Boisdale Of Canary Wharf

Frontispiece deals in maps and antique prints at West India Quay

Based at Cannon Workshops, Reg Beer’s business offers and archive of more than 1million items as well as a bespoke framing service


Frontispiece managing director, Reg Beer - image by Jon Massey / Wharf Life
Frontispiece managing director, Reg Beer – image by Jon Massey / Wharf Life

Subscribe to our free Wharf Whispers newsletter here

Reg Beer is sitting in his workshop, premises that house an extraordinary collection of maps and antique prints from Docklands, Britain and all over the world.

It’s an archive that now extends to more than a million individual documents and images.

Frontispiece is the business he established in 1989 to trade in such items, later adding a framing service as a natural extension to its operation. 

It – like Reg – continues to have a storied existence and deserves to be a natural point of exploration for anyone moving to this part of London and seeking something of the place they’ve relocated to.

It’s also a fantastic resource for interior designers seeking to bring an authentic connection to history in their creations.

Reg began buying prints and documents as a teenager, initially from dealers and then at auctions in lots of multiple items. 

“I was interested in the history of east London when my dad was a lad in the 1890s,” he said. 

“People didn’t really have things on the wall when I was growing up apart from stuff like ‘Jesus Saves’ or ‘Welcome Home’ – no artwork. 

“But I’d put up these prints.

“A chap I used to buy from suggested I go to an auction and buy 500 prints in a single lot, keep the ones I wanted and then sell the rest on.”

Detail from Victoria Dock Canning Town and East India Docks Poplar antique map, 1902, £48 - image supplied by Frontispiece
Detail from Victoria Dock Canning Town and East India Docks Poplar antique map, 1902, £48 – image supplied by Frontispiece

from collector to dealer

However, it was some time before Reg would turn that enthusiasm into a business.

He worked as a “camera operator” for the press, snapping musicians and football games as well as garden parties at Buckingham Palace.

After about eight years of pressing the shutter, he “became fed up with that” and pursued another passion – the railway.

“I was a train-spotter as a kid,” he said.

“You’d be standing on the bridge and get swamped with smoke and steam. I became a fireman on diesel engines. 

“You see things from the footplate you can’t see from the train. I loved it.”

After a spell travelling, he returned to the East End to work as a labourer at Truman’s Brewery, before deciding – on the advice of his brother – to apply to university.

This was despite having no qualifications, having left school at 15.

After successfully negotiating the entrance exam, he trained as a teacher, returning to east London to work in the classroom – a career that took him through to the launch of Frontispiece. 

In his time, Reg has been a male model, photographed the likes of the Rolling Stones, the Yardbirds and Duke Ellington and has been a magistrate since 1986.

He’s a Freeman of the City Of London, a former master of the Worshipful Company Of Poulters and has held the positions of deputy mayor of Tower Hamlets and trustee at Whitechapel Art Gallery. He also plays a mean blues on the mouthorgan.

Having originally opened at Tobacco Dock in Wapping when it became a shopping centre, Frontispiece relocated to Canary Wharf to become the first retail business to open on the estate in the early 1990s, trading successfully in the malls for many years. 

Today both his antique maps and prints business and framing services continue to operate from rooms at Cannon Workshops close to West India Quay.

Reg in the process of making a frame for a picture - image by Jon Massey / Wharf Life
Reg in the process of making a frame for a picture – image by Jon Massey / Wharf Life

an extensive inventory at Frontispiece

Like his life, Reg’s business contains multitudes.

His files and shelves are filled with images, documents, clippings and maps that tell stories.

“I have a particular focus on Docklands,” he said.

“For example, I have more than 500 images of the Great Eastern – Isambard Kingdom Brunel’s ship, which was built on the Isle Of Dogs as well as pictures of the engineer himself.

“Those are some of the most popular items we have.

“People also like to have maps of the places they’re living in and images of how these places used to be.”

Frontispiece has digitised more than 6,000 items, which are now available through its website. 

Those browsing there will find everything from pages from The Illustrated London News in the 19th century to prints of flower fairies, sketches of ladies’ fashions, maps and images of maritime history.

There’s also a strong focus on military history, with Reg passionate about The Royal Regiment Of Fusiliers – based at the Tower Of London – which his father served with during the First World War. 

Detail from Pheasants And Peacocks antique print, published 1862 in Oliver Goldsmith’s A History Of The Earth And Animated Nature, £45 - image supplied by Frontispie
Detail from Pheasants And Peacocks antique print, published 1862 in Oliver Goldsmith’s A History Of The Earth And Animated Nature, £45 – image supplied by Frontispiece

fit for the wall

“We started offering frames while we were still at Tobacco Dock,” said Reg.

