life is a lesson on caring for local art. 

The Bigger Picture

COVER PHOTO COURTESY OF SPRINGVILLE MUSEUM OF ART
  • Cover photo courtesy of Springville Museum of Art

Some people just can't catch a break. And for some unlucky few, misfortune trails them even after they have shuffled off from their mortal coil.

Take William Joseph Armitage, for example. An academically trained artist from London, he relocated to Salt Lake City in 1881, but demand for his skill was limited. By 1885, Armitage tried his luck in San Francisco, alternately living in town on meager means with his son Arthur or at a cottage adjacent to the old Cliff House resort on Lands End. Wishing to finish a painting he was working on at the resort in 1890 before his planned return to Utah, Armitage was "attacked with a coughing and choking," the San Francisco Chronicle reported on Nov. 15, "lasting several minutes and resulting in death."

And still this man, even as he was subsequently remembered by the Deseret News as "an amiable and talented gentleman," had yet to find full respect in this world—right to his grave.

Following his funeral service at the old Fifteenth Ward building in Salt Lake City, the mourners escorted Armitage's hearse down South Temple for burial, only to be met by a steamroller moving in the opposite direction, its engineer neither stopping or slowing down before the procession.

"The horses that drew Grant Bros.' costly hearse were the first to take fright and plunged over the terrace that divides the thoroughfare," reported the Salt Lake Times on Nov. 20. "The coffin that had been placed within the glassy confines with such marked solemnity was tossed around from one side to another, wreaths were relentlessly torn and crushed and it is the sole matter of congratulation that the dead was not hurled to the ground."

“The Resurrected Christ Instructing Nephites,” is one of only three known surviving works by early Utah artist William Armitage. - PETER HILL
  • Peter Hill
  • “The Resurrected Christ Instructing Nephites,” is one of only three known surviving works by early Utah artist William Armitage.

Finally stopping the steamroller before anyone was injured, the anonymous engineer apparently incensed the crowd further by responding to the close call with "a toothly, heartless smile."

Such disrespect seemed to be a recurring theme in William Armitage's life, only to be compounded further in subsequent generations by the mishandling of his work and the occasional natural disaster—for if fire didn't erase his creations, the dumpster would.

"At the time of his death in that California city in November of 1890," remarked art historian Robert S. Olpin in a 1988 lecture at the University of Utah, "any precise knowledge of the Armitage life and works seems to have disappeared with the artist's own passing, and this early Utah painter is today a very shadowy figure whose works have largely been lost."

After carefully combing through every available printed and living resource, City Weekly is pleased to dispel even a few of those shadows by providing some long-overdue attention to a unique talent. Who knows? Maybe some surviving examples of his work will be rediscovered somewhere in the world as a consequence.

That would be a start, anyway.

Probationary Period
William Armitage was born Feb. 16, 1820, in the Deptford area of southeast London to Thomas Armitage and Mary Wier. Little is known of his familial background, or the circumstances of his artistic beginnings, but his name appears in the student admittance sheet of the Royal Academy of Art School for Dec. 7, 1836, as a teenage entrant.

While art was a well-established profession in Victorian England, there were numerous avenues the aspiring artist could pursue if one wished to become a professional, from courses at local studios and tutelage in workshops to private instruction at home. The most important and exacting of them all, however, was the Royal Academy (RA)—one of the few formal art teaching schools in London at that time.

Open to anyone, free of tuition and without age limits, competition to get into the Academy was indeed tough.

"To be considered for admittance, potential students had to submit a drawing or series of drawings of a classical Greek sculpture," RA Librarian Adam Waterton explained via email. "If the Keeper (director) of the Schools and the Academicians felt that the drawing showed potential, the student was admitted as a Probationer."

Waterton explained that after achieving probationary status, a prospective student would then spend another three months drawing from casts of classical sculptures held in the RA schools.

"If their drawings were considered good enough after three months they were admitted as full students," he said. "The period of study in the 1830s was around six years."

untitled-1.png

    Armitage exhibited his painting "Queen Esther" at the RA's summer exhibition of 1840, reappearing within available public record in 1849 when he exhibited "Jesus Wept" before the British Institution, a private art society. Showcasing another work there in 1852 entitled "Christ Mocked," the Art Journal nevertheless sniffed its disapproval: "The work is deficient in force, character, and minor indispensable qualities."

