PMSA Artists' Biographies

from the Liverpool University Press series, Public Sculpture of Great Britain
Vols 1-9 (NB. not for general use; copyright held with the authors)

NB. Please check if your artist is listed below. If so, you can copy this listing, and send to the Norfolk and Suffolk biographies we are compiling. If not, then either (a) find a biography or write your own, or (b) let the researcher know so that he can do it over those long winter months.
The list below has several double entries. In this situation, either combine or choose the one you think is best.

The search for biographical information on the following sculptors has so far proved unavailing: Philip Bentham, W. Hamilton Buchan, Alan Collins, Kevin Gordon, H.T.H. van Golberdinghe, Sharon M. Keenan, T. Metcalfe and Denys Mitchell. [CL2003]

A & A Sculpture Casting Ltd
London-based bronze foundry. [LR 2000]

Accrite Aluminium
Foundry based in Ellistown, Leicestershire. [LR 2000]

Jane Ackroyd (b. 1957)
Sculptor. Born in London. Studied at St Martin’s School of Art, 1974--9, and Royal College of Art, 1980--3. In 1983 she won the Melchett Award in Steel and the Fulham Pottery Award. Public works include Well (Museum of Harlow Gardens) and Cat (Old Library, Harlow). She has work in the collections of the Arts Council of Great Britain, Goodwood Sculpture Park and Leicestershire Education Authority.
Source: Cavanagh, 2000. [Man2004]

Jane Ackroyd (b. 1957)
Born in London, she studied at St Martin’s School of Art, 1974--79, and the Royal College of Art, 1980--83. In 1983 she won the Melchett Award in Steel and the Fulham Pottery Award. She has work in the collections of the Arts Council of Great Britain and Leicestershire Education Authority.
(source: Festival Sculpture, 1984) [L 1997]

George Adam & Son (1873--1909)
Firm of Glasgow blacksmiths, specialising in gates, railings and architectural ornamentation. The earliest reference to the firm in the Glasgow Post Office Directories occurs in 1873, when George Adam is listed as a smith, with a workshop in Orchard Street, Partick. In 1896, after several changes of premises, the company was renamed George Adam & Son and began trading as ‘Art Metal Workers’. The company appears to have been wound up in 1909, after the completion of its work on the main building of Glasgow School of Art (q.v., Renfrew Street, main catalogue).
Source: POD, 1873--1909. [G2002]

George Gamon Adams (1821--98) [?1820--]
Sculptor. Adams enrolled at the RA Schools in 1840 as sculptor and medallist, winning a silver medal in the same year. In 1846--7 he studied under John Gibson in Rome. In the year of his return to England he won the RA Gold Medal for his group, The Murder of the Innocents. In 1852 Adams was chosen to take a death mask of the Duke of Wellington, the marble bust he executed from it being regarded by the Duke’s heirs as highly successful. His 1856 statue of General Napier for Trafalgar Square was dismissed by the Art Journal of 1862 as perhaps the worst piece of sculpture in England. Exhibited at the RA from 1841 to 1885, and elected Fellow of the Society of Arts in 1869.
Sources: Gunnis, 1968; Cavanagh, 1997. [Man2004]

George Gamon Adams (1820--1898) [?1821--]
He enrolled at the RA Schools in 1840 as sculptor and medallist, winning a silver medal in the same year. In 1846--47 he studied under John Gibson in Rome. In the year of his return to England he won the RA Gold Medal for his group, The Murder of the Innocents, which he also showed at the Great Exhibition of 1851. In 1852 Adams was chosen to take a death mask of the Duke of Wellington, the marble bust he executed from it being regarded by the Duke’s heirs as highly successful. His 1856 Statue of General Napier for Trafalgar Square, however, was scathingly criticised by the Art Journal of 1862 as ‘perhaps the worst piece of sculpture in England’. From 1841 to 1885 he exhibited 119 sculptures at the RA and 4 at the British Institution. He was elected Fellow of the Society of Arts in 1869.
(sources: Gunnis, 1951; MEB) [L1997]

Robert Adams (1917--84)
Sculptor, designer and lithographer born 5 October 1917 at Northampton. He attended evening classes at Northampton School of Art, perhaps as early as 1933, but seems to have left the same year and resumed them again only in 1938--44. In the daytime during these years he was earning his living in a variety of fields including engineering. His earliest sculpture, mostly carved and figurative, was influenced by Henry Moore. From the early 1960s, however, under the influence of Brancusi and Gonzalez, he began making abstract sculpture, notably in steel. From 1949--60 he taught at the Central School of Art and Design. Following his first solo exhibition, in 1947 at Gimpel Fils, London, he exhibited widely throughout the 1950s and into the 1960s, and his work was included in several of the International Biennales: for example São Paulo in 1951 and 1957 and Venice in 1952 and 1962. His work featured in ‘This is Tomorrow’, Whitechapel Art Gallery, 1956, ‘British Sculpture in the Sixties’, Tate Gallery, 1965, and ‘British Sculptors ’72’, Royal Academy, 1972, and he had a retrospective at the Northampton Art Gallery in 1971. His chief public commissions include Apocalyptic Figure for the Festival of Britain, 1951; a concrete wall relief for the Municipal Theatre, Gelsenkirchen, Germany, 1957--9; reliefs for the liners Canberra and Transvaal Castle, 1961; a roundel in bronzed steel for the BP building, London, 1966; Vertex No. 1 for Kingswell, Hampstead, 1972; and Folding Movement, a bronzed steel wall relief for Williams & Glyn’s Bank, London, 1976. He died 5 April 1984 at Great Maplestead, Essex. Examples of his work are in the collections of the Arts Council, British Council, Tate Gallery, and Museum of Modern Art, New York.
Sources: Buckman, D., 1998; Grieve, A., 1992; Nairne, S. and Serota, N. (eds), 1981; Royal Academy of Arts, 1972; Spalding, F., 1990; Strachan, W.J., 1984; Who Was Who 1981--1990. [LR 2000]

John Adams-Acton (1830--1910)
Sculptor. Born in Acton Hill, Middlesex, he added Acton to his surname in 1868 to avoid confusion with another artist called John Adams. He trained under Timothy Butler then Matthew Noble before attending the RA Schools, 1853--8, where his talents were recognised by the award of a number of medals. In 1858 he gained the RA’s travelling studentship and went to Rome. After 1865 he was resident in London. Exhibited regularly at the RA until 1892. Principal works include the Wesley Memorial (Westminster Abbey, 1875), Sir Titus Salt (Bradford, 1874), W.E. Gladstone (Liverpool, 1870 and Blackburn, 1889), and Cardinal Manning Memorial (Westminster Cathedral, 1908).
Sources: DNB, Cavanagh, 1997. [Man2004]

John Adams-Acton (1830--1910)
Born at Acton Hill, Middlesex, he added Acton to his surname to avoid confusion with other artists called John Adams. He trained under Timothy Butler then Matthew Noble before attending the RA Schools, 1853--58, where he won first medals in the antique and life-classes and, in 1855, a gold medal for an original sculpture group, Eve Supplicating Forgiveness at the Feet of Adam. In 1858 he gained the RA’s travelling studentship and went to Rome, staying until 1865. His ability as a portraitist was admired by John Gibson, who sent many visitors (including Gladstone) to his studio. From 1865, he was resident in London. Important works include the Monument to Bishop Waldegrave (c.1869, Carlisle Cathedral), the Cruikshank Memorial (c.1871, St Paul’s Cathedral), the Wesley Memorial (1875, Westminster Abbey), and the Memorial of Cardinal Manning (1908, Westminster Cathedral). He also executed a colossal Statue of Sir Titus Salt for Bradford (1874); statues of Queen Victoria for Kingston, Jamaica, and the Bahamas; a W. E. Gladstone for Blackburn (as well as Liverpool) and also produced ideal works. He exhibited regularly at the RA until 1892.
(source: DNB) [L 1997]

Lynda Addison
Sculptor. Studied three dimensional design at Manchester Metropolitan University. Specialises in glass and ceramic figurative sculpture working from studio at her home. The Rolls-Royce tablet is her major public work in terracotta.
Source: artist. [Man2004]

James and Robert Agar (active c.1891 -- c.1932)
Firm based in Syston, Leicestershire, operating as monumental masons, c.1891 -- c.1908, from which latter date until c.1932 they are listed as stonemasons.
Sources: Kelly’s Directory of . . . Leicester and Rutland (edns from 1891--1932). [LR 2000]

Graciela Ainsworth (b.1960)
Printmaker, wood-carver and story-teller, based in Edinburgh. Studied at the University of Northumbria 1979--82, then specialised in Sculpture Conservation and Restoration at the City and Guilds of London Art School until 1985. She has exhibited widely, been artist-in-residence at several locations in the North East and in Salisbury, and her works are to be found in public and private collections.
[1] Gateshead, Four Seasons, p.25. [2] AXIS Artists Register, 1999. [NE 2000]

Carlo Albacini (1735--1813)
Trained by Bartolomeo Cavaceppi in Rome as a copier and restorer of classical antiquities, Albacini was responsible for the restoration of the Farnese collection in Naples between 1786 and 1800. His work can be distinguished from that of Cavaceppi through his creation of a smoother, more ideal finish to the surfaces of the works he restored. He also produced original works including, most notably, the tomb of the painter Raphael Mengs in St Peter’s, Rome (1780).
Source: Vaughan, G., ‘Albacini and his English patrons’, Journal of the History of Collections, vol.3, no.2, 1991, pp.183--97. [SBC2005]

Carl Albetill
Sculptor. Listed as a sculptor and modeller, residing at 21 Mawdsley Street, Bolton in the Post Office Bolton Directory for 1894--5.
Source: Bolton Journal, 3 February 1894. [Man2004]

Alexander (b. 1927)
Artist born in London who prefers to be known only by his surname. He studied at St Martin’s School of Art, graduated in 1950 and in the same year had his first solo exhibition, solely of paintings, at the Artists’ House, London. He continued to devote himself to painting for about the next 20 years. Then, from the early 1970s, he concentrated on sculpture and holograms, returning to painting only in 1989. Throughout these years he divided his time between Britain and Australia, exhibiting widely. A notable exhibition of his sculptures was staged at the Festival of Perth, Western Australia, in 1982, when five monumental sculptures were sited around the Festival theatres and 42 smaller ones were shown in the city’s Lister Gallery. One of the five larger sculptures, Pallisandro, marble, was subsequently purchased by the University of Western Australia. Alexander’s principal sculptural commissions are: Jubilee Oracle, 1979--80, a monumental bronze for the South Bank, London; Duet in Marble, 1980--1, for University Hospital, Nottingham; and Music Sculpture, 1986--7, stainless steel, made in collaboration with composer Moya Henderson, for Lane Cove Park, Sydney. A touring retrospective exhibition of Alexander’s work was shown at the Museum of Contemporary Art, São Paulo, Brazil, and the National Museum of the Fine Arts, Santiago, Chile (both 1989), and at the Modern Museum of Art, Santa Ana, California (1990).
Sources: Buckman, D., 1998; Lucie-Smith, E., 1992a; Strachan, W.J., 1984. [LR 2000]

George Alexander
He lived in London, with studios, at different times, in Battersea and Chelsea. He exhibited at the Royal Academy from 1905 to 1940. In 1912 he showed an elegant statuette of Atalanta, in the act of bending to pick up the golden apple. After the First World War he collaborated with the architect Victor Wilkins on memorials for Herne Hill in South London (1921) and for the Portsea Island Gas Company (1922). [CL2003]

Keith Alexander (b.1956)
Sculptor, trained and based in the North East. His carved figurative work, in wood and stone, usually serves a functional purpose. He has worked on a number of outdoor commissions often in collaboration with local communities.
[1] Northern Arts Index, 1998. [NE 2000]

Charles John Allen (1862--1956)
Sculptor. Born in Greenford, Middlesex. From 1879--89 he worked for Farmer & Brindley of Lambeth, before going on to study at the South London Technical Art School and, subsequently, at the Royal Academy Schools, where he won four silver medals. From 1890 to 1894 he was chief modelling assistant to Hamo Thornycroft. Exhibited both at the RA (1890--1922) and abroad, and was, from 1894, a member of the Art Workers’ Guild. Allen went to live in Liverpool where from 1894 he was instructor in sculpture at the School of Architecture and Applied Art and, from 1905, the Vice-Principal at the School of Art, Mount Street. Public commissions include two relief panels on St George’s Hall (Liverpool, 1895--8) and memorials to Queen Victoria (Liverpool, 1906) and Florence Nightingale (Liverpool, 1913).
Sources: Beattie, 1983; Cavanagh, 1997. [Man2004]

Charles John Allen (1862--1956)
Born at Greenford, Middlesex, he first worked as a carver in stone and wood for the Lambeth firm of Farmer & Brindley. He studied at the South London Technical Art School under W.S. Frith (1882--7), and subsequently at the Royal Academy Schools. From 1890--4 he was chief modelling assistant to W.H. Thornycroft. He exhibited regularly at the Royal Academy. From 1894 he was a member of the Art Workers’ Guild. At the 1900 Paris International Exhibition, Allen won a gold medal for his exhibits, a bronze group of Love and the Mermaid (now in the Walker Art Gallery, Liverpool), and a plaster group, entitled Rescued. Queen Alexandra later ordered a bronze cast of Rescued. Allen spent many years in Liverpool. In 1894 he was appointed Instructor in Sculpture at the newly-opened School of Architecture and Applied Art, and from 1905 was the Vice-Principal at the School of Art in Mount Street. He was also associated with the Della Robbia Pottery in Birkenhead. He retired from his appointments in 1927. Liverpool is the site of Allen’s most substantial public sculpture, the Victoria Memorial in Derby Square (1902--6).
Sources: S. Beattie, The New Sculpture, New Haven and London, 1983; T. Cavanagh, Public Sculpture of Liverpool, Liverpool 1997. [CL2003]

Charles John Allen (1862--1956)
Sculptor born at Greenford, Middlesex. From 1879--89 he was with Farmer & Brindley of Lambeth, firstly as an apprentice and then as a carver in stone and wood. He studied at the South London Technical Art School under William Silver Frith, 1882--7, and subsequently at the Royal Academy Schools, where he won four silver medals. From 1890--4 he was chief modelling assistant to Hamo Thornycroft. He exhibited both at the RA (1890--1922) and abroad. In 1900, at the Paris International Exhibition, he received a gold medal for his bronze group Love and the Mermaid (Walker Art Gallery) and his plaster group Rescued, the latter of which was subsequently commissioned in bronze by Queen Alexandra. Allen lived for many years in Liverpool: from 1894 he was instructor in sculpture at the School of Architecture and Applied Art and, from 1905, was Vice-Principal at the School of Art, Mount Street. He retired from his appointments in 1927. His public commissions, most of which are in Liverpool, include two relief panels on St George’s Hall (1895--8) and memorials to Queen Victoria (unveiled 1906) and Florence Nightingale (unveiled 1913). He was, from 1894, a member of the Art Workers’ Guild.
Sources: Beattie, S., 1983; Buckman, D., 1998; Cavanagh, T., 1997; Gray, A.S., 1985; Johnson, J. and Greutzner, A., 1976; Walker Art Gallery, 1981; Waters, G.M., 1975. [LR 2000]

Charles John Allen (1862--1956)
Born at Greenford, Middlesex, from 1879--89 he was at first apprenticed, and then employed, as a carver in stone and wood to Farmer & Brindley of Lambeth. He studied at the South London Technical Art School under W.S. Frith, 1882--87, and subsequently at the RA Schools, where he won four silver medals. From 1890--94 he was chief modelling assistant to Hamo Thornycroft -- the influence of whose Mower can be seen in Allen’s Agriculture group from the Victoria Monument in Derby Square. He exhibited both at the RA and abroad. From 1894 he was a member of the Art Workers Guild. In 1900, at the Paris International Exhibition, he received a gold medal for his bronze group Love and the Mermaid (WAG) and his plaster group Rescued, the latter of which was subsequently commissioned in bronze by Queen Alexandra. Allen lived for many years in Liverpool. From 1894 he was instructor in sculpture at the School of Architecture and Applied Art and, from 1905, was Vice-Principal at the School of Art, Mount Street. He was also associated with the Della Robbia Pottery at Birkenhead. He retired from his appointments in 1927.
(sources: Beattie, 1983; Johnson & Greutzner, 1976; Magazine of Art, 1901; WAG archives; Waters, 1975). [L1997]

Edward Allington (b. 1951)
Sculptor. Born in Troutbeck Bridge, Cumbria. Trained at Lancaster College of Art 1968--71, Central School of Art and Design 1971--4, and Royal College of Art 1983--4. Gregory Fellow in Sculpture, Leeds University 1991--3, Research Fellow in Sculpture, MMU 1993. Exhibitions include Objects and Sculpture (ICA, 1981) and The Sculpture Show (Hayward Gallery, 1983). Represented Britain in international exhibitions as part of ‘The New British Sculpture’. His sculpture is influenced by Greek and Roman culture. Works include Three Steps towards the Sea (1985), Fallen Pediment (Piano) (1994) and Cochlea (2000). Publications include A Method for Sorting Cows (Manchester Metropolitan University, 1997). Teaches at Slade School of Art, University of London.
Source: artist. [Man2004]

W. Allsop and Sons (active c.1921 -- c.1941)
Firm of monumental masons at St Mary’s Road, Market Harborough. William Allsop had operated independently from c.1895 and before that, in partnership, as Allsop and Monk. Allsop and Sons also executed a marble war memorial tablet for Foxton Parish Church.
Sources: Kelly’s Directory of . . . Leicester and Rutland (edns from 1888--1941); Foxton Parish Record Files (LRO). [LR 2000]

Anthony George Michael Ankers (b. 1962)
Sculptor based at Leicester. He gained a First Class Honours Degree in Fine Art (Sculpture) at Leicester Polytechnic in 1985 and a Diploma in the Conservation of Architectural Stonework at Weymouth Technical College, Dorset, in 1989. In June 1994 he was resident sculptor at the Sir Henry Doulton School of Sculpture, Stoke-on-Trent. In 1998 his work was included in a three-person exhibition at Vaughan College, Leicester.
Source: information from the sculptor. [LR 2000]

David Annand (b. 1948)
Sculptor based in Kilmany, Fife. He studied at the Duncan Jordonstone College of Art and taught art at a school in Dundee before becoming a full-time sculptor in 1988. His public sculptures outside Leicestershire include: Deer Leap, 1986, Dundee Technology Park (awarded Sir Otto Beit Medal in 1987); ‘Nae Day Sae Dark’, 1989, Perth, Scotland; Royal Stag, 1993, for Baxters of Speyside (unveiled by HRH Prince Charles); Helter Skelter, 1995, Blackpool; ‘Y Bwa’, 1995, Wrexham, North Wales; Three Cranes in Flight, 1997, British High Commission, Hong Kong; Kelty Miners’ Memorial, 1997 (unveiled by Mick McGahey and Gordon Brown).
Source: information from the sculptor. [LR 2000]

David Annesley (b. 1936)
Sculptor, painter and teacher born in London. From 1947--56 he lived with his family in England, Australia and Southern Rhodesia and in 1956--8 did his National Service in the RAF. In 1958--61 Annesley was at St Martin’s School of Art, starting as a painter and then transferring to sculpture (he resumed painting in 1969), working for a time as Anthony Caro’s assistant. He spent six months of 1962 working in Majorca. From 1963 he taught at Central School of Art and Design and Croydon College of Art, and from 1964 at St Martin’s. In 1966--8 Annesley lived in the USA where he worked with, and was influenced by, the American painter Kenneth Noland. Annesley was a contributor to the influential ‘New Generation’ exhibition, Whitechapel Art Gallery, 1965; had his first solo exhibition in 1966 at the Waddington Gallery, London; was one of seven sculptors included in the Alistair McAlpine Gift to the Tate Gallery in 1971; and had his work included in the ‘British Sculpture in the Twentieth Century’ exhibition, Whitechapel Art Gallery, 1981--2. He showed from 1989 with the London Group and from 1991 at the Royal Academy Summer Exhibition. In 1993 his work was included in the first Royal West of England Academy ‘Open Sculpture Exhibition’ and also in the Royal Society of British Sculptors exhibition ‘Chelsea Harbour Sculpture 93’. In 1990 Annesley was a prize-winner in the BP Sculpture Competition. Examples of his work are in the collections of the Arts Council, British Council, Tate Gallery, and Museum of Modern Art, New York.
Sources: Buckman, D., 1998; Nairne, S. and Serota, N. (eds), 1981; Spalding, F., 1990; Strachan, W.J., 1984; Whitechapel Art Gallery, 1965. [LR 2000]

Ron Arad (b. 1951)
Designer born in Israel. After moving to England, he studied architecture in London and then, in 1981, opened the ‘One Off’ design company and gallery which quickly established itself as London’s leading centre for alternative design. Arad’s reputation was made with the Rover Chair, 1985, a design produced in considerable numbers from recycled Rover car seats. His other work includes the Well-Tempered Chair (polished steel) and Horns Chair (aluminium) of 1986/7, and Deep Screen (steel, glass, silicon and aluminium mesh) of 1987.
Source: Fleming, J. and Honour H. [LR 2000]

Michael Dan Archer (b.1955)
Born in Glasgow, he studied sculpture at Coventry School of Art, 1975--9, after which he lived and worked in Japan and Spain. He has exhibited widely in the UK, including a solo show at the Yorkshire Sculpture Park, and has made sculptures at international symposia in Italy, Japan, South Korea and Germany. In 1999 he made a 15--ton granite work as a stipendiat at KKV-B in Sweden. He now has a studio in Lincolnshire and works as a part-time lecturer at Loughborough University School of Art and Design.
Source: information provided by the artist. [G2002]

Michael Dan Archer
Sculptor based in Leicestershire. He spent five years, 1979--84, in Japan and Spain teaching English as a foreign language. Currently (1999) he is an associate lecturer in sculpture at Loughborough University School of Art and Design and a visiting lecturer at Cardiff, Coventry and Derby art colleges. His work has been included in numerous mixed and group exhibitions, including ‘New Art’, Hiroshima City Gallery, Japan, 1984; the Scottish Sculpture Open exhibition, Kildrummy Castle, Aberdeenshire, 1987; the International Granite Sculpture Symposium, Sardinia, 1989; the Gateshead Garden Festival, 1990; ‘Finding Form’, Russell-Cotes Gallery, Bournemouth, 1991; ‘Sculpture in the Close’, Jesus College, Cambridge, 1992 and 1996; the Royal Society of British Sculptors exhibition at Chelsea Harbour, 1996; and in exhibitions at the Ferrers Centre, Staunton Harold, Leicestershire, 1998 and 1999. In 1990--2 he staged a solo travelling exhibition appearing at Nottingham Castle Museum and Art Gallery, the Glynn Vivian Gallery, Swansea, and the Queen Mary Centre, Basingstoke. In 1993 he had a residency at the Yorkshire Sculpture Park. Other solo exhibitions have been at the Hannah Peschar Gallery, 1994, Dean Clough Art Gallery, Halifax, 1997, and Churchill College, Cambridge, 1998. He has been a member of the RBS since 1994 (council member from 1995).
Source: information from the sculptor. [LR 2000]

Phyllis Muriel Cowan Archibald (1880--1947)
Born in Tunbridge Wells, the daughter of a designer, she studied at GSA, winning her diploma in 1908. She resided at 20 Kew Gardens and 13 Highburgh Terrace, married Charles Clay, c.1906, and later moved to London and then Grasmere, Westmoreland. Among her many exhibits at the RSA were a bronze relief portrait of Lady Archibald (1908), The Pillar of Salt (1920), Demeter (1925) and David Dancing Before the Ark (1933). Other recorded commissions include the memorial tablet to A.H. Charteris at Kirk O’ Field, incorporating a low relief portrait bust, and the figures for the choirstall in the Congregational Church, Whitchurch (1910).
Sources: McEwan; Laperriere. [G2002]

Kenneth Armitage (b.1916)
Armitage trained at Leeds College of Art from 1934--7, then at the Slade School of Fine Art, London from 1937--9. He served in the army during the Second World War. Between 1946--56 he was Head of Sculpture at the Bath Academy of Art, Corsham. His first solo exhibition in the United Kingdom was in 1952. In Germany in 1956 he won first prize in the International War Memorial Competition, and in 1958 he won the David E. Bright Foundation Award at the Venice Biennale exhibition. He has since been the subject of several major international exhibitions. During the 1960s and 1970s Armitage worked for several universities including the University of Caracas, Venezuela; Boston University, Massachusetts; and the Royal College of Art, London. His work is predominantly in bronze, and depicts the human figure in abstract or simplified forms. Armitage is represented in public and private collections worldwide, and has enjoyed a reputation as one of the leading British sculptors of his generation.
Sources: Sculpture at Goodwood: British Contemporary Sculpture, www.sculpture.org.uk/; Woolcombe, T. (ed.), Kenneth Armitage: life and work, London, 1997; Fils, G., Recent Sculpture by Kenneth Armitage: October -- November 1957, London, 1957. [WCS2003]

Henry Hugh Armstead (1828--1905)
English sculptor, silversmith and illustrator. He attended the Royal Academy Schools, and at first he gave his attention equally to silverwork and to sculpture, becoming the chief designer for Hunt & Roskell’s gold and silverwork factory. However, the reception of his best known piece of silverwork, the Outram Shield (Royal Academy, 1862) disappointed him, and he left Hunt & Roskell to turn his attention to monumental sculpture on a full-time basis. Among his fruitful collaborations with architects, the most notable was that with George Gilbert Scott, which included being given a high degree of responsibility for the sculpture on The Albert Memorial in Kensington Gardens, London. Here Armstead’s main contribution was the execution of half of the podium frieze (1863--72), with its portraits of artists, writers and musicians from earliest times to the present. His church monuments, whether effigies such as Dean Howard (1868, Lichfield) and Bishop Ollivant (1887, Llandaff) or Renaissance-derived wall tablets such as Mrs Craik in Tewkesbury Abbey (1889), were admired for their naturalism. This quality, dominated by a taut sense of design, as well as his abilities as a craftsman in a variety of media, led to his being hailed as a forerunner of the New Sculpture movement.
Sources: Cavanagh, T. and Yarrington, A., Public Sculpture of Leicestershire and Rutland, Liverpool, 2000, p.354; Read, B., Victorian Sculpture, New Haven and London, 1982, pp.100, 262, 349; Tupper, J.L., ‘Henry Hugh Armstead’ in English Artists of the Present Day: Essays by J. Beavington Atkinson, Sidney Colvin, F.G. Stephens, Tom Taylor, and John L. Tupper, London, 1872, pp.61--6; Ward-Jackson, P., ‘Henry Hugh Armstead’, The Grove Dictionary of Art Online, ed. L. Macy, accessed 30 June 2003, http://www.groveart.com [SBC2005]

Henry Hugh Armstead (1828--1905)
A student at the Royal Academy schools under Bailey, Leigh and Caray, he exhibited at the Royal Academy and in the principal London galleries from 1851, being elected ARA in 1875 and RA in 1879. Armstead’s seated statue of the Law Courts’ architect, G.E. Street (1886) is located inside the Law Courts. He worked on Sir George Gilbert Scott’s Albert Memorial (1872), where he sculpted the podium frieze and the bronze statues for the canopy (both in collaboration with J.B. Philip). The podium reliefs, in ‘campanella’ Carrera marble, were actually carved in situ. His bronze of Thomas Fletcher Waghorn (pioneer and founder of the overland route to India in 1829) is located in Railway Street, Chatham. Waghorn is depicted with a chart spread across his knee and with a bronze-etched globe on a pedestal.
Sources: Beattie, S., The New Sculpture, New Haven and London, 1983; Dictionary of National Biography, Second Supplement, vol.1, 1912; Turner, J. (ed.), Dictionary of Art, London, 1996; Waters, G.M., Dictionary of British Artists working 1900--1950, Eastbourne, 1975; Who was Who 1897--1915. [WCS2003]

