Albury Buildings, Boyfield St, Southwark, London SE1

I sketched this block of flats in Southwark, towards the end of an afternoon.

Albury Buildings1, Boyfield Street, Southwark, London SE1 0SD, sketched 24 August 2026 in Sketchbook 17

This block, and the block opposite, Clandon House, were completed in 1897.

Pevsner2describes these buildings as “noteworthy early L.C.C. [London County Council] housing of 1896-7” with “quirky Arts and Crafts details”. These, and nearby blocks between Rushworth Street and King’s Bench Street, were designed by R.M. Taylor for the L.C.C.’s housing branch. They are listed Grade II, listing entry 13783763.

I found the building dignified and beautiful, with its arches, railings, and plant pots. The buildings are interesting because they represent the beginnings of the state taking some responsibility for people’s housing4.

During the 19th century, the industrial revolution drew many workers to London. By the middle of the century many of these workers were living in appalling conditions. The government of the day did not see housing as any part of its role. Social reformers such as Octavia Hill made valiant attempts to provide better housing, by raising money from investors. The Peabody Trust, funded from the fortune of a London-based American banker George Peabody, was also building what we would now call social housing. But the rents were too high for the poorest Londoners, who continued to live in unsanitary and crowded conditions. Members of the clergy, reformers and politicians wrote articles drawing attention to this misery.5

By 1890 the government was starting to take positive action. A “Housing of the Working Classes Act” (1890) gave London County Council the power and the duty to replace at least half of the housing that was demolished in improvement schemes for roads and railways. Only half of the housing is to be replaced by the council, note. In his book “Metropolitan Dreams” John Boughton notes that this Act “provided the basis of the relative surge in council house building that followed.” Council house building was controversial. Conservative politicians in power at the time “saw it [the Act], at most, as a small shift towards increased state responsibility but retained their basic belief in the efficacy of the free market and fear (to use a later idiom) of a ‘dependency culture’ fostered by state provision.”6

The London County Council was formed by the Local Government Act of 1888, and the first elections in 1889, just 7 years before Albury Buildings were completed. A subset of the LCC was the “Housing of the Working Classes” branch. This group was influenced by socialist thinkers including William Morris, who is now remembered for his textile designs but who, in his time, was a campaigner for the dignity of working people. So the Arts and Crafts movement, through William Morris and others, was influential at the time of the construction of Albury Buildings. Hence the ornamental railings, the arches, and the balconies.

The arches are open: I could have walked in and along the balconies.

Albury Buildings is now part of the Boyfield Street Estate managed by Southwark Borough Council, who own the freehold. Some are social rent dwellings7, and others are privately owned leaseholds, selling on platforms such as “Rightmove”.

As I sketched people were walking home from work. A passing man asked me, “Is it an architectural drawing, or just for fun?”

“Just for fun”, I replied.

“Good!” he declared, and walked on.