    After marrying Rosa Bleeze (1828-1911) in the early 1850s, it is unclear precisely when Armitage converted to Mormonism, although his wife's baptismal records date to the summer of 1852. They ultimately had eight children together and moved around London frequently.

    Listed in the 1861 census as a "teacher of drawing," Armitage almost assuredly took up pupils either in a formal school setting or as a private instructor on top of his exhibitions and sales. Primarily a painter of religious and mythological subjects (with a smattering of portraiture and nature studies), he still had a difficult time of finding an appreciative audience.

    The Illustrated London News, for instance, panned Armitage's enormous 1863 painting on the Apocalypse of St. John by comparing him unfavorably with the artists John Martin, Francis Danby and Edward Armitage (no relation).

    "It is sad to see so much labour with a result so inadequate," the reviewer pronounced. "The picture may obtain more popularity in the provinces than it can possibly win in the metropolis."

    With his eldest daughter Annie the first of the family to depart for America in 1872 (with help from the Latter-day Saint Perpetual Emigration Fund), the others appeared to be engaged with their church unit in London's Wandsworth area, with Armitage operating as a church elder and for a time as his branch's Sunday School teacher.

    By May 2 of 1881, however, William and Rosa, along with two of their sons, were among the list of passengers sailing from Liverpool aboard the S.S. Wyoming.

    Leaving London's population of almost 4 million, the Armitages were off to give Salt Lake City's "province" of 21,000 a try instead.

    Local Color
    Beginning with William Major and William Ward in the 1850s, Utah's fine art scene developed in the following decades with great difficulty, despite the patronage of both The Church of Jesus Christ of Latter-day Saints and the Salt Lake Theatre.

    The respective arrivals of artists like C.C.A. Christensen (1831-1912), Dan Weggeland (1827-1918), Alfred Lambourne (1850-1926) and George Ottinger (1833-1917) were influential, but still there remained inadequate exhibition space around town and insufficient funds from locals to fully support the profession. Consequently, none of these men could paint full-time, all being obliged to work in additional trades and take on odd jobs.

    This was a frequent concern across the pages of Ottinger's personal journal, remarking in one passage that Utahns "as a general thing like pictures and admire them but they have no money to spend for them," with the exception of the rich—who did not generally show up. Well-connected in Salt Lake City and involved with earlier efforts to establish fine arts in Utah, Ottinger was inclined to lend a hand to others of his profession.

    "Mr. William Armitage, an artist and drawing master from London, has come to reside in our city as a teacher of drawing—he may manage to make a living," Ottinger confided to his journal in May of 1881. "I am afraid the future will be a hard experience for him, not harder than he has had in London if all be true that I have heard. I have interested myself in his behalf as much as possible, introducing him to the manager of the University and urging him and the board of Regents to organize drawing classes in their institution, as well as finding a few pupils in a private way for him."

    By the end of that month, Armitage was receiving students in oil, drawing and watercolor instruction through Charles R. Savage's Art Bazaar. By the fall, he was simultaneously teaching classes at the University of Deseret and at Rowland Hall as well as preparing what would be an award-winning set of works for the biggest artistic venue of the year—the Territorial Fair.

    untitled-2.png

      Praising Armitage's entry, entitled "He Shall Wipe away all Tears," in the Salt Lake Herald-Republican, the reviewer "Xenophanes" remarked that "In [the depicted woman's] face the artist had thrown his soul; he had not painted, but created it: leaving it full of feeling, almost flesh and blood." His portraits of John Thaxter White (1858-1933) and the father of a local Studebaker Wagon agent received similarly high marks from both patrons and the awarding committee.

      Armitage thus entered upon his best-documented period, being among the founding members of the short-lived Utah Art Association and painting well-received works for individuals and institutions alike. Under the sponsorship of the Art Association, an historic exhibition was carried out at the McKenzie Reform Club Hall on First South in the winter of 1881, showcasing local artistic talent as well as rare treasures from Salt Lake collectors.