Henry Hugh Armstead (1828--1905)
Sculptor, silversmith and teacher born 18 June 1828 in London. At the age of eleven he entered the workshop of his father, an heraldic chaser. At thirteen he was sent to the Government School of Design at Somerset House. He next worked at Hunt & Roskell’s gold and silverwork factory, while receiving occasional tuition from the sculptor E.H. Baily and attending the Royal Academy Schools in the evenings. He eventually became Hunt & Roskell’s chief designer. Armstead’s best known piece of silverwork is the Outram Shield (now in the Victoria and Albert Museum, London) shown at the RA in 1862. It did not, however, win him the acclaim for which he had hoped and he left Hunt & Roskell to devote himself full time to sculpture. He had already achieved some success in this field, having won Art Union prizes for Satan Dismayed and The Temptation of Eve. Following a trip to Italy in 1863--4 he was introduced to the architect (Sir) George Gilbert Scott and was commissioned by him to work on the Albert Memorial, carving reliefs of painters and musicians of the main European schools for the podium and also modelling bronze figures of Chemistry, Astronomy, Medicine and Rhetoric, 1863--72. Amongst numerous other works he carved for Scott are reredos figures for Westminster Abbey, 1867; the effigy for the Tomb of Bishop Wilberforce (died 1873) in Winchester Cathedral; and some of the spandrel reliefs on the Colonial and Home Offices, Whitehall (completed 1875). Armstead also executed commissions to his own designs, including a fountain, 1874--9, for the forecourt of King’s College, Cambridge, the Memorial to G.E. Street, 1886, in the Law Courts, London, and the Tomb of Bishop Ollivant (died 1882) in Llandaff Cathedral. Armstead’s marble statue, Remorse, was purchased by the Chantrey Bequest and is now in the Tate Gallery. He exhibited at the RA from 1851, taught in the RA Schools from 1875, was elected ARA in the same year and RA in 1879. In 1900 he arranged the British sculpture in the Paris Exhibition. He died at his house in St John’s Wood, London, 4 December 1905.
Sources: Beattie, S., 1983; DNB. Second Supplement, vol. 1, 1912; Turner, J. (ed.), 1996; Waters, G.M., 1975; Who Was Who 1897--1915. [LR 2000]

Raymond Arnatt (b.1934)
Sculptor, studied at Oxford School of Art and RCA, 1957--61. Arnatt has produced commissioned work for Lincoln College, Oxford; Weymouth Theatre; Minster Lovell Church; and the Church of the Holy Family, Pontefract. Won the Sainsbury Sculpture Award 1960.
[1] Spalding, p.56. [2] Buckman, p.80. [NE 2000]

The Art Department
Firm established by Liam Curtin, Wendy Jones and Michael Trainor in 1999 for the planning, installation and maintenance of public art. It is based in Manchester’s Northern Quarter where the directors had been involved in the district’s public art and sculpture programme. The Art Department have managed public art programmes in Oldham and Blackpool.
Source: Liam Curtin. [Man2004]

Artcycle
Company set up by Andrew Edwards, Julian Jeffrey and Carl Payne in 2000 that created the Stanley Matthews Memorial for the Britannia Stadium, Stoke-on-Trent (2001). The three of them have since undertaken a lot of sculptural work in schools, including the creation of an ancient Egyptian theme park for one school and of a Roman amphitheatre for another. Their current commissions include a sculpture based on the nursery rhyme about a fine lady on a white horse for Banbury Cross and a monument to the fans of Sunderland Football Club that will include four figures -- two adults wearing costumes dating from around 1900 holding a sundial aloft and two children in contemporary clothing holding a football. Both works are designed to encourage a sense of community identity, and the artists view social engagement with local people as central to their work.
Source: Information provided by Andrew Edwards, 30 April 2002. [SBC2005]

Joan Gardy Artigas (b. 1938)
He was the son of the celebrated Catalan ceramicist, Llorens Artigas, and was born at Boulogne Billancourt in France. He studied at the École du Louvre (1958). In the following year he set up his own ceramic studio in Paris, where he worked with G. Braque and M. Chagall. In 1960 he met Alberto Giacometti and made his first sculpture. He continued to work as a ceramicist, and on returning to Barcelona collaborated with Joan Mirò on such works as the colossal Woman and Bird (1981--2) for the Parque Joan Mirò. Artigas has made his own ceramic murals and monumental sculptures for many locations throughout the world, and he has collaborated on a number of architectural projects with the firm of Skidmore, Owings and Merrill. In 1989, he set up the Artigas Foundation at Gallifa, to the north-west of Barcelona, in memory of his father. It was designed as a place to which artists might come from all over the world to work for six-week periods. The British sculptor Barry Flanagan has enjoyed a profitable collaboration with the Artigas Foundation, which has provided ‘technical support’ in the production of his ceramic sculptures.
Source: Macmillan’s Dictionary of Art. [CL2003]

John Atkin (b.1959)
Trained as a painter at Teesside College of Art, Leicester Polytechnic and RA Schools 1977--85. Whilst at Leicester he exhibited his first sculpture The Room -- a full-sized reconstruction in newspaper and plaster of his childhood home complete with figures of his parents. Much influenced by literary sources, especially the work of Albert Camus, his figurative sculptures incorporate recycled industrial detritus and clay. Exhibited in ‘Recent British Sculpture’ in 1985 and the National Garden Festival at Gateshead, 1990. Examples of his work can be found at the Yorkshire Sculpture Park and at Grizedale, Cumbria.
[1] Wheeler, P., John Atkin: Embers, n.d. [NE 2000]

Graham Ashton (b. 1948)
Mixed media artist, born at Birkenhead. He studied at Manchester College of Art, 1966--67; Coventry College of Art, 1967--70; University of Calgary, 1970--71, and held his first solo exhibition in 1977. He was artist-in-residence at the Walker Art Gallery and Bridewell Studios, Liverpool, 1983--84.
(sources: Festival Sculpture, 1984; Spalding, 1990) [L1997]

Walter Ashworth (1883--1952)
Ashworth was Principal of the Coventry Art College and Chairman of the Coventry and Warwickshire Society of Artists. He was best known as a watercolour artist who exhibited several works at the Royal Academy and acted as a war artist in Coventry during the Second World War.
Source: Herbert Art Gallery and Museum/City of Coventry Libraries, Arts and Museums Department, A Survey of Public Art in Coventry, Coventry, 1980. [WCS2003]

Kevin Atherton (b.1950)
Atherton, who was educated at the Isle of Man College of Art (1968--9) and Leeds Polytechnic (1969--72), came to prominence with pieces integrated with ‘lived in spaces’, notably his Platform Piece for British Rail, consisting of three life-size figures on Brixton station (1986). He works in a variety of different media, including film animation, performance art and video, and is perhaps best known for his work on issues relating to virtual reality during the 1990s, including the organisation of an international conference, Virtual Reality and the Gallery at the Tate in 1995 and the presentation of his Gallery Guide to museums in Chicago (1997), Stockholm (1998) and Dublin (2000).
Sources: Atherton, K., Kevin Atherton: a Body of Work 1982--1988, London, 1988; Cavanagh, T., Public Sculpture of Liverpool, Liverpool, 1997, p.322; Cavanagh, T. and Yarrington, A., Public Sculpture of Leicestershire and Rutland, Liverpool, 2000, p.354; Festival Sculpture, International Garden Festival, Liverpool, 2 May--14 October 1984; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.183; Strachan, W.J., Open Air Sculpture in Britain, London, 1984, p.254. [SBC2005]

Kevin Atherton (b. 1950)
Sculptor born 25 November 1950 in the Isle of Man. He studied at Douglas School of Art, 1968--9, and Leeds Polytechnic (Fine Art), 1969--72. During the 1970s he taught part time at Middlesex Polytechnic, and at Chelsea, Maidstone, and Winchester schools of art. His commissions include A Body of Work, 1983, for Langdon Park School, Poplar; Three Bronze Deckchairs, 1984, for the Liverpool International Garden Festival; Upon Reflection, 1985, Elthorne Park, London; Platform Piece, 1986, Brixton Railway Station, London; Iron Horses (12 sculptured horses sited at intervals beside the railway track between Birmingham and Wolverhampton), 1987; Swing, 1988, St Chad’s Circus, Birmingham; A Different Ball Game, 1994, Kings Hill, West Malling, Kent; and A Private View, 1995, Taff Viaduct, Cardiff Bay.
Sources: Buckman, D., 1998; Festival Sculpture, 1984; Noszlopy, G.T. and Beach, J., 1998; Spalding, F., 1990; Strachan, W.J., 1984. [LR 2000]

Kevin Atherton (b.1950)
Born 25th November 1950 in the Isle of Man and educated at the Isle of Man College of Art 1968--9, he studied fine art at Leeds Polytechnic 1969--72. Came to prominence with commissions integrating work with ‘lived in’ spaces, for example his Platform Piece for British Rail, consisting of three life-size figures on Brixton station, London 1986. Works also include: A Body of Work, Langdon Park School, Poplar, London 1983; Upon Reflection, bronze, Elthorne Park, London 1985; A different ball game, Kings Hill, West Malling, Kent 1994; A private view, Taff Viaduct, Cardiff Bay 1995. Currently working at the Chelsea College of Art and Design on issues around Virtual Reality.
1. Strachan, 1984, p.254; 2. Kevin Atherton, a body of work, Serpentine Gallery, London, 1989; 3. Letter from the artist, 26 February 1996. [B1998]

Kevin Atherton (b. 1950)
Born in the Isle of Man, he studied at Douglas School of Art, 1968--69, and Leeds Polytechnic (Fine Art), 1969--72. During the 1970s he taught part-time at Middlesex Polytechnic, and Chelsea, Maidstone, and Winchester Schools of Art. His commissions include A Body of Work (1983, Langdon Park School, Tower Hamlets).
(sources: Festival Sculpture, 1984; Spalding, 1990; Strachan, 1984) [L1997]

Ted Atkinson (b.1929)
Atkinson studied at Liverpool College of Art under Karel Vogel 1944--6, 1948--9 and then at the Slade School, University of London under Coldstream, Butler and Moore 1949--52, winning the Slade Prize for Sculpture in 1952. Between 1953 and 1958 he was head of sculpture at Exeter College of Art and became head of sculpture at Lanchester Polytechnic in 1964. Apart from sculpture he also makes etchings and has gained several awards in this field. He has several examples of public art in the United Kingdom as well as public works in Düsseldorf and Hamburg. He was invited to represent Britain at the World Expo 88 in Brisbane along with six other sculptors including Elizabeth Frink and Henry Moore. He has exhibited since 1953 and is also represented in the permanent collections of the Arts Council, Tate Gallery, Manchester City Art Gallery, Kunst Akademie, Dresden and the Museum of Modern Art, New York.
Sources: Mann, G., Ted Atkinson engraving; West Midlands Arts, Artists, craftsmen, photographers in the West Midlands, Stoke-on-Trent, 1977; Who’s Who, 20th edition, 1982. [WCS2003]

William Aumonier (1841--1914)
Architectural sculptor and carver in wood and brick, born in London, of Huguenot stock. He operated from premises at New Inn Yard, Tottenham Court Road, London, from 1880, with his sons William and Percy as assistants. Important commissions by them include the New Victoria Law Courts, Birmingham (1886) and Bath Municipal Buildings (1891). They also executed wood carving for the steamships Austral and Ophir.
Sources: BJ, 10 February, 1897; RIBAJ, 14 February 1914 (obit.). [G2002]

Pete Auty (1954--99)
Sculptor in bronze, wood and found objects. Trained at Hull (1978), gaining an MA from Newcastle University in 1981. Auty lectured at Wolverhampton, De Montfort and Northumbria universities 1990--5. Having worked mainly in the studio, Auty started to work outdoors for Gateshead’s ‘Marking the Ways’ scheme in 1995.
[1] AXIS, Artists Register, 1999. [NE 2000]

Alain Ayers (b.1952)
Midlands-based sculptor and stone-carver. Since completing a Fellowship in Sculpture at the South Glamorgan Institute of Higher Education at Cardiff in 1983, Ayers has shown work at a number of group exhibitions in England, Wales and Portugal. His installation pieces are usually conceptual and non-figurative, whilst his permanent outdoor sculptures make figurative references to the site. He currently lectures at Nottingham Trent University.
[1] AXIS, Artists Register, 1999. [NE 2000]

Alain Ayers (b. 1952)
Born at Dartford, Kent, he studied at Hereford College of Art, 1975--76, Exeter College of Art, 1976--79, and Birmingham Polytechnic, 1981--82. He was awarded the South West Arts Bursary in 1980, the Greater London Arts Bursary in 1981, the Junior Sculpture Fellowship at South Glamorgan Institute of Higher Education, Cardiff, in 1982--83, and the Welsh Arts Council Young Artist’s Grant in 1983. He has shown in group exhibitions since 1980.
(source: Festival Sculpture, 1984) [L1997]

Michael Ayrton (1921--75)
He was born Michael Ayrton Gould, son of the poet and critic, Gerald Gould, and the Labour politician, Barbara Ayrton. His education was interrupted by illness, but he was inspired by works seen on his European travels to take up drawing and painting. He studied briefly at Heatherley’s College and the St John’s Wood School of Art, before going off to Paris, where he shared a studio with the painter John Minton. Together they visited Eugène Berman and Giorgio de Chirico. Ayrton was one of the more articulate members of the English neo-Romantic group of artists. Amongst his early influences were Henry Moore, Graham Sutherland and the Russian painter Pavel Tchelitchev. His first one-man show was at the Redfern Gallery in 1943. Ayrton was a polymath. He wrote copious art-criticism, especially for the Spectator between 1944 and 1946. He also wrote historical novels and essays, and was a familiar voice on the BBC, and a member of the Brains Trust. In 1951 he began to sculpt. Visits to Cumae in Southern Italy in 1956, and to Crete the following year, inspired him to explore the myths of Daedalus and Icarus and the labyrinth of King Minos. Ayrton even designed a labyrinth for a wealthy American, Armand Erpf, at Arkville in the Catskill Mountains (1968--9). Ayrton alienated several of his artistic colleagues by his continued critical attacks on Picasso. He died of a heart attack at the age of 55.
Sources: P. Cannon Brookes, Michael Ayrton, An Illustrated Catalogue, Birmingham, 1978; M. Yorke, The Spirit of Place, Nine Neo-Romantic Artists and Their Times, London, 1988; J. Hopkins, Michael Ayrton, London, 1994. [CL2003]

Nechemia Azaz (b.1923)
Azaz was born in Berlin and spent his childhood in Palestine. He trained as a stonemason in Bologna initially before studying sculpture in Holland and Paris. He is now based in Berkshire.
Source: University of Warwick, Sculpture Trail Brochure, Coventry, 1997. [WCS2003]

Charles Bacon
Executed the equestrian statue of Prince Albert at Holborn Circus (1874) and exhibited at the RA 1842--84, mostly portrait busts.
[1] Graves, Royal Academy Exhibitors, vol.I, p.87. [NE 2000]

John Bacon the Elder (1740--99)
Born in Southwark, son of a clothworker. At the age of 14 he was apprenticed to a porcelain manufacturer, with whom he learned to model figurines. He began early to model figures in a more elevated style, and from 1759 was regularly in receipt of awards for his compositions from the Society of Arts. From about 1767 he was employed as modeller at Mrs Coade’s artificial stone factory in Lambeth. In 1768 he entered the newly-opened Royal Academy Schools. In defiance of the fashion of the age, Bacon never travelled to Rome, a fact which won him additional credit from some of his admirers. One of these was George III, who sat for his bust to Bacon in 1770, after the sculptor had been recommended by the Archbishop of York. The king was so pleased with the result, that four versions were produced of it in marble. Bacon became a full RA in 1777. The seal of official approval for his art was conferred with the two commissions which he received for monuments to the Earl of Chatham, one for the London Guildhall (1778--82), the other for Westminster Abbey (1779--83). From this time he took a lead in the celebration of men whose virtue or learning were esteemed to have been a credit to the nation: the Memorial to Thomas Guy, Guy’s Hospital, London (1779) and statues of John Howard, Samuel Johnson and Sir William Jones in St Paul’s Cathedral (1795--9). He was exceptional amongst the British sculptors of his time in being able to cast in bronze, an ability demonstrated in his statue of George III with the River Thames in the courtyard of Somerset House (1789). He was a prolific and financially successful sculptor of church monuments. His architectural and decorative sculpture ranges from keystones and chimneypieces to the very large and ambitious pediment of East India House (1797--9, destroyed), which was completed by his son John Bacon the Younger. His great abilities as a sculptor were disagreeably offset by what some saw as a smug and smarmily pious manner.
Sources: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968; Obituary in Gentleman’s Magazine, September 1799, pp.808--10; A. Cunningham, Lives of the British Painters, Sculptors and Architects, London, 1830. [CL2003]

John Bacon the Elder (1740--99)
Sculptor, born at Southwark on 24 November 1740. From 1755--64 he was apprenticed to Nicholas Crisp, a jeweller and porcelain manufacturer, under whom he gained experience modelling figures. In 1759 Bacon was awarded a premium (the first of eleven he was to receive) by the Society of Arts, for a small figure of Peace. He entered the Royal Academy Schools in 1769, the year after the RA’s foundation, winning, in that same year, the very first gold medal for sculpture, for a bas-relief of Aeneas and Anchises. He exhibited at the RA 1769--99. Between 1765 and 1770 he designed models for Wedgwood and Crown Derby and from 1769 until his death he worked for the Coade Artificial Stone Manufactory at Lambeth (from 1771 he was chief designer). In 1770 his plaster statue of Mars secured his election as ARA (he was to be elected RA in 1778). Despite a favourable critical reception on its exhibition at the RA in the following year, the statue failed to attract a purchaser and in 1777 Bacon presented it with a companion statue of Venus to the Society of Arts, in recognition of which he was awarded the Society’s Gold Medal. Notwithstanding its commercial failure, Mars attracted the attention of the Archbishop of York who commissioned Bacon to execute a marble bust of King George III for the Hall of Christ Church, Oxford (RA 1774). The King was sufficiently impressed with the bust to order copies for the University of Göttingen, the Prince of Wales, and the Society of Antiquaries. It was through the King’s influence that Bacon received the commission that made his reputation, the Monument to William Pitt, Earl of Chatham (c.1778--83) for Westminster Abbey. Bacon was largely self-taught and never made the all-important trip to Italy, factors which gave his detractors the opportunity to accuse him of having no real understanding of the antique, an accusation he is said to have confounded by carving a colossal head, Jupiter Tonans (RA 1777), which he convinced both fellow artists and connoisseurs was a genuine antique. It has been suggested that his detractors were partly motivated by the success of his immensely prolific workshop at Newman Street, London. Bacon’s high output was greatly assisted by his invention of an improved pointing machine which allowed his workshop assistants to copy accurately from his models and thus carry out all -- barring the finer details of the most important commissions -- the actual marble and stone carving. The premises also contained a foundry for bronze commissions. Bacon’s most important public commissions include the Monument to Thomas Guy (1779) at Guy’s Hospital, those to John Howard (1795) and Dr Johnson (1796) in St Paul’s Cathedral and, for Somerset House, the bronze group of King George III and the River Thames in the courtyard and the Fame and Genius of England on the Strand frontage (1778--9). Bacon was married twice, firstly in 1767 and secondly, following the death of his first wife, in 1782. After his death on 7 August 1799, Bacon’s practice was carried on by the second son of his first marriage, John Bacon the Younger.
Sources: Clifford, T., 1985; Cox-Johnson, A., 1961; DNB; Gentleman’s Magazine, September 1799; Graves, A., 1905; Gunnis, R. [1964]; Popp, G. and Valentine, H. (comps), 1996; Whinney, M., 1988. [LR 2000]

John Bacon the Younger (1777--1859)
Son of the sculptor John Bacon RA, who trained under his father and at the Royal Academy. His first exhibit there was Moses Striking the Rock, shown in 1792. On his father’s death in 1799, he took over his business and completed unfinished commissions, such as the pediment for East India House in the City of London and the three-figure memorial to Marquess Cornwallis for Calcutta. He went on to create three statues of his own for India: two of the Marquess Wellesley for Calcutta and Bombay (1809) and one of Cornwallis for Bombay (1810). Perhaps his most outstanding work is the monument to Sir John Moore in St Paul’s Cathedral, which shows the general being lowered into his tomb by a nude warrior and a female Victory.
Sources: Gunnis, R., Dictionary of British Sculptors 1660--1851, London, 1964; Ward-Jackson, P., Public Sculpture of the City of London, Liverpool, 2003, p.448. [SBC2005]

John Bacon the Younger (1777--1859)
Born in London, second son of the sculptor John Bacon RA. He trained under his father and at the Royal Academy, which he entered in 1789. His first exhibit at the Royal Academy was a relief of Moses Striking the Rock, shown in 1792. On his father’s death in 1799, he took over his business and completed unfinished commissions, such as the pediment for East India House in the City of London, and the three-figure memorial to Marquess Cornwallis for Calcutta. Another commission in which the younger Bacon worked to his father’s design was the bronze equestrian figure of William III (1808), for St James’s Square, London. He went on to create three statues of his own for India: two of the Marquess Wellesley for Calcutta and Bombay (1809), and one of Cornwallis for Bombay (1810). He continued and even expanded his father’s trade in funerary monuments. Many of his monuments, particularly after the establishment of a partnership with his pupil, Samuel Manning, are routine performances. However, he did, on occasion, produce church monuments of great poignancy. Perhaps his most outstanding work is the monument to Sir John Moore in St Paul’s Cathedral (1810--15), which shows the general being lowered into his tomb by a nude warrior and a female Victory. Bacon’s commercial success was resented by fellow artists, and he was not even elected to Associateship of the Royal Academy. One of his last works, the monument to his daughter, Mrs Medley (1842), in St Thomas’s Church, Exeter, is already in an entirely Victorian taste, a recumbent effigy with hands clasped in prayer under a Gothic canopy.
Sources: R. Gunnis, Dictionary of British Sculptors, 1660--1851, London, 1968; N. Penny, Church Monuments in Romantic England, New Haven and London, 1977; M. Whinney, Sculpture in Britain 1530--1830, revised by J. Physick, London, 1988. [CL2003]

Charles Bacon (1821--85?)
He first exhibited at the Royal Academy as a gem-cutter in 1842. In 1846 he entered the Royal Academy Schools on the recommendation of the author, Alarick Watts. In 1847 he showed a bust of Watts at the Royal Academy. In 1857 he showed a figure of Helen Veiled Before Paris at the British Institution. In 1861 he was commissioned to produce a statue of the explorer Sir John Franklin for Spilsby, Lincs. Bacon’s most ambitious work was the equestrian statue of Prince Albert, unveiled at Holborn Circus in 1874. In 1875 he produced another portrait statue, that of John Candlish for Sunderland, but portrait busts seem to have made up the bulk of his œuvre. Two of these, portraits of W.S. Hale and Dr G.F.W. Mortimer (1866), were presented to the City of London School, and form part of the Corporation of London’s art collection.
Sources: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968; V. Knight, The Works of Art of the Corporation of London, London, 1986. [CL2003]

Edward Hodges Baily (1788--1867)
Sculptor. Born in Bristol. Baily began taking lessons in wax modelling at 14 and later spent seven years in London as one of Flaxman’s pupils. He entered the Academy Schools in 1808, winning the gold medal in 1811 for his Hercules Restoring Alcestis to Admetus. In 1817 he began a 25-year association with the London firm of gold- and silversmiths, Rundell & Bridge. His Eve at the Fountain (1818--21) confirmed his talent and was purchased for the Literary Institute, Bristol (now Bristol City Art Gallery). Major examples of his public sculpture include the frieze for the portico of the Masonic Hall, Bristol (1825) and extensive work both for Marble Arch (1826) and for Buckingham Palace (mostly 1828), London. Baily had a large practice as a monumental sculptor: examples of his work include Earl St. Vincent (St Paul’s Cathedral, 1823), Bishop Grey (Bristol Cathedral, 1824) and Viscount Brome (Linton, Kent, 1837). Statues include John Flaxman (University College, London, 1849), George Stephenson (Euston Station, 1854) and Charles James Fox (Palace of Westminster, 1857). In 1839 his design for a statue of Nelson was selected for Nelson’s Column, Trafalgar Square. He exhibited at the Academy from 1810 to 1862 and became an Academician in 1825; in 1863 he was made ‘Honorary Retired Academician’ and awarded an annual pension.
Sources: Gunnis; Read, 1982; Underwood, 2000. [Man2004]

Edward Hodges Baily (1788--1867)
Born in Bristol, son of a ship’s carver. After school, he worked for two years in a merchant’s counting house, before taking lessons in wax-modelling. Baily was converted to the ‘higher aspirations’ of monumental sculpture by John Bacon’s monument to Mrs Draper in Bristol Cathedral. He sent work to London, for inspection by John Flaxman, who then took him on as a pupil. He entered the Royal Academy Schools in 1808. In 1817, he was appointed chief modeller to the gold and silver smiths, Rundell and Bridge, and designed for the firm for the next 25 years. Baily’s statue of Eve at the Fountain was rapturously received when shown at the Royal Academy. Executed in marble in 1821, it was purchased for the Bristol Literary Institute (now in Bristol Art Gallery), and Baily was elected a Royal Academician in the same year. This was the paradigm of much Victorian ‘ideal’ sculpture. During the 1820s, Baily executed relief sculpture for the Marble Arch and for Buckingham Palace. He had a very large practice in funerary monuments, which ranged from the routine to the theatrical and grandiose. Examples of the latter are the monuments to Sir W. Ponsonby in St Paul’s Cathedral (1820) and to Lord Holland in Westminster Abbey (1840). Baily’s public portrait statues were however admired for their restraint and for the uncompromising modernity of their costume. He sculpted the colossal marble figure of Nelson for Nelson’s Column in Trafalgar Square (1839--43), the monument to Sir Robert Peel for Bury, Lancs. (1852), and the deliberately prosaic portrait of George Stephenson (1854), for the Great Hall of Euston Station (now in the National Railway Museum, York). Despite his having been one of the most esteemed Victorian statuaries, Baily experienced financial difficulties in the last years of his life.
Source: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968. [CL2003]

Edward Hodges Baily (1788--1867)
Prolific and successful London sculptor. Baily began taking lessons in wax modelling at fourteen and later spent seven years in London as one of Flaxman’s pupils. He entered the Academy Schools in 1808, winning the silver medal in 1811, the gold a year later, and in 1817 he began a twenty-five-year association with Rundell & Bridge (silver and goldsmiths). Examples of his work include the Doncaster Cup 1843 and the Ascot Gold Cup 1844. Baily’s most celebrated work, Eve at the Fountain (1818--21), brought him European fame and was purchased for the Literary Institute, Bristol (now Bristol City Art Gallery).
Major examples of his public sculpture include the frieze for the portico of the Masonic Hall, Bristol (1825) and extensive work both for Marble Arch (1826) and for Buckingham Palace (mostly 1828), London. In 1839 his design for a statue of Nelson was selected for Nelson’s Column, Trafalgar Square. He exhibited at the Academy from 1810 to 1862 and became a Academician in 1825; in 1863 he was made ‘Honorary Retired Academician’ and given an annual pension.
Baily had a large practice as a monumental sculptor; examples of his work include a recumbent figure of Lord Brome (1837), Linton, Kent, and monuments to Earl St. Vincent (1823), St Paul’s Cathedral, and Bishop Grey (1824), Bristol Cathedral. His statues include John Flaxman, (1849), University College, London, and Robert Peel (1852), Bury and busts of the Rev. William Turner (1829) and Thomas Bewick (1825), Newcastle Literary and Philosophical Society.
[1] Gunnis, pp.32--6. [2] Penny, N., Church Monuments in Romantic England, London, 1977, passim; 3] Read, passim. [4] Art Journal, vol.VI, 1 July 1867, pp.170--1. [5] Usherwood, P., Art for Newcastle: Thomas Miles Richardson and the Newcastle Exhibitions 1822--1843, Newcastle, 1984, p.85. [6] Turner (ed.), vol.3, pp.78--9. [NE 2000]

Lucy Baird (b.1959)
Born in Malawi, she attended ECA, 1980--5, gaining a BA Hons in Sculpture and a postgraduate diploma. She was the winner of the Andrew Grant Scholarship Award in 1984 and an RSA Travelling Scholarship to Florence in the following year. Commissioned as a student to produce Mining (1984) for Irvine Development Corporation, she was appointed Artist in Residence for Irvine New Town, 1990, in which capacity she executed Birds (1992). She has exhibited in Glasgow, Birmingham and Munich.
Source: information provided by the artist. [G2002]

