The former courthouse in Soho hosted some high profile trials featuring John Lennon, Oscar Wilde, Christine Keeler and Mick Jagger.
Great Marlborough Street in Soho features an amalgamation of architecture styles. From the mock Tudor timbers of Liberty to the dazzling Art Deco detailing of Palladium House, there’s quite an array of designs. One imposing building is the Courthouse Hotel – its name giving a clear reference to the building’s former life.
Originally without the ‘Great’, Marlborough Street was built in the early 18th century, the road being named to commemorate John Churchill, 1st Duke of Marlborough (1650-1722), following his 1704 victory at the Battle of Blenheim. The site of courthouse was originally three houses (19-21), where various affluent families lived over the decades. In 1793, No.21 became one of seven police offices across the capital, established by Middlesex Justices Act of 1792 following the success of the Bow Street court and its ‘runners’ – the precursor of the Metropolitan police. Each location was staffed by three magistrates and up to six officers. Crime had risen steadily in the capital as its population boomed, so the offices could house suspects following arrest and host criminal trials. Other offices were opened in Clerkenwell, Shadwell, Shoreditch, Southwark, Whitechapel, St James and St Margaret Westminster. The police office was expanded to incorporate the rear grounds of No.20 in 1856, although tenants continued to live in the building until 1892.
Police courts were utilised for a wide range of ‘criminal’ activities, including assault, theft, animal cruelty, desertion, solicitation, gambling, matrimonial disputes, small debts, drunk and disorderly conduct, and ‘loitering with intent’. More serious cases to be heard in front of a jury would be heard in the Old Bailey or a Crown Court, although sometimes the preliminary hearings would take place in the magistrates’ courts.
During the 19th century, many famous names passed through the doors of Marlborough Street Magistrates’ Court – on both sides of the law. In 1835, a young Charles Dickens (1812-1870) used to cover cases while reporting for the Morning Chronicle. A decade later, Charles-Louis Napoléon Bonaparte (1808-1873), the future Napoleon III, was a witness in a fraud case while exiled in London. The beginning of Oscar Wilde‘s (1854-1900) case against John Douglas, 9th Marquess of Queensberry (1844-1900) for libel began at the courthouse in 1895, before moving to the Old Bailey. The author and poet launched a private prosecution of Douglas (father of his then-lover Lord Alfred Douglas) after the Scottish nobleman described him as a “sodomite” on a calling card. The case was dropped, but Wilde was famously charged and convicted of gross indecency soon after and sentenced to two years in prison.
An Edwardian makeover
As the 20th century dawned, it was time for the court to be updated. Architect John Dixon Butler (1861–1920) was responsible as the Metropolitan Police’s architect and surveyor. Butler, who succeeded his architect father John Butler in the role, began his tenure with Richard Norman Shaw (1831-1912), assisting on the building of New Scotland Yard. During his career, he designed over 200 courts and police stations, including Charing Cross, Wapping, Hackney, Highbury Vale, Hampstead, Muswell Hill, and Tottenham.
Butler’s new design for Marlborough Street Magistrates’ Court was a three-storey building made of Portland stone in a restrained free Classical style. Details such as Ionic pilasters, arched windows, and a grand central pedestal topped by the Royal Arms all lend to the building’s imposing style as a location for law and order. Butler’s new design did manage to incorporate some of the original Georgian building, including three late 18th century chimney pieces, two of which are white marble and still exist today. The courthouse was built by Messrs. Patman and Fotheringham and was completed in 1913. Read the rest of this entry
Demon Barbers and Scottish newspapers at 186 Fleet Street – the real story behind the office building.
Fleet Street is synonymous with Britain’s journalism industry, with most of the country’s newspapers having offices or headquarters in the area in the first half of the 20th century. While most of the papers have moved on to less central areas, such as Canary Wharf, Southwark and Kensington, there still lies some signs of their EC4 past in the heart of the City.
