This gallery contains 5 photos.
The historic Covent Garden Market building has been lit up in neon until 10 October 2021.
The hugely-popular Art of Banksy exhibition has been extended until Spring 2022. The world’s largest collection of privately-owned Banksy pieces will continue to be displayed in London after previous stints in world cities, such as Melbourne, Tel Aviv, Toronto and Chicago.
The exhibition has been on show in Covent Garden since May 2021, giving Londoners and visitors to the capital the opportunity to check out over 90 authentic, original pieces by the elusive street artist. Among the artwork from private collections include prints, screen prints, canvasses and limited-edition pieces created between 1997-2008.
Street art aficionados will recognise iconic creations such as ‘Girl with a Balloon’, ‘Rude Copper’ and ‘Brace Yourself’. There is also an installation of six video screens broadcasting a series of interviews with Banksy’s former printer, giving an exclusive insight to working with the famous street artist.
Alongside the exhibition will be private tours by Blue Badge tour guides and school workshops.
This gallery contains 5 photos.
The historic Covent Garden Market building has been lit up in neon until 10 October 2021.
In between Covent Garden and Leicester Square, is one of London’s most interesting alleyways. Known today as a cut-through for busy Londoners or a destination for ‘Muggles’ in search of Harry Potter, Goodwin’s Court could be easily missed. The alley is about 280ft long, two metres wide and is accessed from St Martin’s Lane and Bedfordbury.
Goodwin’s Court was built in the old parish of St Martin-in-the-Fields. Following the dissolution of the Monasteries, King Edward VI (1537-1553) gave seven acres of land in the area to John Russell, 1st Earl of Bedford (1485–1555), in 1552. Subsequent earls started widespread building in the area, Covent Garden being one of their most famous creations. During the 17th century, lots of courts and alleys began to pop up on the fringes of the Bedford estate. One of these was Fishers Alley, which was in existence by 1660, at some point evolving into Goodwin’s Court.
The existing houses on the south side of Goodwin’s Court were built in 1690, although feature late 18th century shopfronts. One of the rumoured early residents of the Court was actress and royal mistress Nell Gwyn (1650-1687), who was linked to Covent Garden and the Parish – along with many other London spots – during her short life. However, we’ll likely never know for certain if she was a Goodwin’s resident.
Walking down Goodwin’s Court is like stepping back in time. Ignoring the more modern creations on the north side of the alley, your eye is drawn to the Georgian terraces of No.s 1-8. The two-storey, brick buildings feature shiny, black front doors with brass knockers and knobs. The wooden bowed shopfronts were added in the late 18th century and certainly give the Court a real Dickensian vibe. You can easily imagine the shopkeepers of the time displaying their wares in a bid to attract the eye. One tenant of Goodwin’s Court in 1792 was button warehouseman James Ruel at No.1. Dotted along the façades are three mid-19th century gas lamps, which are restored and still working today. No.1 Goodwin’s Court still has its original window, front door and some fairly old looking steps.
Unsurprisingly, it was not the most prestigious address, with directories and censuses of the 19th century giving an insight to the tough lives for those who lived at Goodwin’s Court. Records show piece brokers (who traded in shreds of cloth) doing business at 2, 3, 4 and 7 from at least the 1820s until the 1850s. One broker and tailor, Robert Burrows was trading from No.3 in 1819-1821. A few decades later, the 1881 census showed a lot of people were crammed into the small terraces, with many different families sharing a house. Among the professions of the residents included tailors, a coach body maker (likely working at one of the coachmakers on nearby Long Acre), waiters, clockmakers, an oysterman, a printer and an upholsterer. Victorian author and journalist George Augustus Sala (1828-1895) described the alleys off Bedfordbury as “reeking courts”. Amazingly, Goodwin’s Court managed to survive destruction when the Metropolitan Board of Works demolished the east side of Bedfordbury during a slum clearance plan in 1890. Read the rest of this entry
Due to widespread slum clearance and redevelopment over the centuries, there aren’t many Georgian shop buildings left in the West End. However, two such shops have managed to survive for over 200 years, despite previously standing in one of the most notorious slums in central London.