William Baker (1705--71)
Baker succeeded James Gibbs (d.1754) as Sir John Astley’s architect at Patshull Hall. Entries in his diary show that, as well as the parlour, library, stables and chapel, he also designed the entrance gateway. His other work is mainly in Cheshire and Staffordshire.
Source: Colvin, H., Biographical Dictionary of British Architects 1600--1840, London, 1978, pp.93--5. [SBC2005]

Arthur Ballard (1915--94)
Liverpool artist and teacher. He entered Liverpool College of Art as a junior in 1930 and returned after the war as a member of staff, 1947--80, rising to the post of Head of Foundation Studies. During the 1950s, he painted mainly landscapes, exhibiting regularly at the Roland, Browse and Delbanco Gallery in London. A six-month stay in Paris in the winter of 1957/58 encouraged him to turn to abstract painting, under the influence of the post-war School of Paris painters, particularly Nicolas de Stael. His new manner did not find favour with his former dealers and he ceased to exhibit in London. In the 1960s he moved from abstraction to a type of figuration influenced by Pop Art, his most notable work from this period being the painting, Punch and His Judy (1973), based on Manet’s Olympia. He is perhaps best known as the teacher who encouraged Stu Sutcliffe and prevented John Lennon’s expulsion from art college. He was also President of the Liverpool Academy.
(sources: Guardian [obit.], 29 November 1994; Independent [obit.], 2 December 1994) [L 1997]

Thomas Banks (1735--1805)
One of the most distinguished of English neo-classical sculptors, yet none of the work which he executed before his departure for Rome in 1772 is known to have survived. Banks studied under Peter Scheemakers, and seems to have worked for William Hayward. On the strength of pieces produced around 1770, the Royal Academy awarded him a travelling scholarship. This was supplemented by his wife’s income from property, which enabled him to stay in Rome until 1779. In these years, Banks produced three narrative reliefs, remarkable for their clarity of design and emotive power. One of these, Thetis and her Nymphs Consoling Achilles for the Loss of Patroclus, is now in the Victoria and Albert Museum. After his return, Banks spent time in Russia (1781--2), where he sold a statue of Cupid to Catherine the Great for Tsarsko-Seloe. In 1786, on becoming a full member of the Royal Academy, he presented as his diploma work the Falling Titan, a virtuoso display of sublimity on a small scale. Banks was able to appeal to the sensibilities of his clientele in such funerary monuments as that to Penelope Boothby in Ashbourne Church, Derbyshire. His last works, the monuments in St Paul’s Cathedral to Captains Burges and Westcott, set the tone for the cathedral’s series of monuments to Napoleonic War heroes, in their combination of classical figure idiom and modern pathos.
Sources: C.F. Bell, Annals of Thomas Banks, Cambridge, 1938; R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968; M.Whinney, Sculpture in Britain 1530--1830, revised by J. Physick, London, 1988. [CL2003]

Thomas Banks (1735--1805)
Banks is usually known as a small scale neo-classical sculptor predominantly producing reliefs of classical subjects. From 1772 he worked in Italy, where he was influenced by the artist Henry Fuseli (1741--1825), and by the theories of Johann Winckelmann (1717--68). He was patronised by Catherine the Great of Russia for a year, during which time he lived in St Petersburg. His best-known works include the Falling Titan (1784), RA, and Monument to Sir Eyre Coole (1784--89), Westminster Abbey.
Source: Gowing, L., A Biographical Dictionary of Artists, London, 1983; Bell, C.F., (ed.), Annals of Thomas Banks, sculptor, Royal Academician, with some letters from Sir Thomas Lawrence, P.B.A. to Banks’ daughter, Cambridge, 1938. [WCS2003]

Donato Barcaglia (1849--1930)
Donato Barcaglia was trained in Milan and Rome. He worked in a neo-classical style in marble and was renowned for the quality and detail of his carving. He won the gran medaglia d’oro for his Amore Acciece [Love is Blind] at the 1875 Exhibition in Florence. His major works include La Vergognosa (Palazzo Brunner, 1873) and Ossario Monument in Melegnano (1904).
Sources: Benezit, E., Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs, vol.1, Paris, 1976, p.238; Noszlopy, George T., Public Sculpture of Warwickshire, Coventry and Solihull, Liverpool, 2003, p.246; Panzetta, A., Dizionario Degli Scultori Italiani Dell’ottocento e Del Primo Novocento, Turin, 1994, vol.1, p.33 and vol.2, p.33. [SBC2005]

Donato Barcaglia (1849--1930)
Donato or Donatello Barcaglia trained in Milan under Abbondio Sangiorgio, and finished his training in Rome. He worked in marble and was renowned for the quality and detail of his carving. Although working in a neo-classical style, he developed his own stylistic flourishes. He exhibited widely in Europe and America. He won the gran medaglia d’oro [Gold Medal] for his Amore Acciece [Cupid Teasing Venus or Love is Blind] at the 1875 Epsizione fiorentina.
Sources; Panzetta, A., Dizionario Degli Scultori Italiani Dell’ottocento e Del Primo Novocento, vol.1; ibid., vol.2; Benezit Dictionnaire (of painters, sculptors, engravers), 1976. [WCS2003]

Henry Bloomfield Bare (d. 1911)
A Liverpool decorative artist, associated with the Arts and Crafts Movement. He exhibited at the WAG between 1884 and 1911, with one appearance at the RA in 1888 (cat. 1723: Decoration of a Drawing Room) in which same year he was elected a fellow of the RIBA. He was also the Liverpool correspondent and writer of occasional articles for The Studio.
(sources: Studio, 1911 [obit.]; Johnson & Greutzner, 1976). [L 1997]

George Grey Barnard (1863--1938)
Sculptor. Born in Bellefonte, Pennsylvania. Educated at the Art Institute of Chicago where he won a prize for a bust of a young woman, the money enabling him to travel to Paris in 1883 where he studied at the École Nationale des Beaux Arts and worked in the studio of Cavelier. Works from his Paris period include Fraternal Love (1887) and a colossal marble group The Two Natures which was exhibited at the Exposition des Beaux-Arts (1904). He returned to New York in 1896. Awarded gold medals for his sculpture at expositions in Buffalo (1900) and St Louis (1904). In 1904 began work on series of 33 monumental statues for the Capitol building in Harrisburg, Pennsylvania, including the figures of Hope Upholding Failure and Brotherhood in Despair. His controversial bronze statues of Abraham Lincoln are in Cincinnati, Ohio, Louisville, Kentucky and Manchester. Barnard’s collection of medieval sculpture, displayed in his house, ‘The Cloisters’ in New York, was sold in 1925 to the Metropolitan Museum of Art. Elected to American Academy of Arts in 1930.
Sources: Who’s Who in American Art, 1937--8; Dictionary of American Biography; Moffat, 1998. [Man2004]

Samuel Barfield (1830--87)
Barfield was a stonemason living in Leicester who produced statuary, monumental masonry and all types of ecclesiastical furniture and fittings. He enjoyed a long working relationship with architect Joseph Goddard, for whom he executed the carving on the Paxton Memorial in Coventry (1868), the figures on the lower stages of the clock tower in Leicester (1868) and the sculpture on the mausoleum to Archibald Turner in Leicester cemetery (c.1870). He also worked for Birmingham architect J.H. Chamberlain, for whom he carved the architectural ornament on the Memorial Fountain to Mayor Joseph Chamberlain (1880) and the lillies-and-lattice decoration of the rose window on the School of Art (c.1885).
Sources: Cavanagh, Terry and Yarrington, Alison, Public Sculpture of Leicestershire and Rutland, Liverpool, 2000; Noszlopy, George T., Public Sculpture of Birmingham, Liverpool, 1998. [WCS2003]

Samuel Barfield (1830--87)
Architectural sculptor of Leicester and, from 1870, a member of the Leicester School of Art Committee. Barfield enjoyed a long working relationship with Leicester architect Joseph Goddard for whom he executed the carving on his Memorial to Sir Joseph Paxton, 1868, at Coventry (for Leicester commissions see relevant catalogue entries). Barfield also worked for Birmingham architect J.H. Chamberlain, for whom he executed in that city the architectural carving on the Memorial Fountain to Mayor Joseph Chamberlain, 1880, and the carved lilies-and-lattice decoration of the rose window on the new School of Art, c.1885. In Leicester, in addition to work treated in the present catalogue, Barfield signed a Celtic cross-style Monument to Benjamin Sutton (d. 1858) in Welford Road Cemetery, Leicester.
Sources: Beaumont, L. de, 1987; Bennett, J.D., 1975; Brandwood, G. and Cherry, M., 1990; L. Mercury, 11 July 1994, p.4; Men of the Period ..., 1897; Noszlopy, G.T. and Beach, J. 1998; Pevsner, N. and Williamson, E., 1992; personal knowledge. [LR 2000]

Keith Barrett
Tyneside-based wood sculptor and printmaker who trained at Falmouth School of Art and the University of Northumbria in the early 1980s. His carved, usually abstract, outdoor sculptures, seats and stiles are sited in various countryside locations around the North East. [NE 2000]

Oliver O’Connor Barrett (b.1908)
Born in 1908 in Eltham, London. In 1927 he attended Fircroft College in Birmingham and three years later, without formal art training, began direct carving in wood. He exhibited for the first and only time at the Royal Academy in 1933 and in the following year had his first one-person show, at the Cooling Galleries, London. This was subsequently transferred to the Ruskin Galleries in Birmingham where it was described as ‘the most important of its kind in the city since the appearance of Epstein’s Genesis’. He lived in Edgbaston from about 1936 until 1940 when he moved to America, where he taught art at several colleges. He had four exhibitions of his sculpture, paintings and drawings in New York in 1944, 1946, 1953 and 1962, and in the latter year became head of sculpture at the Norton School of Art, Palm Beach, Florida. There is another work by Barrett, Darkness (wood carving), in store at the Birmingham Museum and Art Gallery, acquired 1934.
1. ‘Notes of the month’, Apollo, vol.XIX, no.113, May 1934, p.281; 2. Sunday Mercury, 14th May 1944, p.5; 3. RAE, vol.I, Wakefield, 1973, p.89. [B1998]

Julia Barton (b.1959)
Landscape sculptor. Barton turned to art after completing a geography degree at Portsmouth Polytechnic 1977--80. Living in Northumberland, her work includes Seawall at Barrow-in-Furness and others pieces in Yorkshire, Cumbria and the North East.
[1] Information supplied by the artist, 1999. [NE 2000]

Stuart Bastik (b.1965)
Stuart Bastik studied at Hull College of Art (1986--7) and Birmingham Institute of Art and Design (1987--90), finishing with a first class degree in Fine Art (Sculpture). His first solo exhibition The Last Supper between the Devil and the Deep Blue Sea was at the Dock Museum, Barrow-in-Furness (1992). His sculpture commissions include Unknown New Cargo (1991, Hull Marina), The Arrival (1993, Grizedale Forest), Give us this day our daily bread (1994, Coalville), and Bath-time Two x Two (1995, the Washlands, Burton upon Trent). Since 1996, he has worked in collaboration with Maddi Nicholson on a series of paintings on the sides of lorries for Visual Arts UK and in other diverse contexts. Their work uses humour, word play and references to fashionable ‘icons’ of the day.
Sources: Borough of East Staffordshire: Leisure Services, Public Art in Burton, 1990, no.10; Cavanagh, T. and Yarrington, A., Public Sculpture of Leicestershire and Rutland, Liverpool, 2000, p.355; Information provided by the artist, 2001. [SBC2005]

Stuart Bastick (b. 1965)
Sculptor and painter born at Beverley, East Yorkshire. He studied at Hull College of Art, 1986--7, and Birmingham Institute of Art and Design, 1987--90, finishing with a First Class degree in Fine Art (Sculpture). In 1988 he worked as assistant to Richard Harris, then Sculptor-in-Residence at Grizedale Forest, Cumbria. Bastick has shown in various group exhibitions at, for example, the Cotton Gallery, 1989, and the Concourse Gallery, 1990, both in Birmingham; Myxna Art School, Leningrad, Russia, 1990; and the Gallery in the Forest, Grizedale, 1993. His first solo exhibition, entitled ‘The Last Supper Between the Devil and the Deep Blue Sea’, was at the Dock Museum, Barrow-in-Furness, 1992, and in 1995 he had an exhibition of paintings (entitled ‘Orange’) at the Ludus Gallery, Lancaster. He has had residencies at Barrow-in-Furness (1991--2, ‘Cumbria Craft Residency’) and at Turton, near Bolton, Lancashire (1993, Turton Tower). His sculpture commissions include Unknown New Cargo, 1991, Hull Marina (Hull Open Sculpture Competition winner); The Arrival, 1993, Grizedale Forest; and Bath-time Two x Two, 1995, ‘The Washlands’, Burton-upon-Trent, Staffordshire.
Source: information from the sculptor. [LR 2000]

Harry Bates (1850--1899)
Sculptor: Born in Stevenage, Hertfordshire. Between 1869 and 1882 he was apprenticed and worked as a carver for Farmer & Brindley. He studied at the South London Technical Art School and then at Royal Academy Schools, where, in 1883, his Socrates Teaching in the Agora won him a travelling studentship. He went to work in Paris where he came into contact with Rodin. In Paris he modelled a triptych illustrating The Aeneid. One of the leading practitioners of the New Sculpture, Bates’ sculptures include Hounds in Leash, exhibited at the RA in 1889, Pandora, exhibited at the RA in 1890, and Mors Janua Vitae, exhibited at the RA in 1899. He was also responsible for the architectural carving on a number of buildings, including the Institute of Chartered Accountants, City of London, and Holy Trinity Church, Sloane Street, Chelsea. His public monuments include the Lord Roberts Memorial (Calcutta, 1896; copy at Kelvingrove Park, Glasgow) and the Queen Victoria Monument (Dundee, 1899).
Sources: Beattie, 1983; Noszlopy, 1998. [Man2004]

Harry Bates (1850/1--99)
Born at Stevenage, Herts., Bates was employed as a stone-carver by the firm of Farmer and Brindley, before entering the South London Technical Art School (1879--81), where he was taught briefly by Jules Dalou. He then went on to study at the Royal Academy Schools, winning a travel scholarship in 1883. The next two years he spent in Paris, in contact with Dalou. He is supposed also to have encountered Rodin. Bates became a leading member of the ‘New Sculpture’ movement, applying the new freedom of modelling associated with the movement to the treatment of Classical subjects, often in a painterly style of relief. His Aeneid Triptych, exhibited at the Royal Academy in 1885, is now in the Kelvingrove Art Gallery, Glasgow. Bates’s life was short, and his free-standing subject pieces are few. They include Hounds in Leash (bronze), exhibited at the Royal Academy in 1889, and now at Gosford House, East Lothian, and Pandora (marble with ivory and bronze), shown at the Royal Academy of 1890, and now in Tate Britain. His Mors Janua Vitae, exhibited at the Royal Academy in 1899 (now Walker Art Gallery, Liverpool), combines bronze, ivory and mother of pearl, to convey a symbolist message about life after death. Bates’s two public monuments are an equestrian statue of Lord Roberts for Calcutta, of which a version is in Kelvingrove Park, Glasgow, and a seated figure of Queen Victoria for Aberdeen. He provided distinguished sculpture in stone and terracotta to buildings by the architects Aston Webb, John Belcher, J.D. Sedding and Thomas Verity.
Source: S. Beattie, The New Sculpture, New Haven and London, 1983. [CL2003]

Harry Bates (1850--99)
Born in Stevenage, Hertfordshire. After working as an architect’s clerk he became an apprentice stone carver with Farmer & Brindley (q.v.). In 1883 he won a travelling scholarship from the RA Schools, which enabled him to study in Paris under Dalou and Rodin. He was a key figure in the New Sculpture movement, a good illustration of which is his bronze Aeneid triptych in GAGM (1883). Major public works include relief panels for John Belcher’s Institute of Chartered Accountants, London (1899) and the Monument to Queen Victoria, Dundee (1890). He was elected ARA in 1892.
Sources: BN, 3 February 1899, p.160 (obit.); Beattie, p.240; Mackay. [G2002]

Harry Bates (1850/1--1899)
Born at Stevenage, Hertfordshire. Between 1869 and 1882 he was apprenticed and worked as a carver for the well-known firm of architectural carvers, Farmer and Brindley. He went to SLTAS in 1879 and studied at the RA Schools 1881--3, during which time he won a travelling studentship. This enabled him to work in Paris 1883--5, when he was in contact with Dalou (who had taught him at SLTAS), and Rodin. He was responsible for architectural carving for various buildings including the Institute of Chartered Accountants, City of London; and Holy Trinity church, Sloane Street, Chelsea. Sculptures include: Homer, RA 1886 (relief panel); Pandora, RA 1890; Mors Janua Vitae, RA 1890; Lord Roberts Memorial, Calcutta, 1896 (copy at Kelvingrove Park, Glasgow); Queen Victoria Memorial, Dundee, 1899. AWG 1886; ARA 1892.
1. S. Beattie, The new sculpture, New Haven and London, 1983, p.240; 2. W. Armstrong, ‘Mr. Harry Bates’, Portfolio, 1888, pp.170--4; 3. E.J. Winter Johnson, ‘Mr. Harry Bates ARA’, Artist, December 1897, pp.579--88; 4. Obituary, Magazine of Art, 1899, p.240. [B1998]

Gilbert Bayes (1872--1953)
Sculptor. Born in London. He studied at the City and Guilds Technical College, Finsbury before entering the RA Schools in 1896 where he was taught by George Frampton and Harry Bates. After winning the gold medal and travelling studentship in 1899, he spent a year studying in Italy and Paris. Inspired by medieval legend and romance, his early style was a blend of French Symbolism and English Arts and Crafts. His early work consists largely of equestrian knight statuettes, for example: Sirens of the Ford, 1899 (version at Preston); Knight Errant (Oxford, 1900), and decorative panels such as Jason Ploughing the Acre of Mars (RA, 1900), mostly cast in bronze. He also made many reliefs in terracotta, stone and various metals, decorating pedestals (Sigurd, RA, 1910) and buildings (The Aldeburgh Memorial, RA, 1917) as well as fountains and memorial sculpture. Statues include an over life-size marble figure of the Maharaja of Bickaneer (RA, 1914) and Sir William Chambers and Sir Charles Barry on the Victoria and Albert Museum. He designed and modelled stoneware for Doultons, including an ornamental clock for Selfridges and the frieze on the façade of Doulton’s London headquarters. Exhibited regularly at the RA until 1952; Salon des Artistes Français 1922--30. President of RBS, 1939--44.
Sources: Spielmann, 1901; McKenzie, 2002. [Man2004]

Gilbert Bayes (1872--1953)
London-born sculptor, he was the son of the painter and etcher Alfred Walter Bayes, and the brother of the painter Walter John Bayes. He studied at the City and Guilds College, Finsbury, and at the RA Schools, 1896--9, where he was taught by George Frampton and Harry Bates (qq.v.). After winning the Gold Medal and Travelling Scholarship in 1899, he spent three months in Italy and nine months in Paris, where he exhibited at the 1900 Exposition Universelle. He specialised in poetic and romantic subjects taken from the classics and Wagner’s operas, but also executed the statues of Sir William Chambers and Sir Charles Barry on the V&A. For J.J. Burnet’s London practice he carved a statue of Joseph Priestly at the Institute of Chemistry, Russell Square (1914), and the bronze group at the entrance to Selfridge’s, Oxford Street (1928). Elected HRI in 1918, he was awarded the RBS medal in 1935, and served as PRBS, 1939--44.
Sources: Spielmann, pp.143--4; Grant: Waters; Gray. [G2002]

Gilbert Bayes (1872--1953)
Born 4th April 1872 in London, died 10th July 1953 in London. He studied at the City and Guilds Technical College, Finsbury before entering the RA Schools in 1896 where he was taught by George Frampton and Harry Bates. After winning the gold medal and travelling studentship in 1899, he spent three months studying in Italy and nine months in Paris. Inspired by medieval legend and romance, his early style was a blend of French Symbolism and English Arts and Crafts. He also carved hieroglyphic figures in a neo-Assyrian style in many reliefs such as King Assurnasirpal, Sydney 1903--6. His early work consists largely of equestrian knight statuettes, for example: Sirens of the Ford, 1899 (version at Preston); Knight Errant, St. Cross College, Oxford 1900, and decorative panels such as Jason Ploughing the Acre of Mars, RA 1900, mostly cast in bronze. He also made many reliefs in terracotta, stone and various metals, decorating pedestals (Sigurd, RA 1910) and buildings (The Aldeburgh Memorial, RA 1917) as well as fountains and memorial sculpture. Larger statues include an over life-size marble figure of the Maharaja of Bickaneer, RA 1914. An enthusiast of polychromy, between 1929 and 1939 he designed and modelled stone-ware for Boultons, including an ornamental clock for Selfridges and the frieze on the façade of Doulton’s headquarters on the Albert Embankment. Exhibitions: regularly at the RA until 1952; Salon des Artistes Français 1922--30.
1. W.S. Sparrow, ‘A young English sculptor: Gilbert Bayes’, The Studio, vol.25, March 1902, pp.102--8; 2. C. Marriott, ‘The recent works of Gilbert Bayes’, The Studio, vol.72, December 1917, pp.100--13; 3. J. Cooper, Nineteenth century romantic bronzes, London, 1975, p.94; 4. Beattie, 1983, pp.36, 240--1; 5. L. Irvine, ‘The architectural sculpture of Gilbert Bayes’, Journal of the Decorative Art Society, no.4, 1980, pp.5--11. [B1998]

Bedingfield and Grundy (active c.1932 -- c.1969)
Leicester-based architectural practice.
Sources: Kelly’s Directory of . . . Leicester and Rutland (edns from 1932--69). [LR 2000]

William Behnes (1795--1864)
Sculptor and painter. Born in London, the son of a pianomaker from Hanover and his English wife. Part of his childhood was spent in Ireland, where he started attending drawing school. In 1813 he entered the Royal Academy. At this time he was painting portraits on vellum. It was the example of the sculptor Peter Chenu which persuaded William Behnes, and his brother Henry, who later changed his name to Burlowe, to adopt the sculptor’s profession. In 1819, Behnes was awarded the Gold Medal of the Royal Society of Arts for the invention of ‘an instrument for transferring points to marble’. He first exhibited at the RA in 1815. Behnes’s production consists largely of portrait busts and statues. His many church monuments are modest in scale, but occasionally include emotive figures, such as the mourning son, in the monument to Mrs Botfield at Norton, Northants. In 1837, Behnes, who had sculpted Queen Victoria’s portrait in 1828, became her Sculptor in Ordinary, although this did not lead on to further commissions. His statue of Sir Henry Havelock in Trafalgar Square (1861), is reputed to have been the first statue to have been based on a photographic portrait of the subject. Behnes’s extravagant habits reduced him to destitution in his final years. Despite the predominance of portraiture in his œuvre, some ideal and imaginary works by him are recorded, including a Lady Godiva, shown at the Great Exhibition in 1851, a Cupid with Two Doves (London International Exhibition of 1862), and a relief illustrating Shakespeare’s ‘Seven Ages of Man’.
Source: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968. [CL2003]

William Behnes (c.1795--1864)
The son of a Hanoverian piano manufacturer who settled in London, Behnes worked for his father for a while before, in 1813, starting at the RA Schools. He first practised professionally as a portrait painter but then changed to sculpture c.1819, producing mainly portrait busts over the next twenty years; it is said that no other sculptor produced more. These are mostly remarkable for their bold modelling and sensitivity to facial expression.
Behnes was appointed Sculptor in Ordinary to the Queen in 1837, but thereafter received no further royal patronage. He is best known for the statue of Sir Henry Havelock in Trafalgar Square, London (1861). Sadly, as his commissions multiplied, ‘he fell into unsatisfactory habits’ and eventually died penniless. Among his commemorative statues are Dr Babbington in St Paul’s Cathedral and Sir William Follett in Westminster Abbey. His many notable pupils included Henry Weekes, Thomas Woolner, J.H. Foley and G.F. Watts.
[1] DNB, vol.II, pp.131--2. [2] Turner, (ed.), p.59. [3] Art Journal, 1864, pp.83--4. [NE 2000]

John Bell (1811--95)
Born in Suffolk, Bell went to London at the age of 16, and enrolled in Henry Sass’s Drawing School in Soho. In 1829 he moved on to the Sculpture School of the Royal Academy. After completing his training he exhibited at the Royal Academy and at the Society of Arts, and became a founder member of the Etching Club in 1838. In 1839 he was an unsuccessful entrant for the Nelson Memorial competition. It was, however, with his ideal works that Bell first attracted the attention of critics and public. His figure of Dorothea, inspired by an episode in Don Quixote, shown at the Royal Academy in 1839, proved especially popular. A marble version was commissioned by Lord Lansdowne, and like many of Bell’s compositions it was later adopted by the Minton factory as a Parian Ware statuette. Bell’s Eagle Slayer, a poetic conception of his own, was ideal sculpture of a more heroic and morally elevated kind. It was shown first at the Royal Academy in 1837, but often thereafter in a variety of materials. As a public statuary, Bell was employed first at the Sydenham Crystal Palace in 1853, and in the following year he produced two historical figures for St Stephen’s Hall, Westminster. He adopted a sombre, heroic style and symmetrical composition for the Wellington Memorial in the Guildhall (1856), and again in 1860 for the Guards Crimean War Memorial in Waterloo Place. Bell’s proposal of a kneeling figure of the Consort in medieval armour for the Albert Memorial was not adopted, but he was commissioned to produce the marble group of America for the north-west corner of the memorial. Positioned on the memorial in 1870, this group, with its five symbolic figures around a charging bison, was described as ‘a really great work’ by The Times, at the unveiling in 1872. In 1847, Bell had co-operated with Henry Cole in his attempt to introduce artistic quality into domestic utensils, the so-called Felix Summerly’s Art Manufactures, and he went on to provide many models for industrial reproduction in a variety of materials. The Coalbrookdale Ironworks and Minton’s were his most frequent collaborators. Bell was a poet and art theorist, a frequent contributor to Building News and the Journal of the Society of Arts.
Sources: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968; B. Read, Victorian Sculpture, New Haven and London, 1982; R. Barnes, John Bell. The Sculptor’s Life and Work, Kirstead, 1999. [CL2003]

Robert Anning Bell (1863--1933)
Painter, decorative artist, and illustrator, designing mosaics, stained glass, fabrics (for Morris & Co.), and wallpapers (for Essex & Co.). Born in London, he was first articled to an architect, later studying at the RA and in Paris. For a time he shared a London studio with George Frampton with whom he collaborated. He was Professor of Art in the Department of Applied Art, University College, Liverpool, 1894--98; Professor of Decorative Art at Glasgow School of Art from 1911; and Professor of Design at the Royal College of Art, London, 1918--24. He was a Member of the Arts and Crafts Exhibition Society, and the Royal Watercolour Society. He was also a member of the Art Worker’s Guild, becoming a Master in 1921. He was elected ARA in 1914 and RA in 1922. Important commissions include the tympanum mosaics in the main porch of Westminster Cathedral (1902, to a design by J.A. Marshall); the main front mosaics on the Horniman Museum, South London, 1902; the north front mosaics on Birmingham University and also the St Andrew and St Patrick mosaics in the central lobby of the House of Lords (1923--24).
(source: Gray, 1985) [L 1997]

Frantisek (Franta) Belsky (1921--2000)
Sculptor. Born in Brno, Czechoslovakia, son of economist, Joseph Belsky. At 16 he won prize in sculpture competition in Prague. Family fled to England in 1938. Belsky studied at the Central School of Arts and Crafts. He joined other Czech exiles in the army to fight during the war, serving in the artillery, and was decorated for his wartime service. He restarted his education, studying sculpture at the Royal College of Art. As a sculptor he was known for his portraiture but also produced abstract sculpture and architectural works. Portrait busts include Cecil Day-Lewis (National Portrait Gallery, 1952), Admiral Lord Cunningham (Trafalgar Square, 1967), Harry S. Truman (Presidential Library, Independence, Missouri, 1974), John Piper (National Portrait Gallery, 1987) and Winston Churchill (Churchill College, Cambridge). Belsky also executed many busts of members of the royal family. His public statues include Winston Churchill (Westminster College, Fulton, Missouri; British Embassy, Prague) and Lord Mountbatten of Burma (Horseguards Avenue, London, 1983). Other sculptures include Joy Ride (Town Square, Stevenage, 1957) and Triga (Callex House, Knightsbridge, 1958). The massive Shell Centre Fountain (Lambeth, 1963) is also by Belsky. Long-serving member and president of RSBS. Governor of St Martin’s School of Art, 1967--88. He married Margaret Owen in 1964, who was to become better known as the cartoonist, Belsky. She died in 1989. In 1996 he married the Czech sculptor, Irena Sedlecka. Vaclav Havel presented Belsky with Presidential Medal of Merit in 1999.
Sources: Belsky, 1992; Guardian, 7 July 2000. [Man2004]

