Categories
Buildings Sculpture

The William Mitchell abstract relief

(Image: Patrick Crowley)

A photograph for posterity by follower Patrick Crowley. The William Mitchell abstract reliefs are today being removed from Barker’s Pool House on Burgess Street.

Installed in May 1972 the ten panels were commissioned as part of the office and supermarket development. They were constructed in the latter period of Mitchell’s first phase of practising in Britain, following his work as design consultant with London County Council.

“A minor example from a cycle of works produced in Faircrete, a new form of concrete developed at the John Laing Research and Development headquarters.”

It has an Egyptian appearance, a characteristic of his work, first evident in an office building entrance mural for London’s Barbican, in the early sixties.

William Mitchell (born 1925) subsequently left Britain, returning in the 1990s to work with Mohammed Al Fayed of Harrods.

Ironically, he died in January with the fate of his Sheffield work still undecided. It will now be restored and incorporated somewhere in the Heart of the City II development.

(Image: Reddit)
Categories
Buildings People Sculpture

Victoria Station Memorial

The original memorial outside Victoria Station. (Image: Picture Sheffield)

In our investigations into the Victoria Station one structure appeared on old photographs that deserved further investigation.

This was an elegant memorial that stood at the entrance of the railway station. The classical portico, with colonnade, contained nine columns with the names of workers of the Great Central Railway who died in World War One.

The names of 1,304 men were inscribed on tablets of French marble, and the memorial was unveiled by Earl Haig on Wednesday 9th August 1922. He had commanded the British Expeditionary Force on the Western Front from late 1915 until the end of the war.

Sheffield had been chosen for the memorial because it was the centre of the railway’s operations. About 8,000 people turned up for the ceremony, including hundreds of relatives of the fallen.

Haig inspected a guard of honour composed of over 200 ex-servicemen employees who had gained decorations for gallantry in the field.

“The day will come when we in our turn will have passed on, but these stones will still stand as evidence of the splendid sacrifice and glorious achievement of the 1,300 brave and gallant men whose names they bear.”

The ceremony was presided by Lord Faringdon, chairman of the Great Central Railway, who said the memorial had been subscribed by no fewer than 3,000 shareholders and servants of the company as far afield as Canada, India, Australia, and Africa. He pointed out that over 10,000 employees had gone to war.

Canon Houghton dedicated the memorial, after which wreaths of remembrance were laid, and the service closed with a rousing rendition of the National Anthem.

They would have been forgiven that the future of the memorial was secured. However, within two years the marble had crumbled, and some names were already illegible.

In 1925, the London North Eastern Railway (LNER), which had absorbed the Great Central Railway, graciously replaced the tablets with Kupron bronze plaques. The memorial stood on its own until 1938 when LNER improved the station, extending the booking hall, so that the memorial became its eastern wall. (I presume the memorial was reversed and the tablets were relocated inside).

It remained until the Victoria Station’s closure in 1970 and might have been lost with subsequent demolition.

Remains of the memorial before demolition in 1980. The plaques had been removed to the underneath of Wicker Arch. (Image: Picture Sheffield)

A handful of survivors campaigned for it to be saved and the bronze tablets were re-erected (somewhat hidden) underneath Wicker Arch, where it was rededicated in November 1971. The magnificent portico, in which they had stood, was sadly lost).

The decline of The Wicker is well publicised, and the memorial suffered from neglect and vandalism. Various locations were suggested as an alternative site, but it was the owners of the Royal Victoria Holiday Inn (the former Victoria Station railway hotel) that offered it a permanent home.

The memorial plaques underneath Wicker Arch. (Image: Picture Sheffield)

With support of the hotel, sponsors and a grant from the Heritage Lottery Fund, the Great Central Railway Society organised rescue of the plaques and relocation to its new home, almost on the site of the original memorial.

It was rededicated on Remembrance Day 2008 and remains outside the Royal Victoria Crowne Plaza. A Roll of Honour for all the men listed, collated by the Great Central Railway Society, can be found inside the hotel.

(Images: David Poole)

© 2020 David Poole. All Rights Reserved.

Categories
Sculpture

Marti Caine: Sheffield’s only tribute to that gawky and glamorous entertainer

Marti Caine. (Image: David Poole)

It’s remarkable that Sheffield has never officially paid tribute to Marti Caine. However, there is a sculpture at the top of Howard Street, near Sheffield Hallam University, that is named after her.

Marti Caine grew up in Shiregreen and her vocal talents, wit and engaging personality made her a mainstay of the northern club circuit before she leapt to national prominence by winning the TV talent show New Faces in 1975 – a programme she went on to present with great success.