\“I’d met a chap at a trade fair who would come down from Bedfordshire with the sizes we needed. 

“But he didn’t want to keep doing that, so he taught me and people started coming to us for that service.”

Whether for his maps and prints or a client’s own pieces, Reg offers a bespoke service in wood and metal.

One notable client is Sir Michael Caine’s wife, who had the actor’s medals framed for him from his time in the Fusiliers as a gift on his 90th birthday.

Frontispiece also created a golden frame for King Charles, who’d donated a copy of his favourite photograph of himself as a boy with his late mother to a charity auction, raising £35,000 for Great Ormond Street Children’s Hospital.

“We’re more than happy to discuss any job and if we can help, we will,” said Reg.

“Most people these days want frames that are quite simple, although some want designs that are more grand.

“The cost depends on how big the item to be framed is and the materials we’re using – what moulding we choose.

“We have all sorts of woods and metals in stock to suit what people want, starting at 48p per inch.”

As for the prints and maps, prices vary depending on size and rarity, but many are listed around £35 or £45.   

Detail from Great Eastern steamship’s screw engine room antique print, 1859, from The Illustrated London News, £40 - image supplied by Frontispiece
Detail from Great Eastern steamship’s screw engine room antique print, 1859, from The Illustrated London News, £40 – image supplied by Frontispiece

key details: Frontispiece

Frontispiece is located at Cannon Workshops on West India Quay and is open from 8am-6.30pm on weekdays and from 10am-5pm on Saturdays.

Customers can browse antique maps and prints on the business’ website and also place orders.

This image has an empty alt attribute; its file name is Screenshot-2026-07-10-at-22.39.22WEB.png
Detail from Leviathan (Great Eastern) during building at Millwall antique print, 1857, £40 - image supplied by Frontispiece

Read more: Isso Prawn Crazy opens seafood restaurant in Canary Wharf

Read Wharf Life’s e-edition here

Subscribe to our free Wharf Whispers newsletter here

Detail from The City from St Paul’s to the Tower of London antique map, 1890, £40 - image supplied by Frontispiece
Detail from The City from St Paul’s to the Tower of London antique map, 1890, £40 – image supplied by Frontispiece
Subscribe To Wharf Life

How 3equals1 Design specialises in timeless commercial interiors

Founded by Maz Mahmoudi, the studio relocated to Cannon Workshops near Canary Wharf in 2023

Image shows 3equals1 Design founder and director Maz Mahmoudi, a woman wearing a gold necklace with red hair in front of a yellow brick wall
3equals1 Design founder and director Maz Mahmoudi

Subscribe to our free Wharf Whispers newsletter here

Next time you’re in an office or a workspace of any kind, just stop for a minute and take time to notice its design.

The colours, the furniture and even the layout will have likely been chosen and combined by someone like Maz Mahmoudi, founder and director of 3equals1 Design.

The company moved its clutch of creatives to Cannon Workshops, adjacent to Canary Wharf, a year ago, relocating from Waterloo to build on nearly a decade and a half in business.

“We were based at an old city farm in Waterloo for seven years before moving here, but developers got their hands on it,” said Maz.

“I looked around and was trying to think what the good transport links would be.

“Selfishly, I wanted somewhere I could get to my home in Kidbrooke from, as I have a baby.

“We looked at a place in Mile End, but it was a bit sketchy and then noticed a ‘To Let’ notice as we were going past Cannon Workshops. We saw this unit and loved it. 

“The move allowed us to reimagine our own workspace.

“We did the flooring, all the painting, the wiring and the electrics.

“I like that it’s on two levels and we love the community aspect of being here too.

“I had no idea this whole world even existed – the dock, the nice little pubs and London Museum Docklands.

“This was the first time I’d signed a five-year lease, which felt very grown up – we need to keep the business going for at least that long.” 

Image shows the brick buildings of Cannon Workshops under a blue sky with white clouds
3equals1 Design is now based at Cannon Workshops next to Canary Wharf

a history in design

Maz is energetic, interested and interesting, suggesting that another few years won’t be much trouble to achieve. 

Having originally trained as a furniture designer, she initially embarked on a career as a maker and found herself the only woman on the workshop floor.

“I had a great time,” she said. “But furniture making is physical.

“By 30 a lot of the guys were having back problems and I found myself at a crossroads trying to decide what I wanted to do.

“I did a bit of set building for movies and some art direction, before going on to work at a furniture dealership. 

“I’ve always loved furniture. People identify with it.

“There’s comfort and longevity there – history and craftsmanship too.

“A dining table might be used for Christmas dinners or summer parties, but it’s also where the kids do their drawing. 

“Dealers curate pieces for architects and it was mostly workplace stuff.