Richard Charles Belt
Belt worked as an ornamentalist in the studio of the sculptor John Henry Foley. From 1871, he was an assistant to Charles Lawes, a pupil of Foley. In 1875 Belt became independent, and in 1879 won the competition for the Byron Monument for Park Lane, London, a project promoted by Benjamin Disraeli. Following the statue’s unveiling in 1880, an article appeared in the magazine Vanity Fair, claiming that all the work produced by Belt between 1876 and 1880, including the Byron statue, had been executed by foreign assistants. The article led to the famous Belt v. Lawes libel case of 1882--4. This case hinged on the question of artistic authenticity. Belt won the case, and was commissioned in 1885 by the Corporation of the City of London, to create a replica of Francis Bird’s statue of Queen Anne in front of St Paul’s. The following year, Belt was jailed for the fraudulent sale of jewellery. He had exhibited busts at the Royal Academy since 1873, but ceased to exhibit in 1885. Other works by him are the memorial to Izaak Walton in St Mary’s Church, Stoke-on-Trent (1878), and an undated female nude, entitled Hypatia (marble, Drapers’ Company Hall, London). Until it was destroyed in the Second World War, Belt’s bust of Disraeli (1882) stood in the City of London Guildhall.
Sources: B. Read, Victorian Sculpture, New Haven and London, 1982; The Times, Law Reports from 1882, 1883 and 1884. [CL2003]

Beltane Studios (1996--)
Foundry and sculpture fabrication workshop established by three brothers Ruaraig, Iomhar and Njord Maciver in a converted water-mill building in Peebles. In addition to casting bronze work by artists such as Allison Bell, Vincent Butler and Scott Associates (qq.v.), the firm also undertakes independent sculptural commissions, a recent example of which is the replacement of the full-size bronze figure (itself copied from Alexander Carrick’s war memorial at Blairgowrie) which had been stolen from the Walkerburn War Memorial in 1997. Current projects include a Millennium Fountain for the proposed Eastgate Theatre in Peebles.
Source: information provided by the company. [G2002]

Zadok Ben-David (b. 1949)
Sculptor born in Bayhan, Yemen. His family later moved to Israel and from 1971--3 he studied at Bezalel Academy of Art and Design, Jerusalem. He moved to England in 1974 and was assistant to sculptor N.H. Azaz. In 1975 he entered Reading University to study Fine Art and in 1976 took the advanced course in sculpture at St Martin’s School of Art and Design. He himself taught sculpture at St Martin’s from 1977--82 and then, from 1982--5, at Ravensbourne College of Art and Design, Bromley. He had his first solo exhibition at the Air Gallery, London, in 1980. Other solo exhibitions include Woodlands Art Gallery, London, 1982, and the Benjamin Rhodes Gallery, London, 1987 and 1992. In 1987 he was artist-in-residence at Stoke-on-Trent City Art Gallery and in the following year represented Israel (jointly with Moti Mizrachi) at the Venice Biennale.
Sources: Benjamin Rhodes Gallery, 1987; Buckman, D., 1998; Spalding, F., 1990. [LR 2000]

Philip Benson (b.1950)
Self-taught sculptor, who took up wood carving for therapeutic reasons in 1990, and who has since made a speciality out of carving large animals from storm-damaged trees in the west end of Glasgow.
Source: Eddie Toal, ‘Wood you believe it’, ET, 5 June 1995, p.3. [G2002]

Percy George Bentham (1883--1936)
Sculptor. Studied at the City and Guilds of London School of Art, the RA Schools and in Paris as well as under Alfred Drury and W.R. Colton. Bentham was based in London. His works include ideal figures, portrait busts and war memorials. He exhibited at the RA from 1915 to 1930. His work included The Angler (1916) and The Bubble-blower (1917). Bentham also provided figures for a fountain in Hayling Island.
Source: Usherwood, 2000. [Man2004]

Percy George Bentham (1883--1936)
Bentham studied at the City and Guilds of London School of Art, the RA schools and in Paris as well as under Alfred Drury and W.R. Colton. His works include portrait busts, statues and many war memorials. He exhibited at the RA from 1915.
Source: Who Was Who, 1929--40, London, 1941. [WCS2003]

Percy George Bentham (1883--1936)
Studied at the City and Guilds of London School of Art, the RA Schools and in Paris as well as under Alfred Drury and W.R. Colton. His works include portrait busts, statues and ‘many war memorials’. He exhibited at the RA from 1915.
[1] Who Was Who, 1929--1940, London, 1941, p.98. [NE 2000]

Phillip Bentham (b.1910)
The son of Percy Bentham, he studied at the Central School of Arts and Crafts and Kennington School of Woodworking. He began work in his father’s Fulham Road studio. He was in the RAF during the Second World War, spending three and a half years in a Japanese prisoner of war camp. Phillip Bentham was primarily an architectural sculptor working in bronze and stone. His work included the clock figures on Fortnum and Masons in Piccadilly. In 1966 he was based in London but, by 1980, he was living and working in Worthing. He had associations with the Morris Singer foundry.
Source: Herbert Art Gallery and Museum/City of Coventry Libraries, Arts and Museums Department, A Survey of Public Art in Coventry, 1980. [WCS2003]

James Beresford & Sons
Monumental masons based in Belper, Derbyshire, who executed war memorials for Matlock Bath (1921), Cannock Chase (1923) and Scunthorpe (1926), as well as several other smaller memorials in Derbyshire. In 1900, the company also had a branch in Derby.
Sources: Kelly’s Directories for Belper and Derby, 1900; Information provided by Jane Furlong, Project Officer for the United Kingdom National Inventory of War Memorials, 28 April 2004. [SBC2005]

Anna Best (b. 1965)
Born in London, Best completed a foundation course at Hounslow Borough College, 1983--4, then studied at the Art Students’ League of New York in 1984. Studying under Dick Whall, she gained a first-class honours degree in Fine Art (Sculpture) at Coventry Polytechnic. Her sculptures are designed in whatever medium is most appropriate for their specific location. She has won several awards, including a British Council travel grant to America (1991) and a Sculpture Space Inc., New York, funded residency (1993). In 1988 she established the Red Cow Studios Co-operative. In 1991 she was a participant at the Triangle Artists’ Workshop in New York, and in 1992 she was both co-ordinator and participant in the Shave Artists’ Workshop, Somerset. From 1989, Best lectured part-time at the Chelsea School of Art and at Hounslow Borough College. Her exhibitions include the McGrigor Donald Sculpture Prize Exhibition and tour, 1990; Lockbund Sculpture Exhibition, Oxford Art Week, and On Site, Bermondsey, 1992, and Burning Toast, a collaborative work with Richard Reynolds, 1993.
Source: information from the artist. [WCS2003]

Philip Bews (b.1951)
Before turning to sculpture in the early 1980s, Bews worked as a landscape architect for Runcorn New Town Development Corporation. He works in a wide variety of materials, including stone, wood, steel, bronze, cast cement and ephemeral natural materials, mainly in collaboration with his partner, Diane Gorvin. Much of their largely figurative work is commissioned for public sites by local and national government and by industry. His major commissions include Deal Porters (1990, Surrey Quays, London Docklands), Pigs and Donkey for Barnards Wharf, Rotherhithe (1992, funded by London Docklands Development Corporation), Time and Tide (1993, Queen’s Dock, Liverpool, for HM Customs and Excise), Janus (1994, Warrington), Queen of Mercia (also 1994, for Manchester Ship Canal Company), Mill Girl and Calf (1995, Burnley), Dragon (1996, St Wilfrid’s Park, Hulme, Manchester), Electrolysis (1997, for ICI, Runcorn), Shell Seats (also 1997, for Blackpool Borough Council) and Old Father Thames (1999, Gabriel’s Wharf, London). More recently, he has been working on public sculptures that reflect the area’s industrial past for Dudley’s southern bypass. Up until 1996, exhibitions of his work were limited to north-west England, but he has since exhibited more widely, in Western Australia (1996), London (1997), Gloucestershire (1997 and 1998), Oxfordshire (1998) and Herefordshire (1998).
Sources: AXIS, The Axis Database Online, 1999, www.axisartists.org.uk/; Buckman, D., Dictionary of Artists in Britain since 1945, Bristol, 1998, p.145; Cavanagh, T., Public Sculpture of Liverpool, Liverpool, 1997, p.323. [SBC2005]

Philip Bews (b. 1951)
After taking a degree course in Landscape Architecture at Manchester Polytechnic, 1970--74, he was employed by Runcorn New Town Development Corporation as an associate landscape architect, 1974--82. From 1982--86 he was at Liverpool Polytechnic, where he was awarded first class BA (Hons) in Fine Art. In 1986--87 he was awarded a Sir John Moores Scholarship in Fine Art and, in the same years, was sculptor-in-residence at Birchwood Community and High School, Warrington. In 1988--89 he was part-time tutor in sculpture and three-dimensional studies at Wirral Metropolitan College. He has shown in various group exhibitions and his major commissions include Covetina (1988, Norton Priory Museum, Runcorn); Survivor (1989, Wirral Country Park, Thurstaston); Deal Porters (1990, Surrey Quays, London Docklands); Pigs and Donkey (1992, Barnards Wharf, London Docklands); Brian Bevan Memorial (1993, Warrington); and Stone Carving (1994, Grosvenor Park Garden for the Blind, Chester). His most important public work in Liverpool has been executed in collaboration with Diane Gorvin.
(source: Bews) [L 1997]

Jon Bickley
Born in the Midlands, he grew up in Lichfield. He studied at Norwich School of Art. Bickley, who lives at Old Buckenham, Norfolk, is an animal sculptor. He has worked as a zoo-keeper with big cats and Asian elephants, and while doing this work modelled and painted his charges. He won the Crown Estates Conservation Award at an exhibition of the Society of Wildlife Artists at the Mall Gallery. He has recently been producing work using scrap metal.
Source: information provided by the Mall Gallery. [CL2003]

William Henry Bidlake (1861--1938)
Architect. Son of the church architect, George Bidlake of Wolverhampton, Bidlake went to Tettenhall College, Wolverhampton and Christ Church College, Cambridge. Articled to Sir Robert Edis and Bodley and Garner, Bidlake was also assistant to Sir Rowland Anderson RSA. He entered the RA Schools in 1883, winning the RIBA Pugin Prize in 1895. Moving to Birmingham in 1887, he joined John Cotton in an architectural partnership and designed many churches in Birmingham and the West Midlands. His works include St Thomas, Stourbridge; St Oswald of Worcester, Bordesley (1892--3); Branch School of Art, Moseley (1904); St Patrick, Earlswood, Warwickshire (1899--1901); St Leonard, Dordon, Warwickshire, south aisle (1901); Bishop Latimer Memorial Church, Handsworth (1903); St Mary, Wythall, Worcestershire (1903); Emmanuel Church, Wylde Green, Sutton Coldfield (1909); additions to St Stephen, Small Heath, 1910 (since demolished). Bidlake’s houses include Withens, 5 Barker Road, Sutton Coldfield (1898); Woodside and The Dean, Bracebridge Road, Birmingham. He was an instructor at Birmingham Central School of Art and helped to form Birmingham College of Architecture, becoming its Director. He was awarded the Gold Medal by the Birmingham Civic Society in 1923.
Sources: Gray, A.S., Edwardian Architecture, a biographical dictionary, London, 1985; RIBA Journal, obituary, 10 January 1938. [WCS2003]

William Henry Bidlake (1861--1938)
Architect, the son of the Wolverhampton-based church architect George Bidlake. He was articled to Sir Robert Edis and Bodley and Garner, and was assistant to (Sir) R. Rowand Anderson. In 1883 Bidlake entered the Royal Academy Schools and in 1885 won the RIBA Pugin Prize. In 1887 he joined John Cotton (also a Pugin Prize winner) in a Birmingham-based partnership which went on to design numerous churches and houses in Birmingham and the West Midlands, specialising in an Arts and Crafts style. Bidlake was also an instructor at Birmingham Central School of Art and was instrumental in the establishment of the Birmingham College of Art School of Architecture of which he became a Director. In Leicestershire, in addition to the Houghton-on-the-Hill war memorials (see p.62), he designed The Knole, Stoneygate, Leicester (1910). He exhibited at the RA in 1909 and 1931. In 1923 he was awarded the Gold Medal of the Birmingham Civic Society. He retired to Bestbeech, West Sussex, and died 6 April 1938 in the house he had built there.
Sources: Gray, A.S., 1985; Service, A., 1977. [LR 2000]

John Bingley (fl.1773--1802)
London-based sculptor who in c.1790 went into partnership with J.C.F. Rossi producing principally works in terracotta. The partnership got into financial difficulties, however, and was dissolved within a few years. As an independent practitioner Bingley designed a number of carved marble chimney-pieces, for patrons such as the Duke of Bridgewater (1796, Cleveland House, London) and Mr Henry Peters (one for his country seat at Betchworth Castle, Surrey, and another for his London house in Park Street, both 1801). Bingley also executed a number of church monuments, including those to Mary Darker (died 1773) and John Darker (died 1784), Church of St Bartholomew the Less, St Bartholomew’s Hospital, London, James Evelyn (died 1793), St Nicholas’s Church, Godstone, Surrey, and Captain Willcox (died 1798), Church of St Mary and St Bega, St Bees, Cumbria.
Sources: Good, M. (compiler), 1995; Gunnis, R., [1964]. [LR 2000]

J.G. Binney
J.G. Binney is referred to as the sculptor for South Shields Town Hall. It is not clear whether he was related to, or the same person as, H.C. Binney who exhibited 1893--1922 with works in the Walker Art Gallery and at the Birmingham Royal Society of Artists.
[1] Gunnis, p.196. [2] Johnson, J. and Greutzner, A., Dictionary of British Artists 1880--1940, Woodbridge, 1976, p.57. [NE 2000]

Charles Bell Birch (1832--93)
At the age of 12 Birch attended drawing classes under Alfred Stevens at the Royal Academy. In 1846, he went to Berlin with his parents, continuing his sculpture studies at the Berlin Academy and in the studios of C.D. Rauch and L.W. Wichmann. In 1852 he returned to England and became a student at the Royal Academy, winning two medals. He then worked for ten years in the studio of J.H. Foley, at first as a pupil and later as an assistant. He built up a solid career during the 1860s and 1870s in portrait busts, statues and medallions. When Foley died in 1874, he took over the management of his studio. He later gained a reputation for representing contemporary military heroes in action, notably the statues Lieutenant Walter R. Pollack Hamilton, V.C., Royal Dublin Society (1880) and Major General Earle (1883, Liverpool). Other works include his memorial statues Disraeli (1883, Liverpool); Earl of Dudley (1888, Dudley); and Earl of Beaconsfield [Disraeli], Junior Constitutional Club, London (1893).
Sources: Cavanagh, T., Public Sculpture of Liverpool, Liverpool, 1997, p.323; Graves, A., Royal Academy Exhibitors 1769--1904, London, 1905, pp.197--8; Read, B., Victorian Sculpture, New Haven and London, 1982, pp.349f., 363; Thieme, U. and Becker, F., Allegemeines Lexikon der Bildenen Kunstler, Leipzig, 1910, pp.46--7; Underwood, E.G., A Short History of English Sculpture, London, 1933, p.108; Ward-Jackson, P., Public Sculpture of the City of London, Liverpool, 2003, p.450. [SBC2005]

Charles Bell Birch (1832--93)
Sculptor. Born in Brixton, London. Studied at the School of Design, Somerset House, 1844--6, before continuing his studies at Berlin Royal Academy and in the studios of the sculptors, Ludwig Wilhelm Wichmann and Christian Rauch. On his return to England in 1852 he entered the RA Schools, gaining two medals. Birch’s life-size sculpture, The Wood Nymph, won a £500 prize from the Art Union for the ‘best ideal figure’ in 1864. He worked as pupil and then principal assistant to J.H. Foley, on whose death in 1874 he succeeded to his Regent’s Park studio. A frequent exhibitor at the RA, noted for his naturalistically-conceived military groups. These included the memorial to Lieutenant W.R. Pollock Hamilton VC, who died defending the British Residency in Kabul, and The Last Call (1879). His portrait statues include a colossal bronze Disraeli (1883) and Major-General William Earle (1887), both outside St George’s Hall, Liverpool. A bronze study of Queen Victoria had versions commissioned for India and England. Birch was elected ARA in 1880.
Sources: DNB; Magazine of Art, 1894; Cavanagh, 1997. [Man2004]

Charles Bell Birch (1832--93)
Born in Brixton, London, Birch studied at the Government School of Design in Somerset House between 1844 and 1846. He then travelled with his father to Berlin, continuing his sculpture studies at the Berlin Academy and in the studios of C.D. Rauch and L.W. Wichmann. On his return to England in 1852 he entered the Royal Academy, where he won two medals. He then worked for ten years, first as a pupil, then as principal assistant in the studio of J.H. Foley. When Foley died in 1874, Birch took over the management of the studio. He had already by this time received a premium of £600 from the Art Union for his life-size figure of A Wood Nymph in 1864. Birch gained a reputation for his representations of contemporary military heroes in action. The first of these was a group, exhibited in 1880 at the Royal Academy, of Lieutenant R. Pollock Hamilton, pistol and sabre in hand, striding over a fallen Afghan tribesman, now in the collection of the Royal Dublin Society. In the same year Birch became one of the council members for the newly-established City of London Society of Arts. He designed the society’s seal. The year 1880 also saw Birch create the celebrated City dragon in bronze atop the Temple Bar Memorial in Fleet Street, which attracted some unfavourable attention at the time. His jubilee statue of Queen Victoria, a cast of which was erected posthumously on the Victoria Embankment, had been created originally for Udaipur in India. Versions of it exist in seven different locations.
Source: DNB. [CL2003]

Charles Bell Birch (1832--93)
Born at Brixton, London. From 1844--46 he was a pupil at the School of Design, Somerset, but moved in 1846 to Berlin with his father, studying at the Academy of Arts and in the studios of Ludwig Wilhelm Wichmann and Christian Rauch. Whilst still in Berlin he executed a plaster bust of the English ambassador, subsequently carried out in marble for the King of Prussia. On his return to England in 1852 he entered the RA Schools, gaining two medals. He then worked for ten years as pupil and then principal assistant in the studio of J.H. Foley, and on his master’s death in 1874 succeeded to his Regent’s Park studio. In 1864 Birch won a premium of £600 from the Art-Union for his life-size figure, A Wood Nymph. From this time he was a frequent exhibitor at the RA, where his dramatically-composed, naturalistically-conceived military groups were much admired. These and his many commissions for portrait statues led to his election as ARA in 1880.
(DNB, 1901; Magazine of Art, 1894) [L 1997]

Francis Bird (1667--1731)
Born in London, he was sent to Flanders when about 11 years of age, where he studied, according to George Vertue, under the sculptor ‘Cozins’. This was possibly the obscure Henry Cosyns. He then went on to Rome, where he stayed until 1689. On his return to London, he worked with Grinling Gibbons and C.G. Cibber, but then returned to Rome for a further nine months, studying with the French sculptor Pierre Legros. Immediately upon his return to London, Bird executed a statue of Henry VIII after Holbein, for St Bartholomew’s Hospital. Between 1705 and 1725 he worked on the sculptural decoration of St Paul’s, and on the multi-figure monument to Queen Anne in front of the cathedral’s western entrance (the original monument is now at Holmhurst, Sussex). Between 1717 and 1721, he produced a number of portraits of founders and other statues for collegiate buildings in Oxford. In 1711 Bird became one of the directors of Sir Godfrey Kneller’s Academy on its foundation. Amongst the ‘electors’ of this Academy was the architect James Gibbs, who, like Bird, was a Catholic. They worked together on the huge tomb of John Holles, Duke of Newcastle (1723), in Westminster Abbey, whose design and execution proclaim the Roman training of its two authors. Nevertheless Bird seems to have been more at his ease in smaller monuments, like the one to Dr Grabe (d. 1711), also in Westminster Abbey, or the macabre wall monument to Mrs Benson (1710) in St Leonard’s Shoreditch. Bird produced little in the final years of his life, but in one late work, the monument to William Congreve (1729) in Westminster Abbey, he conspicuously rejected the current taste for Antiquity, and showed Congreve in modern costume, surrounded by the attributes of his art.
Sources: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968; R. Rendel, ‘Francis Bird, Sculptor 1667--1731’, Journal of Recusant History, II, no.4, 1972; M. Whinney, Sculpture in Britain1530--1830, revised by J. Physick, London, 1988. [CL2003]

Birmingham Guild of Handicrafts
Established in 1890 by local admirers of Ruskin and Morris, with Montegue Fordham as one of the first directors. W.H. Bidlake, the architect, was an honorary director. The Guild employed about twenty craftsmen and occupied a medieval building, Kyrle Hall, in Sheep Street, Birmingham. The Guild expanded and in 1895 became a limited company with the Right Hon. William Kenrick MP as a director. Arthur Dixon (1856--1929), metalworker, was a chief designer for the Guild and he wrote a summary of the Guild’s aims and ideals for The Quest (vol.II), a quarterly magazine hand-printed on the premises in Sheep Street. In 1910 financial problems were resolved by amalgamation with the metal-working firm of E. & R. Gittins, who made jewellery as well as the architectural metalwork in which the Guild specialised. The Guild is still in existence and has added agricultural and light engineering work to the architectural work it does.
Source: Anscombe, I. and Gere, C., Arts and crafts in Britain and America, London, 1978. [WCS2003]

Douglas Bisset (1908--2000)
Born in Strichen, Aberdeenshire, he left school at the age of fourteen and did not begin attending art classes until he became involved in a charitable foundation at Christchurch, in the east end of Glasgow in the late 1920s. He then became an apprentice with Holmes & Jackson (q.v.), and began attending sculpture classes as a part-time student under Archibald Dawson (q.v.) at GSA, where he also later worked as a pupil-teacher. In 1932 he won the Keppie Scholarship, which allowed him to travel to Copenhagen, where he continued his studies under the Danish Neo-classicist Einar Utzon-Frank (1888--1955). As the winner of the Prix de Rome he travelled to Italy in 1939, but his strongly anti-Fascist views forced him to transfer to Athens, where he worked at the British School of Archaeology. After the Second World War he was Head of Sculpture at Leeds School of Art and the City and Guilds School of Art, London, and in 1980 he moved to Mexico for health reasons, not returning to Glasgow until 1995. He produced mainly portrait busts and female nudes for private collectors, very rarely exhibiting his work. There are two bronze busts by him in GAGM and a plaster portrait of William Stewart, produced on May Day, 1930, in the People’s Palace Museum.
Sources: Johnstone; recorded interview with Ian Harrison, 13 January 1980. [G2002]

Michael Black
An Oxford-based sculptor, who has worked as a portraitist, and as a restorer of Oxford’s ancient monuments. In 1971 he took a death-mask of the academic, Sir Maurice Bowra. A cast of this mask, and a bronze bust of Sacheverell Sitwell (1985) by Black are in the National Portrait Gallery, London. In the early 1970s, he was commissioned by the Hebdomadal Council of Oxford University to replace the 13 herm busts around the exterior of Sir Christopher Wren’s Sheldonian Theatre in Oxford. The busts had already been replaced once before in 1868. Black pursued the remaining seventeenth-century originals before carving his own versions in Clipsham stone. Around this time, he made a replacement Pelican for the sundial of Corpus Christi College. Work for the City of London followed. In 1976 his monument to Reuter was inaugurated in Royal Exchange Buildings, and in 1984/5 he carved the niche figures of Crutched Friars for the Commercial Union Insurance Office.
Sources: ‘Sheldonian Busts’, Architectural Review, November 1970, pp.280--1; J. Blackwood, London’s Immortals, London, 1989. [CL2003]

Kevin Blackwell
Leicestershire sculptor. He studied at Leicester Polytechnic and Sheffield Polytechnic and took a postgraduate degree at Dundee. His first exhibition was in 1986 in Yorkshire.
Source: L. Mercury, 9 July 1993. [LR 2000]

Naomi Blake (b. 1924)
She was born in Czechoslovakia, and survived internment in Auschwitz. From 1955--60, she studied at Hornsey School of Art, and then worked in Milan, Rome and Jerusalem, before settling definitively in London. She showed with the Society of Portrait Sculptors from 1962. Numerous works by her have been placed in public institutions, including the North London Collegiate School (1972), Bournemouth Synagogue (1975), Bristol Cathedral (1980), Walsingham Parish Church (1988), and Great Ormond Street Children’s Hospital (1990). In recent years she has exhibited at the New Academy Gallery & Business Art Gallery, London.
Sources: D. Buckman, The Dictionary of British Artists Since 1945, Bristol, 1998. [CL2003]

Naomi Blake (b. 1924)
Sculptor born in Czechoslovakia and interned during the Second World War in Auschwitz concentration camp. She studied at Hornsey School of Art, 1955--60, and worked in Milan, Rome and Jerusalem, eventually settling in London in the 1970s. She has shown in numerous exhibitions including several from 1962 onwards at the Society of Portrait Sculptors, as well as others at the Woodstock Gallery, 1972; Magdalene Street Gallery, 1976; Alwin Gallery, 1977 and 1979; Embankment Gallery, 1980; Royal West of England Academy, 1989; and Chelmsford Cathedral Festival, 1991. She was elected an associate member of the Royal Society of British Sculptors in 1979. Her publicly-sited sculptures include View II, 1977, Fitzroy Square, London; Image, 1979, Waterlow Park, Highgate, London; Refugee, 1981, Bristol Cathedral Garden; Mother and Child, 1984, Norwich Cathedral Precinct; Sanctuary, 1985, the churchyard of St Botolph Aldgate, London; and Renew Our Days, 1986, forecourt of the Sternberg Centre for Judaism, Finchley, London. Her work is generally abstract but often with a strong figurative element.
Sources: Buckman, D., 1998; National Art Library information file; Spalding, F., 1990; Strachan, W.J., 1984. [LR 2000]

John Blakeley (b. 1929)
Sculptor. Born in Stockport. He worked as a cabinet-maker before spending two years in the Royal Marine Commandos. He then became a lumberjack in Canada. Blakeley studied sculpture at Stockport Art College and then under Professor Carlos Nicholi in Italy. Blakeley returned to Stockport. Among his works is a memorial at Ravensbruck Concentration Camp in the form of a bronze statue of a mother and child, and Young Christ in the Temple in St Mary’s Church, Stockport. His portrait busts include Joseph Smith, commissioned by the Mormon Church, Salt Lake City.
Source: Stockport Messenger, 18 September 1981. [Man2004]

John Blakeley (b. 1946)
Blakeley was born in Blackpool, and studied at the local School of Art between 1962--5. Between 1965--6 he studied at the St Martin’s School of Art, and then at the City and Guilds of London Art School (1966--70), becoming a member of the SPS and an associate of the RBS. Currently living and working in Welwyn Garden City, he has taught at the Sir John Cass College, and is mainly noted for his work in clay and stone. Exhibitions include the Harris Museum and Art Gallery, Preston, Guildhall, Royal Exchange, and Mall Galleries.
Source: information from the artist. [WCS2003]

