The subject of city development is emotive. People have different opinions. As someone who looks at historical detail, we’re no different to our ancestors.
In Victorian times, people agreed or disagreed about Sheffield’s redevelopment. Sheffield Corporation was always in the firing line. The difference now is that we’re able to make our views known on a much wider and accessible platform.
This piece of news will provoke the same split opinion.
The Sheffield Star has revealed that Sheffield City Council is about to complete the purchase of 20-26 Fargate, the former Clintons card shop opposite Marks and Spencer, to become ‘Event Central,’ a six-storey flagship for the city’s ‘burgeoning creative sector.’
The acquisition and revamp of the building will consume a ‘sizeable’ chunk of £15.8m the authority won from the Future High Streets Fund, a partnership with Sheffield University, to improve Fargate and High Street.
Prof Vanessa Toulmin, of Sheffield University, who led the bid said she would like to see the top floor used for music gigs and practice sessions. Event Central could also host festival events, such as for DocFest, and acts displaced by the closure of venues. There will also be co-working space, exhibitions and a café. The operating model had not been finalised but was likely to be a commercial and public sector partnership.
As part of the masterplan, the top of Fargate will be reconfigured to provide outdoor space for major events. The scheme is expected to attract 110,680 visitors annually. Meanwhile it is hoped that ‘Front Door Access’ to old offices above shops will spark investment in new flats.
Never did a street fall out of favour as Orchard Street did. This narrow thoroughfare was once the main route between Church Street and Fargate, bustling with commerce, with horse-drawn carriages and carts squeezing past each other.
Neither did the creation of Leopold Street diminish its popularity, although only a small portion of the street retained its name.
It wasn’t until the 1980s, and the creation of Orchard Square, that it was relegated to become the back door to shops, and a place for lads to have a quick wee on a Saturday night.
It is an incredibly old thoroughfare, though the name Orchard Street wasn’t given to it until comparatively late.
Formerly all the land in the triangle between Church Street and Fargate consisted of orchards and gardens, but warehouses, shops, and cutlery works gradually covered the space.
In the early 1700s, it is referred to as Brinceworth’s Orchard, while in Fairbanks’ Plan of 1777 it was known as Brelsforth’s Orchards, and in the 1787 Directory it is described as Brinsworth’s Orchards. A document of 1763 gives the address of a trader as Brinsford Orchard. Both Brinsworth and Brelsford, or Brelsforth, are old Sheffield names, and possibly the various names indicate changes of ownership of the orchards through which the street passed.
Eventually the personal names were dropped, and the thoroughfare simply became Orchard Street.
Our city centre is at a crossroads. The city is in flux and a street that highlights it most is Leopold Street. Buses no longer run along here, and all traffic is halted mid-way. Sheffield is going car-free, and with it our streets become soulless. Nothing is sadder than a street about to undergo pedestrianisation. It is blocked with traffic cones and concrete barriers and unsure what it wants to be.
As far as Sheffield streets go, Leopold Street is relatively new, a pet-project for town planners in 1873. Back then, access to Fargate and Pinstone Street was via Church Street, along awkwardly narrow Orchard Street, to its junction with Orchard Lane, and dog-legged towards what is now the top of Fargate.
Its making was the result of Sheffield Corporation’s three-street development scheme – the creation of Surrey Street, Fargate improvements, and the construction of ‘modern-day’ Pinstone Street. A new road was needed to link these streets with Bow Street (the road that became the bottom of West Street) and a link between old Sheffield Moor and Shalesmoor.
A long-standing road, South Street, was swept away, the land around it cleared, and the large sloping site bounded by the proposed new road, Orchard Lane, Holly Street and Bow Street (West Street) earmarked for educational purposes. It became the site of Firth College (1879), School Board offices and the Central School (both 1880). Of course, we now know these buildings as the Leopold Hotel and Leopold Square
By May 1880, half its length had been completed, 60-feet wide from Bow Street to Fargate, paved in wooden blocks, and converted to macadam in 1883.
The Watch Committee recommended that the new street be named after Prince Leopold, Duke of Albany (1853-1884), eighth and youngest son of Queen Victoria, who had opened Firth College in October 1879.
The addition of the Sheffield Medical Institution on the other side of the road in 1888 prompted one expert to say that Leopold Street would become a “street of institutions.”