In her later years, she campaigned tirelessly on behalf of cancer charities before succumbing to lymphatic cancer on November 4, 1995, aged 50, after a long illness.

Marti was awarded an honorary doctorate by Sheffield Hallam University in recognition of her contribution to the world of entertainment, and the film Funny Cow, starring Maxine Peake, was loosely based on her compelling life story.

The gritstone and stainless steel sculpture dedicated to her, originally called Sheen, is often referred to simply as ‘Marti’, one of the pieces made for the Stone City Symposium of 1995. It was commissioned by Sheffield Hallam University and was to have been revealed by Marti Caine, who died two weeks before the opening; it was decided to dedicate the sculpture to her instead.

The stainless steel was intended to reflect the changing weather and reflect passing traffic which flicker across the inset steel squares on the Arundel Gate side of the sculpture.

Describing his work at the time, Mick Farrell, its creator said: “Using stainless steel and stone I hope to set up a contradiction within the nature of both materials. This architectural piece would act both as a landmark and a point to view from.”

Marti Caine (1945-1995). Comedian, actress, singer and dancer. (Image: BBC)

© 2020 David Poole. All Rights Reserved.

Categories
Buildings Sculpture

The White Building

The White Building in Fitzalan Square. The old offices have been converted into apartments. (Image: David Poole)

This is probably one of Sheffield’s best-loved buildings. A glance through social media shows positive words about the White Building in Fitzalan Square, and yet little appears to be known about it.

The building is Grade II listed by Historic England, more so for the ten carved friezes that adorn its fascia, but its simple past, as shops and offices, means it is largely forgotten.

(Image: David Poole)

The White Building was built in 1908, named after the white faience used to dress it, quite different from the stone used in other buildings of the time. This material was used because it was ‘self-cleaning’, an antidote against the soot that clung to our city centre buildings in the past. (Another example, still seen today, was the Telegraph Building on High Street).

However, it would not look out of place on a typical Parisian street and comes into its own on a bright sunny day.

The White Building seen shortly after completion in 1908. This was one of several new buildings built at the same time as the square was ornamentalised. (Image: The British Newspaper Archive)

It was designed by Edward Mitchel Gibbs, of Flockton and Gibbs, who built and owned the building. No surprise then that its construction came the same time that Fitzalan Square was about to be rebuilt. Gibbs, as a member of the Sheffield and South Yorkshire Society of Architects and Surveyors, had consulted on plans for the square, and no doubt saw an opportunity to cash in on future success.

The White Building was built of four storeys with a raised attic storey in the centre. The use of French windows with balconies on the first and third floors provided welcome relief to the usual designs for commercial buildings.

The building was accessed by an arcaded ground floor, the entrance, still with its original name plaque, recessed behind one of the plain elliptical arches.

It is above these five arches that the ten friezes can be seen. These were created by Alfred Herbert Tory and William Frank Tory, the brothers using real workers as models, before sending away the designs to be cast as hollow tiles (the moulding was done with terracotta tiles in Leeds).

With thanks to Darcy White and Elizabeth Norman ‘The Sheffield Trades’ are as follows:-

“A Silversmith (with a blowpipe): a Chaser: an Engineer: a File Cutter; a Steel Roller: a Cutler: a Grinder (using a flat-stick): a Hand Forger; a Buffer; and a Steel crucible teemer (with sweat rag in mouth).”

The Tory brothers made five each, casting their initials beneath their work, although these have weathered badly and are now difficult to read.

After the White Building opened, its ‘first class shops and offices’ were in huge demand and proceeded to be so until the decline of Fitzalan Square in the 1970s and 1980s. It was altered in the late twentieth century, including the removal of decorative rooftop urns, but remains pretty much as it did when first built.

These days the old offices have been converted into apartments and the ground floor shops await the revival of Fitzalan Square.

The King Edward VII Memorial with the White Building in the background. (Image: David Poole)

© 2020 David Poole. All Rights Reserved.

Categories
Places Sculpture Streets

King Edward Square

Photograph by The British Newspaper Archive

This extraordinary sketch shows a grand municipal square that was once proposed for the centre of Sheffield. The illustration from 1911 was by Alwyn Henry Holland, and showed King Edward Square, considered as a memorial to King Edward VII who died in 1910.

At the time, Alderman George Franklin had suggested that the Fitzalan Market should be swept away and the central block between King Street and Fitzalan Square used as a handsome open square. In its centre was to be an equestrian monument celebrating King Edward with fountains either side.

The proposal would have meant that the main streets of the city would run into the square and afford adequate space for dealing with increasing tram traffic.

