Categories
Sculpture

Balm Green Gardens: “We shall always be proud of this garden, because it is not only a gift for all time.”

Design of Covid Memorial willow tree sculpture. Image/Sheffield City Council

If all goes to plan, Sheffield will reveal its official Covid memorial in the spring.

The sculpture will sit within the planted garden at Balm Green Gardens, on Barker’s Pool, and provide a focal point to the space for people to pay their respects and place tributes and memories and be a symbol that people from all cultures can understand and relate to and be accessible to everyone.

The existing Balm Green Gardens will be upgraded alongside this project, including creating better accessibility for anyone with a disability.

The winning commission, chosen out of 14 entries, is by George King, an architect and sculptor, of George King Architects, who submitted a positive and confident application. He will use stainless steel to create a design based on a willow tree and has already begun work on creating the sculpture.

The unique memorial will be a meaningful, long-lasting, and creative tribute to those who have lost their lives, those who have worked above and beyond to keep people as safe as possible and those who have been affected by Covid.

“When we thought about Covid and how the pandemic affected so many people, the willow tree idea was powerful to us,” says George.

“A willow has a strong trunk which symbolises how people worked together to create the strength that was needed at such a difficult time. It is also a flexible and resilient tree, whilst also being delicate.

“When a storm hits, the tree bends with it. Its long branches sweep all the way to the ground and when it rains the droplets fall all the way down the branches like tears to the ground.

“When you stand underneath a willow tree you feel embraced and protected.”

The memorial will be constructed using cast or fabricated metal to reflect the city’s heritage and will include other durable materials. Its design will allow people to connect with it either by reading the stories and messages it holds or by attaching temporary messages or ribbons.

George King. Image/George King Architects

George King is an award winning chartered architect who has worked on projects in Europe, US, Australia, the Middle East, and Russia.

Prior to forming GKA, George was senior architect at Zaha Hadid and has exhibited at the Royal Academy of Arts in London, Detroit Design Festival, London Festival of Architecture and Sculpture by Sea where his design, House of Mirrors, won the Andrea Stretton Memorial Invitation.

George has taught extensively, both at Undergraduate and Master’s level, leading programs at Lund University in Sweden, The Bartlett School of Architecture in London and Monash University in Australia. He currently runs an undergraduate studio at The University of Greenwich.

Following the House of Mirrors’ successful first showing in Bondi, George King’s sculpture won the Andrea Stretton Memorial Invitation which included an opportunity to create a piece for Sculpture by the Sea in Cottesloe 2015. Image/George King Architects

Balm Green Gardens, also known as Barker’s Pool Garden and Fountain Square, is 400 square yards in size, and would never have been created had it not been for the opening of the City Hall in 1932.

The land was owned by the adjacent Grand Hotel, the plot used as a carpark enclosed with advertising hoardings. But J.G. Graves, that famous city benefactor, thought it was an “eyesore”, obstructing the view of the splendid new City Hall from the Town Hall and the top of Fargate.

His solution was to negotiate the purchase of the land from the hotel and gift it to Sheffield.

“It will, I hope, provide a note of quiet sympathy which will be in harmony with the feelings of those who visit the War Memorial in the spirit of a visit to a sacred place.” – J.G. Graves (1937). The gardens will now provide a sympathetic space of a different kind. Image/Colloco

©2022 David Poole. All Rights Reserved.

Categories
Buildings

Graves Art Gallery: another touch of the benefactor

Sheffield Central Library on Surrey Street is also home to Graves Art Gallery. Photograph: DJP/2021.

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.

Bowmer & Kirkland was founded in 1923 and is based at Heage, near Belper, Derbyshire. Photograph: Bowmer & Kirkland.

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.

Jack Kirkland’s art collection has been loaned for international exhibitions, and some of the works have been previously shown at Graves Gallery in Sheffield. Photograph: Apollo Magazine.

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 newly reclad and redecorated temporary exhibition space, galleries 2 and 3, will reopen with an exhibition celebrating the work of sculptor Mark Firth, great, great grandson of steel magnate and philanthropist Mark Firth. Photograph: Sheffield Museums.

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.

John Rothenstein was born in London in 1901, the son of Sir William Rothenstein, whose family was connected to the Bloomsbury Set. Photograph: Geni.

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.

Kim Streets was appointed to the role of CEO of Museums Sheffield (now Sheffield Museums)in 2012. She is seen here at Graves Art Gallery before the reopening to the public. Photograph: Sheffield Telegraph.

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. 

Top layer of the walls coming away to reveal vertical wooden planks. These planks had been covered in hessian many decades ago and the hessian had then been covered with layers and layers of paint over the years. Photograph: Sheffield Museums.
A set of signatures by the original builders of the Central Library and Graves Art Gallery, which opened in 1934. Photograph: Sheffield Museums.
Refurbishment and re-hanging nears completion as Graves Art Gallery gets ready to reopen to the public. Photograph: Sheffield Telegraph.

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.

A fresh new look for Graves Art Gallery. Photograph: Sheffield Telegraph.

© 2021 David Poole. All Rights Reserved.

Categories
People

J.G. Graves

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.