Standing at 186 Fleet Street is an old remainder of Fleet Street‘s tabloid heyday. No.186, along with 184 and 185 belong to DC Thomson – a Scottish publishing house and TV company. The Thomson family originally started out in shipping before branching out in publishing by buying the Dundee Courier and The Daily Argus in 1886. David Coupar Thomson (1861-1954) established DC Thomson in 1905 as the family’s publishing assets expanded.
Although DC Thomson were headquartered in Scotland, they established a London base to cover relevant stories. Prior to the current building, the site featured the street’s last early 17th century timber-framed buildings before they were demolished.
Throughout the 19th century, there was a four-storey Georgian terrace at No.186 beside St-Dunstan-in-the-West church, with various booksellers and publishers, such as Edward Williams; Henry Wood; and Bell & Daldy; based in the building. (See a London Metropolitan Archives photo of the building in 1883). The People’s Journal and People’s Friend were definitely operating out of the building by the 1890s. In 1913, permission was granted “for alterations to 186 Fleet Street to safeguard the external walls of St Dunstan’s Church”. The church’s vestry backed on to the exterior of No.186. Looking at the records, it suggests architects Meakin, Archer and Stoneham made significant alterations to the original Georgian structure, adding a pediment and finials, and changing the façade. The architecture practice had an office in Nicholas Lane near Monument and also designed the Strand Cinema Theatre in 1910 (it closed in 1953 and although the façade remains at No.428 Strand, the auditorium has been demolished). The practice changed in 1916 with Edgar Percy Archer and Frederic Martyn Stoneham remaining in partnership together after Meakin left.
Today, the façade of the building features glazed red bricks with stone dressings. Five of DC Thomson’s titles were written across the building in mosaic bands as a form of advertising. Four of the five titles are still in publication, with The People’s Journal having folded in 1986 after a 128 year history. The remaining publications are Dundee Courier (founded 1801); Dundee Evening Telegraph (founded 1877); Sunday Post (founded 1914); and People’s Friend (founded 1869). Two further storeys have been added as a mansard roof in more recent decades.
In 2014, DC Thomson extensively renovated their London and Dundee offices. However, just two years later, DC Thomson took the decision to close their editorial office, which meant the last journalists to work on Fleet Street were leaving. DC Thomson continues to own the building, with advertising staff remaining on site.
As well being the home to the last Fleet Street journalists, 186 Fleet Street is also where fictional murderer Sweeney Todd’s infamous barber shop was located. The Victorian villain was known to dispatch his victims into the cellar from his barber’s chair and slit their throats with his razor. His sidekick Mrs Lovett then baked their remains in meat pies.
- 186 Fleet Street, City of London, EC4A 2HS. Nearest station: Chancery Lane.
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The only London building by acclaimed Dutch architect Hendrik Petrus Berlage.
Down a side street in the City of London lies an unusual piece of architecture. Located on Bury Street in the shadow of the Gherkin is Holland House. Today, most of the City’s architectural landmarks tend to be 17th century (St Paul’s and other churches) or late 20th century/early 21st century (Barbican, Lloyd’s Building, Heron Tower, Walkie Talkie). However, Holland House is notable for kicking off a new era of modern design in the Square Mile, decades before it was dominated by skyscrapers.
In the early 20th century, shipping was big business for both transportation of goods and people. A host of big companies had offices in London, including Cunard, the White Star Line and Wm. H. Müller & Co. The latter was a Dutch company which specialised in shipping and trading, particularly transporting ore mined in Spain and North Africa. Wm. H. Müller & Co, which was founded by German-born Wilhelm Müller in 1876, already had offices in The Hague and Rotterdam and were keen to set up a London base. In April 1913, the company’s co-owner Helene Kröller-Müller (1869-1939) bought a site on Bury Street in the City. Bury Street dates back to at least the 16th century and is believed to have been named after the Abbot of Bury, who owned nearby Bevis Marks. The firm purchased land facing the north-west and south-east sides of Bury Street (which bends around to the left), but could not buy the whole block as the owners of No.33-34 on the south-west corner refused to sell up. As a result, Holland House has two entrances on both sides of Bury Street.