Photograph by The British Newspaper Archive

It was understandable that Sheffield considered such a scheme.

The city was often compared to Leeds, with its city square and ornamental embellishments, and the architecture of its public buildings and offices were thought far superior.

Fitzalan Market, dating back to the 18th century, was considered an ‘eyesore’ and described by market traders as being like the “Black Hole of Calcutta.”

The scheme was subject of several meetings at the Town Hall, and serious consideration was given to the plan. Alas, with the cost estimated at £200,000 (nearly £24 million today), the idea was abandoned in favour of the much-cheaper standing figure of King Edward VII in nearby Fitzalan Square.

From the illustration we can determine where King Edward Square would have been.

The road at the centre of the sketch is Commercial Street, leading into High Street, with Fitzalan Square to the left. The road on the right side of the square is King Street. Several buildings are familiar, including The White Building on the left and the York City and County Bank (now The Banker’s Draft) in the centre of the picture. The spire of Sheffield Parish Church, now the Cathedral, can be seen behind.

Fitzalan Market was demolished in 1930 and a large part of the site was acquired by C&A Modes Ltd for a new department store. This was destroyed in the Blitz and replaced with a less spectacular building, later acquired by Primark, and now easyHotel.

NOTE:-
Alwyn Henry Holland (1861-1935) was a little-known painter in watercolours who was initially articled to the architect John Dodsley Webster. He acted as Honorary Secretary of the Sheffield Society of Artists but, on the death of his father, succeeded to the family grocery business. Holland was the owner and architect for the Howard Fine Art Gallery on Chapel Walk, which opened in 1898 for the exhibition of old, modern, pictorial, and applied arts.

Photograph by David Poole

© 2020 David Poole. All Rights Reserved.

Categories
Sculpture Streets

The relevance of King Edward VII’s statue

The King Edward VII Memorial in Fitzalan Square was unveiled by the Duke of Norfolk in October 1913. The statue, designed by Alfred Drury, is made of bronze, and set upon an Aberdeen Kemnay Granite plinth.

Around the statue pedestal are four panels whose meaning have been forgotten over time. This is probably not surprising because Sheffield’s industrial pollution meant the statue was covered in soot for generations.

Since cleaned up, some of the wording has weathered, and had it not been for the Sheffield Daily Telegraph explaining the meaning of each panel in 1913, then we might be unsure of their relevance today.

If you get the opportunity, visit the Grade II listed statue, and use this post for an understanding of each of the four panels. Click on each photo for an explanation.

“The front panel consists of two figures – Fame and Truth holding the inscription ‘Edward VII. 1841-1910’. The majestic figure of fame is portrayed with wings, as fame flies through the length and breadth of the land. Truth is represented by a serene figure with eyes uplifted to the source of Truth.”

“The back panel represents Peace – ever the great aim of King Edward – being crowned by Gratitude, who bears in her left hand an olive branch. Behind Gratitude is a woman holding a small winged figure of Liberty, which should be the outcome of peace. The other two figures express the idea of Rest and Contentment, brought about by Peace.”

“One of the side panels represents Philanthropy in the graceful and stately figure of a woman presenting the Crippled Children’s Institute to a finely built man typical of Labour. Near to him is a group of interested spectators, one of these being a poor little cripple who is evidently anticipating benefit from the Institution. Behind him is a poor mother and her baby, and an old man, delightedly interested in what promises to be of so great service to the class they represent. Behind the central figure of Philanthropy are two nurses, and to the left a mother and the babe she has gratefully received back from the Institution cured. Thus, are depicted on this panel Anticipation and Realisation.”

“The remaining panel is symbolic of Unity – a woman in the prime of life holding by each hand figures representative of India and China; the idea of Unity is further carried out most convincingly by the presence (behind these figures) of the North American Indian, the Maori of New Zealand and the Aborigine of Australia.”

Thank you to The British Newspaper Archive. © 2020 David Poole. All Rights Reserved.

Categories
Sculpture Streets

King Edward VII Memorial

Photograph © 2020 David Poole

Despite the mixed fortunes of Fitzalan Square, one structure has stood proudly for well over a hundred years. The King Edward VII Memorial in the centre of the square was erected in October 1913, Sheffield’s commemoration of the King who had died three years before. The bronze statue has seen out two World Wars, surviving the destruction of the immediate area during the Blitz.

It might seem hard to believe now, but Edward was a popular King with Sheffield people. His mother, Queen Victoria, had been a relative stranger to the city, but as the Prince of Wales, he had opened Firth Park in 1875, and attended the opening of an industrial exhibition by the Cutlers’ Company in 1885. There were also stories of Edward’s incognito visits, including those to friends in the suburbs and a town centre hostelry.