  1. “Albury Buildings” is the name written on the building. In some references it is called “Albury House”. ↩︎
  2. LONDON 2: SOUTH by Nikolaus Pevsner and Bridget Cherry ISBN 0 14 0710.47 7 2001 reprint, page 591 ↩︎
  3. Listing entry by Historic England https://historicengland.org.uk/listing/the-list/list-entry/1378376 ↩︎
  4. Another early example of social housing is the Boundary Estate, Arnold Circus which I have sketched previously . ↩︎
  5. For example,”The Bitter Cry of Outcast London” by Rev. ANDREW MEARNS, London Congregational Union, Memorial Hall, Farringdon Street, E.C., and William C. Preston (1883) https://www.gutenberg.org/cache/epub/55316/pg55316-images.html
    This pamphlet describes the appalling conditions in graphic detail, and also gives a sense of the moral panic that was felt by this clergyman and others. In the crowded conditions, incest was all but inevitable, and people could not go to church. Here’s an extract [all quotes are from the pamphlet reproduced online by Project Gutenberg]:
    Whilst we have been building our churches and solacing ourselves with our religion and dreaming that the millennium was coming, the poor have been growing poorer, the wretched more miserable, and the immoral more corrupt; the gulf has been daily widening which separates the lowest classes of the community from our churches and chapels, and from all decency and civilization….
    The authors go on to describe the conditions. Here is one description [page 9]:
    Every room in these rotten and reeking tenements houses a family, often two. In one cellar a sanitary inspector reports finding a father, mother, three children and four pigs! In another room a missionary found a man ill with small pox, his wife just recovering from her eighth confinement, and the children running about half naked and covered with dirt. Here are seven people living in one underground kitchen, and a little dead child lying in the same room. Elsewhere is a poor widow, her three children, and a child who had been dead thirteen days.”
    The authors propose state intervention [page 24]:
    “Large spaces have been cleared of fever-breeding rookeries, to make way for the building of decent habitations, but the rents of these are far beyond the means of the abject poor. They are driven to crowd more closely together in the few stifling places still left to them; and so Dives makes a richer harvest out of their misery, buying up property condemned as unfit for habitation, and turning it into a gold-mine because the poor must have shelter somewhere, even though it be the shelter of a living tomb.
    The State must make short work of this iniquitous traffic, and secure for the poorest the rights of citizenship; the right to live in something better than fever dens; the right to live as something better than the uncleanest of brute beasts.”

    ↩︎
  6. The history of social housing is from John Bougham’s book “Metropolitan Dreams” ISBN978-1-78478-739-4. The parts I’ve quoted here are from Chapter 1: “How to provide Housing for the People”. ↩︎
  7. Social rent houses in “Albury Buildings” are listed on “https://uksocialhousing.com” under postcode SE1 0SD as council rents. ↩︎

Bishops Hall, 8 Ayres Street SE1

This unassuming door leads to a spectacular hall. This is 8 Ayres Street, the entrance to Bishops Hall, formerly known as Redcross Hall.

The Ayres Street entrance to Bishops Hall, 8 Ayres Street, sketched 22 August 2026, in Sketchbook 17

When I sketched this door I didn’t know about the surprising building behind it. I had just walked past the tiled frontage, and the pointed doors, and thought it dignified and unusual. I had seen the view from Redcross Gardens, but hadn’t connected the front to the back.

View of Bishops Hall from Redcross Gardens, photo credit unique property company

There is an informative estate agents description online, undated. This praises the “brick arched windows, tiling, historically distressed herringbone parquet floor and the ingenious hammer-beamed roof joists that reach the apex of the internal roof line”. It sounds amazing.

The black door in my drawing threads through a passage into Bishops Hall at the back. In the front is a different building, number 8A Ayres Street, which is called “George Bell House”. Both are listed Grade II.1

Ayers Street numbers 8 and 8A

Redcross Hall was opened by the Archbishop of Canterbury in 1888. It was designed by Elijah Hoole, with interior decorations by Walter Crane. 2

Interior of Redcross Hall as designed, image from English Illustrated Magazine 1893 via Layers of London. You can see the pointed windows at the back, which give onto Redcross Garden. Ayres Street was called “Whitecross Street” at that time.

The development was influenced by the ideas of social reformer Octavia Hill. The hall was created as a community theatre and “living room” for people of the area, in conjunction with Redcross Gardens which adjoin. The cottages further north along Ayres Street, to the left of my drawing, were built at the same time. This was 19th century philanthropy in action.2

Redcross Gardens are still there: beautiful, tranquil and a community resource. Bishops Hall is now privately owned.

Number 8A, George Bell house, is a separate building from number 8. It is the studio for Whistledown Productions who make podcasts, and programmes for Radio 4.

This is a striking example of the surprises that abound in London. It’s amazing what you find simply by strolling about.