It never became a street of learning. Firth College and the Medical Institution were the foundation stones for the University of Sheffield and moved away. By the late 1970s, the old education buildings were in decline, mostly unoccupied, but spared the fate that befell the nearby Assay Office and Grand Hotel, both demolished, and replaced with office blocks.
The pandemic has claimed another victim. Caffé Nero, a familiar sight at No.2 High Street, won’t be reopening when lockdown restrictions are eased, the retail unit now up to let.
Our thirst for coffee and cakes might not have diminished, but poor trading conditions have forced the London-based chain to rethink its future.
While it maintains a presence in Sheffield, the outlook for one of the city’s Grade II-listed buildings is less certain.
No.2 High Street was the result of High Street widening during the 1890s, one of several Victorian buildings built by esteemed architects Flockton, Gibbs & Flockton.
Described in Pevsner as “one of their more exuberant ‘fin de siècle’ essays,” it is characteristic for its high mansard roof.
Many people think it was built as a bank, and Barclays did occupy it from the early 20th century until recent times, but its history is more elaborate.
The building featured in an 1896 edition of British Architect with a double-plate spread.
“A massive and imposing appearance, with an elaborate scheme of stone carvings and mouldings. There is a suggestion of the easy and graceful style of French architecture.”
It was built for Nicholson, Greaves, Barber and Hastings, established in 1775, auctioneers, which had conducted property sales at older premises on High Street, as well as holding horse sales at the Horse Repository on Castle Hill.
In August 1896, No.2 High Street was in the process of construction, farther back from the original street line, the auctioneers temporarily transferring business to the Cutlers’ Hall and premises on Fargate.
The firm was Sheffield’s premier auction house, responsible for the sale of important buildings and used by the Duke of Norfolk to dispose of land and property.
It was completed in 1897, a date stone still evident at the side of the building on Black Swan Walk.
There were two large auction rooms and offices on the ground floor, with a large basement for storage, a strong-room for jewellery and plate, and two separate store-rooms for furniture.
The façade was enriched with four stories of superimposed columns, the lower ones of red Labrador granite, standing upon a grey granite base.
The base supported a handsome cornice with a broad frieze of black granite, on which the name of the firm appeared in raised gilt letters.
The upper pillars were of stone with carved and decorated capitals, and a considerable amount of carving. The external effect was enhanced by a balcony of ornamental ironwork.
The upper portion of the block was let as offices, with special care given to effective ventilation and warming of the auction room with a Blackburn heater and fan, driven by an electric motor.
Nicholson, Greaves, Barber and Hastings was made up of four partners, each with interests elsewhere. In 1917, J.J. Greaves and Sons left the partnership and the firm continued trading as Nicholson, Barber and Hastings until the 1950s.
However, Barclays Bank opened a branch here in 1920 and the Estate Mart became a secondary part of the building before closing altogether.
Not much has changed since construction, except for the removal of the balcony railings and the interior completely refurbished for bank use.
After a period as Caffé Nero it now joins a long list of vacant properties in and around High Street and Fargate.
Although one of the oldest streets, Fargate hardly appears to have cut a conspicuous figure in Sheffield history. It boasts no long roll of distinguished residents, and no catalogue of inspiring buildings.
It was never part of Sheffield’s business district, but reinvented itself to become one of the best shopping streets in Sheffield, the result of street widening in the 1880s.
By the 1920s, Fargate was entering its golden period, described as the ‘street of many windows,’ with pavements packed with shoppers.
“There is a charm about it at all times, early in the morning when trams are disgorging their hundreds of workers, and a few hours later when limousines, jaunty sports models, and cheery old-timers, stream through the centre of Sheffield one after another. It is the happy hunting ground of all shoppers, whether of the leisured class who saunter up and down between the hours of 11am and 1pm, or the busy housewife who finds that afternoons are more convenient and joins the crowd always to be found – especially on Saturday.”
Fargate became Sheffield’s first pedestrianised street in the 1970s and missed a trick. It was perfect for open-air café culture, but it never materialised. Fargate struggled to charm and was at its best when the pop-up Christmas market appeared.
Then, along came Meadowhall, the internet, pandemic, and lockdowns.
Sheffield’s ‘best’ street is in trouble, empty of workers and shoppers, and vacant shop units growing by the week. All this might change with plans drawn up by Sheffield City Council and the University of Sheffield to change Fargate and High Street into a ‘high-quality place to live, work, and socialise.’