He visited again in 1905, this time as Monarch, to open the University of Sheffield and to unveil the Boer Monument to the York and Lancaster Regiment outside Sheffield Parish Church (now the Cathedral).

After his death in 1910, it seemed appropriate that Sheffield should honour him with a statue. As always,  the proposal sparked debate amongst its people.

Photograph by The British Newspaper Archive

Sheffield Corporation made it known it intended to add an equestrian statue and fountains at both end of Fitzalan Square, already upgraded in 1909. However, opinion was divided because of the poor reputation the square had long held.

A grander scheme had also been proposed for a new King Edward Square nearby, on the site of the Fitzalan Market (where the easyHotel stands today). This scheme would have cost excess of £100,000 and after much deliberation was abandoned.

Any memorial to King Edward had to be funded through voluntary public subscription, and so Fitzalan Square was deemed more suitable as the cheaper option.

Sheffield Corporation had already been solicited by artists keen to work on the memorial, including Benjamin Creswick, Albert Bruce-Joy, Frederick Pomeroy, and Adrian Jones.

In March 1911, the city architect, Mr Edwards, invited artists to submit designs for both an equestrian statue and a standing figure. As well as those proposals already received, there were others from Alfred Drury, Francis Derwent Wood, William Goscombe John, Henry Alfred Pegram, Paul Raphael Montford, Thomas Brock and Charles John Allen.

It became known that King George preferred non-equestrian statues of his late father, and Sheffield respected those wishes with its choice.

Photograph by Picture Sheffield

The winning design was by Alfred Drury (1856-1944), a sculptor with a fine reputation in London. He quoted between £1600 and £2000 for the design, and £2000 as his fee, although he eventually received 2000 guineas.

A photograph of the design was published in December 1911, and the following month Fitzalan Square was officially announced as the chosen site.

Fundraising was slow, and the project might have faltered, had it not been for a £5,000 donation from Samuel Meggitt Johnson, of George Bassett and Co, on the condition that a home and school for ‘crippled’ children also be built in the city.

The statue was winched into place in October 1913, quickly covered, and officially unveiled by the Duke of Norfolk at a high-profile ceremony on 28 October, the same day that the Duchess of Norfolk laid the foundation stone of the ‘Cripples’ home in the Rivelin Valley.

Photograph by Picture Sheffield

Thousands of people turned up for the ceremony, curious to see the uncovering of a statue, something that was not commonplace in Sheffield. At the time, there were only three other statues on display – Queen Victoria opposite the Town Hall (now at Endcliffe Park), James Montgomery and Ebenezer Elliot. Sheffield had only recently possessed wider streets, and the old narrow congested roads had always been unsuitable for statuary.

Before the arrival of the Duke and Duchess of Norfolk, the vast crowd was entertained by the bands of the 2nd Battalion Sherwood Foresters and the Queen’s Own Yorkshire Dragoons, playing in turn, while troops lined the enclosure around Fitzalan Square.

At 3.30pm there were speeches by Samuel Osborn (Lord Mayor), Colonel Henry Kenyon Stephenson (Chairman of the Memorial Committee), Thomas W. Ward (Master Cutler), Alderman William Henry Brittain (Town Collector), and Alderman John Hobson (Deputy-Lord Mayor).

Photograph by Picture Sheffield

The Duke of Norfolk drew the cord which allowed the covering to fall from the statue, to an outburst of cheering and the playing of the National Anthem.

“I highly esteem the honour of being allowed to unveil in this great city the statue of a great King. We have assembled to place a lasting remembrance in the centre of the city which will bring home to the minds of other generations who will only hear of him as a memory of the past, and as a historical character, the personality of their late King.”

The King Edward VII statue (2.9 metres high) was made of bronze, situated on top of an Aberdeen Kemnay Granite plinth (4.27 metres high), designed by a local architect, similar to one Drury had designed in Aberdeen, but also thought better to withstand Sheffield’s industrial pollution.

There are four panels in stone on all four sides of the plinth – ‘Fame and Truth’, ‘Philanthropy, ‘Unity’ and ‘Peace’, with the word ‘Peacemaker’ incorporated into a banner across one of the bronze reliefs.

© 2020 David Poole. All Rights Reserved

Photograph of the King Edward VII Memorial in 1918 by Picture Sheffield
Photograph © 2020 David Poole
Categories
Sculpture Streets

Fitzalan Square

Photograph by Sheffield Star

What do you do with a problem like Fitzalan Square? Those of you that have seen it lately cannot have failed to notice its recent overhaul with a new grassed area around the statue of King Edward VII, and the addition of new trees. The square has also been given open access from Norfolk Street, across Arundel Gate, and down Esperanto Place.