  1. Historic England listing entry is here: https://historicengland.org.uk/listing/the-list/list-entry/1376545?section=official-list-entry ↩︎
  2. Additional information from Layers of London: https://www.layersoflondon.org/map/records/red-cross-hall ↩︎

The Albany, Thames Ditton KT7

Walking along the Thames path, I paused to sketch The Albany, a pub on the opposite bank.

Watercolor illustration of 'The Albany', a waterfront building featuring a brown roof and outside seating under yellow umbrellas. Lush greenery is present in the background, and the calm water reflects the structure.
The Albany Country Pub and Restaurant, Thames Ditton, KT7 0QY, sketched from the Hampton Court towpath, 8 August 2026
Map of Hampton Court area showing key landmarks including Hampton Court Palace, River Thames, and nearby roads.

It was a very hot day. The grass was dried up.

An artist's toolkit laid out on grass, featuring paintbrushes, a watercolor palette, and a sketchbook with an illustration of a house by the water.
Drawing equipment on the dried grass, Thames towpath.

Here is the view across the river.

A painter's watercolor palette and sketchbook displaying a painting of a riverside building titled 'The Albany,' with a scenic view of trees and boats in the background.
Sketching The Albany

After I sketched “The Albany”, I walked back up the river to Hampton Court Bridge.

Here are some other sketches I’ve done along this stretch of the river:

Garrick’s Temple to Shakespeare, Hampton, TW12

Strolling along the river bank I saw this quirky little temple on the other side of the river. It was afternoon, in the midst of a hot spell. A group of young girls were playing on paddle boards, standing up and jumping in the water, shrieking. A small motor boat came from the island “Garrick’s…

Molesey Boat Club, KT8

A short walk from Hampton Court Bridge is Molesey Boat Club. This is a lively place. I watched a group of school-age boys and girls competently lift a boat out of the water, and place it carefully on its stand. They then washed it with sponges. Boats were coming and going all the time, fours,…

Molesey Boat Club, KT8

A short walk from Hampton Court Bridge is Molesey Boat Club.

This is a lively place. I watched a group of school-age boys and girls competently lift a boat out of the water, and place it carefully on its stand. They then washed it with sponges. Boats were coming and going all the time, fours, twos and single skulls, people of all ages. It all looked fun and made me want to have a go. A group of fit-looking young people set off, their instructor following in a motor boat. In a few moments they were rowing back the other way. Then they turned the boat and went back up the river at fantastic speed. Within half an hour then were back at the boat house, clambering out of the boat, and handing over to another group.

I did not follow the activities of the boat crews in great detail, however, as I was concentrating on those very complicated eaves and the carved woodwork of the boathouse.

Molesey Boat Club, detail.

The club was founded in 1866. This boathouse dates from 1901. It has been renovated and extended since, most recently in 2016, when a new rowing centre with a rowing tank was added.1

work in progress on the sketch

There is a café on the first floor, overlooking the river. It is called “Eight on the River“. The thing to watch is that it closes at 3pm on weekdays, so don’t hang around perfecting your drawing, but get up there.

Here is my shady sketching location seen from the balcony of the café. In the foreground are the seat-like stands where the crews place their boats after use.

My sketching location (arrowed) seen from “Eight on the River”

It’s a lovely place to sketch, and to watch the river.

Molesey Boat Club, page spread, sketchbook 16
  1. History of the boat club from https://moleseyboatclub.co.uk/history
    ↩︎

“The Chapel” Cab Drivers’ Shelter, Wellington Place, St John’s Wood, NW8 7PE

According to the cab driver sitting at one of the tables, this is “the oldest, and the last to be listed”. It was built in 1875, and listed in 2024 (listing ref 1488223).

“The Chapel” Cab Drivers’ shelter, Wellington Place, St John’s Wood, NW8 7PE Sketched 27 March 2026, in Sketchbook 16

As I was sketching, the manager of the shelter came out and kindly brought me a cup of tea. She was very welcoming, and interested in the drawing. She told me that the rail running round the shelter, shown in my drawing, was for drivers to tether their horses.

