Somewhere, displayed on a sideboard, or lost in a miserable attic, I would like to believe that an old model of Banner Cross Hall survives.
This was the creation of Jeffry Wyatt (1766-1840), architect of Banner Cross Hall, and used to highlight his magnificent new mansion in 1817-1821.
Shortly afterwards, in 1824, King George IV allowed him to change his surname to Wyatville and knighted him in 1828.
The existence of the model emerged in the 1930s when it was owned by Major Francis Ernest Gisborne Bagshawe, of Ford Hall, Chapel-en-le-Frith, a descendant of the family which once owned Banner Cross Hall.
In 1937, Bagshawe loaned the model to the Graves Art Gallery in Sheffield, which it displayed for three weeks, alongside valuable works of art that once adorned the walls of Banner Cross Hall. By this time, the old mansion was the company headquarters of builders Henry Boot and Son.
A portrait by George Romney was Mary Murray, grand-daughter and heiress of John Bright. Another portrait, of James II, had been painted by Peter Lely. Other paintings included Prince Charles Edward (Bonnie Prince Charlie), Prince Rupert, Queen Elizabeth of Bohemia and George III.
Amongst historic furniture loaned was a Sedan chair used to carry Mrs Murray to Ecclesall Church as late as the 19th century and a needlework picture showing the beauty of an Elizabethan Banner Cross Hall. Several Georgian silver exhibits had the Bagshawe and Murray Arms along with a pair of silver-mounted pistols containing the Murray Coat of Arms.
Major Bagshawe sold Ford Hall in 1957 and lived at Snitterton Hall (Matlock). He died in 1985 and the hall was sold the following year. Where did those cherished artworks go? The art detectives amongst you might have a better idea what happened to them!
You’ve probably seen the Bowmer & Kirkland signs on hoardings and cranes around Sheffield. The Derbyshire-based construction and development company is responsible for Moor Market, No.3 St. Paul’s Place, St. Vincent’s Place, New Era Square, and is backing the developer behind the West Bar scheme.
The company was established in 1923 as a partnership between joiner Alfred Bowmer and bricklayer Robert William Kirkland. The current chairman is Jack Kirkland, businessman, art collector and philanthropist.
Kirkland first started buying art around 20 years ago, purchasing a work by the US conceptual sculptor Tom Friedman. While big on American modernism and Latin American contemporary art, his collection also includes Hellenistic bronzes, a Carracci portrait, and an Egyptian faience baboon.
His sizeable collection of interwar European photography is promised to the Tate, where he is Co-Chair of its Photography Acquisitions Committee. He is also the chairman of Nottingham Contemporary and a trustee of the Bridget Riley Art Foundation.
Kirkland is also chairman and settlor of The Ampersand Foundation, a UK-awarding charity that supports the visual arts, exhibitions, projects, and supporting public collections, provided they are free to the public at least one day per week.
Last Friday (3 Sep 2021), the Graves Art Gallery in Sheffield reopened after six months of renovation work to redecorate, re-clad the walls in galleries largely untouched since 1934, bring many artworks out of storage for new displays, and to showcase work with a fresh perspective on classic art.
It has all been possible after a grant of £455,000 from the Ampersand Foundation, a long-time backer of Sheffield Museums, and the largest single amount ever awarded by the charity.
The grant echoes the day when Sheffield Central Library and Graves Art Gallery were opened by the Duchess of York (Queen Mother to our younger readers) in July 1934.
The total cost of the building was estimated at £141,700, of which £114,700 represented the structure, and £27,000 the furnishing. Alderman John George Graves contributed £30,000 and gave the gallery’s director, Dr J.M. Rothenstein, unrestricted choice from his own art collection, with power to borrow whatever was needed.
Sir John Knewstub Maurice Rothenstein CBE (1901–1992) had served as Director of Leeds City Art Gallery, and was appointed Director of Sheffield City Art Galleries (1932-38) where he oversaw the establishment and opening of the Graves Art Gallery. From 1938–64 Rothenstein was Director of the Tate Gallery in London.