      To the delight of the Salt Lake Daily Herald on Dec. 23, the showcase was "much finer than was in any way anticipated," becoming more popular as it went on until its close on Jan. 21, 1882.

      "It is important to note that this exhibition was the first freestanding exhibition of Utah artists in the brief history of the territory," wrote Vern Swanson, Robert Olpin and William Seifrit for the book Utah Painting and Sculpture (1997), "that is, the first exhibit organized, designed, installed, and managed by the artists themselves, utterly independent of the [territorial] fair, retail businesses, or any other organization or activity."

      But due to a prolonged and nearly fatal illness, Armitage could not savor the success of the exhibition, and his artist friends raffled off some of his paintings to support him. Exhibiting work at various venues around town—most notably in whiskey wholesaler George Meears' storefront window space called "The Easel"—Armitage was one of many artists seeking opportunities to bring their work to the public's attention.

      The Armitage style, as Olpin explained in 1988, "was essentially a late neoclassical approach to figures and composition more in tune with the 18th century work of the Anglo-American Benjamin West than that of contemporary Victorian English practitioners." He favored an "eclectic" approach to pose and composition, often employing the theatrical "Grand Manner" of heroic action and/or suffering.

      From what can be judged by his surviving output, Armitage was less a naturalist and more academic in his approach, in keeping with his Royal Academy training.

      Surviving Works
      Obtaining the plumb commission of painting interior pictures with Dan Weggeland for the Logan Temple in 1883, Armitage departed for the northern Utah city and turned a room within the historic Cache County Courthouse (199 N. Main St, Logan) into his temporary studio.

      "Logan is a charming spot," he later told the Salt Lake Herald-Republican on Oct. 3, 1884, "it reminds me more of the quiet old English villages than any place I have been in. If there were a little more money in circulation, I know of no city where I should prefer to live."

      At the Logan Temple, he provided two large paintings of Jesus Christ (both lost to a 1917 fire), and from his makeshift studio, he produced two of the three Armitage paintings whose whereabouts are still known today.

      One came at the instruction of LDS Church President John Taylor, reproducing the historical event of "Joseph Smith Preaching to the Indians," while the other is a depiction of a scene from The Book of Mormon entitled "The Resurrected Christ Instructing Nephites." Both later found their separate ways into the interior decorating scheme of the Salt Lake Temple—which may be the sole reason both have survived.

      Following these high-profile jobs, Armitage took three of his works to the 1885 Industrial Exhibition of the Mechanics' Institute in San Francisco and received a diploma for his efforts. He showcased another work there the following year and appeared to live primarily in San Francisco until his death (with the exception of a reappearance to Salt Lake City directories in 1888 when he returned to the Armitage home on Third North and First West).

      Arriving too late to be fully included among Utah's artistic pioneers and too early to be grouped with its second generation, Armitage was nevertheless remembered as skilled by those who knew him. While his time in Utah only spanned a handful of years, he made enough of an impact that artist Minerva Teichert (1888-1976), in a 1968 interview with a Brigham Young University student, could assert that Armitage was "a grand old man who knew more about art than all the rest of them."

      So why do so few of his works survive today?

      "It happens," Vern Swanson told City Weekly in a recent interview. Swanson, an art historian and the former director of the Springville Museum of Art, points to the French artist Charles Bargue (1825-1883) as a typical example of a non-prolific artist whose work is known by only a limited number of pieces.

      Was Armitage's output limited? It's hard to say. We have, after all, only been able to catalog roughly 35 separate works of his from available sources. Then again, plenty of his paintings likely passed along unmentioned by the press and outside of auction houses. Fires have also played their part, as with the losses of Savage's Art Bazaar in Utah and the Cliff House in California.

      But carelessness is likely the biggest contributor.

      Holding On
      Upon hearing that Armitage's 1869 work "Abraham Instructing Isaac" came up for auction twice in 2008, Swanson sprang into action and purchased it himself, subsequently donating it to the Springville Museum's permanent collection. "I was very, very fortunate," he said.