John Marriot Blashfield (fl.1839--1870)
Blashfield opened a terracotta works at Poplar after buying some of Coade’s moulds when William Croggan closed down the factory in 1836. In 1858, he moved to Stamford, Lincolnshire, where he employed a number of sculptors to model for him. Works turned out by Blashfield’s firm include the urns for the Royal Mausoleum at Windsor; vases for Buckingham, Kew and Hampton Court Palaces; and a heroic Apollo Belvedere for the Earl of Normanton. He also supplied a number of works for the Crystal Palace, a statue of Australia, four colossal Tritons and a fountain for the Renaissance Court.
Sources: Dawson, J., The Wedgwood Memorial Institute, Burslem, 1894; Dobraszczyc, A., A Walk Around the Wedgwood Institute, Burslem, WEA Social History Walks, University of Keele, undated; Gunnis, R., Dictionary of British Sculptors 1660--1851, London, 1964, p.56; Illustrated London News, 11 October 1873; Kelly, A., Mrs. Coade’s Stone, Upton upon Severn, 1990; Swale, A., ‘The Terracotta of the Wedgwood Institute, Burslem’, Journal of the Tiles and Architectural Ceramics Society, vol.2, 1987, p.22; Wedgwood Institute (Burslem Library), Files. [SBC2005]

Sir Reginald Blomfield (1856--1942)
Architect and writer. Born in Devon. He trained as architect, articled to Arthur Blomfield, 1881. Established his own practice in 1884. Blomfield became a leading figure in the Art Workers’ Guild in the 1880s. He was also an influential writer, books such as The Formal Garden in England (1892) touching on a subject that was to be one of his primary interests. In 1918 he was appointed by the Imperial War Graves Commission, with Edwin Lutyens and Herbert Baker, to design the military cemeteries in France and Belgium. His own contributions included the symbolic War Cross and the Menin Gate at Ypres.
Source: Fellows, 1985. [Man2004]

William James Bloye (1890--1975)
Bloye studied at Birmingham School of Art (1904--9) and at the Royal Academy (1914). During 1917 he became a part-time teacher of modelling at two branch schools of the Birmingham School of Art. In 1919 he was appointed as the new full-time teacher of modelling at the Central School in Margaret Street. He spent two four-week periods as a pupil of Eric Gill at Ditchling in Sussex in 1921 and 1922, training in stone carving and letter cutting. This acquaintance with Gill proved to be a significant influence on Bloye’s work. By about 1925 he had a thriving studio in Golden Hillock Road, Small Heath, where he was engaged on many public commissions, particularly for architectural carving, and was himself employing no less than seven assistants, all of whom had trained under him at the School of Art. In 1925 Bloye became a member of Birmingham’s Civic Society and from this period established himself as the city’s unofficial civic sculptor receiving virtually all commissions of an official nature, including work for libraries, hospitals, clinics and the University as well as a number of carved signs for public houses. He retired from the School of Art in 1956 and moved to Solihull, continuing to execute commissions, mainly fountains and portrait busts, until his death. The School of Art in Birmingham has a collection of his maquettes.
Sources: Birmingham Post Yearbook and Who’s Who 1967--68, p.789; Birmingham Post, 15 June 1938, 21 March 1952 and 29 May 1967; Information provided by Edward Allen, senior partner of S.N. Cooke, April 1985; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.184; Noszlopy, George T., Public Sculpture of Warwickshire, Coventry and Solihull, Liverpool, 2003, p.247; Royal Academy of Arts, Student Registers 1890--1922, p.30. [SBC2005]

William James Bloye (1890--1975)
Bloye studied at Birmingham School of Art 1904--9, receiving the William Kenrick Scholarship for 1905--6 and from early in 1914 until the outbreak of the First World War he studied sculpture at the Royal Academy. In 1917 he became a part-time teacher of modelling at Vittoria Street and City Road Schools -- two branch schools of the School of Art. In 1919 he was appointed as the new full-time teacher of modelling at the Central School at Margaret Street, providing that he be allowed time and facilities to continue his own training which had been interrupted by the war. He spent two four-week periods as a pupil of Eric Gill at Ditchling in Sussex in 1921 and 1922, paid for by the Birmingham School of Art. Here he trained in stone carving and letter cutting, both areas in which the School was seen to be deficient by a Board of Education Report of 1921. This acquaintance with Gill proved to be a significant influence on Bloye’s work. By about 1925 Bloye had a thriving studio in Golden Hillock Road, Small Heath, where he was engaged on many public commissions, particularly for architectural carving, and was himself employing no less than seven assistants, all of whom had trained under him at the School of Art. In 1925 Bloye became a member of Birmingham’s Civic Society and from this period established himself as the city’s unofficial civic sculptor receiving virtually all commissions of an official nature, including work for libraries, hospitals, clinics and the University. He retired from the School of Art in 1956 and moved to Solihull, continuing to execute commissions, mainly fountains and portrait busts, up until his death.
Sources: Information provided by Edward Allen, senior partner of S.N. Cooke, April 1985; Birmingham Post Yearbook and Who’s Who 1967--68; Royal Academy of Arts, Student Registers 1890--1922; Birmingham Post [i] 29 May 1967 [ii] 21 March 1952 [iii] 15 June 1938. [WCS2003]

William James Bloye (1890--1975)
Born in Cornwall in 1890, he died on 6th June 1975 in Arezzo, Italy. He studied at Birmingham School of Art 1904--9, receiving the William Kenrick Scholarship for 1905--6 and from 1914 until the outbreak of World War I he studied sculpture at the Royal Academy. In 1917 he became a part-time teacher of modelling at Vittoria Street and City Road Schools -- two branch schools of the Birmingham School of Art. In 1919 he was appointed as the new full-time teacher of modelling at the Central School at Margaret Street, providing that he be allowed time and facilities to continue his own training which had been interrupted by the war. He spent two four-week periods as a pupil of Eric Gill at Ditchling in Sussex in 1921 and 1922, paid for by the School. Here he trained in stone-carving and letter-cutting, both areas in which the School was seen to be deficient by a Board of Education Report of 1921. This acquaintance with Gill proved to be a significant influence on Bloye’s work. By about 1925 Bloye had a thriving studio in Golden Hillock Road, Small Heath, where he was engaged on many public commissions, particularly for architectural carving, and was himself employing no less than seven assistants, all of whom had trained under him at the School of Art. In 1925 Bloye became a member of Birmingham’s Civic Society and from this period established himself as the city’s unofficial civic sculptor receiving virtually all commissions of an official nature, including work for libraries, hospitals, clinics and the University. He retired from the School of Art in 1956 and moved to Solihull, continuing to execute commissions, mainly fountains and portrait busts, up until his death. ARBS 1934; FRBS 1938.
1. Information given in phone call by Edward Allen, Senior Partner of S.N. Cooke, architects, April 1985; 2. Post, 15th June 1938; 3. Post, 21st March 1952; 4. Post, 29th May 1967; 5. Royal Academy of Arts, Students Registers 1890--1922, p.30; 6. Birmingham Post year book and who’s who 1967--68, Birmingham, 1968, p.789. [B1998]

Judith Bluck (b. 1936)
Sculptor. Born in London. Apprenticeship in engraving. Yorkshire-based sculptor working in different media including bronze and brick. Animal sculptures include Small Workhorse (Ealing Broadway, 1985), Sheep (Milton Keynes) and Otter Group (The Lanes, Carlisle). Works in brick include The Legend of the Iron Gates (Sainsbury supermarket, Wilmslow, Cheshire). Other commissions include St Francis of Assisi (Bristol), Security Doors (Crown Courts, Portsmouth), Crucible Fountain (Sheffield, 1979), Natural Force II (Yorkshire Building Society, Bradford), Jimmy Dyer (Carlisle) and Boy on a Capstan (Whitehaven). Fellow of RSBS, member of the Society of Portrait Sculptors and Art Workers’ Guild. Winner of Otto Beit medal and awards from the Société des Artistes Français.
Sources: artist; Yorkshire Building Society. [Man2004]

Helaine Blumenfeld (b.1943)
Blumenfeld acquired a Doctorate in Philosophy in 1963, and then studied under Ossip Zadkine in Paris during the mid-1960s, where she learnt to work in clay, wood, stone and metal. She moved to England in 1969. Her work is strongly rooted in classical mythology. She states that, ‘For me mythology has to do with that knowledge which isn’t obvious to us. But which is universal, timeless, and which advances our discovery of who we are and how we fit into the world. I think that we’ve superimposed a socially constructed mythology which we are supposed to believe, but I don’t think helps us in life and understanding the meaning of life. As you know I’ve been trying, through sculpture to discover a new mythology.’¹ She was the only American member of the Visual Arts Panel of the Arts Council of Great Britain, appointed in 1980. She now lives in Tuscany, and works predominantly in marble.
Sources: Upson, N., Mythologies: The Sculpture of Helaine Blumenfeld, London, 1998; Blumenfeld, Helaine, The New Sculpture of Helaine Blumenfeld 1982--88, London, 1989; Blumenfeld, H., Helaine Blumenfeld: Cambridge 1972--1992, Cambridge and London, 1992. [WCS2003]

Helaine Blumenfeld (b. c.1940)
American sculptor, mainly of abstract organic pieces in marble, terracotta and bronze. Since 1969 she has lived at Grantchester, England, and divides her time between there and Pietrasanta, Tuscany, where she lives and works with a community of other sculptors. Having obtained a PhD in philosophy at Columbia University, New York, in 1964, she went to Paris in the following year to study sculpture with Ossip Zadkine. She had her first solo exhibition, consisting of bronzes, at the Palais Palfy, Vienna, in 1966, and since then has shown around the world, with exhibitions at the Chapman Sculpture Gallery, New York, 1968; the Palais Royale, Gallerie Jacques Casanova, Paris, 1969; Kettle’s Yard, Cambridge, England, 1973; the Bonino Gallery, New York, 1976 (retrospective); Zoumboulakis Gallery, Athens, 1979; the Villa Schiff, Montignoso, Italy, 1985; Galerie Kampen, Oslo, Norway, 1986; and Sarina Tang Fine Art, Singapore, 1994. Her major commissions include Figurative Landscape, 1983, 5--piece sculpture in Norwegian granite, City Centre, Milwaukee, Wisconsin; Double Torso, 1985, bronze, Capital and Counties, Basingstoke, England; Creation, 1990, marble, Capital House, Heathrow, England; Dialogue, 1991, marble, Paris; and Flame, 1993, marble, British Petroleum HQ, Brussels, Belgium. She was from 1981--8 a member of the Arts Council of Great Britain Visual Arts Panel and in 1993 was elected a member of the Royal Society of British Sculptors.
Sources: Dunford, P., 1990; Lucie-Smith, E. and Buckland, D., 1982; Upson, N., 1998. [LR 2000]

Bryan Blumer (1925--81)
Blumer was educated at Durham University and the Royal College of Art. In the early part of his career, he taught sculpture at Birmingham College of Art in Margaret Street. During the 1960s, there were opportunities for him to work alongside architects and planners, designing and making works of public sculpture. He set up the company Playspace in order to use his abilities as a sculptor to develop creative play opportunities for children. His socialist beliefs led him to direct his energies towards the development of participatory arts activities during the early 1970s, when he set up a community arts initiative based at Trinity Church, Digbeth, in Birmingham. In 1977 he moved to Corby, Northamptonshire, to set up a second community arts company. His aim was to promote a wide range of arts activities, ranging from mural painting to a community printshop and local writing and publishing groups.
Sources: Information provided by the artist’s widow, 2002; Noszlopy, George T., Public Sculpture of Warwickshire, Coventry and Solihull, Liverpool, 2003, p.248. [SBC2005]

Bryan Blumer (1925--81)
Born in Sunderland, Blumer was educated at Durham University and the Royal College of Art. In the early part of his career, he taught sculpture at Birmingham College of Art in Margaret Street. During the 1960s, there were opportunities for him to work alongside architects and planners, designing and making works of public sculpture. He set up the company Playspace in order to use his abilities as a sculptor to develop creative play opportunities for children. His works include play sculptures in Chetton Green, Wolverhampton, and Windmill Lane, Smethwick. His socialist beliefs led him to direct his energies towards the development of participatory arts activities during the early 1970s, when he set up a community arts initiative based at Trinity Church, Digbeth, in Birmingham. In 1977, he moved to Corby, Northamptonshire to set up a second community arts company. His aim was to promote a wide range of arts activities, varying from mural painting to a community printshop and local writing and publishing groups.
Source: information from the sculptor’s widow. [WCS2003]

Ferdinand Victor Blundstone (1882--1951)
Sculptor. Born in Switzerland. Studied art at Ashton-under-Lyne before moving to London where he studied at South London Technical Art School. Entered the RA Schools where his awards included the Landseer Scholarship. He exhibited at the RA and at many leading galleries. During the war he may have lived for a time with family members in Heaton Chapel, near Stockport. Blundstone executed a number of war memorials including one for the London office of the Prudential Assurance Company and a memorial in Folkestone. He was awarded a silver medal for garden sculpture at the Paris Exhibition 1925. His public commissions include the Samuel Plimsoll Memorial (Victoria Embankment, 1929). One of his final works, a statue of Wendy for Hawera, New Zealand (1951), was completed by Gilbert Bayes.
Sources: Bénézit; Waters, 1975. [Man2004]

Ferdinand Victor Blundstone (1882--1951)
Born in Switzerland of English and French parents, he first studied art at Ashton-under-Lyne. He drew animals at Manchester Zoo. A cast he made of a dead lion brought him to the attention of the painter Herbert Dicksee, who helped further his career in art. Blundstone moved to London, and attended first the South London Technical Art School, and then the Royal Academy Schools. The RA travelling studentship enabled him to visit Egypt, Greece and Italy. After the First World War, Blundstone received commissions for war memorials for the Prudential Assurance Company’s London office, for Stalybridge, Lancs., and for Folkestone. In the 1920s he assisted Gilbert Bayes in the Modelling Department of the Sir John Cass School. As with Bayes, Blundstone’s work in the inter-war period took on a pronounced déco quality, especially in small domestic bronzes, but the same quality can be detected in his Memorial to Samuel Plimsoll on the Victoria Embankment (1929). At the end of his life, Blundstone sculpted a Wendy Memorial, a counterpart to Sir George Frampton’s Peter Pan, for Hawera in New Zealand. This was incomplete when the sculptor died and some final touches had to be given to it by Gilbert Bayes before it was despatched.
Sources: A. Yockney, ‘Modern British Sculptors: Some Younger Men’, Studio, 1916, vol.67, p.26. [CL2003]

Charles Frederick Blythin (d. 1953)
FRIBA. He was senior partner in the firm of Riches and Blythin, of Croydon. One of his latest buildings was John Newnham School, Selsdon Park Road, Croydon, 1951--53, with L.C. Holbrook.
(sources: Builder [obit.], 17 July 1953; Cherry & Pevsner, 1983) [L 1997]

Neville Boden (1929--96)
Sculptor and teacher born in Alperton, South Africa. He worked as a boilermaker before moving to London in 1958 and studying sculpture at Chelsea School of Art, 1958--63. From 1965--8 he was a Gregory Fellow at Leeds (and his work was featured in ‘The Gregory Fellows’ exhibition, Leeds City Art Gallery, 1966). He exhibited with the London Group from 1961 (and was president, 1973--9) and with the Artists’ International Association in 1963 and 1964; his work was included in ‘Chromatic Sculpture’ (Arts Council touring exhibition), 1966--7, and in ‘Three Decades’ (ILEA artists), Royal Academy, 1983; his solo exhibitions include the Whitechapel Art Gallery, London, 1973, and the Camden Arts Centre, London, 1976 and 1986. Boden taught at the London College of Printing, and at Chelsea, Camden, Central St Martin’s and Kingston schools of art. His work is included in the collections of the Arts Council and the Tate Gallery, in the Leeds Sculpture Collections, and in the Bradford and Hull city art galleries. Boden died 24 June 1996 at London having lived for a number of years at La Indiana, Andalusia, Spain.
Sources: Buckman, D, 1998; Camden Arts Centre, 1986; National Art Library information file. [LR 2000]

Bodley and Hare (active 1907--40)
Architectural practice based at Gray’s Inn Square, London. George Frederick Bodley (1827--1907) was one of the leading architects of nineteenth-century England. Following his death the practice was continued by Cecil Greenwood Hare (1875--1932) as Bodley and Hare, which name it retained until 1940, some years after Hare’s death. The last commission in which Bodley was involved was probably St Faith’s Church, Brentford, 1906--7. In 1909 Hare designed the reredos for All Saints Church, Swiss Cottage, London, ‘in the style of his partner Bodley’.¹ For Holy Angels Church, Hoar Cross, Staffordshire, Hare designed the west narthex, 1906, and the Monument to F.G. Lindley Meynell (with a kneeling figure by Bridgeman and Sons), 1910. In 1916 the practice was commissioned by the London Evening News to produce a design for street shrines to the dead of the First World War for the poorer areas of London, the cost of each one executed to be financed from a fund established by the newspaper. In 1920 Hare designed the south chapel (a war memorial) and in 1932 the choir stalls for St Peter’s Church, Ealing.
Sources: Cherry, D. and Pevsner, N., 1991; Cherry, D. and Pevsner, N., 1998; Felstead, A. et al., 1993; King, A., 1998; Good, M. (compiler), 1995.
Note: [1] Cherry, D. and Pevsner, N., 1998, p.200. [LR 2000]

George Frederick Bodley (1827--1907)
Bodley was an English church architect and designer of church furnishing, in many ways the late Victorian counterpart of Pugin in his choice of late Gothic forms, and of Scott in his influential Gothic Revival practices. Bodley became the first pupil of Gilbert Scott in the 1840s, but later reacted against his former master’s modes of design, moving towards greater simplicity. The richly decorated church of Hoar Cross, Staffordshire, and the more majestic and austere church of Pendlebury, Lancashire (built in the 1870s), show these two aspects of his work. Bodley’s finest churches are probably those at Clumber, Northumberland (designed 1886), Eccleston, Cheshire (begun 1899) and Holy Trinity, Prince Consort Road, London (begun 1901). He was also an adviser to the cathedral chapters of York, Peterborough, Exeter and Manchester, where his word carried great weight in matters of decoration.
Source: Richards, J.M., Who’s Who in Architecture from 1400 to the Present Day, London, 1977, pp.44--5. [SBC2005]

Joseph Edgar Boehm (1834--90)
Born in Vienna, the son of Josef Daniel Böhm, an eminent Hungarian medal engraver and connoisseur. He started out as a medal engraver, and attended the Vienna Academy (1852--3), but by the late 1850s he had begun to produce statuettes of operatic celebrities. Around 1858, Boehm left Vienna for Italy. He then spent three years in Paris, where he married an English woman and converted to Protestantism. In 1862 he settled in England, where he immediately attracted attention with portrait busts and statuettes, and with his animal sculptures. In 1869 he received three commissions from Queen Victoria, and was appointed sculpture tutor to the young Princess Louise. Boehm became the Queen’s first Sculptor in Ordinary, and he was made a baronet in 1889. The lively, naturalistic modelling of his portraits, and the anatomical accuracy of his animal works, many of which were of equine subjects, struck a new note in contrast to the often bland idealism of high Victorian sculpture. Vastly prolific, Boehm created many public statues, the most celebrated being the equestrian statue of the Duke of Wellington, at Hyde Park Corner, with its four attendant soldier figures, representing the four constituent nations of the United Kingdom. Boehm’s assistant in his later years, and the heir to his vital modelling style, was the symbolist sculptor of Eros, Alfred Gilbert.
Source: M. Stocker, Royalist and Realist: The Life and Work of Sir Joseph Edgar Boehm, New York and London, 1988. [CL2003]

Joseph Edgar Boehm (1834--90)
Boehm was educated in Vienna, Austria. He grew up surrounded by the extensive fine art collection of his father, the Director of the Imperial Mint. He studied in London, at the British Museum, and travelled to Italy, France and Vienna. He returned to London in 1862, becoming a British citizen in 1865. He was influenced by the drawings of Old Masters and the Elgin Marbles at the British Museum, but he believed that artists should not try endlessly to recreate the classical. Boehm became one of the foremost sculptors and portraitists in Britain, and was made Sculptor in Ordinary to Queen Victoria. During the 1880s he executed most of the public monuments commissioned in London, as well as working on funerary monuments and portraits.
Sources: Speel, B., Sculpture on Bob Speel’s Website, www.speel.demon.co.uk/other/sculpt.htm, 1999; Read, B., Victorian Sculpture, New Haven and London, 1982; Stocker, Mark, Royalist and Realist: The Life and Work of Sir Joseph Edgar Boehm, London, 1988. [WCS2003]

Sir Joseph Edgar Boehm (1834--90)
Born in Vienna, he settled in London in 1862, becoming naturalised in 1866. He studied in London, Vienna and Paris. His portrait busts and equestrian studies endeared him to Queen Victoria, who commissioned bronze statuettes of her family and statues of herself and her father for Windsor Castle; she appointed him Sculptor in Ordinary in 1881. Among his public works are the monuments to John Bunyon, Bedford (1874), Thomas Carlyle, Chelsea (1882), The Duke of Wellington, Hyde Park Corner (1889) and Sir Francis Drake, Plymouth Hoe (1885). A sculptor of medals and medallions, he modelled the head of Queen Victoria for the 1887 Jubilee coinage. He exhibited at the RA from 1882, was elected RA and made a baronet in 1889.
Source: Grant. [G2002]

Peter Bohn (b.1930)
Bohn attended Vittoria Street Art School, Birmingham (1941--4) and Birmingham School of Art (1944--56) on a part-time basis while working in William Bloye’s studio. Carving in stone, wood and slate, he has worked freelance since 1956 (except between 1959--71 when he joined the Birmingham Guild). His works include religious figures, coats of arms and architectural restoration, mainly in Birmingham and the Midlands.
Sources: Birmingham Mail, 31 August 1956; Birmingham Post, 22 November 1961; Letters from the artist, 16 April 1985, 30 January 1996; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.184. [SBC2005]

Peter Bohn (b.1930)
Born in Coventry 19th October 1930, he moved to Sutton Coldfield and attended Vittoria Street Art School, Birmingham 1941--4 and Birmingham School of Art 1944--56 on a part-time basis while working in William Bloye’s studio. Carving in stone, wood and slate, since 1956 he worked as a freelance except between 1959 and 1971 when he joined the Birmingham Guild. In 1972 he moved to Malvern. Works include religious figures, coats of arms and architectural restoration mainly in Birmingham and the Midlands such as: Mother and Child, St. Mary’s school, Wednesbury 1956; coat of arms, Smethwick Swimming Baths; coat of arms, Birmingham University Graduates hall of residence; Crucifix, Our Lady and St. Hubert church, Warley; Stations of the Cross, Loyola Hall, Liverpool; statue of Thomas Maxfield, Newcastle under Lyme; and restoration at St. Philip’s church, Birmingham and various Oxford colleges. He also modelled the Lloyds Bank horse in various sizes.
1. Letter from the artist, 16th April 1985 and 30th January 1996; 2. ‘New bank on its old site’, Post, 22nd November 1961; 3. ‘Ex-guardsman sculptor’, Mail, 31st August 1956. [B1998]

Peter Bolton (1955--88)
Bolton graduated from Camberwell School of Art with a first class BA (Hons) in Graphic Design and Illustration. His work demonstrated an interest in popular culture observed in such diverse areas as fairgrounds and sport, crime and politics. Working mainly in wood and found objects, his narrative pieces show a bias towards the mechanical. His exhibitions include New Faces at the British Crafts Centre (1979); Toys for Everyone, a travelling Arts Council Exhibition (1980); A Case for the Spectacular, the Design Centre (1980); Wood Exhibition, another travelling Arts Council Exhibition (1981); and a one-man show at Stafford Art Gallery in 1982.
Sources: Houston, J., ‘New Faces’, Crafts, March/April 1979, p.52f.; Information provided by fellow artist, Andrew Holmes, 2001; Letter and curriculum vitae from the artist; Staffordshire County Council, file on Peter Bolton to 1983; Staffordshire Probation Sevice, Pictures of Health, unpaginated, n.d. [SBC2005]

Joseph Bonehill
Architectural sculptor fl.1860--90. Joseph Bonehill was listed as a stonemason in Slater’s Manchester Directory for 1858. Three years later he was described as a ‘sculptor and architectural carver’, occupying city-centre premises, near Cross Street. By 1871 the firm is identified as J. and T. Bonehill, ‘sculptors in marble, wood, monuments, chimneypieces, headstones, reredoses, screens, pulpits, fonts, tombs &c’. In 1889 the firm became W. Bonehill and Co. By 1900 the directories only identify a William George Bonehill, a stonemason with an address in Moss Side. There is no known list of the firm’s principal ecclesiastical and secular commissions, but the quality of the work identified in this survey suggests that Bonehill possessed a considerable talent.
Sources: Manchester Directories 1858--1900; Builder, 5 June 1869, 3 May 1879. [Man2004]

Stanley Bonnar (b.1948)
Brought up in Leith, he studied sculpture at Duncan of Jordanstone College of Art, Dundee, 1968--72, and was Town Artist at Glenrothes New Town, 1973, where he produced The Witty Parade of Hippos, and at East Kilbride and Stonehaven New Town, 1974--7. After working as a scenic artist at the Royal Lyceum Theatre, Edinburgh, he joined Blackness Public Arts Project, Dundee, 1981--4, then became a part-time tutor in the Department of Environmental Art, GSA, 1985--92. Winner of an SAC Award in 1994, his recent public work includes The Leith House, Edinburgh (1996). He is currently collaborating with Mark Bonnar on film work.
Sources: Pride, pp.82--3; Gooding and Guest, project no.5; information provided by the artist. [G2002]

Fernando Botero (b. 1932)
Born in Medellin, Colombia, he studied for two years at a school for matadors. In 1948 he exhibited with a group of local artists, and contributed illustrations to the newspaper El Colombiano. Botero’s early works were inspired by the Mexican muralists, Orozco, Siqueiros and Rivera. In 1950 he moved to Bogota, where he exhibited paintings at the Galerià Leo Matiz. In 1952 he travelled to Spain, and studied from 1952 to 1953 at the Academia de San Ferdinando in Madrid. In 1953 he moved on to Paris. However, it was in New York, which he visited first in 1957, and where he bought a studio in 1960, that he developed the style in which he has been working ever since. Its overblown forms, emphasised by contrast with delicate detailing, are typified in a work like The Presidential Family (1967, Museum of Modern Art, New York), full of reminiscences of the work of Velasquez and Goya. In 1973 he moved back to Paris and began to produce sculpture, which he saw as a logical extension of his painting. In 1976 and 1977 he concentrated exclusively on sculpture. Since establishing a sculpture workshop at Pietrasanta in Italy in 1983, he has been able to produce pieces of very large dimensions for sites all over the world.
Sources: C. Ratcliff, Botero, New York, 1983; Botero s’explique -- Entretien avec Hector Laoiza en 1983, Pau, 1993; The Grove Dictionary of Art, Macmillan, London, 1996. [CL2003]

Ernest Bottomley (active 1960s)
Loughborough-based artist. [LR 2000]

Richard Lockwood Boulton & Sons (fl.1850--1970)
The business was founded by the brothers of Richard Boulton under the title Boulton & Swales during the 1850s, and was based at Westminster Bridge, London, with branches in Birmingham and Worcester. They won a medal at the Great Exhibition of 1851, and exhibited not only at the Royal Academy in 1859, but at several Paris exhibitions. Their works include the carvings on Northampton Town Hall (1861--4) and Wolverhampton Museum and Art Gallery (1883--5). Upon the death of his brothers, Richard Boulton amalgamated the firm in one place at Cheltenham (1876), with his four sons as managers. The firm gave Cheltenham a reputation as a centre for ecclesiastical art and church furnishings in marble, stone and wood. In February 1908, it was appointed Ecclesiastical Church Furnishers to Edward VII.
Sources: Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.184; Read, B., Victorian Sculpture, New Haven and London, 1982, p.240f. [SBC2005]

Richard Lockwood Boulton & Sons, Cheltenham (1850s--c.1970)
Richard Lockwood was born in 1835 (possibly in Birmingham) and died in Bournemouth, 23rd January 1905. He trained with the architect E.W. Godwin in the west of England and studied the works of John Ruskin. He carved for other neo-Gothic architects such as Sir Giles Gilbert Scott and A.W.N. Pugin. In the 1850s the business of R.L. Boulton and Sons was founded by the brothers of Richard Boulton under the title Boulton & Swales and was based at Westminster Bridge Road, London, with branches in Birmingham and Worcester. The brothers died after twenty years and this prompted R.L. Boulton to amalgamate the firm in one place at Cheltenham (c.1876), with his four sons as managers -- L.D., R.W., G.D. and F.C. Boulton. It gave Cheltenham a reputation as a centre for ecclesiastical art and church furnishings in marble, stone and wood. R.L. Boulton retired in 1893, handing over the business to his sons. In February 1908, R.L. Boulton & Sons was appointed Ecclesiastical Church Furnishers to HM King Edward VII. The firm ceased trading c.1970. Exhibited at the RA in 1859. The firm won a medal at the Great Exhibition 1851, and at Paris International Exhibitions.
1. Cheltenham Examiner, 25th January 1905; 2. R.L. Boulton, Catalogue, c.1910; 3. Graves, vol.I, London, 1905, p.250. [B1998]

