Let’s talk about Colin Rose, sculptor, printmaker, and lecturer. He was born in Newcastle upon Tyne in 1950 and studied at the Polytechnic and University there.
Over the years he has worked in a variety of mediums from mirror polished stainless steel to stone. More unusually he has worked with Rope, Brick and even Coal Dust depending on the requirement of the brief.
But what is his connection to Sheffield?
He was the winner of a design competition in 2003 which resulted in a ‘blue space’ water feature that is representative of Millennium Square.
‘Rain’ is designed to evoke the falling of rain drops upon the ground, with the small pools at the base of each steel ball creating the ripple effect.
The steel balls, of which there are nine spheres in varying sizes up to 2m in diameter, symbolise the steel, craftsmanship, stonework, and water, which are symbolic of Sheffield’s industrial heritage.
The water sparkles at night due to dozens of colour-changing LED lights set in the paving, and into the rim of the pools under each of the steel ball raindrops.
Rose’s commissions can be seen throughout the UK and include: ‘Meteor’ – Jodrell Bank, ‘You – Genome Centre, Cambridge, StarBall – EBI, Cambridge, ‘Swirl Cone – Carmarthen, and 10 Swirl – Gateshead.
While developing his practice Colin taught fine art and was head of Sculpture at Sunderland University from 2000 till 2006.
I recently featured Canada House, on Commercial Street, a well-known building, built in 1874 for the Sheffield United Gas Light Company. Plans have been submitted to convert it into Harmony Works, a home for music education in the region.
However, next door to Canada House is an often overlooked building that was originally an extension to the former gas showrooms.
The building, No. 9 Commercial Street, is no longer connected with Canada House, and was recently used by Jessops photographic shop.
This Portland stone building is conspicuous against its Victorian neighbours, added in 1938 by Hadfield & Cawkwell. It is described as ‘between stripped classical and modern.’ Harman and MInnis in Pevsner’s Architectural Guide describe it as ‘a Greek Key band and flutes representing pilasters combining sculpture by Philip Lindsey Clark of a flying female figure with a sunbeam behind her and a male figure backed by flames.’
Next time you pass, take a good look because the sculpture makes sense when you know what you are looking at.
The life-size sculptural figures represent Heat and Light.
Heat is represented by the male figure with the feet coming out of the earth to suggest the origin of gas. Flames twisting and expanding upwards, with a ‘quivering’ background, convey the suggestion of heat.
The female figure was chosen to represent light, designed to give an impression of light descending in rays controlled by the arms of the figure to shed light on the earth. In the background, a star suggests night turned into day by means of this light.
Philip Lindsey Clark (1889-1977) was the son of sculptor Robert Lindsey Clark, and he worked with him at the Cheltenham School of Art from 1905 until 1910. He later studied at the City and Guilds School in Kennington, had a distinguished record in World War One, and continued his training at the Royal Academy and Salon des Artistes, Paris.
His work from 1930 onwards became more of a religious nature and can be seen in ecclesiastical buildings across the country.
In Sheffield, there are other examples of his sculpture at Church of the Sacred Heart (Hillsborough), the Royal Institution to the Blind in Mappin Street (still retained in the replacement building), and St Theresa of the Child Jesus Church at Manor, including, amongst others, the stone statue of St Theresa above the main door of the church.
Banner Cross is long associated with Ecclesall Road. It is infamous for being the scene of the murder committed by Charles Peace, the notorious criminal, in 1876.
In the time of Queen Elizabeth, nearby Banner Cross Hall was known as Bannerfield, but referred to as Banner Cross in the times of James I.
There appears to be no clear account of how Banner Cross got its distinctive name. ‘Banner Cross’ seems to suggest battles and campaigns, but the most likely explanation appeared in Hunter’s Hallamshire in 1819.