Bedfordbury is a short road of only about 500ft, linking New Row to Chandos Place. The name Bedfordbury comes from the Earls of Bedford, who acquired the seven acres of land in the 16th century. As Edward Russell, 3rd Earl of Bedford (1572-1627), focused his energies on developing the centre of estate, the fringes became a magnet for haphazard building. A series of small alleys linking Bedfordbury to St Martin’s Lane, including May’s Buildings, Hop Gardens, Turner’s Court, Goodwin’s Court, and Brydges Place, started to pop up. By 1700, the Earls and Dukes of Bedford had practically lost control over the buildings. The lack of landlord control meant the buildings’ standards were far from adequate and the area started to disintegrate into slums, with large groups of families being squashed into upper storeys above the shop levels. In 1887, the steward of the 9th Duke of Bedford’s London estates, wrote: “Every grantee became his own freeholder and his plot of land was under his own absolute control, with this result: that Bedfordbury commenced its career by every man doing what was right in his own eyes in the way of building. A number of alleys came into existence, and instead of a single house being put upon a single plot … a man would put two or three or four on it, may be half-a-dozen houses, or cottages, or anything he pleased upon it, and that went on in perpetuity; and from the time those grants were made until a few years ago… Bedfordbury gradually became one of the worst dens in London.”
No. 23 and No. 24 are likely to be the oldest existing buildings today on Bedfordbury. Built in late 18th century, the terraced houses incorporate the entrance to Goodwin’s Court. Both buildings stand tall at three storeys and have dormered mansard roofs. However, No.24 is slightly wider and features two dormers, with the entrance passage to the Court on the left. The current ground floor shop fronts are not original. No.24’s shop dates back to around the first half of the 19th century, while No. 23 has a mid-century bowed shop window to complement the similar styled windows of Goodwin’s Court.
From the late 18th century to the present day, there has been a high turnover of businesses in the shops at No. 23 and 24. In 1791, a man named Barnard Baker sold household upholstery and hardware, followed by chandler and coal dealer Richard Davis in 1798. Next door at No.21 was a pub called the Cock & Bottle, which stood on the site for over 100 years, but has long been demolished. In 1833, a miniature and jewel case maker William Fuller, of No.23, was declared insolvent at the debtors’ court. By 1842, 23 and 24 were the premises for surgeon JN Walters and hairdressers Cowan & Co respectively.
Moving into the 19th century, the turnover of shops and residents continued to be high – no doubt many were keen to move on when finances allowed due to area’s reputation as a slum. Among the businesses at 23 and 24 in the mid 19th century were greengrocer Michael McNallay and hairdresser/perfumier Reuben Clamp. In 1859, Victorian author and journalist George Augustus Sala (1828-1895) wrote of his disgust of Bedfordbury, describing it as a “wretched little haunt”. He elaborated: “A devious, slimy little reptile of a place, whose tumble-down tenements and reeking courts spume forth plumps of animated rags, such as can be equalled in no London thoroughfare save Church Lane, St Giles. I don’t think there are five windows in Bedfordbury with a whole pane of glass in them. Rags and filthy loques are hung from poles, like banners from the outward walls.” In April 1871, No.24 made the newspaper after one of its residents, John Pencott, was hospitalised after being bitten by his girlfriend in the cheek.
A special new winter experience has arrived at Mr Fogg’s Gin Parlour and Tavern. The Winter Light Festival launched on 23 October and runs until 24 November 2019. The neighbouring venues of the Gin Parlour and Tavern have transformed into a Japanese-inspired, illuminated oasis, serving House of Suntory cocktails and tasty fusion cuisine.
Visitors will be brought on a sensory journey to the Far East, with sights, tastes and sounds of Japan. After walking through a red Torii, guests can grab a chair and enjoy the photogenic, pink Japanese blossom surrounding the bar. Alternatively, you can follow the lantern trail upstairs to the Gin Parlour.
The two menus features Japanese-inspired cocktails made with Toki whisky, Haku vodka and Roku gin.
– YAGOSHIMA (£10): Suntory Roku gin, Bergamot Liqueur, Fermented Cucumber Juice, Sichuan Pepper Syrup, Egg White and Cherry Bitters.