The improvements to Fitzalan Square and the surrounding area are part of a £5.5million ‘Knowledge Gateway’ project to transform the area which runs from the Cultural Industries Quarter up to the square.

However, there will be doubters that look upon this work with a note of scepticism. Fitzalan Square has never lived up to its name, not helped by unremarkable twentieth century buildings on one side of the square, and a tendency to attract ‘undesirables’.

Its history goes back to 1869 when Sheffield Corporation started purchasing and demolishing premises on the east side of Market Street (where the top end of the square is now) and the south side of the old Haymarket.

Several properties came down, including the Star Hotel, Theaker’s Coffee House, the King’s Arms Hotel, the Blue Bell, Fisher and Sons, Mr Arnison’s  drapery, and Mr Jeffrey’s pawnbrokers.

A large portion of the premises belonged to the Misses Shearwood. These two ladies objected to part with their property and refused to lend themselves in any way to the proceedings for acquiring it. Sheffield Corporation had to execute a deed poll vesting the property in themselves and paid money into a bank account for the benefit of the ladies. The Sheriff of Yorkshire was called in to give the Corporation possession of the property, and did so by placing in the street an article of furniture and getting the tenants to ‘attorn’ to the Corporation – that was to admit that the Corporation was their landlord. The money remained in a Bank of England account until the death of the ladies some years later.

When the property between Market Street and Jehu Lane (still standing off Commercial Street) was pulled down the open space was called Fitzalan Square, after the Duke of Norfolk’s family.

It was in 1882 that the council announced that it was obtaining plans and specifications for completing a new layout in the open space.

“The space will be levelled, and a retaining wall built along Market Street, surmounted with ornamental palisades, leaving a part open in the centre with steps down to the space levelled, at each of which is to be erected two small ornamental stone buildings, the one near the markets for the use of gentlemen, to contain a good reception or waiting room, lavatory, retiring and attendant’s rooms. The building at the other end near to Norfolk Street, for the use of ladies; to be provided with similar accommodation. The open space is to be well spaced with good flagstones, and in the centre a suitable fountain to be erected, or a statue to William Jeffcock, the first Mayor of Sheffield.”

It appears that the plans were rejected in full, the toilets not built, but some improvements were made to ‘Welshers’ Oval’, as the Sheffield Independent called Fitzalan Square.

“The police were asked to undertake the keeping of order in the open space,” said Le Flaneur in the newspaper. “I am afraid this open space will be very much like the proverbial white elephant. It certainly cost enough to get, and now a permanent addition of the police force will be necessary to keep it constantly free of the loafers, idlers and book makers that make it their daily resort.”

Photograph by Picture Sheffield

It was left to Police-constable George Warhurst to be the object of terror. Betting loungers were prompt to obey his orders to make themselves scarce, and it was a difficult task for the Chief Constable when Warhurst died in 1884.

Matters did not improve after a pagoda-style building, comprising tram waiting rooms, water closets and urinals, as well as a clock turret, was built in the centre of the square in 1885.

Photograph by Picture Sheffield

Far from enhancing the appearance of the square, it provided shelter to ‘mouldy old men and frowsy women’ and in a short time had acquired a shabby reputation.

“If only some of our worthy Aldermen and Councillors would make it convenient to spend a few hours each day, for a week, in the immediate vicinity of this structure, they would, I am sure, be earnest in their endeavours to put an end to the constant ‘loafing’ which takes place by ‘undesirables’ at this particular sport,” said one letter to the Sheffield Daily Telegraph.

Photograph by Picture Sheffield

It was a subject repeated day after day.

“The evil at the shelter is a radiating evil. It embraces all the seats around, for the reason that, while the shelter is the converging point of the very pick of Sheffield’s undesirable characters, they also use it as a kind of base from which they carry on their predatory prowling: a long rest, then a short spell of loafing at the street corners, – that is the day’s programme.”

And

“It has been a disgrace far too long, and from every point of view. In my judgement the lavatories themselves are a menace to public decency.”

The ‘Current Topics’ column in the Sheffield Daily Telegraph took up the matter and its biting words make painful reading today.

“The correspondents who are raising the question of this unpicturesque resort of the city’s Weary Willies and Tired Tims will do good service if they can stimulate the authorities into action. We will confess that we never pass through Fitzalan Square without experiencing a keen desire to turn a hose pipe on those seats, partly because it would be a pleasing novelty to see the people run, as in their abhorrence of cold water they would, and partly because both they and the seats they occupy look as if they would be the better for a smart wash.