“I was made redundant in the 2008 credit crunch and then went on to work for a design-and-build architecture firm, learnt a lot about that sector and was then made redundant again.”

Image shows an interior by 3equals1 Design for a show room in Clerkenwell. Features include orange and dark grey walls
The company has taken on a diverse range of projects in its 14 years

founding 3equals1 Design

While dreaming of relocating to New York, but with limited visa prospects, Maz decided to start her own design business with two friends.

Her partners went on to pastures new, but she stuck with 3equals1, evolving the company as new work came in.

“I started it in London at my kitchen table and it’s really changed,” she said.

“Initially my customer base was all furniture dealers.

“I’d get floor plans and made sure furniture fitted the spaces.

“Then I’d get work from design-and-build companies that didn’t have their own in-house designers.

“There wasn’t any huge strategy, just a lot of interest – going out, networking and speaking to the right people.  

“I’d meet clients who would ask me to come back and do more work and now we work with a few asset managers when they are trying to get tenants into their buildings.

“After Covid, nobody wanted to be in a workspace with desks and boardrooms, everybody wanted to feel places were personalised – a home away from home.

“Then there’s sustainability to consider.

“We really have grown organically.

“Today we are predominantly commercial interior designers for workplaces, hospitality venues and some residential properties for developers.”

Image shows a CGI of an office interior by 3equasl1 Design
Maz’s firm always aims to design a space for the people who wil use it

interrogating the space

Whatever the project, understanding how a space will be used by those inhabiting it is crucial to Maz and her team’s process.

“I couldn’t do any of this without the people around me – having different designers with their own ideas is what keeps us varied as a business,” she said.

“Each of us challenging each other is what makes design really exciting and organic and prevents it from becoming stale.

“It’s especially important when we’re designing an environment for lots of people not to be a lone ranger – you need different voices to make sure you’re catering for the different people you’re designing for.

“When a client comes to us with a space, we try to understand the demographic of the people working in the company.

“How do they dress? Are they in suits, smart casual or jeans?

“We need to create an environment where they will feel at home.

“ Everyone says that most of our lives are spent in work – so to have a comfortable space allows people to be productive.

“We look at everything, from the flooring to the architecture of the building we’re working with and we try to give a nod to that.”

Image shows the exterior of Fleurie wine bar in south-east London, designed by 3equals1 Design
3equals1 Design recently designed Fleurie wine bar in Bermondsey Street

a sustainable approach

“We also look at longevity – we typically don’t want to do overly fashionable design that’s cool for a year and then everyone would feel deflated.

“For me, a big part of sustainability is how long the materials you put in will last.

“It’s about getting the right stuff in – timeless design that doesn’t shout.

“It’s also about speaking to people. But it’s not about what I or the team want for their office.

“It’s about what the client wants. They have to be happy where they are.”

3equals1 Design is eager to collaborate with more companies in Canary Wharf and east London and there’s one particular project on Maz’s wish list.

“I really want to design a pub,” she said.

“It would be great to really rethink what the space could be. I have this idea that it could be a co-working space during the day and then turn back into a drinking den in the evening.”

Image shows the interior of Fleurie in Bermondsey Street, a warmly lit wine bar with white walls
The wine bar’s warmly-lit interior

key details: 3equals1 Design

3equals1 Design is a workplace interior design company based at Cannon Workshops near West India Quay.

Maz and her team offer a range of services to transform and refresh spaces for all kinds of organisations and businesses.

Find out more about the business here

Read more: How Vertus continues to evolve its brand

Read Wharf Life’s e-edition here

Subscribe to our free Wharf Whispers newsletter here

- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com
Subscribe To Wharf Life

Canary Wharf: How Creative Virtual’s Gluon software is next level for chatbot tech

Founder and CEO of the Cannon Workshops-based company, Chris Ezekiel, talks global growth

Creative Virtual founder and CEO Chris Ezekiel – image Matt Grayson

Subscribe to Wharf Life’s weekly newsletter here

All in all, 2023 is shaping up to be a big year for Chris Ezekiel and Creative Virtual – the company he founded on the Isle Of Dogs in November 2003. In 12 months time, he and his colleagues will be celebrating its 20th birthday.

But before that happens, there’s the small matter of becoming a father for the second time and – business-wise – the firm is set for a major release of its V-Person software, named Gluon.

The software is the platform that has allowed Creative Virtual to grow into a global concern, from its base next to Canary Wharf at Cannon Workshops

From there, housed in the honey brick of the Grade II listed former cooperage beside West India Quay, Chris and his team compete with the likes of Microsoft, IBM and Google in the field of conversational artificial intelligence (AI).

Together, they have built a business with global reach, servicing clients across the world including the likes of HSBC and Lloyds Banking Group – one of the firm’s first clients and still a customer today. 