– OSAKA: Suntory Haku Vodka, Coffee Bean-infused Alipús San Andrés Mezcal, homemade Jasmin Syrup and Coffee flavoured White Tea.
– KYOTO (£10): Suntory Toki Whisky, Elderflower Cordial, Lemon Juice and topped with Ginger Ale.
– KANPAI (£20 / £38) Punch Cocktail (two to four sharing): Suntory Roku Gin, Green Tea & Hibiscus Liqueur, Lavender Syrup, Pink Grapefruit Juice topped with Fentimans Oriental Yuzu Tonic Water. Read the rest of this entry
The third and final installation for the Artist’s Artist Project has been unveiled in Seven Dials. ‘Count to Four’ by Lee Kay Barry is a thought-provoking piece to support World Mental Day 2019. The London-based artist hopes his work will help raise awareness of the importance of talking about mental health.
The Artist’s Artist Project launched in January 2019 and sees each participating artist nominating another artist for the successive installation. It was kick-started by Iona Rowland and her Agatha Christie piece, who then went on to choose Rene Gonzalez‘s ‘At the Entrance of Seven Obscure Passages’, which was displayed over the summer. Each piece will be auctioned for charity following display.
This latest artwork features four people in a living room with one of the group depicted in the colour blue and clearly looking overwhelmed. The colour blue is often linked to mental health, with people complaining of “feeling blue” or “suffering from the blues”.
For a guide to what else is on in London this December, click here.
A new piece of art is on show in Seven Dials to commemorate the 30th anniversary of the district’s famous sundial pillar. ‘At the Entrance of Seven Obscure Passages’ by Rene Gonzalez is the latest installation for the Seven Dials’ The Artist’s Artist Project and was unveiled in May 2019.
The Artist’s Artist project features the showcased artist nominating another for a new installation. Iona Rowland nominated Gonzalez and two other artists following the display of her Agatha Christie piece earlier this year. A panel of Shaftesbury representatives and Seven Dials stakeholders then select the winning artwork. Following display, the piece will be donated to charity.
Gonzalez’s art not only pays tribute to the sundial, but also the rich history of the area. Politician and project manager Thomas Neale (1641-1699) – who designed the Seven Dials estate – is featured in the image, alongside Queen Beatrix of the Netherlands, who unveiled the reconstruction of the sundial monument for The Seven Dials Trust in 1989.
On show in Seven Dials for a limited time only is a celebration of one of the country’s most successful authors. Artist Iona Rowland has created an artwork marking the 90th anniversary of Agatha Christie’s novel The Seven Dials Mystery. The detective story was one of Christie’s early works and was published in January 1929. Among the characters included Lady Eileen (Bundle) Brent, who also appeared in the author’s 1925 tale The Secret Of Chimneys.
Rowland’s artwork features silk screen prints of a 1926 photograph of Christie. The piece, which was unveiled in January 2019, is on show until spring 2019 on Shorts Gardens – leading to the Seven Dials district of the West End. Once the art comes down, it will be auctioned for charity.
For the latest what’s on guide in London, click here.
With the rising popularity of Veganuary and more people making sustainable lifestyle choices, veganism is becoming more mainstream. With that in mind, Londoners are seeking more options when drinking or dining out. For a short time only, Dirty Martini have a limited-edition vegan cocktail menu. On offer until the end of March, the menu features a choice of five dairy-free, boozy creations, all priced at £9.
I went along to the Covent Garden branch last week to try them out with a friend. Upon entering the subterranean space, we were given a cosy, leather booth in the corner which was perfect for a girlie catch-up over cocktails. Despite being a Tuesday night, the atmosphere had just the right amount of party with a DJ playing a mix of new and classic hits in the background. We dove straight into the new vegan menu, with my eye naturally being drawn to the gin cocktails. I ordered The Pink Garden (Beefeater gin, basil liqueur and beetroot shrub with pomegranate, raspberries and citrus), while my friend opted for the 24 Carrot Gold (Havana 3 year rum, green Chartreuse, carrot, ginger, mango, pineapple and citrus). The Pink Garden was a unique flavour – with the beetroot, pomegranate and basil really coming through strong. Surprisingly, the contrasting sweet and savoury flavours worked really well and it was my favourite concoction of the evening.