“This is one of the ancient esquires’ seats in the manor of Ecclesall. It stands near the chapel, and not far from the turnpike road to Manchester, from which however it is shut in by plantations, while its front presents a pleasing feature in the landscape to the traveller on the opposite hill along the road to Chesterfield. The name might tempt an antiquary to wild conjectures, especially when he stands on the base of an old stone cross still remaining, and looks along Salter (perhaps Psalter) Lane, towards Sheffield.”
It refers to an old stone cross that once stood near the previous hall, and quite possibly the ‘Banner Cross Stone.’
In the early part of the twentieth century, William Henry Babington, a Sheffield photographer, took images of a piece of stone, and labelled it as being the ‘Base of the Banner Cross Stone, now on terrace of Banner Cross Hall. Removed from Banner Cross Hall Gardens.’
If this was the original ‘Banner Cross,’ how likely is it that the base is still at Banner Cross Hall?
Behind the Town Hall, on Norfolk Street, is a single doorway with the words ‘Disinfectants’ carved into the lintel above. It appears to originate from 1897, the year that Sheffield’s new Town Hall opened, and where ratepayers were able to buy disinfectant for their homes.
Disease was a worry for our Victorian ancestors and the city was still recovering from outbreaks of smallpox, scarlet fever, measles, whooping cough, and puerperal fever. In 1896, Sheffield’s population was 347,278 and quickly expanding into Walkley, Attercliffe and Heeley. In that year, 6,732 people died, many from disease, although the trend was decreasing. Astonishingly, 392 people had died from diarrhoea.
Medical science was concerned with tracking disease to its source with a view to prevention and was no longer content to repair the ravages of disease which might have been prevented.
In a time when preventative vaccines were still in their infancy, disinfectant was used to spearhead the fight against zymotic diseases. Where disease was evident in the home it was the use of carbolic acid powder and chloride of lime that allowed walls to be washed while articles were removed and burned.
One of the concerns was that if people were ill with infection, to make sure that they didn’t pass it on, cleaning and disinfecting, both where they lived, and the things that they owned and had contact with, was a way of eradicating germs
Sheffield had a disinfecting station at Plum Lane where infected people and their possessions would enter the station from one side, move through the process of steam disinfection and exit out the other side. There were also metal hoppers in which people would have placed their infested clothes before taking a sulphur bath to treat their condition.
These sorts of places were common across the country and were a very important part of how Victorian and Edwardian local authorities responded to outbreaks. And when outbreaks did occur, high-occupancy slum housing meant it spread quickly. In 1899, a typhoid outbreak at Brightside speedily infected over 100 people within a half mile radius.
Carbolic acid remained one of the most popular disinfectants, sold in liquid and powdered form at pharmacist’s shops, but also pre-mixed with soap. But there was also a leading brand of disinfectant, made right here in Sheffield, and this was Izal, a supplier to the British army, and the only liquid disinfectant used on troops in the Boer War. It was thought to have been beneficial for the treatment of typhoid and diarrhoea when administered internally.
In the 1930s, as infectious diseases became less virulent and more treatable thanks to a combination of vaccines and antibiotics, the use of disinfectants declined, but manufacturing processes made it more widely available to the population.
There are many war memorials and plaques located around Sheffield, including the City War Memorial in Barker’s Pool. All of these are cared for by Sheffield City Council, but did you know that it also maintains the Sheffield Battalion Memorial in Serre-lès-Puisieux, a village in northern France.
On the first day of the Battle of the Somme on 1 July 1916 men of the 12th Battalion, York and Lancaster Regiment (“the Sheffield Pals”) were entrenched ready to launch an attack on the German position in the fortified hilltop hamlet of Serre. The troops met with devastating machine gun fire and by the end of the day, the Battalion reported 248 killed, 246 wounded and 18 missing.
This tiny village has been indelibly stamped on the pages of Sheffield history – stamped with the blood of city sons, for in a fruitless endeavour to take Serre, the Sheffield City Battalion suffered enormous losses.