In 2022, Creative Virtual has operations in the UK, the US, Europe, Australia, Singapore and in India. It’s a Docklands business trading with the world.

“We’re still independent, which is a bit unusual for a tech company in the fast-paced world of AI,” said Chris.

“I always started it for the long-term, and over the years we’ve had quite a few offers to purchase the company, which I continue to refuse.

“I’m just enjoying it and we’re competing in that area we’re operating in – conversational AI is all the rage now.

“For me, it’s about working with incredible people who are passionate about innovation, creativity and technology – some things are more important than money.

“We don’t have investors so what we do isn’t linked to their short term goals.

“While Elon Musk has recently bought Twitter, I reflected the other day that he could not buy Creative Virtual. It’s great to have that independence.”

The company’s position comes through its success developing and implementing chatbots for clients. 

These might be used by a firm’s customers, employees or its customer services personnel as a resource to assist clients.

Gluons hold quarks together at a subatomic level so they can become atoms and ultimately everything in the universe

With almost 20 years in business and numerous accolades – among them a Queen’s Award For Enterprise in 2017 – Chris said the company continued to prioritise innovation, investing its profits to grow.

“It was always the dream to become a global company,” he said. “But you don’t often get a chance to step back and consider what you’ve built.

“We pride ourselves on having a really quirky, passionate team – a really eclectic mix of individuals. It also allows us to be adaptable and to work in markets all around the world.

“Travelling to these different locations really brings it home and having the fantastic customers we do really helps. 

“Being able to explore creativity and innovation with those companies and partners has been amazing over the years. It’s what keeps us going.”

That ongoing drive has resulted in Gluon, which Chris said would be the foundation of Creative Virtual’s work for many years to come.

It’s aptly named after an elementary particle that holds quarks together to form subatomic particles such as protons and neutrons – the basis for atoms and ultimately everything in the universe.

It’s also a reflection of the Creative Virtual founder and CEO’s love of physics.

“I have a picture of Richard Feynman above my desk with his quote that you should not fool yourself and that you’re also the easiest person to fool,” said Chris.

“That’s something I always focus on because it’s really important to keep things in perspective, to keep them real.

“With Gluon we’re very excited because, while we do small software releases every month or so and major ones roughly every 12 months, this is the kind that only comes along once every four years.”

Gluon as software bears some similarities to gluon particles in that they both connect elements to create something of greater complexity and function.

Gluon is designed to work within the composable enterprise system

“First of all, the new software allows us to integrate our system with lots of other systems at a large enterprise,” said Chris.

“That might include CRM systems and data management systems, for example. 

“There’s a lot of buzz around AI and we’ve seen chatbots that use machine learning as a black box without any control over the responses the system is giving.

“We’ve always taken a different path, combining AI with humans overseeing the system, and Gluon will make that easier.

“The way we’re combining those two elements is unique in the industry and Gluon makes it super easy for organisations to use.

“The way it’s configured and the reports that come out of it make it really efficient and also controllable.

“There’s also a lot of interest in something called the ‘Composable Enterprise’ which is all about plugging systems together.

“Gluon fits perfectly into that to become a key piece of the jigsaw.

“We intend to launch in the early part of next year. We already have a test version available and have done 50 demonstrations so far.

“The feedback has been incredible. We sell direct to customers, but we also work through some partners in the world and everybody’s been unanimous in their positive responses.

“It’s a great way to develop, because the feedback is very specific.

“Taking our time is very important, because we’ve been able to listen to what people are saying while we are developing the software.

“We can be more flexible with our customers because we don’t have pressure from investors.

“It’s funny for me on a personal level, because people wondered whether having a 16-month-old now and another on the way in February would change my view about the company and whether it would be time to sell – but it hasn’t one little bit.

“I am often asked how difficult it is to separate the business from my personal life, but my view is that you should give up doing that because it stresses you out.

“If you’re an entrepreneur, you’ve got to build it into your life – it is your life and you have to find a way to do that.

“Having a supportive group of people around you, both inside work and outside, and having some hobbies and interests is essential. I snowboard and watch West Ham to relax.

“But at the end of the day business is business, you shouldn’t take it too seriously.

“That might sound odd from someone who has to pay all the bills and make sure the people who work for me can pay their bills – but knowing there are more important things in the world keeps me level-headed.

“It’s a balance and as long as you can say overall you’re happy with that balance, then you’re in a good place.

“That’s why I can’t imagine retiring.”

Read more: Discover the 2022 Greenwich Theatre panto

Read Wharf Life’s e-edition here

Subscribe to Wharf Life’s weekly newsletter here

- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com
Subscribe To Wharf Life