Rothenstein carefully planned the interior which was of dark blue rough-textured paper, to take advantage of each collection in its eight galleries.
It’s been a long road since, overshadowed by recent events in which the Central Library and Graves Art Gallery were almost sold to become a five-star hotel, and the fact that it needs about £30m investment in maintenance.
The gallery has not had a major redisplay and some of the spaces were in desperate need of a refresh.
The project began back in the winter with the removal of the artworks from the gallery walls, allowing skilled contractors to re-clad galleries 2, 3 and 6. The contractors removed the existing wall cladding before fixing new sheets of MDF to create smooth walls – a first in decades for these galleries.
The final phase of the improvements was the installation of new MDF walls and woodwork, that were then painted and finished ready for the new displays.
It is understood that the Ampersand Foundation will be supporting the Graves Art Gallery with further redisplays, conservation of the city’s art collection, work with schools and artists, and more over the next four years,
Jack Kirkland, the charity’s chairman, says Sheffield Museums is “using the money as it was intended to be used: that is for the benefit of all Sheffield residents and visitors, and in particular children and young people”.
I might suggest that J.G. Graves would have approved.
John George Graves (1866-1945) packed a lot into his 79 years. He was a hard-working businessman, councillor, and cared a lot about his adopted city. A much-travelled man, he knew Europe intimately, and visited America, Egypt, South Africa, India, and Palestine, and spoke fluent French, German and Italian.
Seventy-five years after his death, his name still echoes across Sheffield, and yet, we are guilty of under-estimating the influence he had on the city.
J.G. Graves was born in Lincolnshire, grew up in Heckmondwike, West Yorkshire, and was educated at Batley Grammar School. When he was 15, he moved to Sheffield to take up apprenticeship with a German watchmaker in Gibraltar Street, and at the age of 20, he started his own watch-making business in town.
He moved to larger premises in Surrey Street where he expanded his business to include jewellery, cutlery and silverware. His decision to sell goods by mail order was pivotal and, through advertising on the back pages of the national press, became incredibly successful.
Graves was one of the first to embrace the idea of selling goods, notably watches, on ‘monthly’ terms, and by 1903 employed 3,000 people with products sold through extensive catalogues.
Graves was first elected to the city council in 1896 as a Liberal member for the old Nether Hallam Ward and retained his seat for six years. In 1905, he was returned to the Council as a member for the Walkley Ward but did not seek re-election in 1908. His third entry to the Council, again for Walkley, was as an Independent councillor in 1916.
Graves went on to serve as Lord Mayor in 1926 and was granted Freedom of the City in 1929.
“Alderman Graves brings to his work unusual gifts of business acumen and a kindly spirit towards the general welfare of the people,” reported the Sheffield Daily Telegraph in 1930. “A fluent, dignified speaker, with originality of thought, he can marshal facts well and present a case strikingly. He always impresses his hearers by his transparent earnestness and sincerity in whatever cause he is pleading. Truly, he is one of the big men of the Council – big in stature and big in vision.”
However, J.G. Graves should be remembered for being Sheffield’s “Fairy Godfather”, probably the city’s most generous benefactor in its history.
When he died at his home, Riverdale House, at Ranmoor, in 1945, newspapers calculated that he had gifted more than £1 million to the city, that amounts to more than £44 million at today’s value.
His first gift to Sheffield, probably Pearl Street playground in 1903, was the start of small projects for children, but these grew in significance with gifts that included Abbeydale Industrial Hamlet, Barker’s Pool Garden, Concord Park, Graves Art Gallery, Graves Park, Graves Trust Homes, Blacka Moor, and playing fields. He was a generous benefactor to Sheffield University and the Children’s Hospital, gave much of the land forming the green belt around Sheffield, made gifts of land to the National Trust, and at the outbreak of World War Two, made an unconditional gift of £250,000 to the nation.
Graves Art Gallery cost him £20,000 as well as a further £10,000 towards the cost of the Central Library. He had started collecting art in 1899 and throughout his life collected over 3,000 pictures, 700 of which he gave to Sheffield to be displayed in the Graves Gallery.