In October 1920, the Lord Mayor of Sheffield received the following correspondence from the Mayor of Puisieux:
“I am happy to send you the resolution by which the Municipal Council of Puisieux has decided unanimously to offer to the City of Sheffield the ground necessary for the erection of a monument. This monument will perpetuate among the population of Puisieux a souvenir of your dear lost ones. Believe me sincerely, that even without this monument they will not be forgotten.”
After World War One, the area around Puisieux was one of the saddest and most desolate-looking heaps of ruins. It looked like it had been dead for many years! Very little signs of life or vegetation, the once beautiful, wooded country was just a collection of dead stumps and bits of trees—a few odd ones standing here and there, but all dead, as the asphyxiating gas used by the Germans killed every living thing.
Serre was really part of Puisieux, but had no inhabitants left. Puisieux had about 250 but before the war had a population of over 1,000. The reason they had not returned was the lack of money to work their devastated fields into order again. Sheffield had given a steam tractor, but it was at Arras because no one knew how to drive it, but a man had been sent from Puisieux to take lessons.
A Sheffield-Serre Memorial committee, chaired by Alderman Wardley, raised funds for the memorial, and Major C.B. Flockton, architect, offered a prize of five guineas for the best design, won by J.S. Brown, of Barnsley Road, an ex-serviceman studying in the Department of Architecture at Sheffield University.
The memorial, in Villebois stone, was erected on a slope overlooking the field where within an hour the battalion suffered 600 casualties. On its inscription, in English and French:
“To the memory of the officers and men of the 12th Battalion York and Lancaster Regiment (Sheffield City Battalion) who fell before Serre 1916.”
Above were four bronze plaques, representative of Sheffield’s Coat of Arms, those of Serre, and the regimental badge of the York and Lancasters.
The memorial was unveiled on Monday 21 May 1923. The gathering of Frenchmen and Englishmen included about a hundred people from Sheffield, among them a company of survivors of the battalion, besides parents and friends, and citizens who occupied prominent positions during the war.
It was unveiled by Lieutenant-Colonel G.H. Wedgewood, D.S.O., commanding the 1st Battalion York and Lancaster Regiment, and was dedicated by Dr H. Gresford Jones, Bishop of Kampala (who was Vicar of Sheffield from 1912 to 1920).
Perhaps the saddest moment of all was the sounding of the Last Post and the Reveille. As these well-known notes rang over the battlefields, thoughts fled back to the happy days at Redmires, and again to the long rows of little wooden crosses in the valley yonder, beside stinted, and blasted trees that had once been copses.
In 1926, a large wooden hut was erected nearby, much to the disappointment of survivors, and even the Mayor of Puisieux, who complained that it overshadowed the memorial. After months of negotiation, the owner of the land adjoining the memorial agreed to remove two huts after he was paid 3,000 francs, the cost met by the Sheffield ‘Twelfth Club’ (made up of ex-servicemen) on condition that the owner would not erect anything else of a similar nature.
Serre-lès-Puisieux was slowly rebuilt, but only as a hamlet of houses dotted along the road. The Sheffield Battalion Memorial survived World War Two and remains as a tribute to Sheffield’s lost sons – still honoured by the French who regularly lay flowers and wreaths around it.
In 2006, the memorial was restored and re-dedicated by the Right Rev. Jack Nicholls, Bishop of Sheffield.
(The Sheffield Battalion Memorial isn’t the only dedication to those lost in France, and in a future post we’ll look at the nearby park owned by the City of Sheffield).
Charles Green (1836-1916) had reasonable acquaintance of old Sheffield buildings and landmarks, and his knowledge of Sheffield craftsmen was remarkable. But throughout his life he lamented the fact that they weren’t valued.
“The citizens of Sheffield have little idea of the beautiful works that are now being produced by its native sculptors in other towns, where they have gone for lack of encouragement at home.”
The same could be said for Charles Green, sculptor, modeller, and designer, whose reputation faded after his death.
Today, his name barely registers in the art world, yet his work was patronised by the likes of the Duke of Portland, Baron Rothschild, and Indian Rajahs. After the Boer War he designed and modelled monuments for the battlefields of South Africa.