James Bowden & Sons
Stonemasons. Bowden & Sons was a Bolton firm, premises at Parkend, operating throughout the late Victorian and Edwardian years. John William Bowden was one of the sons. The Fielding monument appears to have been their only public statue.
Sources: Bolton Directories; Bolton Journal and Guardian, 11 July 1896. [Man2004]

Robert Bowers (b.1967)
Stone-carver whose work is in a bold graphic style, and contains references to both the human form and architecture. His commissions include the AJS Memorial in Wolverhampton (1996), the design of the Birmingham Young Professional of the Year award (2001 and 2002, enlarged to create a new work, Future, for Brindleyplace, Birmingham, 2004), and pieces for both the Marie Curie Foundation and the Body Clinic (2003, Solihull). He also designed and created the body of a new speedway bike for the millennium, and has been asked by Dudley Metropolitan Borough Council to restore William Bloye’s Apollo.
Sources: Information provided by Lee Benson, Number Nine the Gallery, 19 November 2003; Number Nine the Gallery -- The Contemporary Gallery in Birmingham, biographical entry for Robert Bowers, accessed 13 March 2002, www.ajw.net/numbernine/ [SBC2005]

Judy Boyt (fl. 1980s)
She trained first at Wolverhampton Art College, and then took a Masters in industrial ceramics at the University of North Staffordshire, Stoke-on-Trent. She worked for several years in the design industry, modelling figures for reproduction in bone china and porcelain. Her first free-lance commission was for a group of Polo Players for the jewellers Garrards. In 1991 she won the British Sporting Art Trust Award for her statue of the Grand National and Cheltenham Gold Cup Winner, Golden Miller (Cheltenham, Race Course). She is herself an experienced rider. Her works have been cast by the Morris Singer Foundry.
Source: D. Buckman, The Dictionary of British Artists Since 1945, Bristol, 1998. [CL2003]

E.J. & A.T. Bradford
A firm of architectural and monumental sculptors, whose premises, between 1905 and 1978, were at 62 Borough Road, South London. In 1936 the operatives registered at this address were Alfred Thomas Bradford and Ronald Walter Fitch Bradford. From 1975 the name of the firm became Bradfords Studio, but the business carried on was still ‘architectural sculpture’.
Source: Post Office London Directory. [CL2003]

Victoria Brailsford (b.1966)
Trained at Humberside College of Higher Education in sculpture and at Bishop Burton Agriculture College in chainsaw maintenance and use. In 1991 she gained useful experience as an assistant to the ‘woodman’ sculptor, David Nash. She has been commissioned by a number of local authorities and has been artist-in-residence at sculpture parks in Britain and Canada.
[1] Information provided by Cleveland Arts, 1998. [NE 2000]

Edward George Bramwell (1865--1944)
Bramwell, who studied at the City and Guilds School of Art in London, trained under George Frampton, William Frith and Thomas Stirling Lee. His practice focused on the production of statuettes and small groups. He taught modelling at Westminster School of Art, and exhibited at the Royal Academy from 1898.
Source: McKenzie, R., Public Sculpture of Glasgow, Liverpool, 2002, p.477. [SBC2005]

Edward George Bramwell (1865--1944)
Born in London, he studied at the City and Guilds School of Art, London, winning a silver medal for sculpture and a travelling scholarship. Working under George Frampton, W.S. Frith (qq.v.) and T. Stirling Lee, he produced statuettes and small groups. He taught modelling at Westminster School of Art, and exhibited at the RA from 1898.
Source: Mackay. [G2002]

Antanas Brazdys (b. 1939)
Born in Lithuania, Brazdys studied at the Art Institute of Chicago, and at the Royal College of Art in London (1962--4). He taught at the Royal College, and went on to become senior sculpture lecturer at the Cheltenham College of Art. Brazdys exhibited with other Royal College trained sculptors at the Art Council’s 1965 exhibition Towards Art II, and, in more mixed company, at the Battersea Park open-air exhibition in 1966. His preferred material at this time was stainless steel. His sculpture was abstract, his forms inhabiting a domain between the geometrical and the amorphous, their sometimes brilliant surfaces reflecting back the world around. Brazdys executed commissioned works for the Arts Council, Harlow New Town and the British Steel Corporation. His piece, Ritual, executed between 1968 and 1969 for the Hamerton Group (see Coleman Street, City), had the distinction of being the first abstract public sculpture in the City of London.
Source: D. Buckman, The Dictionary of British Artists since 1945, Bristol, 1998. [CL2003]

Antanas Brazdys (b. 1939)
Sculptor in steel, born in Lithuania. At the age of eight he fled with his family to England to escape the Russian occupation. His family later moved to the USA and he studied firstly, 1962--4, at the Art Institute of Chicago and then at the Royal College of Art, London. He then taught at the Royal College and at the Gloucester College of Art. In 1965 he had his first solo exhibition, at the Hamilton Galleries, London, and his work was featured in the influential Arts Council of Great Britain touring exhibition of sculptors from the Royal College, ‘Towards Art II’. His awards include the Sainsbury Award for Sculpture, 1963, and the first prize in the Sunday Times Sculpture Competition, 1968. His public sculptures include Ritual, 1969, Basinghall Street, London, EC2, and several for Harlow New Town, including Echo, 1970; Solo Flight, 1982; and High Flying, 1982.
Sources: Buckman, D., 1998; Royal Academy of Arts, 1972; Spalding, F., 1990; Strachan, W.J., 1984. [LR 2000]

Chaz Brenchley (b.1959)
Writer, particularly of horror fiction, based in Sunderland. Started writing romance stories in teenage magazines at the age of eighteen. His first published book was for a series of adult romances. He later switched to novels about serial killers: the first, The Samaritan, was published by Hodder and Stoughton. [NE 2000]

John Bridgeman (1916--2004)
Bridgeman studied painting at Colchester School of Art (1936--9) under Barry Hart and Edward Moss, and then at the Royal College of Art (1947--9) under Frank Dobson. In 1951, he became a tutor of sculpture at Bromley, Kent and Willesden, London, later becoming Head of Sculpture at Carlisle College of Art (1951--6), and then in 1956 succeeding William Bloye at Birmingham School of Art. He produces figures and groups in bronze, cement fondu and stone. His commissions include: Madonna for Coventry Cathedral (1970); the Boat Children Memorial, London Embankment (1984--5); and, in the late 1980s, a portrait roundel of Sir Adrian Boult for Adrian Boult Hall. As a result of ill health, he later worked on smaller pieces. He exhibited at the Festival of Britain in 1951 and at the Royal Academy from 1957.
Sources: Birmingham Post Yearbook and Who’s Who, 1961--2, p.730; Birmingham Post, 16 November 1968 and 16 May 1970; Letters from the artist, 1984 and 2 March 1996; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.184f.; Noszlopy, George T., Public Sculpture of Warwickshire, Coventry and Solihull, Liverpool, 2003, p.248. [SBC2005]

John Bridgeman (b.1916)
Bridgeman studied painting at Colchester School of Art 1936--9 under Barry Hart and Edward Moss and then at the Royal College of Art 1947--9 under Frank Dobson. Bridgeman worked as a letter carver on war memorials and for the Design Research Unit organised by Misha Black in 1951, becoming a tutor of sculpture at Bromley, Kent and Willesden, London 1951. He became Head of Sculpture at Carlisle College of Art 1951--6 and then succeeded William Bloye as Head of Sculpture at Birmingham School of Art 1956--81, moving to work in Leamington Spa. Producing figures and groups in bronze, ciment fondu and stone, his commissions include: a bust of Professor McClaren, on the occasion of his retirement, for the University of Birmingham Medical School; Wall Panels, Swan Hotel, Yardley, now lost; Madonna, Coventry Cathedral (1970); Mother and Child, All Saints Church, West Bromwich (1981); Family Group and Crucifix, St Bartholomew’s Church, Eastham Community Centre, London (1983); Boat Children Memorial, London Embankment (1984--5); and Fountain Sculpture, South Staffordshire Waterworks, Walsall (1985). Exhibited at the Festival of Britain in 1951 and at the RA from 1957; Birmingham City Museum and Art Gallery; Compendium Gallery, Moseley, Birmingham; Stratford-upon-Avon; Lincoln; Boston and Leamington Spa with the ‘79 Group’.
Sources: Birmingham Post Yearbook and Who’s Who, 1961--2; letter from the artist/sculptor/architect, 1984 and 2 March 1996; Birmingham Post [i] 16 November 1968: p.9 [ii] 16 May 1970. [WCS2003]

John Bridgeman (b.1916)
Born 2nd February 1916 in Felixstowe, Suffolk, he studied painting at Colchester School of Art 1936--9 under Barry Hart and Edward Moss and then at the Royal College of Art 1947--9 under Frank Dobson. Bridgeman worked as a letter carver on war memorials and for the Design Research Unit organised by Misha Black in 1951, becoming a tutor of sculpture at Bromley, Kent and Willesden, London 1951. He became Head of Sculpture at Carlisle College of Art 1951--6 and then succeeded William Bloye as Head of Sculpture at Birmingham School of Art 1956--81, moving to work in Leamington Spa. Producing figures and groups in bronze, ciment fondu and stone, his commissions include: a bust of Professor McClaren, on the occasion of his retirement, for the University of Birmingham Medical School; Wall Panels, Swan Hotel, Yardley, now lost; Madonna, Coventry Cathedral 1970; Mother and Child, All Saints church, West Bromwich 1981; Family Group and Crucifix, St. Bartholomew’s church, Eastham Community Centre, London 1983; Boat Children Memorial, London Embankment 1984--5; and Fountain Sculpture, South Staffordshire Waterworks, Walsall 1985. Exhibited at the Festival of Britain 1951 and at the RA from 1957; Birmingham City Museum and Art Gallery; Compendium Gallery, Moseley, Birmingham; Stratford-on-Avon; Lincoln; Boston and Leamington Spa with the ‘79 Group’. ARCA 1947; RBS 1957; FRBS 1960.
1. Birmingham Post year book and who’s who 1961--2, Birmingham, 1962, p.730; 2. A. Everitt, ‘A modern midland sculptor in praise of tradition’, Post, 16th May 1970; 3. Post, 16th November 1968, p.9; 4. Letters from artist, 1984 and 2nd March 1996. [B1998]

Robert Bridgeman & Sons of Lichfield (active from 1879)
Founded in 1879 by Robert Bridgeman, the practice of Bridgeman & Sons of Lichfield specialises in ecclesiastical and architectural work in wood, stone, alabaster and metal. They produce work both to their own designs and also to the designs of architects, with whom they have a long history of collaboration. Apart from producing pieces for churches, cathedrals, schools and other historic buildings, they also do a range of conservation and restoration work. Their work includes the Gothic façade of the John Rylands Library, Deansgate, Manchester and restoration work on the west front of Lichfield Cathedral during the 1880s as well as pieces in St Philip’s Cathedral and St Chad’s Cathedral in Birmingham and sculptures in most other cathedrals in England. In addition, their works can be seen in Australia, New Zealand, the USA and Italy. The firm was sold to Linfords when Robert Bridgeman’s grandson Charles retired in 1968, and now operates as Linford-Bridgeman.
Sources: Bridgeman & Sons, R., Heritage of Beauty, Lichfield, n.d; Keyte, O., The Annals of a Century: Bridgemans of Lichfield 1878--1978, Lichfield, 1995, pp.1--5, 20; Lichfield Mercury, 21 November 2002; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.185; Noszlopy, George T., Public Sculpture of Warwickshire, Coventry and Solihull, Liverpool, 2003, p.248. [SBC2005]

Robert Bridgeman & Sons
Architectural sculptors. Founded in 1879 by Robert Bridgeman, the practice of Bridgeman & Sons of Lichfield specialise in ecclesiastical and architectural sculpture, carving and restoration work. They have carried out work in most cathedrals in England as well as colleges, halls, churches and mansions. They also have work in Australia, New Zealand, USA, Italy and Sweden.
Sources: Keyte, 1995; Noszlopy, 1998. [Man2004]

Robert Bridgeman & Sons of Lichfield
Founded in 1879 by Robert Bridgeman, the practice of Bridgeman and Sons of Lichfield specialises in ecclesiastical and architectural work with wood, stone, alabaster and metal. They produce work both to their own designs and also to those of architects, with whom they have a long history of collaboration. Apart from producing pieces for churches, cathedrals, schools and other historic buildings, they also do a range of conservation and restoration work. Their work includes pieces in St Philip’s Cathedral and St Chad’s Cathedral, Birmingham, and in most cathedrals in England. They also have work in Australia, New Zealand, USA, Italy and Sweden.
Sources: Bridgeman, R., & Sons, Heritage of Beauty, undated, publicity leaflet; Keyte, O., The Annals of a Century, Bridgemans of Lichfield 1878--1978, Lichfield, 1995. [WCS2003]

Robert Bridgeman & Sons of Lichfield
Founded in 1879 by Robert Bridgeman, the practice of Bridgeman and Sons of Lichfield specialise in ecclesiastical and architectural masonry, carving and restoration work. They produce pieces in wood, stone, alabaster and metal both to their own designs and those of architects, with whom they have a long history of collaboration. Other work in Birmingham includes pieces in St. Philip’s Cathedral and St. Chad’s Cathedral, and they have work in most cathedrals in England as well as colleges, halls, churches and mansions. The firm is still in operation.
1. Robert Bridgeman and Sons, Heritage of Beauty, publicity leaflet, undated. [B1998]

Alan Bridgwater (1903--62)
Bridgwater trained at Birmingham School of Art (1923--33). Granted several bursaries, he later taught evening classes and worked in William Bloye’s studio during the vacations. The Victoria and Albert Museum purchased one of his test pieces: this memorial tablet (1928) is now in the Tate Gallery collection of British sculpture. In 1934 he set up as a sculptor in Harborne, Birmingham, taking a partner and practising as Bridgwater and Upton from 1937 to 1946. He was appointed part-time teacher of sculpture at Dudley School of Art in 1948, later teaching full-time at Birmingham School of Art (from 1952). Much of his public sculpture was done in collaboration with architects for whom he produced panels and statues, mainly for churches and schools. For example, he carved the figures for Dudley police station (1939--40) and the coat of arms and stone lettering panels for King’s Norton War Memorial (1947). He exhibited at the Royal Academy from 1937 to 1962.
Sources: Birmingham Post Yearbook and Who’s Who, 1960--61, p.731; Birmingham Mail, 29 January 1932; Buckman, D., Dictionary of Artists in Britain since 1945, Bristol, 1998, p.188; Curriculum vitae from the artist; Letter from the artist’s widow, Mrs B. Bridgwater, 22 March 1986; MacKay, J., Dictionary of Western Sculptors in Bronze, Woodbridge, Suffolk, 1977, p.51; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.185; Royal Academy Exhibitors 1905--1970, vol.1, Wakefield, 1973, p.193. [SBC2005]

Alan Bridgwater (1903--62)
Born in Sparkbrook, Birmingham, 17th June 1903, he died there in January 1962. He won a scholarship to study sculpture at Birmingham School of Art where he attended full-time from 1923--33. Granted several bursaries, he later taught evening classes and worked in William Bloye’s studio during the vacations. One of his test pieces was purchased by the Victoria and Albert Museum: this memorial tablet (1928) is now in the Tate Gallery collection of British sculpture. Bridgwater applied for the Prix de Rome in 1930, for which he was highly commended and received a letter from Eric Gill commending his entry. In 1934 he set up as a sculptor in Harborne, Birmingham, taking a partner and practising as Bridgwater and Upton 1937--45. In 1948 he was appointed part-time teacher of sculpture at Dudley School of Art and was promoted to full lectureship at Birmingham School of Art in 1952. He moved to studios in Edgbaston in 1951. Bridgwater has works in private and public collections including academic works such as Torso, 1932 (in Birmingham Museums and Art Gallery); Fawn, 1936 (in Dudley Art Gallery); maquette for Unknown Political Prisoner, 1952 (in artist’s widow’s collection); The Thinker, 1958, for which he received an honorable mention in the Paris Salon, 1959. His portraits include: W. Benslyn FRIBA, 1948, bequeathed to BMAG; Lindsay Bullivant FRIBA, 1948; Abraham Lincoln, 1960. Much of his sculpture was done in collaboration with architects such as George Drysdale, Bromilow, Smeeton and While, Holland Hobbiss and J.B. Surman, for whom he produced panels and statues mainly for churches and schools. Works include: figure and panel, St. Hubert’s church, Rowley Regis 1935; figures, Dudley police station 1939--40; coat of arms and stone lettering panels, Kings Norton War Memorial, 1947; five figures, Wawkesley Farm church, Longbridge Lane 1956; Dudley College of Education, Hall of Residence 1956; keystones, St. Boniface church, Quinton 1958. Exhibited at RA from 1937--62, RSA from 1950s, Royal Glasgow Fine Arts 1958; RWA 1950; RBSA, Dudley, Rugby and other Midland galleries. He also exhibited portraits and landscapes in oils. ARBSA 1935; ARBS 1948; RBS 1949; Council Member of RBS.
1. ‘Birmingham student’s sculpture’, Mail, 29th January 1932; 2. Birmingham Post year book and who’s who, Birmingham, 1960--61, p.731; 3. WWA, 12th edition, Eastbourne, 1964, pp.74--5; 4. RAE, vol.I, Wakefield, 1973, p.193; 5. J. Mackay, Dictionary of western sculptors in bronze, Woodbridge, Suffolk, 1977, p.51; 6. Letter from the artist’s widow, Mrs. B. Bridgwater, 22nd March 1986. [B1998]

John Broad (1873?--1919)
Modeller. Broad was employed as modeller by Doulton of Lambeth. He produced a considerable quantity of terracotta work. The six vitreous enamelled terracotta panels at St Bede’s College were among his earliest work. He exhibited at the RA from 1890 to 1900. His public commissions included the terracotta monuments of General Gordon and Queen Victoria in Gravesend. He also modelled Queen Victoria and India for the Doulton Fountain (Glasgow, 1888).
Source: McKenzie, 2002. [Man2004]

John Broad (d. 1919)
He was a modeller for the Lambeth firm of Doulton’s. One of his earliest works for the firm was a series of panels in coloured vitreous enamelled terracotta, representing the academic disciplines, for St Bede’s College, Manchester (1878--84). Broad went on to produce a very considerable body of work in unglazed terracotta and in white glazed Carrara Ware. He contributed the group representing India to Doulton’s Victoria Fountain, shown at the Glasgow International Exhibition of 1888. The fountain is now at Glasgow Green. Broad’s groups of Britannia and Commerce, from the Birkbeck Bank in Southampton Buildings, London (1895--6), are now at Beale Park, Pangbourne. A large Carrara Ware sign, modelled by Broad in 1915, adorns the street front of the Adam and Eve public house in Homerton High Street, East London. He modelled terracotta public monuments for Gravesend. One of these is to General Gordon. The other two, both of 1897, are of Queen Victoria (Market Place and outside the Technical College). He exhibited at the Royal Academy from 1890 to 1900. Ceramics by him were shown at the London Arts and Crafts Exhibition of 1891, and at the Chicago World’s Fair in 1893.
Sources: P. Atterbury and L. Irvine, The Doulton Story, Stoke-on-Trent, 1979; R. Mackenzie, Public Sculpture of Glasgow, Liverpool, 2002. [CL2003]

John Broad (1873?-1919)
Principally a modeller of figures, monuments and terracotta ware with Doulton & Co., of Lambeth (q.v.), he also executed statues of General Gordon and Queen Victoria, Gravesend, and a number of portrait medallions. Examples of his ceramics were exhibited at the Arts and Crafts Exhibition, London, 1891, the Chicago World’s Fair, 1893, and the RA, 1890--1900.
Sources: Bergesen, p.95; Darke, p.87. [G2002]

Broadbent & Son
Abraham Broadbent exhibited at the Royal Academy from 1901 to 1919. His exhibits were predominantly statuettes of poetic subjects. In 1913 he exhibited a work entitled The White Man’s Burden, designed as a terminal for the Union Government Building in Pretoria, South Africa. In 1905 he executed portrait figures of Huntington Shaw and Thomas Tompion, for Aston Webb’s façade of the Victoria and Albert Museum. He was renowned for his decorative carving in the English baroque manner, and carried out an extensive programme of such work for the Eton School Hall between 1904 and 1908. This was the style adopted by his son Eric R. Broadbent, who seems to have been responsible for most of the decorative work on E. Lutyens’s Britannic House, Finsbury Circus, London (1921--5). Little else seems to be known about Eric Broadbent, other than that he executed the modernistic group of winged figures with a globe over the entrance to the BOAC Terminal Building on Buckingham Palace Road, London (c.1939). Both Abraham and Eric Broadbent were registered as resident at 430 Fulham Road.
Sources: Buildings of England and the Post Office London Directory. [CL2003]

Abraham Broadbent (fl.1900--20)
Based in London, Abraham Broadbent exhibited at the Royal Academy between 1901 and 1919. He worked in a variety of media including silver, bronze, marble and terracotta. His exhibits were predominantly statuettes of poetic subjects, including The Slave (1906), a relief, Orpheus and Eurydice (1909), a head of Beatrice (1911), and a marble group entitled The Daughters of Pandarus (1916--19). He was renowned for his decorative carving in the English baroque manner, and carried out an extensive programme of such work for the Eton School Hall between 1904 and 1908, somewhat after his work on the Co-operative Society and Technical School façades in Leek (1899--1900).
Sources: Graves, A., Royal Academy Exhibitors 1769--1904, London, 1905, p.289; Royal Academy Exhibitors 1905--1970, vol.1, Wakefield, 1973, p.199; Ward-Jackson, P., Public Sculpture of the City of London, Liverpool, 2003, p.452. [SBC2005]

Stephen Broadbent (b. 1961)
Sculptor. Born in Wroughton, Wiltshire. Educated at Bluecoat School, Liverpool. Trained with Liverpool sculptor, Arthur Dooley, 1979--83. Work developed from limited edition bronze sculpture into larger public sculptures, including environmental sculpture and water features. Established Broadbent Artworks Ltd in 1997. Public sculpture includes Reconciliation (Liverpool, 1989, also Glasgow and Belfast), A Celebration of Chester (Capital Bank, Chester, 1990), Trades and Professions of Edinburgh (Saltire Court, Edinburgh, 1994), The Bull Ring (St Andrew’s Gardens, Liverpool, 1999), Encounter (Birchwood Science Park, Warrington, 2002). Water features include River of Life (Warrington, 1996) and Seasons (Cathedral Gardens, Manchester, 2002).
Source: artist. [Man2004]

Stephen Broadbent (b.1961)
Liverpool-based sculptor, but born in Wroughton, he trained with Arthur Dooley (q.v.), 1979--83. His first one-man show was held at the Aberbach Gallery, London, 1982. Public works by him include the bronze relief panels of The Trades and Professions of Edinburgh, Saltire Court, Edinburgh (1991), and Challenge, at Capital House, Chester (1993).
Source: Cavanagh, p.323. [G2002]

Stephen Broadbent (b. 1961)
Born in Wroughton, he trained with Arthur Dooley in Liverpool, 1979--83, and, at the time of writing, works mainly from the Bridewell Studios, Liverpool. His first one-man show was at the Aberbach Gallery, London, 1982. His public commissions include The Trades and Professions of Edinburgh (bronze relief panels, 1991, Saltire Court, Edinburgh); A Celebration of Chester (1992, Chester Town Hall square); and Challenge (bronze sculpture, 1993, outside Capital House, Chester).
(source: Sculpture in the Making: A Celebration of Chester, 1992) [L 1997]

Sir Thomas Brock (1847--1922)
Brock studied at the Government School of Design in Worcester and at the Royal Academy from 1867, winning a gold medal in 1869 for his group Hercules Strangling Antaeus. From 1866, he was a pupil of John Henry Foley. He made numerous portrait busts, funerary monuments and public statues, achieving a reputation as a monumental sculptor after his master, Foley, died in 1874. In 1877, he assisted Frederic Lord Leighton with the execution of his bronze Athlete Wrestling with a Python, a piece that is regarded as central to the development of the movement known as The New Sculpture, in which a greater emphasis was placed on naturalism. His commissions included Rt. Rev. Henry Philpott, DD, Bishop of Worcester, Worcester Cathedral (1896), the tomb of Frederick Lord Leighton, St Paul’s Cathedral (1900), an equestrian statue Black Prince, Leeds (1902), Gladstone Memorial (1903, Westminster Abbey) and Sir J.E. Millais (1904, London). The most prestigious of his works, the Queen Victoria Memorial in front of Buckingham Palace (in collaboration with Aston Webb, 1901--9), earned him his knighthood at its unveiling in 1911. He exhibited at the Royal Academy from 1868 onwards, becoming a Royal Academician in 1891. In 1905, he became the first president of the Royal Society of British Sculptors.
Sources: Beattie, S., The New Sculpture, New Haven and London, 1983, pp.134, 241; Cavanagh, T., Public Sculpture of Liverpool, Liverpool, 1997, p.323f.; Cavanagh, T. and Yarrington, A., Public Sculpture of Leicestershire and Rutland, Liverpool, 2000, p.357; Darby, E. and M., ‘The Nation’s Memorial to Victoria’, Country Life, 16 November 1978, pp.1647--8; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.185; Noszlopy, George T., Public Sculpture of Warwickshire, Coventry and Solihull, Liverpool, 2003, p.248f.; Read, B., Victorian Sculpture, New Haven and London, 1982, pp.69, 75, 289, 329, 344--5, 364, 371--9; Spielmann, M., British Sculpture and Sculptors of Today, London, 1901, pp.26--33. [SBC2005]

Thomas Brock (1847--1922)
Brock studied at the Government School of Design in Worcester and at the Royal Academy, from 1867, winning a Gold Medal in 1869. He made numerous portrait busts, funerary monuments and public statues, and achieved a reputation as an establishment sculptor after his master J.H. Foley died in 1874. He was influenced by the young sculptors, Alfred Stevens, Alfred Gilbert, Alfred Drury and Onslow Ford and his works were always highly competent and in a grand style. Commissions include: Sir Bartle Frere, Victoria Embankment Gardens (1888); Rt. Rev. Henry Philpott, DD, Bishop of Worcester, Worcester Cathedral (1896); tomb of Sir Frederick Leighton, St Paul’s Cathedral (1900); Queen Victoria Memorial, Buckingham Palace, in collaboration with Aston Webb (1901--9). He exhibited at the RA from 1868 onwards. He was elected ARA (1883); RA (1891); First President of RBS (1905); Hon. DCL Oxford (1909).
Sources: Country Life, 16 November 1978; Spielmann, M., British Sculpture and Sculptors of Today, London, 1901; Beattie, S., The New Sculpture, New Haven and London, 1983. [WCS2003]

Sir Thomas Brock (1847--1922)
Sculptor born 1 March 1847 at Worcester where he attended the Government School of Design. In 1866 he moved to London and became a pupil of John Henry Foley. In 1867 he entered the Royal Academy Schools gaining, in 1869, the RA gold medal in sculpture for his group, Hercules Strangling Antaeus, which was exhibited at the RA in 1870. In this same year, 1870, he produced his first portrait statue, Richard Baxter, at Kidderminster. When Foley died in 1874, Brock undertook to complete many of his unfinished commissions, thereby succeeding to much of his practice. Brock’s numerous public commissions include portrait statues of Sir Bartle Frere, 1888, Victoria Embankment Gardens, London, and Sir J.E. Millais, 1904, Tate Gallery grounds, London; the Tomb of Lord Leighton, 1900, St Paul’s Cathedral; and an Equestrian Statue of the Black Prince, 1902, Leeds, but the most prestigious was the Memorial to Queen Victoria (with Aston Webb) in front of Buckingham Palace, earning him his knighthood at its unveiling in 1911. Brock exhibited at the RA, 1868--1922, and was elected ARA in 1883 and RA in 1891. He was first president of the Royal Society of British Sculptors at its founding in 1905 and membre d’honneur of the Société des Artistes Français. He was made honorary ARIBA in 1908, honorary DCL at Oxford University in 1909, and honorary RSA in 1916. He died 22 August 1922.
Sources: DNB; Beattie, S., 1983; Who Was Who 1916--1928. [LR 2000]