A former cab driver came by in his mobility scooter. He evidently still had dining rights, as he was seated at the tables by the hut. Only cab drivers can sit there, I understood. Cab drivers also went inside the shelter, through the door which you see on the right of the hut, with a circular plate on it. The ex-Cab Driver told me he was a photographer now. “Street Photography”, he said. But he told me he was going to take up birdwatching. This was something it was convenient to do from a mobility scooter. He had no teeth, and it was hard to understand what he said. But nonetheless we enjoyed an extended conversation and listened to the birds we could hear in the park. He went off, waving from his vehicle, steering a confident route along the uneven pavement.

This shelter is called “the Chapel” because it is right next to St John’s Wood Chapel Gardens.

It started to rain and I stopped sketching. I bought a bacon sandwich from the woman in the shelter and went to eat it in the garden.

The gardens are the Chapel graveyard. The watercolour artist John Sell Cotman is buried there. I have seen a large exhibition of his work at the British Museum.

Back at my desk, trying to channel my inner John Sell Cotman, I struggled to match the green colour of the shelter. It is called “Dulux Buckingham Paradise Green I”. 1 It exists in the Dulux Trade Paint range2, but not as a watercolour.

I tried to mix it myself, with partial success. Any colour varies depending on the light conditions, and the surroundings, so I forgive myself for not making an exact technical match. My green is made from Serpentine Genuine (Daniel Smith watercolour ) with touches of Mars Yellow and Ultramarine Blue.

Equipment for this picture. The sponge is for making the tree. Serpentine Genuine is the colour in the palette at the bottom left. It looks quite similar to Dulux Paradise Green I.

When the picture was finished I ordered a digital print of it, and returned to the shelter to gift the print to the manager who had been so kind and welcoming. It will hang inside her shelter.

The St Johns Wood Cab Drivers’ Shelter, digital print
(c) JaneSketching
  1. Historic England has an article about this shelter here: https://historicengland.org.uk/whats-new/news/13th-cabmens-shelter-in-london-listed/
    It names the colour of the shelter as “Dulux Buckingham Paradise Green I” ↩︎
  2. Dulux paint Paradise Green I listed here: https://www.duluxtradepaintexpert.co.uk/en/colours/paradise-green-1-645605 ↩︎

Russell Square Cab Drivers’ Shelter, WC1

Continuing my series on Cab Drivers’ Shelters, here is the shelter on Russell Square. It was built in 1897, restored in 1987, and listed in 1988.

This little building is on the North side of Russell Square, not far from the British Museum.

I sketched from a convenient bench, fortified by a sandwich and cake from the marvellous Fortitude Bakery, just to the east – marked on the map above (and recommended).

On the other side of the road is a school for young children. Adults stood about, ready to collect the school children. Between them flowed a current of workers, students and people of all nations. “SOAS”, the School of Oriental and African Studies, is nearby, as is the London School of Hygiene and Tropical Medicine, and many other academic institutions of the University of London.

A cheerful woman swathed in scarves bustled up to me and examined the picture. She glanced up to to the shelter and looked back down again at my picture, comparing. She then delivered what I took to be a speech of encouragement and admiration. But it may equally have been closely argued constructive criticism. Her words sounded garbled, she had no teeth, and I think she was speaking a language unknown to me. However we smiled at each other, I held up the picture so she could better compare it to the building. She nodded curtly, as though putting a confirmatory flourish at the end of her expressed opinion. We smiled again, she waved, and off she went.

A woman with a large handbag came and sat down right next to me on the bench. She placed the handbag on her lap, and took no interest in my picture whatsoever. After a few minutes she took off again. Perhaps she had spotted the pupil she had come to collect.

I photographed various details of the shelter. Note the bird on top of the bell. I had tried very hard to show it in my drawing, but at that distance it was very small.