      Swanson knows how precious such works can be, having received many reports over the last 50 years of his career involving paintings in public schools and buildings that have been thrown into dumpsters and furnaces rather than being preserved. Swanson wonders just how many works of art—particularly by Utah's early, more archaic painters—have been lost over the years as a result.

      One such memory that lingers with him involved a picture archive undertaken by the old Salt Lake City Library to document visual art from across the state. With the move to a new building in 2003, Swanson recalled, the library staff had no room for the sizable picture archive. But before anything could be digitized, the entire collection was summarily thrown away.

      "It hurt Utah's art history considerably," Swanson said of the loss. Consequently, he remains wary about how Utah handles and appreciates its creative works. "I don't trust everybody with art," Swanson concluded.

      And even if accumulated hazards and heedlessness have conspired with the steady erasure of time to blot out much of what we can know and appreciate about artists like William Armitage, perhaps Utahns can benefit from the cautionary tale of his life—just not in the ways one might think.

      William Armitage, after all, spent a lifetime doing what he loved, creating beauty in his own manner—and that by most standards would be measured as success. The real tragedy is how such works are treated after they leave the artists' hands. And there are countless artists of varying shapes, sizes and mediums today who could benefit from our re-learning this lesson.

      Before it's too late.

      My thanks to the authour. Wes Long who kindly gave his permission to post his 

      written history of William Armitage

      Link to his article

      https://www.cityweekly.net/utah/an-unlucky-and-forgotten-utah-painters-life-is-a-lesson-on-caring-for-local-art/Content?oid=22068441

      Thursday 20 June 2024

      William Joseph Armitage

       Greetings!

      My name is Wes Long and I am a writer with the Salt Lake City Weekly. I happened upon your website and thought you might have some insight or suggestions on what I could do to locate information on a residence in old Deptford.

      I am researching an article on an artist named William Joseph Armitage (1820-1890), who at the age of 15/16 was admitted to the Royal Academy of Arts as a student in Dec. 1836 (see attached image). On the Royal Academy's admittance sheet, I saw Mr. Armitage's name beside the residence of "10 Union St" in what appears to be Deptford. Having discovered that Union Street was later renamed as Albury Street, I was curious to know if you had noticed any information on 10 Albury Street [may not be current numbering anymore] or if there were resources you'd recommend that I utilize.

      From what little that I have been able to find thus far, Mr. Armitage went on to teach art somewhere in London and showcase his work while raising a family. They later relocated to Salt Lake City, Utah in 1881.

      I would appreciate any guidance or advice your website might have to give.

      With regard,

      Wes Long
      Salt Lake City Weekly

      Monday 2 October 2023

      Help for Tony

       


      Hi,


      I read this morning, with great interest, your Old Deptford History, very good, so much information. My reason for looking on your site was because I am starting a novel which begins in Deptford High Street in the summer of 1914.

      Why I am sure you ask am I starting my novel there. My mother and her family, of two sisters and four brothers, were born there, although I'm not sure if they were all born there certainly some of them where. 1921 was the year my mother was born there and many years before she passed in 1999 I took her back there. I still have relatives, a sister and now a son that lives in London so I have been a regular visitor over all of my life, indeed I worked there myself for several years.

      On my visit back, and in previous family recollections, I learnt about Carrington House, the 'Doss house' it was called, and I learnt about the area and a specific part which I want to check my memory on. My mother said their two up two down terrace was in Speedwell Street.  I remember her taking me along the high street, through a passageway to an area behind the high street that was the terrace that they lived in. My grandparents only rented the top two rooms, there was a second family on the ground floor. I clearly remember being told by my mothers two older brothers that conditions where so cramped that they went next door to sleep.

      The other memory I have, as I said if it is true, is that these terraces where opposite a high wall that had behind it an abattoir. I can , I am sure, remember my mother talking about hearing the cattle and the noise and smell. As the family grew they moved to a property in New Cross which was eventually bombed and a final move for the family to Woolwich road in Charlton. 

      Could you, or your many subscribers, confirm if my memory is correct before I commit this to paper.