“There need be no sentiment wasted over the denizens of Fitzalan Square. When we are really civilised, we shall transport such people to Labour Colonies and give them to eat exactly what they earn. Failing that there is neither reason nor sense in retaining them as permanent decorations to the city’s ‘finest site’. Fitzalan Square might be something to be proud of. At present it is only disgusting.”

Illustration from 1903 by The British Newspaper Archive

Sheffield Corporation was indeed stimulated into action, probably the result of land at one end of the square being chosen as the site for the new General Post Office.

While land was cleared for the Post Office in 1907, councillors proposed reconstructing Fitzalan Square to harmonise with the new building.

It was probably one of the best known public spaces in Sheffield, but the most ardent son could scarcely claim that the pagoda-like structure which gave it its chief characteristic had added either architectural grace or dignity to this part of the city.

“The pagoda had served various purposes satisfactorily, and, notably, as a rendezvous for a little army of folk with apparently little to do than doze and gossip the day through.”

The council adopted a scheme for laying out Fitzalan Square in ornamental style as an open space, and at the same time taking advantage for utilitarian purposes. The scheme was worked out by Mr C.F. Wike, City Engineer, based on drawings prepared by the Sheffield Society of Architects and Surveyors.

At the time it was noted that there were more pipes laid through Fitzalan Square than through any part of the city. Here, the lines to the GPO, the National Telephone, and Electric Light Power stations converged. The Post Office was also laying cables to connect trunk wires to the new GPO building and on completion of work, in January 1909, renovation of the square commenced.

The contractor chosen for the work was George Longden and Son, but the original plan had been shorn of ornamental detail due to cost, although the property overlooking the square was nearly all rebuilt.

The ugly pagoda went and the central part of the square it occupied was enlarged. This was made possible by removing an old cab stand and filling up the slope on the south side of the square to make it level and wider.

The upper part of Baker’s Hill, a sloping road in front of where the new GPO was being built, had been done away with, and steps substituted as an outlet from that corner of the square into Pond Street.

Illustration from 1908 by The British Newspaper Archive

The new scheme provided an ornamental stone balustrade, public conveniences at either end of the square, and a tramway office, all underground. At the four corners were electric arc lamps, with further embellishments, in the shape of a fountain and a statue, planned for a later date.

Photograph by Picture Sheffield

However, the scheme was embroiled in controversy, the council wanting to use Norwegian or Swedish granite because it resisted damage, but the majority wanting cheaper Stoke Hall stone. In the end, the balustrades were built of imported granite.

Fitzalan Square was formally opened on Wednesday December 8, 1909, by the Lord Mayor, Earl Fitzwilliam, at which he made an expressive speech: –

“We live in a time when the question – a burning question in some cities – of open spaces is bidding fair to see some very satisfactory accomplishment. In no city more than Sheffield are these open spaces desirable. In a city like Sheffield where we burned the very best ‘South Yorkshire’, they made the very best mess of the South Yorkshire atmosphere. Science has not yet taught us how altogether to avoid this murky effect, but by providing open spaces we might make best of the atmosphere that is left to us. Sheffield is especially fortunate in its open spaces and in this particular one, because although in the past they had had a space here, it had not been one worthy of the size or importance of the city.”

The improvements had cost £9,000 (about £1.1 million now), but the age-old problems refused to go away, and criticism was often scathing.

Photograph by Picture Sheffield
Photograph by Picture Sheffield

“Within a year an article appeared in the Sheffield Evening Telegraph, written by an anonymous correspondent, under the heading ‘THAT SQUARE’: –

A good deal of the recent talk about Fitzalan Square may have been ineffectual, but if it did nothing else it sent me to inspect the place. Though my work brings me into the city daily, I had never had reason to descend to the bottom of High Street since the so-called improvement had taken place. Yesterday I determined to see for myself what the fuss was all about.

“I have no desire to exaggerate but I do not hesitate to say that Fitzalan Square is the most pestilently ill-favoured open space in England. This is patent without seeing all the others, for there is an instinct which tells you when you have seen the absolute nadir of ugliness. I have seen IT.

“If you are at all run down the effect of suddenly coming upon such a spectacle as this forlorn wilderness of paltry dog kennels and pretentious architectural incoherencies may easily cause a shock dangerous to health.

“The said ‘improvement’ consists of a stone balustrade round a large piece of nothing at all. What this petty stone fence is meant to enclose or exclude is not obvious. There are four lamp-posts of the most abysmal hideousness. Possibly there is poetic fitness in this, for they are meant to light the way below.

