LITMIR.BIZ

      In the heart of the City of London, tucked into one of the winding streets behind Gray’s Inn Square and Holborn Station, there’s a narrow passage known as Jockey’s Fields. It’s a meandering, uneven thread of a street that’s been there, largely unchanged, since the Great Fire. Regency carriages gave way to Victorian hackney cabs and now courier bikes speed down its sloping, cobbled way, diving between pedestrians.

      It was early May; unseasonably hot – only nine in the morning and already seventy-six degrees. A cloudless blue sky set off the white dome of St Paul’s Cathedral in the distance. The pavement swelled with armies of workers, streaming from the nearby Tube station; girls in sorbet-coloured summer dresses, men in shirtsleeves, jackets over their arms, carrying strong coffee and newspapers, the rhythm of their heels a constant tattoo on the pavement.

      Number 13 Jockey’s Fields was a lopsided, double-fronted Georgian building, painted black many years previously, and in need of a fresh coat, sandwiched between a betting office and a law practice. The door of Deveraux and Diplock, Valuers and Auctioneers of Quality, was propped open by a Chinese ebony figure of a small pug dog, most likely eighteenth century but in very bad repair, in the hopes of encouraging a gust of fresh morning air into the premises. Golden shafts of sunlight filtered in through the leaded glass windows, dust floating, suspended in its beams, settling in thick layers on the once illustrious, now slightly shabby interior of one of London’s lesser known auction houses. The oriental carpet, a fine specimen of the silk hand-knotted variety of Northern Pakistan during the last century, was threadbare. The delft china planters which graced the mantelpiece, brimming with richly scented white hyacinth, were just that bit too chipped to be sold at any real profit; and the seats of the 1930s leather club chairs by the fireplace sagged almost to the floor, their springs poking through the horse-hair backing. Reproduction Canalettos hung next to the

      better watercolour dabblings of long-dead country-house hostesses; studies of landscapes, flowers and fond attempts at children’s portraits. For Deveraux and Diplock was the natural choice of those once aristocratic families whose fortunes had lost pace with their breeding and who wished to have their heirlooms sold quickly and discreetly, rather than in the very public catalogues of Sotheby’s and Christie’s.

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