Thomas Brock (1847--1922)
Born in Worcester in 1847 and died in London 1922. He studied at the Government School of Design in Worcester and at the Royal Academy, from 1867, winning a gold medal in 1869. Brock made numerous portrait busts, funerary monuments and public statues and achieved a reputation as an establishment sculptor after his master J.H. Foley died in 1874. He was influenced by the young sculptors, Alfred Stevens, Alfred Gilbert, Alfred Drury and Onslow Ford and his works were always highly competent and in a grand style. Commissions include: Sir Bartle Frere, Victoria Embankment Gardens 1888; Rt. Rev. Henry Philpott, DD, Bishop of Worcester, Worcester Cathedral 1896; tomb of Sir Frederick Leighton, St. Paul’s Cathedral 1900; Queen Victoria Memorial, Buckingham Palace, in collaboration with Aston Webb, 1901--9. Exhibited at the RA 1868 onwards. ARA 1883; RA 1891; First President of RBS 1905; Hon DCL Oxford 1909; KCB 1911.
1. M.H. Spielmann, British sculpture and sculptors of today, London, 1901, pp.26--33; 2. E. and M. Darby, ‘The national memorial to Victoria’, Country Life, 16th November 1978; 3. Beattie, 1983, pp.134 and 241. [B1998]

Sir Thomas Brock (1847--1922)
Born at Worcester where he attended the Government School of Design, in 1866 he moved to London and became a pupil of J.H. Foley, leaving the following year to go to the RA Schools. In 1869 he gained the RA gold medal in sculpture for his group, Hercules Strangling Antaeus. When Foley died in 1874, Brock undertook to complete many of his unfinished commissions, including the William Rathbone for Sefton Park, thereby succeeding to much of his practice. Among Brock’s numerous commissions for London, the most prestigious was the Memorial to Queen Victoria (with Aston Webb) in front of Buckingham Palace, earning him his knighthood at its unveiling in 1911. Brock was elected ARA in 1883 and RA in 1891. He was first president of the Royal Society of British Scuptors at its founding in 1905 and membre d’honneur of the Société des Artistes Français. He was made honorary ARIBA in 1908, honorary DCL at Oxford University in 1909, and honorary RSA in 1916.
(sources: Beattie, 1983; DNB 1922--1930) [L 1997]

Richard Broderick (b.1963)
Sculptor and designer living in North Tyneside, one of three lead artists at Northern Freeform. Trained at Newcastle Polytechnic 1982--5, Broderick exhibited at the first Fresh Art exhibition in London (1986) and was represented by the Nicholas Treadwell Gallery. From 1987, however, he became involved with collaborative arts projects which have included Fish Quay Festival, banner parades and large-scale sculptures. Works outside the North East include street furniture at Doulton-in-Furness.
[1] Information supplied by the artist, 1999. [NE 2000]

William Brodie (1815--81)
The son of a Banff shipmaster, and brother of the sculptor Alexander Brodie, he worked first as a plumber in Aberdeen while teaching himself sculpture. In 1847 he moved to Edinburgh to study at the Trustee’s School of Design until c.1851, then visited Rome in 1853 to study under Lawrence MacDonald. Returning to Edinburgh, he established a large practice specialising in portrait busts and statues, many of which were exhibited at the RA, the RSA and the RGIFA. He executed the Monument to John Graham Gilbert, Necropolis (c.1863), the 71st Highland Light Infantry Memorial, Glasgow Cathedral (1863), and the 93rd Sutherland Highlanders Memorial, St Giles Cathedral, Edinburgh (1864). Elected ARSA in 1857, and RSA in 1859, he was the Academy’s secretary, 1876--81. Most of his public work is in Edinburgh, including the famous tourist attraction Greyfriars Bobby (1872).
Sources: Scotsman, 31 October 1881, p.4 (obit.); Gunnis; Johnstone. [G2002]

Bromsgrove Guild
Founded by Walter Gilbert in 1898, offshoot of Arts and Crafts movement, in Bromsgrove, Worcestershire. The guild’s work included metalwork, stonework, plasterwork, woodcarving and stained glass. A branch was established in Montreal in 1911. The gates of Buckingham Palace (1910) were among their most publicised commissions, but their list of private and public clients was extensive, including shipping companies. H. Crichton modelled the figure of Punch, for the magazine’s offices in Bouverie Street, London. A bronze bust of Wallace Hartley, bandmaster on the Titanic, (Colne, Lancashire, 1915) was also the work of the Guild. The Guild became a limited company in 1921. It ceased business in 1966.
Source: Watt, 1999. [Man2004]

Bromsgrove Guild (fl.1895--1965)
Late-Victorian offshoot of the Arts and Crafts movement, founded by Walter Gilbert. They produced craft work in a wide range of materials -- such as wood, metal, glass, embroidery and plaster -- for public and private commissions throughout Britain, their most prestigious work being the gates of Buckingham Palace. Among their commissions in Glasgow were plasterwork in the Central Station Hotel (1900--8), and at Averley, 996 Great Western Road, as well as stained glass (designed by H.J. Payne and Mary Newill) at Stoneleigh, 48 Cleveden Drive (1900--6).
Sources: Williamson et al., pp.210, 314, 321; Cavanagh, p.324. [G2002]

The Bromsgrove Guild
Formed in the 1890s by Walter Gilbert, its roots were in the Arts and Crafts Movement of late Victorian England. Guild members produced a whole range of craft objects in metal, wood, stained glass, embroidery, plaster etc. George Cowper joined the Guild from Coalbrookdale in 1907, bringing metalwork and casting skills with him. The Guild’s most prestigious commission at this time was the gates of Buckingham Palace. On Merseyside, Bromsgrove Guild work can be seen in the church of the Holy Trinity, Southport (woodwork, metalwork and glass), and the Anglican Cathedral (chancel gates, reredos and sanctuary rails). The Guild lasted until the 1960s.
(source: Crawford, 1977) [L 1997]

The Bronze Foundry (established 1979)
Foundry based at New Bradwell, Milton Keynes; since 1992/3 operating as The Mike Davis Foundry. Work outside Leicestershire includes James Butler’s Statue of J.H. Greathead, 1994, Cornhill, London. Davis, a sculptor in his own right, designed and executed Thor’s Footstool, stainless steel and granite, 1994, for Christiani and Nielson, Leamington Spa. [LR 2000]

John Brooke
Architect. Articled to Frederick Bakewell of Nottingham 1867--71. Educated at Nottingham School of Art. Practised in Manchester from 1873. In partnership with Alfred Hugh Davies-Colley (1846--1917). ARIBA 1881 and 1908 FRIBA. Member of Council and then President of the Manchester Society of Architects. Went into partnership with C. Ernest Elcock in October 1912. Also designed Holdsworth Hall, Manchester, 1911. Designed Manchester Royal Infirmary with E.T. Hall. Brooke was also the architect of several churches in Manchester as well as the Deansgate arcade.
Source: Felstead, 1993. [Man2004]

W.G. Brooker
Brooker is listed as having exhibited a bust of Sir C. Wheatstone at the RA in 1878.
[1] Gunnis, p.300. [NE 2000]

Don Brown (b. 1962)
Born in Norfolk, Brown trained at the Central School (1983--5) and at the Royal College (1985--8). He showed individual works at the Lisson Gallery between 1993 and 1995. In 1996 he exhibited jointly with Stephen Murray (‘Bavaria’ at the Hayward Gallery and ‘Missiles’ at the Lisson Gallery). In the late 1990s, he experimented with scale, producing under life-size and miniature figures and objects. In 1998 he showed a miniature human skull in British Figurative Art II at the Flowers East Gallery. He has been showing work at Sadie Coles HQ since 1997. His resin figures Yoko I and Yoko II form part of the décor of the Admiralty Restaurant at Somerset House. In 1997, his Don was installed in another of Oliver Peyton’s restaurants, Mash, in Great Portland Street, London. Other versions of Don have been shown at the inaugural exhibition at the Milton Keynes Art Gallery (1999) and at the exhibition Second Skin, at the Henry Moore Institute, Leeds (2002). The one at the Leeds show, lent by the Jerwood Foundation, London, was made in 1998. It was cast from himself and then reproduced in aluminium, ‘with all flaws and imperfections removed’.
Source: information provided by Sadie Coles HQ. [CL2003]

George Brown & Sons (est. 1830)
Ecclesiastical and monumental sculptors with branches in Kidderminster, Stourport and Newark. They executed the Boer War Memorial in St Mary’s Church, Kidderminster (1903) as well as First World War memorials for Brierley Hill (1921), Wordsley (1921) and Lye (1926).
Sources: Information provided by Jane Furlong, Project Officer for the United Kingdom National Inventory of War Memorials, 28 April 2004; Kelly’s Directory (Worcestershire), 1904. [SBC2005]

Irene Brown (b.1960)
Trained at Cardiff College of Art and Design, Nottingham Trent Polytechnic and Reading University 1979--87, Brown has worked in a variety of media: animation, theatre and interior design, outdoor and installation sculpture. Works include Caesar’s Sofa, made of fibreglass and modelled from a Newcastle bull terrior (Gateshead Garden Festival, 1990); Take a Seat for the King’s Lynn Arts Centre, 1992; and Light Fantastic at Walsall Museum and Art Gallery, 1994.
[1] AXIS, Artists Register, 1998. [2] Northern Arts Index, 1998. [NE 2000]

Keith Brown
Sculptor. Studied at Sunderland Polytechnic (DipAD 1967), Michigan University (Clemenstone Scholarship, 1969), Manchester Polytechnic (HAD, 1971), and the Royal College of Art (MA, 1972--5). Received the Sir James Knott Scholarship in 1975. Exhibitions include the 7th Symposium of Art and Technology, Connecticut, and Innovation and Tradition, Fine Arts at Manchester, Portland and Eugene, Oregon (both 1999); The Birth of the Baby: Manchester and the Modern Computer (Manchester Museum, 1998). Currently Head of Fine Art Sculpture at Manchester Metropolitan University (formerly Manchester Polytechnic). President and founder of FasT-uk (Fine Art Sculptors and Technology in the UK).
Source: artist. [Man2004]

James C. Brown (b.1917)
Born in Paris, he graduated in law at the École des Sciences Politiques and worked in the Ministry of Finance until 1945, when he took up sculpture. Entirely self-taught, he has developed his own highly idiosyncratic style. His works are largely figurative and depict animals, birds and human figures. Since 1955, he has worked mainly in the new plastic materials.
Source: Mackay, James, Dictionary of Western Sculptors in Bronze, Woodbridge, 1977. [WCS2003]

Percy Brown (1911--96)
Sculptor and potter born in Wolverhampton. He studied from 1927--32 at Wolverhampton School of Art and from 1932--5 at the Royal College of Art under Richard Garbe. In 1935 Brown was appointed Lecturer in Sculpture at Leicester College of Art, moving in 1946 to Leeds College of Art as Head of the Sculpture and Ceramics Department. In 1950 he went to Hammersmith School of Art, becoming Head in 1956 (retired 1975). Until 1955 his sculpture had consisted principally of architectural commissions and portrait busts; from that date, however, his sculpture became increasingly abstract. He exhibited at the RA from 1934 and had a retrospective exhibition at The Canon Gallery, Chichester, in 1991.
Sources: Buckman, D., 1998; Crafts, no. 143, November/December 1996, p.64 (obituary by Charles Bernard); Percy Brown. Retrospective, n.d.; Strachan, W.J., 1984; Waters, G.M., 1975. [LR 2000]

Ralph Brown (b. 1928)
Sculptor born 24 April 1928 in Leeds. He studied at Leeds College of Art, 1948--51, Hammersmith School of Art, 1951--2, and at the Royal College of Art, 1952--6, where his teachers were Frank Dobson and John Skeaping. In 1954 he was awarded two scholarships, one to study under Zadkine in Paris and another to study in Greece; in 1957 he was sponsored by Henry Moore to study in Italy. Brown was Head of Sculpture, Bournemouth College of Art, 1956--8, and taught at Bristol College of Art and the Royal College, 1958--72. He lived in France, 1973--6. His first solo exhibition was at the Leicester Galleries in 1961 and he had a retrospective at the Henry Moore Centre for the Study of Sculpture, Leeds, in 1988. He also took part in the open-air exhibitions at Battersea Park, 1960 and 1963, and at Coventry Cathedral, 1968, and his work was included in ‘British Sculpture in the Sixties’, Tate Gallery, 1965, ‘British Sculpture ‘72’, Royal Academy, 1972, and in the 1993 Royal Society of British Sculptors exhibition, ‘Chelsea Harbour Sculpture 93’. He was elected ARA in 1968 and RA in 1972. His public sculpture commissions include Swimmers, Hatfield New Town, and Sheep-shearer, 1956, and Meat Porters, 1960, for Harlow New Town. Examples of his work are in the collections of the Arts Council and the Tate Gallery, in the Leeds Sculpture Collections, the Kröller-Müller Museum, Otterloo, Netherlands, and the Gallery of New South Wales, Sydney, Australia.
Sources: Buckman, D., 1998; Nairne, S. and Serota, N. (eds), 1981; Royal Academy of Arts, 1972; Spalding, F., 1990; Strachan, W.J., 1984; Who’s Who 1999. [LR 2000]

Walter Talbot Brown
Architect based in Wellingborough, Northamptonshire. He co-wrote with architect J.A. Gotch, Architecture of the Renaissance in England, Batsford, 1894. His partnership, W. Talbot Brown & Fisher, carried out the restoration of St Peter and St Paul Church, Great Bowden, 1886--7, and St Peter’s Church, Belton-in-Rutland, 1897--8. He exhibited at the Royal Academy in 1881 and 1909.
Source: Pevsner, N. and Williamson, E., 1992. [LR 2000]

William Kellock Brown (1856--1934)
Born in Glasgow, the son of a metal worker and brother of the painter Alexander Kellock Brown, he trained under his father and attended sculpture classes at GSA. After winning a scholarship he moved to London to study at the RCA and RA Schools under Edouard Lantéri (1848--1917). Among the commissions he executed in London were the balconies on the Savoy Hotel (1888). A member of Mackmurdo’s Century Guild (briefly its chief metal worker), the Art Workers Guild, the Scottish Guild of Handicrafts and the Scottish Society of Art Workers, he returned to Glasgow to teach modelling, metal work and repoussé at GSA, 1888--98. His students included Albert Hodge, J.P. Main and J.H. Mackinnon (qq.v.), who benefited from the improvements he introduced in the life class. An independent artist from 1892, he carried out numerous commissions for architectural sculpture and monuments in Glasgow and the west of Scotland, including the John Watson Memorial Fountain, Hamilton (1893), the Monument to David Livingstone, Blantyre (1913) and the John Robertson Cenotaph, Southern Necropolis (1912). After the First World War he executed war memorials for Penpont (1920), Inverary (1922), Largs (1922), and Johnstone (1924). He exhibited regularly at the RA, the RSA, and the RGIFA from 1887, showing genre works, busts and Burns subjects, including an unsuccessful model for the Paisley Burns statue competition of 1893. He died of heart failure in Cambridge Street, leaving a colossal statue of Burns unfinished.
Sources: GH, 12 May 1924, p.5, 21 February 1934, p.15 (obit.); Southern Necropolis Newsletter, December 1988; Blench, et al., pp.13--14. [G2002]

Harold Brownsword (1885--1961)
Sculptor born in the Potteries, who studied at Hanley School of Art and the Royal College of Art (1908--13). He was headmaster of Regent Street Polytechnic, London (1938--50), and executed war memorials for Hanley, Longton, Eccleshill and Northallerton.
Source: Spalding, F., 20th Century Painters and Sculptors, Dictionary of British Art, vol.6, Woodbridge, 1990, p.93. [SBC2005]

Albert Bruce Joy (1842--1924)
Sculptor. Born in Dublin. Bruce Joy (sometimes Bruce-Joy) studied at the National Art Training School and the RA Schools from 1863, and then in Paris and Rome. He worked in J.H. Foley’s studio and on his master’s death in 1874 unofficially inherited the commission for the statue of Robert James Graves, 1877 at the Royal College of Physicians, Dublin. He developed a reputation as a skilled portraitist and produced numerous busts, including Matthew Arnold in Westminster Abbey. His public statues include John Laird (Birkenhead, 1877), William Harvey (Folkestone, 1881), W.E. Gladstone (Bow Churchyard, London, 1882), Lord Frederick Cavendish (Barrow-in-Furness, 1885), John Bright (Birmingham, 1887) and W.H. Hornby (Blackburn, 1912). Refused ARA in 1878 but was elected ARHA (Associate of the Royal Hibernian Academy) in 1890 and RHA in 1893. He exhibited at the Royal Academy, London, from 1866. His brother was the artist, George William Joy.
Sources: Spielmann, 1901; Noszlopy, 1998. [Man2004]

Albert Bruce Joy (1842--1924)
Born in Ireland in 1842, he died in Surrey, 25th May 1924. Studied at the National Art Training School, and at the RA Schools from 1863 and in Rome. He then worked in J.H. Foley’s studio and on his master’s death in 1874 unofficially inherited the commission for the statue of Robert James Graves, 1877 at the Royal College of Physicians, Dublin. Producing a full range of conventional sculpture, his main works include: statues of Gladstone, Bow Road, London 1882; Lord Frederick Cavendish, Barrow-in-Furness 1885; bust of Thomas Erskine May, 1st Baron Farnborough, 1890; Memorial to Archbishop Benson, Rugby School chapel 1899. He exhibited at the RA from 1866; RSBA. He never sought or received the English Honour of Royal Academician.
1. M.H. Spielmann, British sculpture and sculptors of today, London, 1901, p.34; 2. B. Read, Victorian sculpture, New Haven and London, 1982, pp.75, 351; 3. J. Mackay, Dictionary of British artists 1880--1940, 1976, p.82. [B1998]

Albert Bruce Joy (or Bruce-Joy) (1842--1924)
Born in Dublin, he studied at the South Kensington and RA Schools, and in Paris and Rome. He trained also under J.H. Foley. He was elected ARHA (Associate of the Royal Hibernian Academy) in 1890 and RHA in 1893. He exhibited at the Royal Academy, London, from 1866. His ability to record his sitter’s likeness with remarkable accuracy made him a highly sought after portraitist. His public sculptures include statues of John Laird (1877) for Hamilton Square, Birkenhead; W. E. Gladstone (1882) for Bow Churchyard, London; and John Bright (1891) and Oliver Heywood (1894) both for Albert Square, Manchester.
(sources: Gleichen, 1928; Johnson & Greutzner, 1976; Spielmann, 1901; Waters, 1975) [L1997]

James George Bubb (1782--1853)
Sculptor. Bubb studied at the Royal Academy Schools, winning a silver medal in 1805. He was employed as a sculptor at Mrs Coade’s artificial stone works at Lambeth. In around 1818 he began manufacturing terracotta in partnership with his former teacher, John Rossi. Works executed by Bubb included reliefs for the Commercial Rooms, Bristol, London Customs House and the Italian Opera House, Haymarket. He also executed funeral monuments and busts. Bubb exhibited at the RA from 1805 to 1831. His work was not highly regarded among his fellow sculptors, an assessment coloured by his conduct in obtaining the commission for the Pitt monument in 1806.
Sources: Gunnis, 1968; Kelly, 1990. [Man2004]

James George Bubb (1782--1853)
Bubb attended the Royal Academy Schools, winning a Silver Medal in 1805. He also worked with J.C.F. Rossi, later claiming that he had given considerable assistance in the carving of Rossi’s tomb of Captain Faulkener in St Paul’s Cathedral. In 1806 he won the Corporation’s competition for the monument to William Pitt the Younger for the Guildhall. The monument was not completed until 1813. Bubb worked for Mrs Coade’s artificial stone factory, and went on to produce his own recipe for architectural terracotta. This was used very extensively on the new London Custom House, opened in 1818. Although deemed unsatisfactory, Bubb proceeded to decorate a large number of buildings in London and Bristol with this material. His most inventive scheme was probably the frieze, illustrating the history of music and the dance from the earliest times to the present, for the Italian Opera House in the Haymarket (1827), of which only fragments have survived. Bubb abandoned his terracotta around 1830, although he was later employed by the firm of Blashfield to model some of their architectural ornaments. At the Royal Academy, Bubb exhibited portrait busts and mythological figures. He also executed a number of church monuments. He was a prolific, but not particularly talented sculptor, rather despised by the rest of the profession.
Sources: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968. [CL2003]

Walter Buchan (fl.1837--78)
Little is known of Buchan’s life and career other than the fact that he trained under William Mossman Senior (q.v.), assisted John Mossman (q.v.) and was employed as a carver by Cuthbert Brodrick on Leeds Town Hall (1853--8) and by John Thomas (q.v.) at the Houses of Parliament, London. Work by him is rare but distinguished, and was much admired by Archibald Macfarlane Shannan (q.v.), who exhibited a plaster copy of his Trial by Jury frieze at the Corporation Galleries in 1911. He died obscure and in poverty in London, too late to benefit from John Mossman’s attempts to alleviate his plight.
Sources: A, 13 April 1878 (obit.), 26 September 1890; Gildard, pp.4--8. [G2002]

Herbert Tudor Buckland (1869--1951)
Architect. Buckland studied at Birmingham School of Art, was first articled to Henry Clere, and subsequently to Bateman and Bateman, both of Birmingham. He was a great winner of competitions, including that for a Birmingham University’s Women’s Hall of Residence. Influenced by Webb and Lutyens, his works included schools, colleges, university extensions and mansions. With his partner William Haywood, he designed the Royal Hospital School, Holbrook and extended Newnham College, Cambridge. He also designed George Dixon School, Birmingham, St Hugh’s College, Oxford, and Nobel House, Buckingham Gate, London. A member of many committees, he was president of Birmingham and Five Counties Architectural Association (1919--22), Chairman of the Allied Societies Conference (1922--5) and Vice-President of RIBA (1923--5). He was also architect to Birmingham Education Committee (1902--34) and a founder member of the Birmingham Civic Society. In the early years of the twentieth century Buckland, as a practising architect, taught at Birmingham School of Art (now part of the University of Central England).
Source: RIBA Journal, vol.58 (April 1951). [WCS2003]

Jim Buckley (b.1957)
Born in Cork, Eire, he studied sculpture at Crawford’s School of Art, Cork, 1975--80. He has contributed to international conferences on sculpture and has shown work at group and solo exhibitions throughout Europe, the USA and Japan, including Jim Buckley, at the Kyoni Gallery, Tokyo (1994). Winner of the Benno Schotz Prize in 1984, he has collected awards from a variety of sponsors and arts organisations, including an SAC Travel Award, 1984, and the Royal Bank of Scotland Prize, 1987. In 1988 he exhibited Red Gates at the Glasgow Garden Festival. He is a co-founder and co-director of Glasgow Sculpture Studios Ltd, and is represented in many major private and public collections.
Sources: Scott, pp. 46--7; Murray, pp. 32--3; Euan McArthur and Jim Buckley, Jim Buckley, Aberdeen, 1994 (ex. cat.). [G2002]

Kenneth George Budd (1925--95)
Mural designer born in London, 16th October 1925, died 21st January 1995. Studied at Beckenham School of Art 1941--4 and the Royal College of Art 1947--50. Several works are located in Birmingham, where he was commissioned by the Public Works Department to decorate the following inner ring road developments: Horsefair in 1908, mural, Holloway Circus 1967; J.F. Kennedy Memorial, mural, 1968; History of Snow Hill, mural, St. Chad’s Circus 1968. Other works include interchange and ring road mosaic and concrete murals, Newport, Gwent; mosaic coat of arms, Tower Foyer, Guy’s Hospital, London; Local Life 1890--1910, Abertillery, Gwent; various mosaics for Newport Borough Council and Gwent County Council 1990--3. He also carried out several joint commissions with his son, Oliver Budd, who has continued his practice since his death in 1995. ARCA 1950.
1.WWA, 26th edition, Havant, 1994; 2. Letter from the artist’s son, Oliver Budd, 20th February 1996. [B1998]

Lionel Bailey Budden (1887--1956)
Liverpool architect, most importantly of the Birkenhead War Memorial, 1923--25, and the Liverpool Cenotaph, 1926--30, St George’s Plateau, both with the sculptor, Tyson Smith. He graduated from the School of Architecture, University of Liverpool, in 1909, with first class honours, winning also the University travelling scholarship and the Holt travelling scholarship with which he funded a year in Athens. He taught at the School of Architecture from 1911 and was successor to C.H. Reilly as Roscoe Professor of Architecture from 1933, until his retirement in 1952. He exhibited four times at the WAG between 1924 and 1930 and once at the RA, 1924, with his design for the Birkenhead War Memorial.
(source: RIBA Journal, September 1956). [L 1997]

Emlyn Budds
Sculptor. He went first to Norwich School of Art, before taking up degree studies at Loughborough College of Art and Design (1996--9). [LR 2000]

George Bullock (d. 1818)
Liverpool sculptor. He exhibited at the RA and the Liverpool Academy, 1804--16, and was President of the latter, 1810--11. He also produced work under the company name ‘Mona Marbles’, after the quarry he had discovered on the Isle of Anglesey, which yielded greenish-blue and purple marbles. The company was sufficiently successful for him to move to London in 1813, where he set himself up as a director of the Mona Marble Works. Mona marbles were used in his monuments to the Revd Glover Moore (St Cuthbert’s, Halsall, Lancs) and to Anna Maria Bold (St Luke’s, Farnworth, Lancs).
(source: Gunnis, 1951). [L 1997]

Burmantofts Works, Leeds Fireclay Company
Firm established in 1842 as Lassey and Wilcock, coal proprietors and brick makers, at Burmantofts, Leeds. By the early 1870s the firm had become Wilcock and Co., specialising in sanitary tubes and salt-glazed bricks. In 1879 James Holroyd took over as manager and was responsible for transforming the business into a nationally-known firm making architectural ornamentation in faience and terracotta. In 1888 the firm was renamed The Burmantofts Company Ltd. Burmantofts employed a number of first-rate artists as principal designers, notably W.J. Neatby and E. Caldwell Spruce. Burmantofts Works closed in 1957.
Sources: Stratton, 1993; Cavanagh, 2000. [Man2004]

Burmantofts Works, Leeds Fireclay Company
The firm began in 1842 as Lassey and Wilcock, coal proprietors and brick makers, at Burmantofts, just outside Leeds. By the early 1870s the firm had become Wilcock and Co., specialising in sanitary tubes and salt-glazed bricks. In 1879 James Holroyd took over as manager and within five years Wilcock and Co. had been transformed from a firm with a solid local reputation to a nationally-known firm making architectural ornamentation in faience and terracotta for some of the country’s leading architects, for example Alfred Waterhouse at the Yorkshire College, Leeds, 1877--86 and 1894; at the Victoria Building, Liverpool University, 1887--91; and at King’s Weigh House Chapel, Duke Street, London, 1889--91. In 1888 the firm was renamed The Burmantofts Company Ltd. The very next year, however, Burmantofts amalgamated with a number of other firms in the Yorkshire towns of Halifax, Huddersfield and Wortley, together forming the largest clay-working company in Britain. Holroyd was elected to the board of the parent company whilst continuing as manager at the Burmantofts Works. Burmantofts employed a number of first-rate artists as principal designers, including W.J. Neatby (see p.378) and E. Caldwell Spruce (see p.385). In 1906--7, Burmantofts also supplied a range of faience tiles for the entrances of many of the London Underground Railway stations, for example Leicester Square, Russell Square and Piccadilly Circus. Burmantofts Works eventually closed in 1957.
Sources: Bradford Art Galleries and Museums, 1983; Stratton, M., 1993. [LR 2000]

