Walking the City of London

Category: Sculpture Page 35 of 41

Swinging angels, an alligator and public sculpture around St Paul’s

First of all, some great news! You can now follow me on Instagram at :

www.instagram.com/london_city_gent/

Crossing the road outside St Paul’s Underground station I came across the surprising sight of 40 golden angels resting on swings above my head …

Entitled Lunch Break they are an installation by architects KHBT in collaboration with artist Ottmar Hörl. Intended to create a strong conceptual and visual link to the Cathedral it is, the note nearby tells us, also an emotional and imaginative work that is aiming to make people think and smile. ‘After all, in this particular time, guardian angels deserve some rest’ …

Outside the west front of the Cathedral is the statue commemorating Queen Anne, a Victorian replica of an earlier work that had become weathered and vandalised. The queen is surrounded by four allegorical figures and this one represents America …

She wears a feathered head-dress and skirt whilst her left hand grasps a metal bow. Her right hand may once have held an arrow.

What fascinated me, however, is the creature by her feet which resembles a rather angry Kermit the frog (alongside the severed head of a European) …

In 1712, this is what the original sculptor Francis Bird imagined an alligator would look like. A contemporary description of the statue states …

There is an allegator creeping from beneath her feet; being an animal very common in some parts of America which lives on land and in the water.

In the Diamond Jubilee Gardens close by is this work, The Young Lovers, by Georg Ehrlich (1897-1966). The Cathedral gives it a dramatic backdrop …

Ehrlich was a Austrian sculptor who was born and studied in Vienna. During the First World War he served in the Austrian Army and in 1930 he married the artist Bettina Bauer. After the rise of the Nazis, Ehrlich decided that it was too dangerous for them to be in Austria since they were both Jewish and they moved to London. He became a British citizen in 1947 and was elected an Associate of the Royal Academy in 1962.

Since the weather was so nice, I took the opportunity to capture this profile of the one-time Dean of St Paul’s John Donne …

John Donne 1572 – 1631 by Nigel Boonham (2012)

I have written about Donne before and you can access the blog here.

His bust points almost due west but shows him turning to the east towards his birthplace on Bread Street. The directions of the compass were important to Donne in his metaphysical work: east is the Rising Sun, the Holy Land and Christ, while west is the place of decline and death. Underneath the bust are inscribed words from his poem Good Friday – Riding Westward :

Hence is’t that I am carried towards the west, This day when my soul’s form bends to the east

The most familiar quotation from Donne comes from his Meditation XVII – Devotions upon Emergent Occasions published in 1624:

No man is an island, entire of itself; every man is a piece of the continent, a part of the main … and therefore never send to know for whom the bell tolls, it tolls for thee.

I really like this work by Paul Mount (1922-2009), also to be found in the gardens …

Amicale (2007)

Mount was one of the last British artists whose careers were interrupted by the Second World War. A lifelong pacifist, he served in the Friends Ambulance Unit in North Africa and then France, where he stayed on after the end of the war to do relief work. Once free to work again, artists like him never really lost their sense of a world to be made anew through art. For Mount, sculpture expressed an essential human dignity. He observed …

The way that two shapes relate is as important as the way two people relate.

There is a nice obituary notice about him and his fascinating life in The Guardian which you can access here.

And finally, every time I walk past St Paul’s I am struck by the beauty of the stone carving, take this example …

Or this abundance of cherubs …

And this meticulous carving around the Dean’s Door …

Christopher Wren paid the sculptor, William Kempster, an additional £20 for the excellence of his work.

As memories of wartime fade, these shrapnel marks from a nearby bomb blast serve to remind us of how close the Cathedral came to destruction …

A number of other City buildings bear scars from World War bombing and you can read about them here.

Don’t forget to find me on Instagram: www.instagram.com/london_city_gent/

More fab fountains – one’s a cracker!

Why has this 19th century drinking fountain got a carving on it that looks a bit like a Christmas cracker?

It’s located on the south west side of Finsbury Square and forms part of an elaborate memorial …

The inscription reads …

Erected and presented to the Parish of St Luke by Thomas and Walter Smith (Tom Smith and Co) to commemorate the life of their mother, Martha Smith, 1826 – 1898.

Martha was the widow of Tom Smith and here I would like to relate a little history courtesy of the excellent London Remembers website. In 1847, twenty five year old Tom, an ornamental confectionery retailer in Goswell Road, brought the French idea of a bon-bon wrapped in a twist of paper over to Britain. In 1861, probably inspired by fireworks, he introduced a new product line, ‘le cosaque’, or the ‘Bang of Expectation’, or crackers as we now know them. This successful product, originally used to celebrate any event you care to name, enabled the business to move to larger premises on Finsbury Square, where they stayed until 1953.

Smith and his sons knew a thing or two about advertising and were not modest about their wonderful products. Here’s a typical 19th century example …

I love the instructions to ‘Refuse worthless imitations’ and ‘Make Merriment everywhere’.

There is an example of a Tom Smith’s Cracker and box on display in the Museum of Childhood in Bethnal Green. This picture was taken by The Londonist who has written a very comprehensive blog about the memorial which you can find here

Victorian Christmas crackers were filled with all sorts of trinkets and surprises – first they contained rhymed mottoes or verses, then some sort of fancy-paper hat, bonnet, mob-cap or masks. Considerable artistic talent was introduced in the adornment of these novelties.

And here is an image from the Tom Smith archive where you can also find the 2019 catalogue and order your Christmas supplies!