“It has seemed to me the most natural thing that I should engage in effort and outlay which has for its object the betterment of the city in which my own lot has been cast, and which I love and understand so well.”
Graves had loved the countryside and was a keen cyclist, with one of his ambitions being to provide Sheffield with beautiful open spaces. As well as Concord Park and Graves Park, he provided £10,000 towards the acquisition of Ecclesall Wood and gave much of the land forming the Green Belt around Sheffield.
One such place was Blacka Moor that had been owned by Norton Rural District Council since 1929. The small council was poor and unable to fight off advances from developers and so, in 1933, had approached J.G. Graves as a last resort. He bought the land and duly presented it to the city.
Ethel Haythornthwaite, a prominent environmental campaigner, recalled a conversation she had with Graves at the official opening in 1933.
“Now, after we’ve done all this for you (by ‘we’ he meant the Graves Trust) will you promise to never trouble us again?” I took a deep breath, thought I had better be truthful and said, “Whenever the countryside around Sheffield is in danger, I shall appeal to you.” He looked at me, severely but not unkindly. “Well,” he said, “Now we know.”
After his death, the mail order company was absorbed into Great Universal Stores, but his legacy lives on through The J.G. Graves Charitable Trust, a grant-making body established in 1930 derived from £400,000 of shares of his company.
Today, the Trust is managed by nine trustees, including Adrian Graves, the fourth generation of the family to serve on it, and continues to support projects that relate to the charitable interests of its founder.
These include parks, open spaces, recreation grounds, art galleries and libraries for public use, promotion of education and community projects, and medical, recreational and sporting facilities.
Periodically, the Trust is in a position to make significant contributions including the J.G. Graves of Sheffield Lifeboat (1958), the redesign of Tudor Square (1990), the J.G. Graves Tennis Centre (1991), the J.G. Graves Woodland Discovery Centre (2007) and the purchase of ‘Comfort Blanket’ by Grayson Perry for the City’s art collection in 2016.
Frank Saltfleet was one of Sheffield’s best-known artists, yet today his work is largely overshadowed by that of his wife, Jean Mitchell.
He was a specialist in watercolour painting, and about 18 months before his death an exhibition of his works was held at the Graves Art Gallery.
Alderman J.G. Graves also presented a group of Frank’s pictures to the city, and in the 1930s were on view at the Mappin Art Gallery.
He was, by profession, a landscape painter, but also keenly interested in music, literature, and drama.
Born in Sheffield in 1860, he was sent to St George’s National School, and when he was about 12-years-old, entered the silver trade to learn the art of close plating, later being apprenticed to a cabinet maker.
Frank attended the Mechanics’ Institute in Surrey Street, where his teacher was Mr Read Turner, a well-known Sheffield artist. Some time later he accepted an offer to advance the necessary funds for six months’ study in art at Antwerp, and with several other young Sheffield artists he went to the Academy of Arts there.
His travels included tours of Italy, the Adriatic, and several visits to Venice.
Frank was quite out of sympathy with the works of ultra-modernists in any art, and his favourite composers were Mozart and Beethoven. The works of Shakespeare, Ben Johnson, Marlowe and Greene had an appeal to him.
He had several pictures accepted at the Royal Academy, but they were never hung and on many occasions his work was to be found in local exhibitions. Once or twice he exhibited watercolours at the Cutlers’ Hall.
His tastes lay chiefly in the direction of landscapes and seascapes, and woodland and moorland pictures.
“A land and riverscape artist with more than a local reputation. Some of his best pictures have the atmospheric charm of the not too hazy impressionist school. In social circles Mr Saltfleet sings drolly. He is that strange thing – an artist without the professional pose. He has less ambition than many of his inferiors,” said the Sheffield Independent in 1902.
Frank was well known in Sheffield as an enthusiastic amateur actor, taking part in several local productions.
For many years he was a Freemason, attaining a few honours, the chief of them being that of Past Master of St. Leonard’s Chapter at Tapton Hall.
Frank married twice, and after his death in 1937 was survived by his second wife, who was Miss Jean Mitchell, daughter of Young Mitchell, who was the first Principal at the Sheffield School of Art.