Charles Green was born at Brampton, Chesterfield, the son of William Green, who became a fender maker at Sheffield’s Green Lane Works. He was educated at St. George’s School, Hallam Street, and showed great aptitude for art with a love of drawing and modelling at the expense of his lessons. He went to Sheffield School of Art aged 11, becoming a pupil of Young Mitchell, and was apprenticed to Edwin Smith, sculptor, and learnt how to model and carve with marble.
During his apprenticeship he carved a bust of Rev. Thomas Sutton for Sheffield Parish Church (now Cathedral) and that of Sir Robert Hadfield for the Cutlers’ Hall.
Green set up his own business and drifted away from sculpture, designing, and modelling ornamental cast-iron on a large scale. He designed fountains, gateways, mantelpieces, ceilings, decorative silver, and metalwork.
Perhaps his finest work was a cabinet commissioned for the Duke of Portland at a cost of £1,100. It seems the Duke changed his mind, but the ebony and bronze cabinet, representing the four seasons, the four elements, the twelve signs of the zodiac, and the globe, merited exhibition in London and Paris.
“I had the spirit within me to make this cabinet as a monument to my father who was so fond of flowers.”
His studio was at North Church Street, later relocating to Bank Street, and ending up at 19 Shrewsbury Road, opposite his home at No.18, a listed building that survives. (It subsequently became Samuel Walker’s sweet factory).
Charles Green married the daughter of Dr Wright Wilson, and had four daughters, one of which, Florence, also became an artist, modeller, and designer.
Before the Society of Artists was formed, local artists met at his studio in North Church Street as far back as 1859, he being one of the first members of the society. He was invited by John Ruskin to attend the first meeting of the Ruskin Museum, and the Sheffield Art and Crafts Guild was formed at 18 Shrewsbury Road in 1894, he being the first master.
He also wrote Artist’s Rambles In and Around Sheffield for the Sheffield and Rotherham Independent.
Charles Green was a lifelong collector of works, and at his studio on Shrewsbury Road, he had a large library, priceless antiques, and prints.
Amongst these were two original models by Francis Chantrey, one was a plaster cast of Sir Walter Scott, and the other, an early model of Rob Roy, thought to have been the only one. He also had several masks taken after death of Lord Brougham, Napoleon, Oliver Cromwell, and others.
Sadly, one August evening in 1911, Green was heating wax in his studio, when it boiled over, a sheet of flame enveloping him in fire. He managed to rip off his apron, but flames spread to the whole property.
The Chantrey busts were lost, as were pieces of carved oak, old oak chairs, pencil drawings, and sketches by Thomas Creswick, Alfred Stevens, William Ellis, E. Stirling Howard, and Robert Baden-Powell. Amongst his huge collection of books lost were a first edition of Rhodes’ Peak Scenery and early editions of Ebenezer Elliott, and first editions of James Montgomery.
“The scene after the fire was a particularly distressing one. Near the entrance was a ruined China cheese dish, huge enough to take a stilton cheese, obviously of high value. All around were prints and frames and statues of beautiful design, hopelessly wrecked, whilst the valuable library, too, was utterly destroyed.”
Green died at No. 18, High Bank, Shrewsbury Road, in April 1916.
“The last of the arts craftsmen of the type that won for Sheffield its proud pre-eminence, associated with Alfred Stevens, Godfrey Sykes, Henry Hoyles, Hugh Stannas, William Ellis, James Gamble, Reuben Townroe, and Robert Glassby. He also enjoyed the friendship of Ruskin, Onslow Ford, Tom Taylor, and James Orrock.”
One of Green’s last unfinished works was a bronze bust of conductor Dr Henry Coward, presented to him by the Sheffield Musical Union, and completed by his daughter. He had also made a Florentine bronze tablet for the Hunter Archaeological Society, with various panels with portraits of the Earl of Surrey, Mary Queen of Scots, Cardinal Wolsey, Chaucer, and Joseph Hunter.