      Kindest regards,

      Tony 




      Last 4 houses left standing in Speedwell Street. 

      Photo curtesy of Tony.
      His facebook page is here

      https://www.facebook.com/thestateoflondon/photos?tab=album&album_id=127196217837206




      Memories all the way from Australia

       G'day from sunny Queensland.


      I have just discovered your articles about old Deptford in SE London - fascinating.   I was actually searching for a 'doss house' there called Carrington House - now an unlikely upmarket  apartment building I understand - my interest being piqued by a recent TV programme..  

      In the early '60s I was Public Health Inspector with Deptford Borough Council - as was - and was required to make occasional late-night inspections of Carrington House.   It was pretty eerie, walking - accompanied by a staff member, I recall - through dormitories with their serried ranks of beds each occupied by a sleeping male, but the odd thing was that it was pretty quiet and clean, and there were no nasty odours, as one may have expected.  

      I also remember some of the nearby places and shops mentioned by other correspondents, such as the Noble's/ Nobels toy shop - bliss for youngsters - and a nearby cinema..

      Prior to this time my family had moved into the brand-new Deloraine House council flats in Tanners Hill, and I went to the nearby primary school, Lucas St Primary.   After 12-plus exams I then went on to St Olave's Grammar School in nearby Rotherhithe (strangely, the sadistic Headmaster there was one Dr RC Carrington)..    

      In time the family moved to the slightly greener pastures of Eltham, but I returned to Deptford in my early 20s to work as a PHI for the Council.  This job took me all over Deptford and New Cross - on foot of course - so I saw much of the place in those days.   It was very, very much lower working class, still with slums or near-slums commonplace, and not much of Merry England or 'homes fit for heroes' about it.   

      Thank you for your very interesting Deptford posts, which I shall explore more closely now that I have found it.

      Best regards..

      Lawrence Watson  

      Brisbane, Australia

      Whitcher Street.



       Hi there,


      I came across your blog whilst looking for information on Whitcher Street, which appears to have existed between the late 1940s to 1970 or thereabouts.

      My father, Albert Eric Whitcher (8/7/1927-28/7/2023, native of Epsom, Surrey) had learned in the early 70s that the street was being redeveloped, and purchased the street sign from the council.

      It was on display in my childhood home in Battle, East Sussex, and later my father's home in Bury, Lancashire, to which he retired (that's another story of it's own).  I also live in Bury.

      I attach a few photographs.  You can see me, aged perhaps 4 or 5, standing next to the sign in the little photo.

      My Father was cremated and his ashes interred at the family grave in Epsom on 22/9/23, and there was a family memorial meal.  One of the relatives present was my cousin, the son of Dad's youngest sister.  He and his Mum are Australian - they emigrated there some 55-60 years ago.

      We had a family photo taken at Dad's memorial meal with the Whitcher St sign, and my cousin asked that if I was going to sell it, please could he have it for his Mum as a birthday gift.  I agreed, and today he's sent me a picture of his Mum and their family at her birthday, with the street sign.

      We're curious to know anything we can about Whitcher St.  I did several searches and found that it had had prefabs after WW2, now demolished, and that it appears on an Ordnance Survey TQ map (1947-1964) held at the National Library of Scotland.

      Geographically, it sat above Knoyle St, running between Sanford St and towards Woodpecker St, following the railway line.  Nowadays, the only allusion is to Whitcher Place, 0.2m further down on the end of Chubworthy St, and not actually located on the original Whitcher St at all.  The NLS website has a transparency feature overlaying the OS TQ map with a modern satellite view.

      We would be very interested in anything you or your readers can tell us about how the street was named, built or designated.

      Thank you very much, and my Lord Jesus bless you and yours,












      Friday 30 June 2023

      A Bedmaker ... Carrington House.

      I have just discovered your Old Deptford web site. I see a lot of comments from 2012, but I hope you are still involved and interested. I have been researching a friend's family history, and found hergrandmother living in Douglas Street Deptford in the 1921 census.She was aged 46, wife and mother, but it was unusual that she had a occupation, which was apparently shared by about 100 other people in the area. She was a "bedmaker" employed by the LCC at Carrington House, Brookmill Road, Deptford. From the information on the web site about this "doss house" it doesn't sound a very congenial job!