Finally, the mystery of how it came to be called Fargate.
The road was obviously a ‘far gate’ with historians suggesting it was the farthest gate from Sheffield Castle. However, digging into the archives there might be a more plausible explanation.
Back in the 1600s, travellers heading towards the Parish Church (now the Cathedral) crossed a cornfield (Paradise Square) and entered a gate at the corner of what is now the corner of Campo Lane and Paradise Street. The other gate was called the ‘Far Gate,’ at what is now the High Street corner of the Cathedral forecourt, hence the name Fargate.
I am reminded that back in the eighties, an old man told me that one night in the 1950s he watched a horse and carriage pass down this lonely dead-end street and stop outside the building to the right. Its passengers dismounted and disappeared through a doorway. The carriage moved off and vanished into thin air. The man dared himself to wander down the lane. All the property was in darkness, locked-up for the night, and where the carriage disappeared stood only a high brick wall.
Today, I waited for someone at the opening to this lane, known as Black Swan Walk, when a mother and child walked past. The small boy looked down the desolate lane and said to his mother, “I want to see the horses.” She laughed and dragged him about his business.
In 1887, Sheffield Corporation paid William Davy, the licensee of the Black Swan public house, £11,600 for his land, and demolished the pub to allow for the widening of Fargate. The freehold was sold to Alwyn Henry Holland, provisions merchant, who built No. 9 Fargate, a narrow shop, still standing, and sadly empty, in between Black Swan Walk and Chapel Walk.
In later years, Holland bought adjoining land on Chapel Walk and built eight shops in English Renaissance style with the Howard Gallery above. Access to the art gallery was from Chapel Walk, with a carriage entrance around the back in Black Swan Yard. Alas, it was a dead end, and a turntable was assembled at the end of the lane that allowed carriages to be spun around and head back the way they came.
Wander down here today, and you will see that the outline of this turntable survives in concrete, with an old mechanism rusting away in a corner.
That story from the 1980s might have been the roguish imagination of an old man, long dead, but a lot of history remains in our forgotten streets.
Sheffield is one of 15 towns and cities to receive all the money they had bid for, in the Government’s Future High Streets Fund.
Sheffield will receive £15.8m in recognition of the ‘forward-thinking and innovative’ proposals to help progress plans to boost its reputation as an ‘Outdoor City’ with high quality public spaces for the community.
The historic streets of Fargate and High Street will become a high quality place to live, work, and socialise, in plans drawn up by Sheffield City Council and the University of Sheffield.
A radical programme of improvements and modern digital infrastructure will complement well-designed residential and workspace conversions, making the most of unused floorspace. Particular blocks will be redeveloped to increase density by adding height while opening up new green spaces and views.
This transformation will play a major role in completing plans for a ‘Steel Route’ through the city centre, turning a declining shopping area into a mixed-use link between the two distinct regeneration projects already underway in Heart of the City at one end and Castlegate at the other.
The funding has been awarded as part of the Government’s flagship £831 million Future High Streets Fund and will help areas to recover from the pandemic while also driving long term growth.
A few of us might argue that Sheffield has never been at the forefront of cultural excitement. This was never more apparent when, over a century ago, Alwyn Henry Holland put his money into the Howard Gallery.
His determination to give us an alternative exhibition space came at a cost and ended with the collapse of the family business.
Holland’s far-sightedness didn’t resonate with the public, and the only reminder of his folly is a stone relief set in a small portico above a doorway on Chapel Walk.
For many years, Alwyn Henry Holland (1862-1935), was the Hon. Sec. and member of the Council of the Sheffield Society of Artists, and probably the most enthusiastic artist in the city at the time. He was also a lay member of the Society of Architects, and Hon. Sec. and trustee of the Croft House Settlement.
He was born in Sheffield, the son of Alwin Hibbard Holland, provisions merchant, and was brought up as an architect.
The family home was at 11 Broomgrove Crescent, and he was educated principally at Brampton Schools, Wath. He then became a pupil, and afterwards assistant, with architect John Dodsley Webster.
On the death of his father in 1883, however, he succeeded to the business of A.H. Holland, at No. 9 Fargate.
In its day, A.H. Holland, was one of Sheffield’s finest grocery stores, famous for its high-class goods at low prices, and awarded three prize medals at London exhibitions.
He ran the business with his mother, Eliza, and, with Thomas Flockton, designed new shop premises as part of the Fargate widening scheme in 1889.