The shelters were built by The Cabmen’s Shelter Fund. Its monogram “CSF” is in the fretwork. This charity set up the shelters in the 19th century, and still exists.

Russell Square Cab Drivers’ Shelter – fretwork showing “CSF” for “Cabmens’ Shelter Fund”

I finished the drawing back at my desk. Here is the sketchbook spread.

Russell Square Cab Drivers’ shelter in Sketchbook 16

Temple Place Cabdrivers’ shelter, WC2

Here is the Cab Drivers Shelter near Temple Station.

Cab drivers’ shelter, Temple Place. Sketched 5th March 2026 2pm in Sketchbook 16

There are 13 of these shelters surviving. All are now listed. This one was built in around 1900 and listed in 19871. Here’s a map from the Historic England site showing the location of all the shelters in London. interestingly they are all to the North of the river.

Map of the 13 listed cab drivers’ shelters. Temple place circled. Map from Google, on https://historicengland.org.uk/whats-new/news/13th-cabmens-shelter-in-london-listed/
Eager diners queue at the shelter before it closes.

I sketched this one on the first sunny day in spring. I’d arrived there at around 1:30pm. There was a long line of people outside and several tables. While I was doing the sketch, the manager closed the window and the queue dissipated. Then she came out and packed up all the tables. I just managed to sketch one table before they all disappeared. This shelter closes at 2pm.

Two men walked past me, engrossed in a conversation about a colleague. “He has a strong survival component” observed one of them, somewhat ruefully.

Then there was a man pushing a bicycle. “Ah!” he said, noticing me, “ink. Real ink!” I was indeed using real ink. I held up the fountain pen to show him. “I love the sound of ink on paper!” he said. I hadn’t thought about the sound of ink on paper. I noticed it, from that moment on.

Here’s a map showing the location of the shelter. As you see, it is near Temple Station, which accounts for the flux of people passing.

Here is the sketchbook spread. My aim is to sketch more of these shelters – maybe even to sketch all of them.

Sketchbook 16
  1. Historic England listing: https://historicengland.org.uk/listing/the-list/list-entry/1357301?section=official-list-entry ↩︎

Arnold Circus from Leila’s shop, Calvert Avenue, E2

On a very cold day in January I stopped for lunch in Leila’s shop in Calvert Avenue. My table at the window offered a view along a tangent of Arnold Circus.

View from Leila’s, 15-17 Calvert Avenue E2 7JP 29 January 2026 10″ x 7″in Sketchbook 16

I enjoyed all the lines and curves, and the hundreds of notices stuck to the lamppost, and the trees in boxes, and the transitional feel of this area, between the City and Hackney, between the trendy shops of Redchurch Street and the social housing of the Boundary Estate.

Then lunch arrived, which was a kind of a goulash and very good.

The woman serving said “It’s so cold, I’m offering cups of hot water. Would you like one?”. This was a good idea. She placed the cup of hot water in amongst my drawing things, and the plate of goulash, on the table. They are very tolerant and understanding in this café.

Next door is the deli of the same name, where I procured a slice of malt loaf to sustain me on my walk. I’d eaten it before I reached the other side of Arnold Circus.

Sketchbook 16 page spread

I’ve sketched in this area before:

Shoreditch Church: St Leonard E1

Here is St Leonard Shoreditch, which stands at the intersection of Shoreditch High St and the Hackney Road, postcode E1 6JN. There has been a Christian church here since medieval times. The present building dates from 1741 and was designed by George Dance the Elder (1695-1768). George Dance the Elder was the City of London surveyor at the time, and designed, amongst other buildings, Mansion House at Bank Junction. The current church is active in the community. On the day I was sketching, a Thursday, they were offering meals to local people. This is the Lighthouse Project, “providing practical help,…

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Shiplake House, Arnold Circus

