Month: September 2018 Page 1 of 2

A pair of doors in Cornhill

On 27th September 2018

In Architecture, Business signs, Commerce

When I started this blog I never thought I would be dedicating an entire issue to a pair of doors, but I hope you will agree that in this case it is appropriate.

32 Cornhill is the old headquarters of the Cornhill Insurance Company (EC3V 3BT) and I am going to write about the mahogany doors you can see on the right …

Here is a closer view …

Walter Gilbert (1871-1946) designed these doors in 1939. He was a designer and craftsman who developed his visual style in the Arts & Crafts movement at the end of the nineteenth century and then applied it to a wide range of architectural commissions in the twentieth century, including the gates of Buckingham Palace, sculpture for the facade of Selfridges and some distinctive war memorials. In this instance, he modelled the reliefs in clay which were then translated into wood carvings by B.P Arnold at H. H. Martyn & Co Ltd of Cheltenham.

They tell of events that took place in the area over the centuries. Below is a picture of each panel along with a description …

‘St Peter’s Cornhill founded by King Lucius 179 A. D. to be an Archbishop’s see and chief church of his kingdom and so it endured the space of 400 years until the coming of Augustine the monk of Canterbury’.

An architect holds up the church plans and a builder holds up a compass.

‘Eleanor, Duchess of Gloucester, did penance walking barefoot to St Michael’s Church from Queen Hithe, 1441’.

The Duchess, holding a lighted taper, performs public penance having been convicted of sorcery in 1441. Rather unwisely, because it was ‘treasonable necromancy’, she had asked the astrologers Thomas Southwell and Roger Bolingbroke to cast the horoscope of the then King Henry VI. Southwell died in the Tower of London, Bolingbroke was hanged, drawn and quartered, she was sentenced to life imprisonment.

The explanation reads: ‘Cornhill was anciently a soke of the Bishop of London who had the Seigneurial oven in which all tenants were obliged to bake their bread and pay furnage or baking dues.‘ A soke was a right of jurisdiction and the women have just paid the priest and are carrying away their freshly baked bread – they certainly don’t look very happy about the arrangement.

‘Cornhill is the only market allowed to be held after noon in the 14th century’. A stallholder sells apples to two ladies.

‘Birchin Lane, Cornhill, place of considerable trade for men’s apparel, 1604‘. A tailor adjusts a gentleman’s hem, an assistant holds a tape measure, the gentleman admires himself in a mirror. Suits you, sir.

‘Pope’s Head Tavern in existence in 1750 belonged to Merchant Taylor’s Company. The Vintners were prominent in the life of Cornhill Ward.‘ Nearby today is Pope’s Head Alley.

‘Garraway’s Coffee House, a place of great commercial transaction and frequented by people of quality’. Garraway’s was nearby in Change Alley and is commemorated now with this plaque incorporating Sir Thomas Gresham’s grasshopper emblem.

Change Alley EC3V 3ND.

‘Thackeray and the Brontes at the publishing house of Smith Elder & Co. Cowper, the poet, Gray the poet, Guy, the bookseller and founder of Guy’s Hospital, lived in Cornhill.’

The panel depicts Charlotte and Anne Bronte meeting with William Makepeace Thackeray at the premises of Smith Elder.

I hope you found the doors and their stories as fascinating as I did. These pictures were taken at the weekend but the doors open inwards, so you can still see them when the building is open.

Sculptures with striking poses

By The City Gent

On 20th September 2018

In Memorials, Sculpture, Wartime, Water

I’ll start with a work that caused some controversy, the Charity Drinking Fountain (also known as La Maternité) by Aimé-Jules Dalou (1877-9).

In his book Public Sculpture of the City of London, Philip Ward-Jackson describes the lady as follows:

Despite her casual garb she has a diadem or tiara on her head. With her left arm she enfolds a baby, who she is suckling, whilst with her right she draws to her knee a naked boy, who gazes up at her.

She is outside Royal Exchange Buildings EC3V 3NL.

Nearby is a very relaxed George Peabody who I have written about in an earlier blog …

Ward-Jackson tells us that the suckling lady’s very authentic exposed breast produced at least one letter of protest to the editor of The Globe. The correspondent urged that ‘common decency’ should be observed and went on …

Do you not think, Sir, that Mr Peabody’s chair should be turned, at least until the delicate operation of ‘lacteal sustenation’ be concluded … or the young woman and youngsters provided with the requisite clothing.

On a more serious theme, St Thomas à Becket lies in agony in St Paul’s Churchyard on the south side of St Paul’s Cathedral (EC4M 8AD) …

‘Becket’ by Edward Bainbridge Copnall (1970-71).

The Ornamental Passions website gives the following description :

(The sculptor) depicts the Archbishop in the agony of death, his right hand extended as if to ward off the blows of his knightly assassins. The plinth is stepped to recall the steps into the choir of Canterbury Cathedral … This memorable image was created in 1970 as part of the commemorations of the saint’s martyrdom.
The material looks like bronze but is in fact resin coloured to look like bronze.

Just across the road from St Paul’s, on the right as you approach the Millennium Bridge, you will see the National Firefighters Memorial (EC4M 8BX) which depicts a Fire Officer and two Firemen, cast in bronze engaged in firefighting duties. Unveiled by the Queen Mother in 1991, it was originally called ‘Blitz’ and was dedicated to the men and women of the Fire Service who lost their lives as a result of their duties during World War II. In 2000 it was renamed the Firefighters Memorial in order to commemorate all firefighters killed whilst in service and a new raised plinth now records almost 2,300 names.