Like many Victorian businessmen, Holland dipped into the property market, and when land became available adjacent to No. 9 Fargate, on Chapel Walk, he designed and built eight single shops in English Renaissance style.
At the time of construction in 1897, Henry Fitzalan Howard, 15th Duke of Norfolk, was Mayor, and later Lord Mayor, of Sheffield, and the inspiration for naming the new art gallery that Holland built above the shops.
The gallery comprised two exhibition spaces, both 60ft in length, separated by a staircase, with light supplied by a lantern roof above. The main entrance was on Chapel Walk, with a separate carriage entrance around the back on Black Swan Walk.
The inclusion of the art gallery satisfied Holland’s notions as a watercolour painter, providing more suitable environs to display artwork, rather than on the walls of the shop that had previously been the case.
The Howard Gallery never intended to be a showcase for his own work but was to be used for rotating exhibitions of works by other artists.
Holland’s plans were extravagant, seeing it as a northern rival to the big London galleries. There were those who mocked his plans, but even the fiercest critics were astonished when the Howard Gallery announced its opening exhibition in April 1898.
William Marchant, manager of the Goupil Gallery in Regent Street, was persuaded to bring a collection of pictures and drawings to Sheffield – and the samples of work seem inconceivable today.
“The exhibition contains examples of Gainsborough, Constable, David Cox, Turner, Landseer, Corot, Guardi, J. Maris, Mauve, Israels, Whistler, and J.M. Swan,” wrote the Sheffield Daily Telegraph.
Public opinion was favourable, the critics silenced, but William Marchant struck a note of caution that pinpointed what lay ahead:
“I must say that when I decided to take this collection to Sheffield, I was fully aware of the fact that I was not catering for the popular taste, and I may add that several people who witnessed my preparations laughed and predicted total failure. I cannot say that much of Sheffield’s gold has found its way into our coffers, and the visitors have been, if select, very few, but I must own that I never expected to meet with so publicly expressed an appreciation.”
Despite the lacklustre support the Goupil Exhibition was extended past its May closing date, with several works removed and replaced with new works by Peter Graham, John Syer, Henry Dawson, Niemann and E.M. Wimperis. Several local artists were also represented including Austin Winterbottom, James Moore, Frank Saltfleet, and Jean Mitchell.
In June 1898, Thomas Agnew and Sons, fine art dealers, brought an exhibition to Sheffield, including Gethsemane ‘Jesus In the Garden’, painted by Tom Mostyn, and the engravings from the canvases of Landseer, Peter Graham, and Rosa Bonheur.
The Howard Gallery hired glass cases for its next exhibition of artistic book-bindings, obtained on loan from the Ruskin Museum Library, and which had rarely been seen.
And so, there followed a cycle of short-lived seasonal exhibitions – Spring, Summer, Autumn, and Winter – all of which cost a lot of money and poor return.
In June 1899, Holland closed the East Gallery claiming that previous exhibitions had been too large for art lovers to properly view, but finances were diminishing and, apart from the annual Sheffield Society of Artists’ Exhibition, the major showings dwindled away. But the local press remained optimistic:
“There had been sneers at the Howard Gallery as a mere commercial speculation, but they only exhibit a complete ignorance of the motives with which it was founded, and their absurdity is as patent as their injustice,” wrote ‘Le Flaneur’ in the Sheffield Independent.
Holland launched a Winter Exhibition in December 1901, using the West and East Gallery, which had been used as a restaurant, and showing nearly 250 oils and watercolours, but, apart from a Frank Saltfleet exhibition in January 1903, the galleries were advertised as being available to hire for dances and evening entertainments.
Music recitals became a mainstay of the gallery, a popular home for the Sheffield Chamber Music Society, as well as for meetings including those of the Alliance Francais.
The principal use, from 1903, was for the Sheffield Gentlemen’s Club during the rebuilding of their premises on Norfolk Street. It occurred to Holland that the comforts and conveniences of the club might be appreciated by the public, so, with necessary alterations and additions, the Howard Gallery, and adjoining Rutland Institute (above No.9 Fargate) were transformed into a café and restaurant.
Holland auctioned his collection of paintings, pewter, and pottery, as well as fixtures and fittings, and the gallery became The Meerah Café in December 1904.