The company is now owned by Napier Industries and still holds a Royal Warrant.

Here’s the founder himself. He was born 1823 and died, quite young, in 1869 …

We can thank the company for going on to develop cracker contents like the novelty gift and corny joke. You also have to blame one of Tom’s sons for the paper hat we are obliged to wear, often with excruciating British embarrassment, at work Christmas parties.

Crackers never took off in America and it has been claimed that the British liked them because ‘it taught their children how to deal with disappointment at an early age’.

And now for something rather odd. The water fountain was funded by the sons but the daughters went their own way. A few yards away is this horse and cattle trough …

It bears the following inscription (now very faded) …

In remembrance Martha Smith 1898. Erected by her daughters P. L. and L. D.

The sons erect the splendid water fountain and the daughters erect the utilitarian water trough. Does this tell us something about their personalities or about Victorian gender differences?

Researching the origin of the Christmas cracker has been a genuine pleasure and if you want to know more there is a book about the ‘King of Crackers’ – I might just order a copy. You can find a review here.

Next up is the St Lawrence and Mary Magdalene fountain located on Carter Lane opposite St Paul’s Cathedral. Created as a joint enterprise between the two parishes that give it its name, the fountain was originally installed in 1866 outside the Church of St Lawrence Jewry …

An engraving from ‘The Builder’ publication 1866.

The location next to St Lawrence Jewry …

A man quenching his thirst in 1911.

It was dismantled in 1970 and put into a city vault for fifteen years, then stored in a barn at a farm in Epping. The pieces were sent to a foundry in Chichester for reassembly in 2009 and it was was moved to the current location the following year …

The work was designed by the architect John Robinson (1829-1912) and sculpted by Joseph Durham (1814-1877), both very famous men in their time.

The fountain takes the form of a niche with carved hood resting on granite columns. Set into the niche is a bronze bas-relief of Moses striking the rock at Horeb (Exodus. XVII. IV-VI) …

Water runs down the face of the bronze from where Moses’ staff strikes. To the left of Moses is the figure of a woman holding a cup of water to her child’s mouth.

Above the fountain is a carved stone statue of St Lawrence holding a gridiron (on which he was martyred) …

In the south-facing niche is a statue of St Mary Magdalene holding a cross, and with a skull at her feet …

The other two niches are empty but are believed to have originally held the names of past benefactors of the churches carved into white marble slabs. Below, a new brass tap has now been fitted which dispenses water when pressed.

I wrote about the City’s water fountains and their fascinating history a few years ago and you can read the blog again here.

Broadgate sculptures (Part 2)

I have visited Broadgate and its sculptures in an earlier blog and I went back again last weekend to photograph some more.

First up is Rush Hour, a patinated bronze by George Segal (1982) situated in the Broadgate Circle (EC2M 2QS) …

We’ve all been there, haven’t we, heads down, not exactly rushing to get to the office. Or maybe just starting the long slog home on a rainy day (knowing there are train cancellations on our line).

Segal was renowned for casting his figures directly from life – usually friends and family – using plaster bandages to create human scale moulds from which his bronze sculptures could be cast. As a result, all the figures have their eyes closed …

This is Cascade in Exchange Square (EC2A 2EH). It was created by Skidmore, Owings and Merrill (whose Chicago office designed much of Broadgate) and Stephen Cox RA (1991) …

‘Energising and restorative, this water cascade creates a natural oasis within Exchange Square. Calmed within the basin, the water develops circles of stillness around the enduring Indian granite stones, placed at measured intervals as if to signify the passage of time. The perfect place to pause and reflect on the day’s events’. Or maybe a place to chill out after a really horrific commute.

On Finsbury Avenue (EC2M 2PA) you will find Bellerophon Taming Pegasus by Jacques Lipchitz (1966) …

A half-size cast of Lipchitz’s final sculpture (which resides in Columbia University, New York), this is a representation of the epic moment in which Greek hero Bellerophon tames the winged horse Pegasus. This tangle seems to balance rather precariously on its pedestal with hooves, wings and tail radiating in all directions. For Lipchitz, this work demonstrated the ultimate dominance of man over nature, stating ‘You observe nature, make conclusions, and from these you make rules’.

On Broadgate Plaza (EC2M 3AB), Ganapathi and Devi (1988) is another work by Stephen Cox. Apart-yet-together, Ganapathi and Devi alludes to sculptural torsos and ancient themes; Devi refers to the female Hindu goddess, while Ganapathi is the Tamil name for Ganesha, the popular elephant god. Fusing power and sensuality, the stones combine historical and contempoary references, from the quarry to the executed forms …

The stone was sourced from the quarries of Mahabalipuram in Tamil Nadu, India …

Peering through the entrance to 155 Bishopsgate I spotted this spectacular piece of art (EC2M 3YD) …

It’s The Mechanics Institute II (1991) by William Tillyer. The notes say: ‘A carefully balanced composition of architecture, cloud, sky and foliage, Tillyer represents the notion of man’s presence via geometric patterns while the contrasting colours suggest the force of natural elements (flashes of warm sun, rushes of air currents, dappled blue light and gentle sea tides)’. The foyer is marketed to movie makers looking for locations as ‘a New York style atrium space’ and it certainly looks the part.

I wandered away from Broadgate, a hundred yards or so north up Bishopsgate, and came across Principal Place (EC2A 2BA) along with this interesting work entitled In Anticipation by James Burke (2018). Do have a look at the website.

Meanwhile, back in Broadgate, Venus still gazes skywards …

Read more about her and other sculptures here.

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