“It might be roofed in and let as a skating rink or turned into a rifle range. It might be dug up and let out to husbandmen. Unless three out of four of the surrounding buildings are absolutely wiped out and a big sum spent in covering up the alleged ‘improvement’ which has recently been carried out, nothing can be done to make the place decent.”

Wartime bomb damage. Photograph by Picture Sheffield
Photograph by Sheffield Star

And so, the tone was set, for decades subject of ridicule, damaged during the Blitz, and often left to its own unsavoury devices.

The fountain never materialised and a plan to relocate a statue of Ebenezer Elliot from Weston Park to Fitzalan Square was abandoned. It was graced with a statue of King Edward VII (subject of another post) in 1913.

In time the underground toilets were removed, the trams disappeared, and even the taxis left for busier parts of the city centre.

Photograph by Picture Sheffield
Photograph by Sheffield Star

When the area has become too down-at-heel there have been attempts to restore it, including a 2003 facelift, with the restoration of the King Edward VII statue, new sandstone paving, steel benches and improved street lighting.

The latest restoration comes at a time when this part of the city centre is in transition. A vast proportion of people have migrated to The Moor along with the old market, the old General Post Office now belongs to Sheffield Hallam University, and the future depends on the Castlegate development and most probably our student population.

Fitzalan Square in 2020. Photograph by David Poole

© 2020 David Poole. All Rights Reserved

Categories
Buildings Sculpture

The lions which finally came home

Photograph by RIBA

The next time you visit Sheffield City Hall, look out for John and Samuel. These two old fellows are a pair of stone Assyrian lions who have quite a story to tell.

Their tale begins in the early 1930s at Middleton-by-Wirksworth, a small village the other side of Matlock.

Made of Hopton Wood stone, the two lions were created by Sheffield sculptor John Hodge, a man with an elusive history, “a tall mysterious figure,” seen regularly wearing a large-brimmed black hat and matching cape, and causing fright amongst children at night as he walked to and from his project at Derbyshire Stone’s works.

The two lions, each four-feet-high and weighing 2.5 tonnes, were predestined to be night cats, commissioned by architect Emanuel Vincent Harris to sit either side of the “Entrance of Honour” to the stage of the newly-built Sheffield City Hall.

Photograph by Picture Sheffield
Photograph by BBC News

When the City Hall opened in 1932 the two lions could be seen by everyone in the Oval Hall, admired at first, but soon subject of ridicule and anger.

The trouble, apparently, was that the lions split up a choir or orchestra, so that there was a lack of cohesion between artists on two sides of the platform.

The lions became subject of letters to local newspapers: –

“The proper place for the City Hall lions is outside, on the pedestals flanking the columns.”

“These ridiculous stone lions block up valuable space in the centre of the orchestra.”

“Admittedly they are a fine piece of work, but they ought not be there. They obtrude themselves on one’s vision, and hardly seem to fit in with the otherwise pleasing artistry of the interior.”

The most damning criticism came from Sir Thomas Beecham, conductor, and impresario, best known for his association with the London Philharmonic and Royal Philharmonic orchestras. Addressing an audience of musicians on stage at the City Hall in 1935, he reckoned that the platform had been expressively designed for “clock golf.”

“AND THESE,” he shouted pointing at the two big cats,” “THESE MUST GO. I don’t know who devised them, but it looks like Epstein. I suppose they are works of art, but why can’t they be placed at the other end of the hall?”

In 1936, the Sheffield Hall Committee, perhaps influenced by Beecham’s description of them as “horrors” and “huge brown beasts,” recommended to the City Council that the lions be removed. The council, not be bullied, refused to do so, and the two lions remained on stage for thirty years.

It wasn’t until 1962, a year after Beecham’s death, that the lions were banished when the auditorium was refurbished.

The two lions were bought for £600 by John Hadfield, the sympathetic chairman of Derbyshire Stone Ltd. They were hoisted out of the hall, put on the back of a lorry, and reunited back in Derbyshire.

Photograph by Picture Sheffield

They were eventually built into the steps of John Hadfield House at Matlock, constructed in 1968 by Tarmac Construction, for Derbyshire Stone, and later becoming Tarmac Eastern’s regional office for over 30 years.

Photograph by Tarmac Roadstone

When the company vacated the building, the lions were moved to Tarmac’s Ettingshall office, Wolverhampton, and when that closed, the poor lions ended up at their regional office near Leicester.

Photograph by Tarmac Roadstone

After nearly fifty years living outside, the fate of the Assyrian lions took a remarkable twist in 2017.

As part of Sheffield City Hall’s 85th birthday celebrations, John, and Samuel, as they were now called, were cleaned up, returned to the City Hall, and given ‘pride’ of place in the foyer.