Once again, the undertaking received support from the local press:
“Mr Holland is an architect of considerable repute, and in the extensive range of rooms has given free play to his artistic ideas. The place is full of artistic surprises. They seem to meet you at every turn. The old-fashioned windows he has so daintily worked into his scheme, the many snug retreats, the originality displayed in the lighting and the decorations, all breathe art. The very atmosphere seems artistic. Even the furniture has all been studied with an artist’s care. The late William Morris designed some of the most comfortable of the chairs which will be found in the gentlemen’s quarters; but Mr Holland has designed the remainder of the furniture. The tables of solid old oak, also breathe of art. The names of the rooms sound artistic. There are the York Room, the Howard Room, the Wharncliffe Room, and the Rutland Room. Music is provided by Charles Callum.”
The café and restaurant fared marginally better than the Howard Gallery, but the overindulgences of the exhibition space and subsequent conversion, played heavily on the finances of A.H. Holland.
Alwyn and Eliza invited shareholders into the business, and it became Hollands Ltd in 1906, but the company went into voluntary liquidation three years later.
The shop and café were closed, and the contents auctioned to help pay off the creditors.
The last hurrah appeared in the Sheffield Independent:
“’It is a tragedy, that is the only word for it,’ said an old customer. The Wharncliffe Room of Holland’s Café was half filled with buyers, and about a dozen men hung about waiting for jobs to remove the purchases. A couple of dogs, which had strayed into the room, surveyed the scene, and made a faint effort to wag their tails. The firm, business-like tones of the auctioneer rang out, and soon the artistic fittings, pictures, crockery, and cutlery, were auctioned off.
“Hollands was well known for the original designs of the interior of the premises, Mr Holland being quite ambitious in this direction. The shop was regarded as an example of the art doctrines of Ruskin and Morris. Indeed, Holland made a special effort to introduce art into ordinary matter-of-fact business. Unfortunately, the effort failed.”
Afterwards, Alwyn Henry Holland faded into obscurity, no doubt chastened by his experience, and spent time walking, playing tennis and golf, and sketching.
His legacy is forgotten, his work little-known.
Some of his work hangs at the Cutlers’ Hall which had commissioned him to paint views of the banqueting halls as well as its exterior. Perhaps his most famous painting is Sheffield from above the Midland Station, included in the Sheffield Museum collection.
Holland died in 1935 at Patrington, near Hull, aged 73.
The Howard Gallery returned in name only, used by British Westinghouse and the Metropolitan-Vickers Electrical Company as showrooms, and part of it used by Thomas Monkman and later H.C. Hibbert as a billiards hall.
In the time since, the gallery space has been sub-divided, but the Howard Gallery carving remains, as does the long glass roof, visible only from above.
No. 9 has stood at the end of Fargate all our lives. It is the tall, detached building standing between Chapel Walk and Black Swan Walk and is in a sorry state.
It is hard to imagine that this building was part of the Victorian renaissance of the old town centre, one that marked the widening of Fargate and set the building line for later High Street improvements.
Plans to widen Fargate were proposed in 1875, but it was not until the late 1880s that work started. Old buildings on the east side were flattened extending back from Fargate for distances varying from 60ft to 240ft.
It would appear that Lot 4, a plot of land containing about 150 square yards on the north side of Chapel Walk and south of a foot road (Black Swan Walk), with a frontage of 19ft to Fargate and 72ft to Chapel Walk, had been the site of the Black Swan Public House.
In 1887, Sheffield Corporation paid William Davy, the licensee, £11,160 for the land and demolished the pub.
The freehold was bought in 1888 by A.H. Holland, Provisions Merchant, founded in 1844 by Alwin Hibbard Holland, whose previous shop had been at No. 3 Fargate, one of those flattened for street widening.
Alwin Hibbard Holland had died in 1883, the business continuing through his wife, Eliza, and youngest son, Alwyn Henry Holland. (His eldest son, Kilburn Alwyn Holland, also had a provisions business, but appeared to have played only a small part in the family business).
Eliza Holland played an important role in the success of A.H. Holland, but it was Alwyn (whose story will be covered in a future post) who established the business in new premises at No. 9 Fargate.
Alwyn had been educated at Brampton Schools, Wath upon Dearne, before becoming a pupil, and afterwards, assistant to Sheffield-architect John Dodsley Webster.
After his father’s death, he joined A.H. Holland which he ran with his co-executors, and co-designed the new premises along with Flockton, Gibbs and Flockton.