The Müllers commissioned prominent Dutch architect Hendrik Petrus Berlage (1856-1934) to design an office block for their London base. Berlage is known as the ‘father of Modern architecture’ in his native Holland and is responsible for the Beurs van Berlage (Amsterdam Commodities Exchange) and the Swissôtel Amsterdam. By the time construction started in 1914, World War I had begun, however building wasn’t affected as the Netherlands were neutral. When designing Holland House, it is believed Berlage took inspiration from the works of pioneering American architect Louis Sullivan (1856-1924), following a trip to the US in 1911.
Following completion in 1916, Holland House was aesthetically very different to the buildings surrounding it. Said to be the first steel framed building in Europe, it features a black marble plinth base with green-grey glazed terracotta bricks rising up and projecting outwards. The bricks were made in Delft and shipped to London on Müller vessels. When Berlage designed Holland House, Bury Street was very narrow, with the old Baltic Exchange (partially destroyed in a fatal 1992 IRA bombing) standing a few metres across the road, instead of the current open courtyard at the base of the Gherkin. Due to the projecting tiled columns, you wouldn’t have been able to see the windows as you approached the building walking down Bury Street, giving an illusion of privacy. On the south-east corner of the building is a granite relief of a steaming ship by Dutch artist Joseph Mendes da Costa (1863–1939), who was a favourite of Helene Kröller-Müller. Ahead of its time, in the centre of the building was a large air well, rising up from the ground to the sixth floor. Former chairman of the Arts Council of Great Britain, Peter Palumbo has claimed this may have been the first atrium in Britain. Read the rest of this entry
The history of an Edwardian shopping arcade.
Decades before the likes of Westfield and Brent Cross came to London, those who wanted to shop in comfort headed to one of the capital’s arcades. Like the mega malls of today, these arcades featured numerous shops under one roof, providing a sheltered retail experience whatever the weather. However, as well laid out as these modern fashion meccas are, they just can’t compare to the historic and upmarket designs of the late Georgian, Victorian and Edwardian periods. As part of Metro Girl’s series on the five historic arcades of Mayfair and St James, Part 4 will be focusing on the Edwardian of the quintet – the Piccadilly Arcade.
At the dawn of the 20th century, the St James area was a hangout for the capital’s gentry and royals with a host of gentlemen’s shops and businesses catering for the upper classes. St James’s Palace was in the area, as well as prestigious members’ clubs, such as The Athenaeum and The Carlton Club. Swiss hotelier César Ritz (1850-1918) had opened his ground-breaking Ritz Hotel on Piccadilly in 1906. Following the death of Queen Victoria (1819-1901) and the ascension of King Edward VII (1841-1910), the country was changing, with styles of fashion and architecture evolving into less gloomy and simpler designs.
When it came to London’s shopping arcades, by the early 20th century, it had been a while since any new ones had been built. The Royal Opera and Burlington Arcades were over eight decades old at this point, while the Lowther Arcade was demolished in 1904 after standing on The Strand for over 70 years. In 1909, work started on a new shopping mecca – the Piccadilly Arcade. The Edwardian arcade linked Piccadilly and Jermyn Street – famous as London’s retail destination for well-dressed gentlemen. Architect George Thrale Jell of Waterloo Place was brought in to design it. Throughout his career, Jell was a popular architect for retailers, having designed several stores in Oxford Street, including the Hanan-Gingell shoe shop in 1908 (now home to branches of Fossil watches and Sunglasses Hut), flats in Bury Street and converted the Georgian building, 138 Park Lane into offices and flats in the late 1920s.