Next up, I continued with the mother’s ruin theme with a more traditional-esque cocktail – the Lemon and Ginger Collins – a modern twist on the Collins (Beefeater gin, elderflower, ginger and lime, topped with soda). It was refreshing and light and would make a fabulous drink at a spring or summer party. Meanwhile, my friend wanted a sweet treat with the Smooth Operator (Absolut vodka, Kahlua, vegan cream and vegan chocolate), which she declared was a delectable dream and was drunk very quickly!
Delicious drinks aside, we also ordered food to accompany our drinks – well it was a school night! Having ordered vegan cocktails, it was only right to go for the vegetarian sharing platter. The board included Mac & cheese bites; vegetable dumplings; grilled halloumi, vegetable & pesto kebabs; Korean vegetable samosas and grilled flatbreads with mint yoghurt and hummus. Despite being a carb fest, the food was perfectly cooked and wasn’t oily. I particularly loved the mac and cheese bites and the kebabs, they were a great accompaniment to our cocktails. Overall, we had a fabulous evening. The cocktails were experimentally excellent, while the food, service and ambiance were also brilliant.
For a guide to what’s on in London in March, click here.
For more of Metro Girl’s bar reviews, click here.
Beso London is the newest foodie addition to the West End. Billed as a Moorish restaurant, the menu takes inspiration from Morocco and Spain. The new establishment is headed up by founder chef Khalid Dahbi, who has worked in Michelin-starred Le Meurice and L’Arpège in Paris, Gordon Ramsay at Claridge’s, the Gaucho, and Bibendum Restaurant. Situated on the fringes of Covent Garden at the less hectic end of Shaftesbury Avenue, Beso is a refreshing addition to the area’s culinary offerings, which tend to be dominated by chain restaurants.
The venue offers a choice of outdoor and indoor tables. The night of my visit was hot so the terrace was understandably in high demand, so we decided to dine indoors and were thrilled to be offered the Chef’s Table, aka the Firebar. The space features low-lighting, modern art and subtle mosaic detailing, giving a contemporary Moorish feel. Although primarily a dining destination, there is also seating at the bar if you just fancied a quick drink or pre-food cocktails.
Pulling up comfortable bar stools at the marble Firebar, we had a great view into the kitchen so could see and smell the food being cooked. The beauty of sitting at the Firebar meant Chef Khalid could explain the dishes to us and show us the individual ingredients being added. Reading ingredients on a menu is one thing, but being able to see the quality and quantity of them being added to your food was really enlightening. We kicked things off with a glass of Cava with some nibbles as we decided between going off the menu or opting for ‘the Beso Experience’. My friend and I were up for a culinary adventure so after stipulating our dietary requirements, signed up for the experience, which translates as small plates of Beso’s best dishes using the freshest ingredients that day.
We began with the starter-esque sharing plates, along with a bottle of a Portuguese white, Fernão Pires Verdelho, Ai Galera, – recommended by the chef – which was a refreshing and delicate accompaniment. Our first dish was some Crispy Chickpeas with Cumin and Paprika; and Moroccan Sardines with Basil and Chichurra. I liked the different approach to chickpeas, which can be quite a boring food if not seasoned correctly, while the sardines were absolutely delicious. Thinly sliced and served cold, the sardines tasted so fresh and were well complemented by the Basil and Chichurra. We moved on to another fish dish, Smoked Mackerel Pate with Smoked Nuts with bread. It was incredibly more-ish (or should that be Moorish! – ha). Continuing the fish dominance, we had an old favourite of Calamari with Crème Fraiche, Lemon Zest and Harissa, with Chef Khalid garnishing it in front of us, really bringing the kitchen action to the table. Adding some vegetables into the mix, we had a delicious Aubergine Salad with Mixed Peppers and Spinach. The Duck Pastilla was a big hit with my friend. A Moroccan dish of duck wrapped in pastry, cumin, flaked almonds and cinnamon, which proved an interesting and tasty mix of sweet and savoury. Read the rest of this entry