      Anyway I hope this tidbit was of some interest to you.

      Yours, Dave Jacobs

      Friday 17 March 2023

      Emperor of the United States



      Hi All

      My name is John Lumea. I live in Boston and am the founder of a nonprofit, THE EMPEROR NORTON TRUST, that since 2013 has been working on a variety of fronts — research, education, advocacy — to advance the legacy of a San Francisco eccentric and sometime visionary that declared himself "Emperor of the United States" in 1859 and went on to become a folk hero and patron saint of his adopted city.


      He was born Joshua Abraham Norton in Deptford — the best evidence points to a birth date of 4 February 1818. Joshua was born to Jewish parents — John Norton and Sarah Norden — and, it appears that he was circumcised in Deptford on 13 February 1818. 

      I recognize this is a long shot. But, I wonder if you or anyone else associated with the Old Deptford History project know anything about where in Deptford Joshua and his family lived? A street? An address? Was there a known "Jewish district" in Deptford at this time?

      Joshua's family remained in Deptford for only another two years. They were among the "1820 Settlers" who emigrated to South Africa that year as part of a well-documented British colonization scheme. They boarded the ship Belle Alliance in Deptford in late December 1819. After being delayed by ice on the Thames for more than a month, the ship finally was able to sail on 12 February 1820.


      Many thanks for any light you can shed on the Nortons' place of residence in Deptford.
        

      John Lumea
      Founder
      THE EMPEROR NORTON TRUST


      Friday 14 October 2022

      Deptford Memories by Jeff Manning

       My name is Jeff Manning, and I was born and bred in Deptford (1950-1970) and I would like to share my memories of Deptford with other deptfordites. 

      Deptford had 2 excellent pie and mash shops I remember my brother and me eating in Goddards 

      when it was in Evelyn Street but we also enjoyed pie and mash in Manzes 


      (Pie and mash was one shilling and 4d for a Pepsi to wash it down.)  Does anyone remember the toy shop on Lamerton Street? 

      See below a list of shops I remember:

      Edwards the Bakers baked delicious Jam doughnuts they were only a penny each.




      Fantos (Does anybody know when Fantos first came to Deptford?)


      Mayne’s, Swans Bookstall (Deptford Market Yard), Woolworths

      Johnson’s Bakers, Bridges Fish and Chip shop Douglas Way

      Perry’s sweet shop Douglas Street, Pecry's

      Rossi ice cream shop (Deptford high street and New Cross Road)

      Marks and Spencer, Ovenells (Winkle Stall), Lillie’s (Shere Road)


      Shopping in Deptford High Street on a Saturday with my mum in the fifties used to take a long time before supermarkets you had to queue up at all the different shops, but it was always busy and vibrant in Deptford then, the crowds so big sometimes you had to walk in the road.

       Deptford High Street Signs

      10  Trickett Co Ltd 1889 160 -162 Rebuilt 1846

      45 Red Lion & Wheatsheaf

      77  Caxton House? (Ladies School in the 1820s)

      91 Deptford High Street Built in 1898

      Corner of Hamilton Street and Deptford High street 2 small street signs (Hamilton street and Hamilton Place)

      thanks all

      Jeff

       

       

      Wednesday 7 September 2022

      13 Deptford High Street.

       Hello

      Thank you for creating the old deptford history website I have enjoyed reading the articles and looking at the old photos,it brought back so many wonderful memories.

      I was born and bred in Deptford and have always had an interest in the history of Deptford. I was always curious about the building at number 13 Deptford High Street with its  pillars at the front , 3 steps and the iron railings, it seemed out of place with the rest of the buildings near it.
      Could you please let me know if you any information about this building?

      Cheers
      Jeff
      Jeff Manning

      Hi Jeff

      The London  Street directory shows Lipton Ltd  occupying  the property.


      London Street Listings in 1940.