Some of Green’s work survives in private collections but an internet search reveals extraordinarily little. However, we can still see some of his work in Sheffield, including the Lord Mayor’s Chain of Office (which he designed aged 21), and some of the ceilings in the Cutlers’ Hall.
But where did that prized ebony and bronze cabinet go?
This bronze statue of Mercury has stood on top of the portico of the Telegraph Building on High Street since about 1915.
Mercury, Roman god of financial gain, commerce, eloquence, messages, communication (including divination), travellers, boundaries, luck, trickery and thieves, is shown as a nude male figure with wings both side on his hat, and on the outside of his ankles. He carries in his left hand a caduceus, an elaborate winged staff. The statue appears to be about to take off, his toes barely touching the base and his right arm extended with fingers pointing skyward.
But where did the statue come from?
The bronze statue is said to be much earlier, re-sited here when the Sheffield Telegraph built new offices on High Street between 1913-1915.
A few searches are quite specific that the statue was acquired by the Electric Telegraph Company in 1856 to decorate new premises for the Sheffield Daily Telegraph at the opening to The Shambles. (This is now the site of KFC at the junction of High Street and Haymarket).
Furthermore, it is suggested that the bronze sculpture occupied one of two niches, one on either side of the front elevation of the upper story, the figure of Mercury to the left and Vulcan to the right.
It is said that the Mercury sculpture was moved to the Telegraph Building in 1915, while the Vulcan statue was lost.
Old illustrations of the Electric Telegraph Building clearly show the statues, but at this point the authenticity of the sculpture on the 1915 building comes into question.
The Sheffield Daily Telegraph may or may not have had offices at the Shambles, and it is well documented that its early offices were on the site of High Street and Aldine Court, long since vacated by the newspaper.
Further inspection identifies the Electric Telegraph Building on The Shambles as being the Fitzalan Market Hall, that looked up the slopes of High Street and King Street.
In 1856, an account of the opening of the Exchange, News Room, and Telegraph Office was published in the Sheffield Independent:
“This building which has been erected from the designs of Messrs Weightman, Hadfield, and Goldie, by the Duke of Norfolk, terminate the pile of buildings occupying the façade towards the Old Haymarket. On the ground floor it was necessary to retain the old-established wine vaults of Samuel Younge and Co, and to provide shops for fish salesmen in the lower part of the market. The Exchange Room occupies the first floor. The room is entered by folding doors. At the end of the room opposite the entrance is a small apartment fitted up by the Telegraph Company in which the subscribers may write and dispatch their messages to all parts of the globe accessible to this rapid mode of communication.”
There were lengthy descriptions of the interior and finally “Over the market entrances are two niches with figures carved in stone by Messrs Lane and Lewis of Birmingham representing Mercury and Vulcan – typical at once of the wonder-working telegraph and the staple trade of Sheffield.”
From this account we can identify that both sculptures were made of stone and still present when the Fitzalan Market Hall (or Fitzwilliam Chambers as the offices became known) was demolished in the 1930s.
This makes the Mercury atop the Telegraph Building a bit of an unknown.
The design is based on the work of Giovanni da Bologna (1529-1608), better known as Giambologna, noted for his command of sculptural composition, producing figures that were pleasing to view from all positions.
The bronze figure is identical to one on top of the dome above HSBC in Doncaster’s High Street, built in 1896-1897 for the York and County Bank (and according to historians, the sculpture also dating to 1856).
I suspect the origin of the Mercury sculpture on the Telegraph Building lies closer to home and is later in design.
The building was designed by Gibbs, Flockton & Teather and constructed by George Longden and Son in 1915. Both Sheffield firms worked with Frank Tory, responsible for much of the city’s fine stone artwork, but also known to have worked in bronze.
Is it possible that Frank Tory was the man behind the sculpture we see today?
It also leaves another question unanswered.
What happened to the two stone Lane and Lewis statues?