Thomas James Flockton had negotiated the purchase of the property and acted for Sheffield Corporation in the resale to Alwyn Holland, a fact that did not go unnoticed to sharp-eyed citizens.
Building work started in early 1889, with Sheffield-builder George Longden and Son chosen for the work, but progress was hampered when bricklayers and labourers went on strike demanding more money.
The new shop was eventually completed and opened to an expectant public on 9 November 1889 selling the ‘highest class goods at the lowest possible prices’. As well as the shopfront on Fargate, the premises extended down Chapel Walk occupying Nos. 1 to 15. The firm was awarded prize medals at the London International Exhibition and the International Dairy Show, sufficient for it to become sole agent for Lord Vernon’s Dairy (from Sudbury Hall in Derbyshire).
In 1891, the Rutland Institution occupied rooms overlooking Fargate above the shop. It was named after the Duchess of Rutland, who opened it, and was formed in connection with the Sheffield Gospel Temperance Union.
As well as being a shopkeeper, Alwyn Holland was a watercolour artist and his work was displayed inside the shop, ‘displaying marked originality both as an architect and an artist’.
It might have been Holland’s aspirations as an artist that ultimately led to the downfall of A.H. Holland.
With a sizeable income the firm built new property on adjoining Chapel Walk, renting out eight shops at ground level with a large suite of assembly rooms upstairs, including the Howard Gallery, for high-class art exhibitions, and Holland’s Restaurant.
The gallery opened in 1898 but proved a failure, closing its doors in 1904. By this time, the Rutland Institution had moved out, and the entire upper floor was extended into rooms above No. 9 Fargate and remodelled as tea rooms.
In 1906, a new company was created, Hollands Ltd, to take over the business carried on by Eliza Holland and Alwyn Henry Holland at No. 9 Fargate and Nos. 1 to 15 Chapel Walk, as well as the restaurant business carried on by Alwyn at 17-23 Chapel Walk (and also at Sheffield University Rectory).
Joining Eliza and Alwyn as directors were Smith William Belton, a provisions merchant from Market Harborough, William Whiteley, a Sheffield scissor manufacturer, Richard P. Greenland, Liverpool soap manufacturer, Arthur Neal, Sheffield solicitor, and George Shuttleworth Greening, accountant.
A second grocery and provisions business were established on Whitham Road at Broomhilll, but despite new investment things did not go particularly well for A.H. Holland, and in 1909 the business slipped into voluntary liquidation.
Net losses since the formation of the new company amounted to £3,826 and directors attributed poor performance to deficient continuity of management, shortness of working capital, and consequent loss of business due to the depression in Sheffield.
The following year the freehold of No. 9 Fargate was offered at auction, as was the leasehold portion on Chapel Walk, once home to the Howard Gallery and Holland’s Café.
By the end of the year, No. 9 Fargate was used as an auction house by Arnold, Prince, Bradshaw and Company, and the following year fell into the hands of Sykes and Rhodes, costumiers and furriers, which remained until 1924.
By this time, the building had suffered from Sheffield’s age-old problem of black soot, darkening the stone, making it rather ‘dull-looking’.
However, the building was about to be reinvented with the opening of a shop in Sheffield by one of Britain’s leading tailors.
“A cynic has remarked that one of the reasons why Austin Reed Ltd have opened a shop in Fargate is because the male members of the community in Sheffield need attention in sartorial details.”
The business had been founded by Austin Leonard Reed (great grandfather of Asos founder Nick Robertson) and claimed to be the first menswear store to bring made-to-measure quality to the ready-to-wear market. Its first store was in London’s Fenchurch Street and by 1924 had branches in all the most important towns and cities of England.
“Time is not so long distant when Sheffield relied on its old-established businesses, handed on from father to son, but, with the passing of the war, there came a change, and today, as quickly as premises can be acquired, firms with world-wide reputations are erecting palatial buildings, limited only by the space at their disposal.”
The company spent a small fortune converting the building, the designs drawn up by P.J. Westwood and Emberton, of Adelphi, London, and involved the original builder, George Longden and Son.
Outside included a beautiful marble front erected by Fenning and Co., Hammersmith, made of Italian Bianco del Mare and Belgian Black Marble. The entrance lobbies contained lines of non-slip carborundum inserted into marble paving.
The building consisted of a basement, three sales floors, and an office situated at the top. They were linked by staircases and the lift, a survivor from A.H. Holland days.
