King Henry's single handed band-aid for Salthouse

Last weekend St. Nicholas's Church Salthouse was crammed with 'krummhorns', 'nakers' and 'sorduns' in the name of charity, as mad-early-music-minstrel Robert Fitzgerald brought King Henry's Band to town.

As the concert began, it occurred to the uninitiated in the audience that Ye Olde Facebook could be called for, since the 'Band' consists of Fitzgerald plus four 'missing members' (variously dismissed for a string of historic misdemeanours involving excessive imbibing, unseemly lustiness and generally ill-considered merry making).

The ensemble sound is achieved by the layered use of pre-recorded backing tracks (in which Fitzgerald plays each individual instrument) augmented with his live performance of a 'missing' instrument.

Between tunes, Kelling-dweller Fitzgerald waxed lyrical about the history, pedigree and construction of the many wind, string and percussion instruments presented including the bizarre 'gemshorn' crafted from an exotic-looking animal's horn.

The concert continued for a marathon three hours on a revolving come-and-go-as-you-please programme and raised over £400 towards church funds through contributions and CD sales.

Afterwards, Fitzgerald still had enough puff left - incredibly - to furnish groupies with tales of construction ups and downs.

We left with extensive programme notes and a CD, desperate for a peek into his garden shed!

Camden Town meets Kitchen Sink in King's Cross...

A collection of over 100 self-portraits by major British 20th Century artists is on show in a new public exhibition at canal-side King's Place Gallery in London.

The exhibition charts the myriad developing strands of an entire period in British art, spanning figures from the inter-war years through the 50s and 60s, right up to 1971. All kinds of artistic influences are evident: art school academicism, Camden Town, Expressionism, the Euston Road School and Kitchen Sink.

The collection - which represents a remarkable historical archive of the London art world in the period just after the Festival of Britain - was amassed over fifty years by German-born Ruth Borchard, who together with her husband Kurt fled to England in 1939 to escape Hitler's National Socialists.

Originally a collector of diaries, autobiographies and letters, Borchard's interest in artists was ignited after reading Jack Beddington's book 'Young Artists of Promise' and by viewing art school shows and the 'Young Contemporaries' exhibition. It struck her that the idea of introspection in painting truly meant the intimacy of the self-portrait.

With astonishing bravado, she set a ceiling of 21 guineas for any one picture, irrespective of artist, and usually succeeded.

Amongst the artists spotted by Borchard during their student days were: Mario Dubsky, Peter Philips, Antony Green, Ken Howard and David Tindle. As the collection grew, she began to approach artists more advanced in their careers, most of whom were intrigued by the project. Michael Ayrton wrote to her 'I will accept the 21 gns and I much admire anyone who can obtain so many works for no more than that figure.'

The Ruth Borchard Collection: British Self-Portraits in the 20th Century runs until 29th August.
King's Place Gallery
90 York Way, London, N1 9AG
Gallery Hours: Mon-Fri 10am-6pm; Sat 12-6pm
Admission: Free