This is the “Boundary Estate”, Britain’s first council estate, opened in 1900. It was built to the design of Owen Fleming and his team.  Fleming was a member of the Housing of the Working Classes branch of the LCC’s* Architecture department. He was 26 years old. The aim of Boundary Estate project was to replace slums, in an area of disease, want, squalor and crime known as “Old Nicol”. The slums were pulled down, and replaced  by dwellings that were more healthy, and more pleasant to live in. The area was also provided with schools, a laundry, shops and clubrooms.…

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67 Redchurch Street E2, “Jolene” bakery

Jolene bakery is on the corner of Redchurch Street and Club Row. This is a lively corner in a street on various edges: on the edge of the City, at the boundary between a new London and an old one, at the intersection of 21st century entrepreneurial culture and 19th century housing projects. Redchurch Street is just North and West of Brick Lane. There are restaurants, independent clothes designers, hairdressers, and various 21st century businesses I couldn’t identify but categorised in my mind as broadly “creative”. It’s a good place to walk around, and Jolene is a great place to…

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61 Hackney Road, E2

Along the Hackney Road stands this building with a turret: This on the corner of Waterson Street and Hackney Road, at the western end of Columbia Road. After I’d sketched it, I walked into the picture, and had a look at the building from the Waterson Street side. It was a pub called the Duke of Clarence. There is deep green tiling, characteristic of 19th century London pubs. It was listed in the London Street Directory of 1940 as a pub. Other online references have it trading from 1802 up to 1944. For many decades it’s had retail premises on…

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61 Hackney Road, E2

Along the Hackney Road stands this building with a turret:

This on the corner of Waterson Street and Hackney Road, at the western end of Columbia Road.

After I’d sketched it, I walked into the picture, and had a look at the building from the Waterson Street side. It was a pub called the Duke of Clarence.

There is deep green tiling, characteristic of 19th century London pubs.

It was listed in the London Street Directory of 1940 as a pub. Other online references have it trading from 1802 up to 1944. For many decades it’s had retail premises on the ground floor.

Now it is home to “Colours of Arley” on the ground floor, which offers “bespoke striped fabric and wallpaper”. Other floors are occupied by tenants of “Fount London”, which provides small office spaces in quirky buildings.

It’s still standing on its corner, still noble, still useful, while the businesses and the district change around it.

Rotherhithe Tunnel, South Entrance, London SE16

Having sketched the North entrance of the Rotherhithe Tunnel, I then went to have a look at the South entrance. Here it is:

Rotherhithe Tunnel South Entrance, and St Olav’s Church, Rotherhithe, London SE 16 7JB, sketched 18th November 2025

The church is St Olav’s, the Norwegian Church in London. It was designed by John Love Seaton Dahl, and the foundation stone was laid in 1926 by Prince Olav, later King Olav V, of Norway.

The steel arch over the tunnel approach road is part of the equipment used to cut the tunnel, as on the North side.

Sketch detail showing the steel arch.

Below is a photo taken from the front courtyard of the church, looking back towards my sketching location. You can see the steel arch above the wall of the Church courtyard.

View of the arch above the Rotherhithe Tunnel Approach road, from the front courtyard of St Olave’s church

As you see, there were many trees. I was sketching from a traffic island, between major roads.

Above me there were parakeets, the green ones. I think this is the furthest east I have heard parakeets. They seem to be migrating slowly across London, West to East, and North to South.

I enjoyed the weathervane on the church: a viking boat.

For completeness, here is a map showing the entire route of the Rotherhithe tunnel.

I reached the South entrance via the “Brunel Tunnel”, which is now used by the Windrush Line.

I’ve now sketched both entrances and two of the shafts. Here are the other posts. Click on the image to go to my article about it on this website.

Here’s my sketchbook with this sketch:

Sketchbook: Arches Aquarelle 300gsm, book made by Wyvern Bindery

Paints: Roman Szmal

Pen and ink: De Atramentis Document Ink, Black, in a Lamy Safari fountain pen with Extra-Fine nib.