The basement was used for dispatching, the ground floor for the tie, collar, and glove department, the first floor was for hats, shirts, and pyjamas, while the second floor formed the ‘new’ tailoring department.
“Inside, everything blends and tones; there is nothing garish to the eye. The ground-work is of oak panelling, staircase, and fittings. On the ground floor, the firm has arranged six windows nicely furnished with parquet beds, the door at the back being glazed with embossed glass to the architect’s design.
“The window lighting – admired by thousands – is worked with x-ray window reflectors, and each window has a special plug for ‘spotlights’ or experimental lighting effects.”
The front of the shop was also illuminated with a ‘Dayanite’ electric sign installed by the Standard Electric Sign Works. This, and the window lighting, was controlled by a revolutionary time switch that allowed them to be switched off on Sundays.
While the outside was impressive, the interior had the latest shop-fittings made of lightly fumed oak, with polished edged frameless mirrors, supplied by George Parnall of Bristol and London.
The coat cabinets worked on an American principle where doors opened and disappeared into the sides of the cabinet, and a large rack, laden with coats on pegs, was drawn out and slowly revolved.
The counters had small reflectors and low-voltage gas-filled lamps, manufactured by G.C. Cuthbert of London, that provided white light and gave a brilliant effect to the goods.
Another innovation was an electric hat cleaner whereby a visiting customer with a hard felt hat could have it cleaned and renovated in three minutes.
Customers were most impressed with Austin Reed’s new payment and receipt system.
When an item was purchased the assistant placed the money, bill and duplicate into a cartridge that was inserted into pneumatic tubes, similar to those used in newspaper offices, that within ‘three second’ had reached the top of the building. The office assistant then placed the receipt and change in the cartridge and the procedure reversed.
Austin Reed also used several local contractors.
Decoration was completed by F. Naylor, of Abbeydale Road, plumbing by George Simpson and Co., from Broomhall Street, electrics by Marsh Bros., of Fargate, and the structural engineers were W.H. Blake and Co., from Queen’s Road.
Austin Reed remained at No. 9 Fargate the 1970s, the building becoming a Salisburys bag shop and subsequently a victim of the relentless ‘chain store shuffle’, its last incumbent being Virgin Media.
As I write, it is a pop-up Christmas store, in darkness due to Covid-19 restrictions, with a sun-tanning parlour above.
Our city centre may take on a new look if plans to pedestrianise large swathes of it get the go ahead. Sheffield City Council want to make foot and bicycle journeys easier and quicker, while streamlining public transport services.
The proposals include pedestrianisation to Pinstone Street and Leopold Street, linking Fargate with the Peace Gardens, as well as Charles Street between Union Street and Pinstone Street. The pedestrianisation of Surrey Street would create a traffic-free Town Hall Square.
Work would include more greenery, replicating the ‘Grey-to-Green’ scheme already seen between Castlegate and West Bar.
Bus gates would be installed in both directions on Furnival Gate, and along Arundel Gate to Norfolk Street
Rockingham Street would get a new bus hub with improvements to pavements, green planting, a pocket park, and bus stops.
Of course, there are benefits to the scheme – improved air quality, better accessibility to shops and businesses, a more attractive city centre, and public spaces that create city uniqueness.
Artist impressions paint a bright picture, but there are notes of caution.
Sheffield city centre is at a midpoint in its regeneration, with the pandemic decimating footfall, and placing even more uncertainty on retail, hospitality, and office space requirements.
The city centre is a travesty of its former self, Covid-19 exposing retailers already reeling from Meadowhall and the internet. And, after restrictions are eventually lifted, how many pubs, bars, and restaurants, will have survived?
Half-hearted attempts to open cycle lanes at the heart of the city, further reducing traffic flow, have met with lukewarm response. With respects to cyclists, our seven hills make four wheels the favoured choice in and out of the city.
The key to any redevelopment must take into consideration transport links.
Cars are already deterred from entering due to over-complicated traffic flow and the extortionate cost of parking. Our buses remain empty, not least because nobody knows where they go, or where to catch them anymore. Our elderly citizens must walk a distance to catch a bus, and the question remains whether they will bother anymore?
We must tread carefully, mindful that change must happen if our city centre is to be revitalised.
Any changes must take place before 2023 to qualify for a Government grant, managed by Sheffield City Region, and must be subject of public consultation.