The arcade was constructed by builders Messrs. Leslie and Co. of Kensington Square in 1910. The ground-floor arcade featured 28 shops, while the remaining upper floors were used as offices and chambers. The façade of the building is made of Portland stone and features four columns supporting a architrave with the words ‘Piccadilly Arcade’. Above, a wide wrought iron balcony spans the five windows of the 2nd floor, with further storeys of windows and smaller balconies above. The fifth floor features another wide balcony, while dormer windows stand out on the 6th floor slated roof. The upper storeys were converted into the Felix Hotel in 1915, but is now called Empire House and is mostly offices.
Among the first businesses to open in the arcade were the shirtmakers Budd, who are still trading today over a century later. Harold Budd established his shirt shop at No.4 in 1910, which was set over three floors. Meanwhile, tailors Hawes & Curtis, founded by Ralph Hawes and George Frederick Curtis, opened their first store at No.24 in February 1913. Over one hundred years later, they now have over 20 stores in the UK.
The Piccadilly Arcade traded in peace for 20 years before World War II brought death and destruction to the streets of London. At 3.10am on 17 April 1941, the Jermyn Street end of the building was severely damaged by a 2,200lb parachute bomb. Twenty three people were killed, including the 1930s singer Al Bowlly (1898-1941), who lived on the corner of Jermyn Street. The Dunhill store on the corner of Jermyn Street took a direct hit, while Fortnum & Mason and the Cavendish Hotel were also damaged. Budd’s shop at No.4 in the arcade was burnt down so Harold Budd swiftly purchased the remaining leases on the only two intact stores in the arcade; 1A and 3, where Budd remains trading today. The Piccadilly Arcade was gradually restored, with work finishing in 1957.
Today, the Piccadilly Arcade is home to tailors, shirtmakers, shoe shops, jewellers, hairdressers, womenswear, pharmacy and mustard and vinegar makers. Meanwhile, those who enter or exit through the Arcade’s south entrance of Jermyn Street will be greeted by Irena Sedlecká’s sculpture of Beau Brummell (1778-1840), a Regency dandy who was famous for his dress sense.
- Piccadilly Arcade, Piccadilly or Jermyn Street, St. James’s, SW1Y 6NH. Nearest station: Green Park or Piccadilly Circus. For more information, visit the Piccadilly Arcade website.
‘Shopping In Style’ is a series of blog posts on the history of London’s oldest shopping arcades. Read Part 1 on the Burlington Arcade here, Part 2 on the Royal Opera Arcade here, Part 3 on the Royal Arcade here, Part 5 on the Prince Arcade, click here or Part 6 on the Lowther Arcade here.
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West End stars, a notorious public loo and Dr Crippen | The story behind Clarkson’s wig shop in Chinatown
A Chinese restaurant on Wardour Street has a very interesting past, full of scandal and mystery.
Chinatown is one of London’s most popular areas for tourists and diners. While today it may feel like it’s been there forever, the capital’s Chinatown used to be located in Limehouse and only started moving into the West End in the 1970s. Looking at the streets of Wardour and Gerrard Street, your eyes are drawn to the Chinese decorations and lights. However, if you look closer, you’ll see many of these Chinese restaurants and bars are situated in ornate Victorian, Georgian and Edwardian buildings.
One such building which stands out from the rest due to its elaborate façade is 41-43 Wardour Street – currently home to The Wong Kei restaurant. However, looking up at the four-storey building, an ornate clock and various plaques give clues to its original use.
While some buildings, such as No.9 Wardour Street dated back to the 18th century, this one is rather more modern. No. 41-43 is a little over a century old, built to a design by architect H. M. Wakeley in 1904-5. Made from red brick and green stone, it features three levels of wide windows in a mix of Baroque and Art Nouveau. The smaller, central window on the 1st floor features two cartouches with ‘Estb. 1833’ and ‘Rebt. 1904’ inscribed on them. On the centre of the second floor is a clock projected outwards on wrought iron, reading ‘costumier’ and ‘Perruquier’ (French for costumer and wigmaker respectively).