      Deptford High street 
      West side
      1 Maison Alvarez, ladies tailor
      4,7 & 9 Burton Montague Ltd, tailors
      11 Sandford Bros, fruiterers
      13 Lipton Ltd, provision dealers
      13A Wellbeloved William Hy, butcher



      It's obvious Liptons where in the area.

      Sunday 28 August 2022

      Help for Warren McIver tracing family History.

      Hi All

      The story I have is less a story about Deptford and more about a family mystery that led me to Deptford. I live in Auckland New Zealand. My son and his family live in Walthamstow in London and we visit as often as we can to help out with their young family. I have always had the unusual feeling when we visit that I belong here. I hold the name McIver because that was my father’s adopted name. He was adopted by his grandmother and her 3rd husband. His family emigrated to NZ from Northern Ireland in the 1880s. His grandmother’s family was of Shetland Island and Swedish origin, both families emigrating to NZ in the 1870s. My mother’s family is of Scottish heritage, Macerlichs, and MacDonalds. They emigrated to NZ in the 1920s My Dad was born illegitimately and he never knew who his birth father was. He was born in 1920 and died in 1990. 

      About 15 years ago I started to research his upbringing only to find that the documentary record of who his birth father has never existed and family history ( if it ever existed ) had been lost as those family generations departed. About 3 years ago I decided to use DNA as my research tool.  Aided by some experts in this field and some serendipity, including Johnson descendants in England that knew of their grandfather’s lost half-brother who came to NZ but knew some snippets of information, I positively identified John Johnson of Deptford as my ‘lost’ grandfather.

      My recent visit to Watergate St was the first chance I have had to visit since the  Covid travel restrictions. I was very happy to read your Old Deptford website and will use that to continue my research and to communicate my findings within our family.

      So, a story not directly related to the history of Deptford, but some of your readers may know of the Johnson family of lightermen of Deptford.

      Regards and thanks

      Warren McIver


      Thursday 30 December 2021

      Princess of Wales Pub

       


      Hello,

       Hoping the Deptford history community might be able to help me out with something...

       My partner recently bought a ground floor flat in the former Princess of Wales pub (88 Grove Street), which was converted into flats in 2006 and I'm keen to hear from anyone who might have photos of the interior of this building when it was still a pub and if not photos, then any kind of description of how it looked inside (the layout, etc), or even any anecdotes or memories of time spent in there.

      Sadly, when the building was converted, all original features and any kind of character were removed from the ground floor and basement (the upper floors still have some original fireplaces, ceiling roses, etc). We're about to embark on stripping out and redesigning the flat he's bought and as a history-obsessed designer, I want to make sure we're being sympathetic to the building's history. All memories of this place would be welcomed!

       

      Thanks

       

      Hannah







      Thursday 25 November 2021

      Patrick 'Patsy' Houlihan, Deptford born and bred.

       Hi everyone,


      I'm a sports writer and historian and currently researching a book about the life of Patrick 'Patsy' Houlihan, Deptford born and bred and the greatest snooker hustler of all time as well as former amateur national snooker champion and later a snooker professional too.

      I would love to hear from anyone who knew Patsy or has any information or memories about him.

      A synopsis of my book is below...

      Many thanks
      Luke G. Williams
      Email lgw007@yahoo.com


      Patsy with Jimmy White



      The Natural: The Story of Patsy Houlihan, the Greatest Snooker Player You Never Saw is the compelling story of a man who potted balls fast and potted them hard.


      South Londoner Patsy Houlihan was one of the top amateurs of the 50s and 60s as well as the greatest hustler of all time. He should have been a major player on the world stage, but the professional game was a closed shop and the likes of Patsy weren’t welcome.

       

      However, in the smoke-filled snooker halls of the backstreets of working-class Britain, populated by tough men seeking to make a quick buck from the game they loved, Patsy was a folk hero and an inspiration to a generation of players, including his close friend Jimmy White. 

       

      A snooker pioneer and a master entertainer, this is the story of the greatest snooker player who never made it to the big time, but whose exploits, adventures, and skills guaranteed him immortality in the minds and imaginations of those lucky enough to have seen him play.

       

      The Natural brings to vivid life the story of great forgotten talent.