Two of the men are ‘working a branch’, their legs braced to take the strain …

Churchill memorably called them ‘Heroes with grimy faces’.

The Officer below looking over his shoulder, possibly calling up reinforcements, is Cyril Demarne OBE who provided photographs to help the sculptor (who also happened to be his son-in-law) …

According to Philip Ward-Jackson, Demarne’s initials CTD are scattered among the brickwork on which the men stand but his old colleagues needed no such clues. One stated in an interview …

You can tell it’s Cyril by the way he’s standing … He always waved his arms about like that when he was ordering us about.

Officer Demarne in full flow …

By 1943 over 70,00 women had enrolled in the National Fire Service in the United Kingdom. This memorial commemorates those who lost their lives in the London Blitz …

The lady on the left is an incident recorder and the one on the right a despatch rider.

Finally, would you like to see Zoe, the floating Barbican Muse? If so, make your way to the Barbican Library on the second floor of the Centre, stand with your back to it, and walk through the automatic doors. She’s a few yards ahead on your left …

Sculpted by Matthew Spender in 1993-4, she is made of polyurethane and glass fibre and finished in gold leaf. She holds in her left hand the masks of Comedy and Tragedy whilst her right hand points the way to the entrance to the Centre (hopefully assisting folk lost in the highwalk system). She’s nicknamed Zoe after the Cambridge student who had posed for the sculptor.

City work and public sculpture 2

By The City Gent

On 13th September 2018

In Architecture, Gardens, Sculpture

This week I am looking at sculptures representing work in the City in the 20th Century.

Although I mentioned them in an earlier blog I wanted to show these figures again because they are so unusual …

Old churchyard of St John Zachary, 25 Gresham Street EC2V 7HN.

Wilfred Dudeney’s monument Three Printers (1954) has been here since 2009. Commissioned by the Westminster Press Group, it represents the newspaper process with a newsboy (sales), printer and editor (or proprietor), and used to stand by their offices in New Street Square. When the square was redeveloped the Goldsmiths’ Company, as the freeholders of the square, relocated the sculpture here (they had to rescue it from a demolition yard). Look closely, the printer is grasping a ‘stick’ for holding metal type, and Dudeney’s name is in ‘mirror writing’ just as it would have been when typeset the old-fashioned way.

This sculpture reminded me of words from Auden’s The Waste Land:

Unreal City,

Under the brown fog of a winter dawn,

A crowd flowed over London Bridge, so many,

I had not thought death had undone so many.

Sighs, short and infrequent, were exhaled,

And each man fixed his eyes before his feet.

It is entitled Rush Hour by George Segal (1983-7) and is in Broadgate (EC2M 3WA) …

Trudging wearily off home in the rain …

Segal created this sculpture from live models, encasing them in wire mesh and plaster bandages, before cutting each cast open to free the model, rejoining the mould and casting bronze figures from the plaster versions. You will notice that all their eyes are closed …

And now something a bit more cheerful …

Philip Ward-Jackson, in his book Public Sculpture of the City of London, tells us of the Trees, Gardens and Open Spaces Committee of the Corporation which was chaired by Frederick Cleary. In his autobiography Cleary recorded that Jonzen’s figure below was intended as a tribute to the efforts of his committee but Ward-Jackson feels that ‘it might have been better described as a symbol of the ‘greening’ of the City in the post-war period’. Most appropriately, Mr Cleary has a garden named after him, and you can read about it in my earlier blog about City gardens generally.

‘The Gardener’ by Karin Jonzen FBS (1971) – Brewers’ Hall Gardens, London Wall EC2V 7HR.

Apparently Jonzen, on being given the subject by the Corporation …

… decided on a kneeling figure of a young man, who, having planted a bulb, was gently stroking over the earth.

Easy to miss but worth seeking out is The Building Worker, a bronze statue of a building worker in a pose based on Michelangelo’s David, but in working clothes and wearing a hard hat and carrying a spirit level. He is on Tower Hill EC3 just across the road from the station outside the Tower of London …

The sculptor was Alan Wilson (2006).

It commemorates the ‘thousands of workers who have lost their lives at work … (and) workers who are today building and rebuilding towns and cities across the United Kingdom.’ Wreaths are laid here each year on April 28, International Workers Memorial Day, and a two minute silence is observed at noon in memory of those who have suffered fatal injuries in accidents at work.

The Plumbers’ Hall was compulsorily purchased in 1863 to make way for the expansion of Cannon Street Railway station and this statue on the concourse is a reminder of that connection …

The Plumber’s Apprentice by Mark Jennings (2011).

The inscription reads ‘This statue was erected on the site of its last Livery Hall by The Worshipful Company of Plumbers to celebrate the 400th anniversary of the granting of its Charter by King James I in 1611 and to recognise the support given by the Company to the training of apprentices.’

To round off my day I went looking for a statue I personally remember being erected on Cannon Street in 1996 – The LIFFE Trader (LIFFE standing for the London International Financial Futures Exchange). But he has been moved and tucked away behind glass at the Guildhall Yard in a corridor that the public cannot access …

Please let him go outside, or at least turn him around.

Here he is in his glory days at Cannon Street – a bit of a character with his loosened tie, no doubt doing a deal on his then fashionable clamshell mobile phone …