The building was designed as the new premises for theatrical costume designer and wigmaker William Berry ‘Willy’ Clarkson (1861 – 12 October 1934). The top floor contained a flat for Clarkson to live in and stay close to the action of the West End. His father, also called William (d.1878), started the family business in 1833 after he was apprenticed to a court wig-maker. William Snr established his own business in Vinegar Yard, Drury Lane. He later moved to 45 Wellington Street off The Strand – near the Royal Opera House and Theatre Royal Drury Lane where wigs would have been in high demand. Willy took over the family business after his father’s death and was still living and working at Wellington Street in the 1891 census.
When Willy moved to his new premises on Wardour Street, he obviously had friends in high places due to his West End clients. French stage and early film actress Sarah Bernhardt (1844-1923) laid the foundation stone aside the front door, while Victorian actor Sir Henry Irving (1838-1905) is on the coping stone in 1905. Clarkson also apparently had a long friendship with screen legend Charlie Chaplin, who was said to pay a visit to Clarkson every time he returned to London. His new location was just moments from Shaftesbury Avenue so was easily accessible to the nearby theatres. An advertisement in 1906 describes Clarkson’s as ‘Theatrical Costumier and Wig Maker to His Majesty The King’. The ad boasted customers would find ‘cheapest – the best – the most reliable – the oldest established house in the world for wigs, costumes, grease paints, powders’. Apparently fluent in French as well as English due to being educated in Paris, Clarkson’s had won the ‘highest possible award at the Paris Exhibition 1900’ and was known as ‘The King of Wigs’. In 1898 – while still at Wellington Street – Clarkson ended up in court after he had some of his female employees working on a Sunday – which was illegal at the time. He was ordered to pay court costs of £3, 9s, 6d. At the height of his success in the 1920s, he bought the Duchess Theatre in Catherine Street but soon sold it on after issues with the law of Ancient Lights.
As well as stage stars, the police and criminals also came to Clarkson’s for disguises. It is even claimed murderer Dr Crippen (1862-1910) and his mistress were arrested while wearing Clarkson wigs. In James Morton’s 2012 book Gangland Soho, he describes Willy as being a known blackmailer and insurance fraudster with 11 of his premises having burnt down. In September 1931, there was a fire at Carson’s shop, for which he recovered £26,174 from insurance, with another fire at his premises at Ramilies Place two years later, for which he retrieved £39,000. He also owned some rooms opposite an infamous public lavatory in Dansey Place, which was nicknamed ‘Carson’s Cottage’ during the interwar years. It was notorious as a gay pick-up joint and for attracting blackmailers, who would extort money from the cottagers to keep silent. Carson’s Cottage was even mentioned in a 1913 court case for soliciting. The toilets were closed after World War II.
Carson died in October 1934 at the age of 74, prompting speculation he had been murdered. The Daily Mirror reported he had died of a stroke in the early hours of 13 October. Twenty-four hours before his death, he collapsed and suffered a deep gash to his forehead, prompting speculation about the cause of death. The post-mortem was inconclusive. His funeral took place at the ‘actors’ church’ of St Paul’s in Covent Garden, following by his burial in Brookwood Cemetery in Woking, Surrey. His associate, solicitor’s clerk William C Hobbs forged his will, leaving money to some people the late wigmaker hadn’t even met. However, Hobbs’ forgery was exposed by the lawyer William Charles Crocker and he was arrested four years later. Clarkson’s shop subsequently closed in 1940.
So Clarkson’s business is now long gone with only the plaques and signage a reminder of his establishment. In 1966, a London County Council blue plaque was unveiled to commemorate him. When Chinatown began to spring up in the area in the early 1970s, the Lee Ho Fook Chinese restaurant took over the building. In the 1980s, it became the Wong Kei Chinese Restaurant, which was previously known as ‘the rudest restaurant in London’. However its been under new management since 2014 and is said to be significantly more friendlier now.
- 41 – 43 Wardour Street, Chinatown, W1D 6PY. Nearest station: Piccadilly Circus or Leicester Square.
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