Maybe someone, somewhere, has two fine statues of Mercury and Vulcan in their garden.
In 1570, the accounts of Sheffield Parish Church show that a stone cross in its grounds was pulled down and sold to George Tynker. Made of sandstone, the Anglo-Saxon cross vanished, its whereabouts unknown, until it resurfaced in the early 1800s, hollowed out and missing its horizontal beam, used as a quenching trough at a cutler’s workshop in the Park district.
At some point, in the late 18th or early 19th century, the cross-shaft was spotted by William Staniforth, a surgeon, who gave it to his son, John, of Westbourne, on Whitham Road, Broomhill.
John Staniforth, a solicitor, used the old cross as a garden ornament and an old map showed its position, but designated it a ‘stone coffin.’
He died in 1848, the ornament remaining in the garden, but subsequently became the property of his son, John Walter Staniforth, a merchant, who in later years moved it to his garden at Fairholme, on Oakholme Road.
It seems the old stone trough, remembered by Sheffield folk, came with provenance.
The 153cm high statuary had on its main face an archer kneeling at the foot of a vine scroll, with vine scroll decoration on two sides. It was recognised as being part of a free-standing cross that played an important part in the Anglo-Saxon Christian Church.
This one was believed to have originated in Derbyshire and stood on the site of the future Sheffield Parish Church (eventually to become Sheffield Cathedral) before being removed in 1570. A replica was thought to have been cast in 1876.
John Walter Staniforth died in 1904 and his widow, Gertrude, donated the garden trough to the British Museum in 1924.
In 1939, Dr A.C.E. Jones, Provost of Sheffield Cathedral, mounted an unsuccessful campaign to have the cross returned and given a permanent home inside the Cathedral or within its grounds.
‘Anglian Cross from Sheffield’ has remained at the British Museum ever since, but briefly returned to the city for an exhibition at the Cathedral in 1991 and was later exhibited in Mumbai and New Delhi.
The replica is owned by Museums Sheffield at the Mappin Art Gallery, and the Sheffield Cross is celebrated in statuary high-up between two windows within Sheffield Cathedral, displayed in its original whole form.
The recent post about Castlegate failed to mention that it is in the process of being part-pedestrianised, Phase 2 of Sheffield’s ‘Grey to Green’ project. Unless you visit this forgotten part of the city centre the relevance of the initiative might escape you.
It is part of an approach to transform ‘redundant’ road space into a network of public spaces, sustainable drainage and urban rain gardens, which aims to improve the setting of the Riverside Business District, Castlegate and the rest of the city centre and then on to Kelham Island and Victoria Quays, as a place to work, live and enjoy, whilst also dealing with the effects of climate change.
Phase 1 (West Bar/Bridge Street/Snig Hill) was completed in Spring 2016 and was funded by the European Regional Development Fund, Sheffield City Region Infrastructure Fund and Sheffield City Council.
The area suffered catastrophic river floods in 2007. With the completion of the Inner Relief Road in 2008, traffic was diverted away from West Bar. The opportunity was seized to replace the ‘grey’ impermeable ‘redundant’ roads into ‘green’ permeable beds, transforming the space with colourful meadow-like planting and significantly increasing surface water storage.
With advice on plant selection from the University of Sheffield Landscape Department this has created a new townscape that is different to anything done in Sheffield before. Over 40,000 bulbs, 40 new trees, 600 evergreen shrubs and 26,000 herbaceous plants were introduced to form a seasonal urban meadow.
The new road layout was designed to slow vehicle speeds and make walking and cycling more attractive. New paving, street furniture, colourful seating and five eye-catching public art ‘totems’ celebrate the local history of the West Bar area including its Victorian music halls and theatres, its lively street life, its complex relationship to the river and its legacy of industry and brewing.
Phase 2 (Castlegate to Exchange Place) is nearing completion, and Phase 3 (Gibraltar Street to Shalesmoor) will eventually transform 1.2km of ‘redundant’ road-space into an attractive new linear green public space.