Photograph by Abi Jaiyola on Twitter
Photograph by David Johnson on Flickr
Categories
Sculpture

Pan: Spirit of the Wood

Photograph by Sheffielder

Within the Rose garden at the Botanical Gardens, in Sheffield, is a sculpture called Pan: Spirit of the Wood. This was a gift to the city by Sir Charles Clifford, proprietor of the Sheffield Telegraph and Star, on his death in 1936.

However, the city’s inhabitants had to wait a long time to see the sculpture, only made available after the death of his widow, Lady Alice Clifford, in 1941.

He had expressed a wish that the sculpture would be placed in Endcliffe Wood or Whiteley Wood, but it wasn’t until 1952 that Spirit of the Wood was finally placed in the newly designed and restored Rose Garden at the Botanical Gardens.

Although his will referred to Peter Pan, it was almost certainly a statue of Pan: Greek god of pastures, flocks and woods, seated on a tree stump. Around the statue are brass birds, rabbits, mice, frogs and squirrels, while elves are imaginary woodland spirits. Cast in bronze, about 2 metres high, the sculptor has remained unknown.

The condition of the sculpture deteriorated over the years and it wasn’t until 2003 that restoration was undertaken at a cost of £40,000.

Spirit of the Wood was sent away to Chris Boulton, a restorer, who found that it had been made in sections and bolted together. Grit was blasted away, the patina removed, and rough cement detached from the stone base.

It was discovered that the cast was of poor quality, with the likelihood that the sculpture had been made of scrap-metal.

Once completed, Pan: Spirit of the Wood was reinstalled in the centre of the Rose Garden and nowadays forms part of the Riddle Trail.

The only clue to its creator can be found on an inscription – “H.W. Cashmore – Westminster” – a company of metal workers that had a foundry in Balham.

It had been set up by George Henry William Cashmore and Malcolm Hankey and became part of the Bromsgrove Guild of Applied Arts, established in 1894 by Walter Gilbert as a company of modern artists associated with the Arts and Crafts movement.

The guild worked in all sorts of materials including metal, wood, plaster, bronze, tapestry and glass. As a result of their most famous commission, the iron and bronze gates at Buckingham Palace, they were issued with a Royal Warrant appointing them metal workers to King Edward VII, an honour repeated two years later under George V.

By 1908, the guild was using H.W. Cashmore at 96 Victoria Street, Westminster, as a showroom and studio.

The partnership between Henry William Cashmore (he’d now dropped the initial G from his name), and Malcolm Hankey was dissolved in 1911 and became known as H.W. Cashmore and Company.

The showrooms flourished and attracted the attention of Country Life magazine in March 1914, which did a feature on the company.  Later the same year, The Gardeners’ Chronicle provided perhaps the best insight into the workings of H.W. Cashmore.

“Mr Cashmore has been careful to surround himself with workers who are not only skilled in their several branches, but are also imbued with the true craftsman’s instinct, and are therefore capable of applying themselves zealously to the realisation of high ideals. The effect is seen in the many examples of beautifully wrought and finely-finished metal work and carried out by the firm’s staff in a manner worthy of the invariably artistic designs to which they work.

“These productions take the form of garden statuary and elegantly modelled figures, ornamental bronze work, wrought iron gates, grilles and railings. The appreciation of their work now reaches to the most distant parts of the world. Examples of their skill and taste have gone as far afield as India, China, Japan and South America, as well as to the United States and Canada.

“Much of their work is used in the new commercial buildings of the world, on the other hand, a great deal of their skill seems to be utilised by clients who inhabit some of the most beautiful of the old English country homes – as found at Eltham Hall and Rushton Hall.”

Photograph by Sheffielder

Although records suggest that Spirit of the Wood was created in the 1930s, the likelihood is that it originates to about 1915 when Sir Charles Clifford bought Whirlow from Denys Hague, a coal-owner. Britain was at war, with metal commanding premium prices, and the inclusion of scrap-metal in its creation was understandable.

The sculpture probably stood in his garden at Whirlow, as did a pair of wrought iron gates, most likely by H.W. Cashmore as well, also bequeathed to the city, with Sir Clifford hoping that they would stand at the entrance to the bird sanctuary in Ecclesall Wood. As it happens, the gates are still hanging outside Clifford House on Ecclesall Road South (as Whirlow became known).

It seems we shall never know the designer of Spirit of the Wood, the obvious answer being that it was probably designed by one of Cashmore’s employees. Sir Charles doubtless ordered the statue from a catalogue, or even after visiting the Westminster showroom.