George Burn
From c.1868 to 1880 Burn’s skills as a sculptor were in great demand on Tyneside. Unfortunately, no records have been found of his life or working practice beside the fact that he lived in or near Neville Street, Newcastle, from 1869 to 1878 and in Corporation Street, Newcastle, in 1883. The stiff, rather awkward manner of his sculpted figures suggest that he did not receive an academic training, and it may well be that he is the same George Burn whom trade directories give as trading in Newcastle as a ‘grocer and beer retailer’ in 1865.
[1] Information provided by John Pendlebury, University of Newcastle, 1999. [NE 2000]

Neville Northey Burnard (1818--78)
Sculptor. Born in Cornwall, the son of a mason. Sir Charles Lemon MP persuaded Chantrey to employ Burnard in his studio. In 1848 Lemon’s influence secured permission to model a bust of the Prince of Wales, which was exhibited at the RA in the same year. Burnard continued to exhibit there until 1873. Following the death of his wife he took to drink, eventually dying in Redruth Workhouse. Principal public works include statues of Richard Lander (Truro, 1852) and Ebenezer Elliot (Sheffield, 1854). He also produced busts of Lord Macaulay (1859), Richard Cobden (1866) and William Gladstone (1871).
Sources: DNB; Gunnis, 1968; Martin, 1978. [Man2004]

John Burnet & Son (1882--6)
Architectural partnership formed in 1882 between John Burnet (1814--1901) and his son John James Burnet (1857--1938), later becoming Burnet, Son & Campbell, 1886--97, with John Archibald Campbell (1859--1909). Burnet Senior was the first Glasgow architect to use sculpture on a grand scale, often employing the Mossmans and James Young (qq.v.). After returning from the École des Beaux-Arts, Paris in 1878, Burnet Junior continued the trend throughout his Beaux-Arts and American Neo-classical phases, with Albert Hodge (q.v.) a frequent contributor to his Glasgow and London buildings. Burnet set up a London office in 1905, and was knighted for his King Edward VII Gallery, London (1903--14), which incorporates lions by Sir George Frampton (q.v.). The firm’s other important buildings providing opportunities for sculptors include Forsyth’s, Edinburgh (1906), with work by William Birnie Rhind and William Reid Dick (qq.v.). The firm continued as Burnet, Tait & Lorne, designing the Empire Exhibition, Glasgow, 1938 (see Bellahouston Park, Appendix A, Lost Works), the flagship of architectural Modernism in Scotland.
Sources: Gomme and Walker, pp.266--9; Service, pp.192--215; Gray; ET, 25 February 2000, pp.8--9. [G2002]

John James Burnet See John Burnet & Son [G2002]

Henry Burnett
Stonemason. Listed as tobacconist and monumental mason in Oldham commercial directory.
Source: Woralls’ Oldham Directory, 1871. [Man2004]

Jamie Burroughs (b.1961)
English sculptor, studied at Wimbledon School of Art, currently living in Hong Kong.
Vincent Butler (b.1933)
Manchester-born sculptor of figures, animals and portraits in bronze, he trained at Manchester School of Art and ECA, completing his studies in Milan under Marino Marini and Giacomo Manzù, 1955--7. After working in Italy he taught sculpture in Nigeria, 1960--3, then joined the staff of ECA. Casting most of his work himself, he has held several one-man shows and has exhibited at the RSA and the RGIFA since 1963, including a bust of Benno Schotz (q.v.) (1978, SNPG), Mother and Child (1986) and Primogenito (1988). His commissions include the Stations of the Cross, St Mark’s RC Church, Oxgangs Avenue, Edinburgh (1959) and a cross for St Paul’s RC Church, Pennywell Road, Edinburgh (1968). Winner of the Benno Schotz prize for portraiture in 1969, he was elected ARSA in 1972, and RSA in 1977.
Sources: Spalding; Billcliffe; McEwan. [G2002]

Henry Bursill
He exhibited at the Royal Academy from 1855 to 1870. His exhibits were mainly portraits. In 1866 he showed busts of ‘the late Mr Behnes sculptor’, and of ‘John Gibson Esq. FRIBA’. The latter was the architect who employed Bursill to produce sculpture for his National Provincial Bank premises in Bishopsgate. In 1869, Bursill showed designs for his statues of Commerce and Agriculture for Holborn Viaduct. In the Holborn Valley Improvements Report of 18 November 1872, he is referred to as ‘the late Mr Henry Bursill’. The last letter from Bursill in the Corporation’s Holborn Valley Boxes is dated 18 April 1871, so he must have died between these two dates. Nothing further appears to be known about him, though he may have been the same Henry Bursill who produced a book on that favourite Victorian pastime, Hand Shadows, first published by Griffiths and Farrar of St Paul’s Churchyard, which was reissued by Dover Reprints in 1967. [CL2003]

James Walter Butler (b.1931)
Butler studied at Maidstone School of Art (1948--50), St. Martin’s School of Art and the Royal College of Art (1950--2). He worked as an architectural carver throughout the 1950s, interrupted only by a period of National Service. Later, he became a tutor of sculpture and drawing at the City and Guilds of London Art School (1960--75). Specialising in figurative bronzes, his major commissions include President Kenyatta, Nairobi (1973); Monument to the Freedom Fighters of Zambia, Lusaka (1974); Burton Cooper (1977); Richard III, Leicester (1980); John Wilkes, New Fetter Lane, London (1988), The Leicester Seamstress, Leicester (1990); Stratford Jester (1995); Billy Wright and Stan Cullis for Wolverhampton Wanderers Football Club (1996 and 2002); James Brindley, canal basin, Coventry (1998); Duncan Edwards, Dudley (1999); a sculptural tribute to the Kentucky Derby winner, Thunder Gulch (2000); Jack Walker for Blackburn Rovers Football Club (2001); and the Fleet Air Arm Memorial with its colossal figure of Daedalus, London (2001). He has exhibited regularly at the Royal Academy since 1958, and was elected a Royal Academician in 1972. In 1981 he was a made a fellow of the Royal Society of British Sculptors.
Sources: Buckman, D., Dictionary of Artists in Britain since 1945, Bristol, 1998, p.221; Cavanagh, T. and Yarrington, A., Public Sculpture of Leicestershire and Rutland, Liverpool, 2000, p.358; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.186; Noszlopy, George T., Public Sculpture of Warwickshire, Coventry and Solihull, Liverpool, 2003, p.249; Strachan, W.J., Open Air Sculpture in Britain, London, 1984, p.252; Ward-Jackson, P., Public Sculpture of the City of London, Liverpool, 2003, p.453; Who’s Who in Art, 28th edn, London, 1998, p.84. [SBC2005]

A. B. Burton (see Thames Ditton Foundry) [L 1997]

Andrew Burton (b.1961)
Andrew Burton is a well-known sculptor in metal, particularly of animals. He gained a first class degree in Fine Art from Newcastle University in 1983, going on to take his master’s degree there in 1986, when a travelling scholarship enabled him to visit India before taking a teaching post at the University. He has won commissions for Newcastle Business Park (1990), Gateshead Garden Festival (1990), Stevenage Museum (1992), Newcastle Quayside Development (1994), Durham (Durham Cow, 1997), Loanhead, Edinburgh (1998) and Dudley Southern Bypass (2000). From the outset, he has been a frequent exhibitor, showing at the Royal Academy, the Manchester City Art Gallery Summer Exhibition (1988) and Pelter/Sands, Bristol (1991). Towers, ziggurats and elephants featured in the Bristol show, in which many of his works showed animals bearing monumental buildings on their backs, opening up questions about man’s relation to animals and to ambition. More recently, he has produced a dramatic piece featuring two monumental trumpets surmounting millstones and giant cogs, Annunciation (London, 2000).
Sources: Buckman, D., Dictionary of Artists in Britain since 1945, Bristol, 1998, p.218; Burton, A., Andrew Burton: Sculptures 1989--94, Newcastle upon Tyne, 1994; University of Newcastle, Staff Directory of Research Interests, accessed 19 November 2003, www.ncl.ac.uk; Usherwood, P., Beach, J. and Morris, C., Public Sculpture of North-East England, Liverpool, 2000, p.319; Who’s Who in Art, 28th edn, London, 1998, p.70. [SBC2005]

Andrew Burton (b.1961)
Metal sculptor and lecturer at Newcastle University, where he also studied fine art in the 1980s. Burton has works in many public collections and has undertaken commissions and residencies in Stevenage (1992) and Edinburgh (1998). He has exhibited at the RA, Laing and Hatton Galleries, Newcastle, as well as in group shows abroad. Burton was awarded the McGrigor Donald Sculpture Prize in 1990, and the Northern Arts Award to Artists in 1994.
[1] Who’s Who in Art, 27th ed., 1996, p.70. [2] AXIS, Artists Register, 1999. [3] Buckman, p.218. [NE 2000]

Esmond Burton
A stone- and wood-carver. Educated at Marlborough College, Burton was later articled to the carver Lawrence Turner. He was elected in 1919 as a carver to the Art Workers’ Guild. He worked on the reredos of St George’s Chapel in St Paul’s, for the cathedral architect Mervyn Macartney, and collaborated with Goodhart-Rendel in the church of East Clandon, Surrey. His most substantial work was his contribution of figures to the screen of Ripon Cathedral, completed in 1948. His largest single work was a stone eagle on the RAF Memorial Screen at Brookwood Cemetery, designed by Edward Maufe. Burton was first and foremost a medievalist, but he also worked on occasion in a less period-specific style in stone. He was a member of the Vintners’ Company, and was Master from 1948--9. He was also a member and President of the Master Carvers’ Association.
Sources: Sir Henry Blashfield, ‘The Sculpture of Esmond Burton’, Country Life, 27 January 1950, pp.234--5; G.T. Noszlopy and J. Beach, Public Sculpture of Birmingham, Liverpool, 1998. [CL2003]

Esmund Burton
Burton, a stone and wood carver who lived in London, produced decorative and architectural sculpture from the 1920s. Works include: architectural decoration at Trinity College of Music, London 1926; garden vases, Melchet Court, Hampshire 1926; Memorial to Lord Gerald Wellesley, headstone, 1926; panels in Music Room, for Harry Lauder, at Wernfawr, Harlech, Wales; courtyard fountain, illustrated in W. Aumonier’s Modern Architectural Sculpture. Burton was elected as a carver to the Art Workers’ Guild in 1919 and was a member and Past-President of the Master Carver’s Association.
1. ‘A craftsman’s portfolio’, Architectural Review, vol.LX, no.361, December 1926, pp.258--9; 2. W. Aumonier, (ed.), Modern architectural sculpture, New York, 1930, pp.124, 131, 142; 3. Letter from Mr. P. Bentham, Honourable Secretary of the Master Carver’s Association, 18th March 1985. [B1998]

Frederick Bushe (b. 1931)
Sculptor, born in Scotland. He studied at Glasgow School of Art, 1949--53. In 1966--67 he attended the University of Birmingham School of Art, where he gained an Advanced Diploma in Art Education. In 1970 he won an Arts Council award. His public sculptures include 2 + 1 Standing Forms (1975, King’s College, Aberdeen University) and Horizontal Landscape (1981, Landmark Visitors Centre, Carrbridge, Scotland).
(source: Strachan, 1984) [L 1997]

John Bushnell (1636--1701)
Son of a plumber, he was apprenticed to the sculptor Thomas Burman, but journeyed abroad before the conclusion of his service. Bushnell travelled widely, in Spain, Flanders, France and Italy. Only one thing is known for sure about these wanderings, that he assisted the Flemish sculptor Justus le Court with the massive monument to Alvise Mocenigo in the church of S. Lazzaro dei Mendicanti in Venice. On his return to London he was commissioned in 1669 to produce a series of garden statues, now lost, for the country property of Sir Robert Gayer at Stoke Poges. In the following year he carved the four royal figures for the niches on Temple Bar. In 1670 he carved life-size stone figures of Charles I, Charles II and Sir Thomas Gresham for the Cornhill entrance to the Royal Exchange, which are now in the Old Bailey. These commissions exhibit the baroque flourish which Bushnell had acquired during his wanderjahre. This quality is also much in evidence in such church monuments as those to Viscount Mordaunt (1675) in All Saints Church, Fulham, and William and Jane Ashburnham (1675) in St James, Ashburnham, Sussex. Bushnell was an arrogant and quarrelsome character, whose eccentricity sometimes tipped over into madness. The tales which George Vertue has to tell of him, and an account of Vertue’s visit to his workshop after Bushnell’s death make entertaining reading. His sculpture, from the mid-1670s on, grew increasingly wayward and uneven in execution. His last work, the tomb of Thomas Thomond (1701) in the church at Great Billing in Northants is one of the more coherent products of Bushnell’s artistic dementia.
Sources: K. Esdaile, John Bushnell, Walpole Society, vols XV and XXI; Notebooks of George Vertue, I, II & IV, Walpole Society, vols XVIII, XX and xxiv; R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968; M. Whinney, Sculpture in Britain 1530--1830, revised by J. Physick, London, 1988; K. Gibson, ‘The Trials of John Bushnell’, Sculpture Jourrnal, vol. VI, 2001. [CL2003]

James Butler (b. 1931)
Sculptor. Born in London. Educated at Maidstone School of Art and St Martin’s School of Art (1948--52). After National Service he worked as stonecutter for the Giudici Brothers, and from 1960 also taught sculpture and drawing at the City and Guilds School of Art in London. Butler’s reputation as a portrait sculptor began with a commission for a statue of Jomo Kenyatta (Nairobi, 1973). Subsequent public statues include John Wilkes (New Fetter Lane, London and Wilkes University, Pennsylvania), Thomas Cook (Leicester), Billy Wright (Molineux Stadium, Wolverhampton), James Brindley (Canal Basin, Coventry) and Duncan Edwards (Dudley) He is also known for his figures of dancers, children and the female nude. Other work includes the Dolphin Fountain (Dolphin Square, London). Elected ARA in 1964, RA in 1972, FRSBS in 1981, and President of Society of British Portrait Sculptors.
Sources: artist; Strachan, 1984. [Man2004]

James Walter Butler (b.1931)
Butler studied at Maidstone School of Art (1948--50), St Martin’s School of Art (1950--2) and the Royal College of Art. He worked as an architectural carver (1950--3 and 1955--60) and became a tutor of sculpture and drawing at the City and Guilds of London Art School (1960--75). Major commissions include Water Feature with Reclining Nude, Hatfield (1970); portrait statue of President Kenyatta, Nairobi (1973); Monument to the Freedom Fighters of Zambia, Lusaka (1974); Richard III, Leicester, (1980); Dolphin fountain, Dolphin Square, London; The Leicester Seamstress, bronze, Hotel Street, Leicester. He has exhibited regularly at the Royal Academy since 1958. He was elected RA in 1962, ARA in 1968, RWA in 1980, and FRBS in 1981.
Sources: Who’s Who in Art, 26th edition, 1994; Strachan, W.J., Open Air Sculpture in Britain, London, 1984. [WCS2003]

James Walter Butler (b. 1931)
Sculptor in bronze, born 25 July 1931 in London. He studied at Maidstone School of Art, 1948--50, and at St Martin’s School of Art and the Royal College of Art, 1950--2. He worked as an architectural carver from 1950--60 (interrupted by National Service, 1953--5) and taught sculpture and drawing at the City and Guilds of London Art School, 1960--75. His public commissions include statues of President Jomo Kenyatta, 1973, Nairobi; Field Marshal Alexander, 1985, Wellington Barracks, London; Sir John Moore, 1987, Sir John Moore Barracks, Winchester; John Wilkes, 1988, New Fetter Lane, London; James Henry Greathead, 1994, Cornhill, London; the Monument to the Freedom Fighters of Zambia, 1974, Lusaka; The Burton Cooper, 1977, Burton-on-Trent; the Dolphin Fountain, 1988, Dolphin Square, London; and The Stratford Jester, 1995, Stratford-upon-Avon. Butler exhibited at the RA from 1958 onwards and was elected ARA in 1964 and RA in 1972. In 1980 he was elected a Royal West of England Academician. In 1981 he was made a fellow of the Royal Society of British Sculptors and in 1993 was included in the RBS show ‘Chelsea Harbour Sculpture 93’.
Sources: Buckman, D., 1998; Spalding, F., 1990; Strachan, W.J., 1984; Who’s Who 1999. [LR 2000]

James Walter Butler (b.1931)
Born in Deptford, 25th July 1931, he studied at Maidstone School of Art 1948--50, St. Martin’s School of Art 1950--2 and the Royal College of Art. He worked as an architectural carver 1950--3 and 1955--60 and became a tutor of sculpture and drawing at the City and Guilds of London Art School 1960--75. Major commissions include: Water Feature with Reclining Nude, Hatfield 1970; portrait statue of President Kenyatta, Nairobi 1973; Monument to the Freedom Fighters of Zambia, Lusaka 1974; The Burton Cooper, Burton-on-Trent, 1977; Richard III, Leicester, 1980; Dolphin fountain, Dolphin Square, London; The Leicester Seamstress, bronze, Hotel Street, Leicester. Exhibited regularly at the RA from 1958. ARA 1963; RA 1972; RWA 1980; FRBS 1981.
1. Strachan, 1984, p.252; 2. WWA, 25th edition, Havant, 1992. [B1998]

James Butler (b. 1931)
Born in London, Butler trained at Maidstone School of Art (1948--50), and at St Martin’s School of Art (1950--2). He did his National Service with the Signals Corps (1953--5), and then worked for ten years as a stone-cutter, before taking a teaching post at the City and Guilds School of Art. Butler’s first major public commission was for a twice life-size figure of President Jomo Kenyatta for Nairobi. Other public commissions, many of them for modern and historical portrait figures, followed. The most recent has been the Fleet Air Arm War Memorial on the Victoria Embankment. This colossal figure of the winged Daedalus was unveiled by Prince Charles on 1 June 2001. Apart from his portrait statues, Butler has been a prolific sculptor of the female nude. He lives and works at Radway, Warks. He was elected RA in 1972, and became a fellow of the Royal Society of British Sculptors in 1981.
Source: D. Buckman, The Dictionary of British Artists Since 1945, Bristol, 1998. [CL2003]

Timothy Butler (b. 1806)
He won a silver medal from the Society of Arts in 1824, and in 1825 was admitted to the Royal Academy Schools on the recommendation of William Behnes. Two years later he was awarded the Academy’s silver medal. Between 1828 and 1879, Butler exhibited over 100 portrait busts at the Royal Academy. Though his first RA exhibit was entitled Mars, he exhibited no further ideal works. He did however produce a small number of funerary monuments. Butler’s bust of Hugh Falconer (marble, 1866) is in the collection of the Royal Society, and his bust of Dr Jacob Bell (marble, 1863) is in the collection of the Pharmaceutical Society.
Source: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968. [CL2003]

Cackett, Burns Dick (Architects)
Robert Burns Dick (1868--1959) was the architect son of a Newcastle innkeeper and brewer’s agent. In 1893 he entered into partnership with the Charles T. Marshall (1866--1940) and five years later with James Cackett (1860--1928). The firm was responsible for a number of regional landmarks including the Laing Art Gallery; Spanish City, Whitley Bay; and the towers of the Tyne Road Bridge.
[1] Pearson, L., Northern City: An Architectural History of Newcastle upon Tyne, Newcastle, 1996, pp.69,72. [2] DBArch, pp.148 and 602. [NE 2000]

Auguste-Nicolas Cain (1822--94)
Born in Paris, he worked as a joiner before studying sculpture under François Rude, Alexandre Guionnet and Pierre Mene, becoming a sculptor of monumental statuary, wax groups, and small animals and birds in bronze. His best-known public work is the equestrian Monument to Duke Charles of Brunswick, Geneva (1879). He exhibited at the Paris Salon from 1846, and won medals for his work in 1851 and 1863, and at the Exposition Universelle, Paris, 1867. A pair of stone lions by Cain outside the town hall of Oran, Algeria, is discussed, in slightly disparaging terms, by Albert Camus in his essay ‘Minotaur or the Halt at Oran’.
Sources: S. Larni, Dictionnaire de sculpteurs de l’école francaise au dix-neuvième siécle, 1914--21, vol.1; Mackay; Albert Camus, Summer, Harmondsworth, n.d. (Penguin 60s), pp.20--2. [G2002]

Frederick T. Callcott (d. 1923) He exhibited biblical, mythological and genre subjects at the Royal Academy between 1878 and 1921, as well as a number of portrait busts. His bronze group, Going to School, was shown at the RA in 1889, and again at the Paris Salon in 1898. Callcott exhibited also with the Royal Society of British Artists. His Memorial to the Surf Boat Disaster, consisting of a lifeboatman looking out to sea, cast by Elkington’s, was inaugurated on Marine Terrace, Margate, in 1899. Between 1904 and his death in 1921, Callcott contributed relief sculpture to H. Fuller Clark’s interior of the Black Friar public house in the City. [CL2003]

Christopher Campbell (b. 1956)
Sculptor born in Blackpool. He studied at Blackpool College of Technology and then Trent Polytechnic, Nottingham, where he settled. Many of his sculptures are based on animals, his best known perhaps being Camel, wood, 1984, for Milton Keynes General Hospital, commissioned by the Milton Keynes Development Corporation. He has work in Sheffield City Art Galleries.
Source: Buckman, D., 1998. [LR 2000]

Neil Canavan (b.1948)
Newcastle-based sculptor trained at Hull and Newcastle University (1980--5). His work tends to use found materials such as slate and driftwood. He has had a number of commissions in the North East.
[1] Information provided by the artist, 1999. [NE 2000]

Victor Candey
Exhibited regularly at the RA from 1958. Candey was a sculptor local to Coventry who taught for a considerable time at Coventry Art College, becoming Deputy Principal in 1940. He was also secretary of the Coventry and Warwickshire Society of Artists for thirteen years. Candey’s work was mostly exhibited locally, but in 1949 his bust of Alderman Alec Turner was accepted for the Royal Academy Summer Exhibition.
Source: Herbert Art Gallery and Museum/City of Coventry Libraries, Arts and Museums Department, A Survey of Public Art in Coventry, Coventry, 1980. [WCS2003]

George T. Capstick (d. c.1967)
A Liverpool architectural sculptor, he worked mainly in partnership with E.C. Thompson in the firm Thompson & Capstick, which closed down in 1939. Capstick exhibited only once at the WAG, in 1911. He was married to Edward Carter Preston’s sister, Winifred. [L 1997]

Holme Cardwell (1815--64)
Sculptor. Born in Manchester. Trained at Royal Academy Schools on the recommendation of Chantrey. He then went to Paris where he studied under Pierre Jean David, and subsequently to Rome where he established a studio. Exhibited at the RA from 1837 to 1856. Works include Greyhounds Playing, The Good Samaritan and Sabrina. His Manchester connections led to commissions for busts of John Kennedy, Thomas Henshaw and John Dalton. Venus Victrix and Huntsman and a Stag were among his works displayed at the Art Treasures Exhibition, Manchester, 1857.
Source: Gunnis, 1968. [Man2004]

John Edward Carew (1785--1868)
Born at Tramore near Waterford. He is supposed to have studied in Dublin before coming to London in about 1809, where he was engaged as an assistant to Sir Richard Westmacott. He continued in Westmacott’s employ until 1822, when the Earl of Egremont persuaded him to accept an exclusive arrangement to work for him alone. Carew produced a series of very fine genre and mythological figures and groups for the Earl, which are still at Petworth House. However, on discovering at his patron’s death in 1837 that he had been left nothing in the will, he brought an action against the executors, which he lost. Carew produced vigorous, and still surprisingly baroque, devotional sculpture: a high relief of the Baptism of Christ (1835) for the Roman Catholic Church in Brighton, and another of the Assumption of the Virgin (1853) for the Royal Bavarian Chapel in London (now in the Chapel of the Assumption, Warwick Street). Recognition of Carew’s outstanding abilities was implied by his being given the commission to execute the colossal bronze relief of The Death of Nelson, for the plinth of Nelson’s Column in Trafalgar Square. His portrait statues include Edmund Kean as Hamlet (1833, marble, Theatre Royal, Drury Lane, London), and Henry Grattan (1857, marble, Palace of Westminster). His funerary monuments include the memorial to George IV’s mistress, Mrs Fitzherbert, in the Roman Catholic Church in Brighton, and the memorial with portrait statue of William Huskisson (1832), in Chichester Cathedral.
Sources: W.G. Strickland, A Dictionary of Irish Artists, Dublin and London, 1913; R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968. [CL2003]

Alberto Carneiro (b.1937)
Portuguese sculptor. After a childhood studying in religious sculptural workshops, Carneiro studied sculptural practice in Oporto and then at St Martin’s School of Art in London until 1958. He has exhibited frequently and has been awarded a number of Portuguese prizes for his work. Teaches sculpture at the Faculty of Architecture, University of Oporto.
[1] Gateshead, Four Seasons, p.26. [NE 2000]

Sir Anthony Alfred Caro (b. 1924)
Born at New Malden, Surrey. As a schoolboy, Caro worked in the holidays in Charles Wheeler’s studio. In 1944 he graduated in engineering from Christ’s College, Cambridge, going on to serve in the Royal Navy until 1946. After leaving the Navy, he studied sculpture, first at the Regent Street Polytechnic, and then at the Royal Academy Schools. From 1951 to 1953 he worked as an assistant in the studio of Henry Moore. After traditional beginnings, Caro began, in 1954, to produce idiosyncratic figure sculpture, modelled in clay and cast in bronze. Initially this is reminiscent of Henry Moore’s monumentalism, but a more brutal larding-on of the clay from the mid fifties reflects the influence on Caro of Dubuffet and De Kooning. On a visit to New York, 1959/60, he met the critic Clement Greenberg and the sculptor David Smith. From 1962 Caro began to produce abstract welded metal pieces, and a one-man show at the Whitechapel Art Gallery in 1963 consisted entirely of this kind of work. This new direction received further encouragement from a longer stay in the United States in 1963/4. Caro taught at Bennington College and renewed his acquaintance with David Smith. Partly through his teaching at St Martin’s School of Art, Caro became one of the most influential figures in British sculpture in the 1960s and 70s, increasingly at home with abstract invention and frequently employing colour, though in general each piece is monochrome. From the late 1980s Caro’s sculpture has become more culturally allusive, containing references to paintings by Rembrandt and Rubens, to classical music, and to Greek sculpture and drama. It has also taken on an architectural dimension and at times a truly monumental scale. In 2000 Caro collaborated with Norman Foster on the design of London’s Millennium Bridge. He was knighted in 1987.
Sources: The Grove Dictionary of Art, Macmillan, London, 1996 (Lynne Cooke); D. Waldman, Anthony Caro, Oxford 1982; Anthony Caro. Five Decades 1955--1984 (Exh. cat.) Annely Juda Fine Art, London, March--May 1994. [CL2003]

William Douglas Caröe (1857--1938)
Born at Blundellsands, he was the son of the Danish Consul in Liverpool. He was articled to the Liverpool architect Edmund Kirby, 1879, then worked in the London office of J.L. Pearson, 1881--85. In 1885 he was appointed as an architect to the Ecclesiastical Commissioners, becoming Senior Architect in 1895. He ran a very successful practice, winning both ecclesiastical and secular commissions. He was a brother-upholder of the Art Workers’ Guild and also wrote a history of Sefton. For Liverpool he also built the Swedish Seaman’s Church (Gustaf Adolfs Kyrka), Park Lane (1883--84).
(source: Gray, 1985) [L 1997]

William Douglas Caröe (1857--1938)
Architect born 1 September 1857 at Blundellsands, the son of the Danish Consul in Liverpool. He was articled to the Liverpool architect Edmund Kirby, 1879, then worked in the London office of J.L. Pearson, 1881--5. In 1885 he was appointed as an architect to the Ecclesiastical Commissioners, becoming Senior Architect in 1895. He ran a very successful practice, winning both ecclesiastical and secular commissions. In addition to architectural work, he also designed a number of important church monuments, including those to Archbishop Temple in Canterbury Cathedral, Bishop Owen in St David’s Cathedral, Bishop Ridding in Southwell Cathedral, and Bishop Satterlee and Bishop Harding in Washington Cathedral, USA. Amongst his work in Leicestershire not included in the catalogue is the reredos, sedilia and piscina, c.1892, for Holy Trinity, Barrow-upon-Soar, the organ chamber, 1897, for St Bartholomew’s, Quorn, and woodwork, described by Pevsner as ‘excellent’, 1890s, for St Peter and St Paul, Syston. Caröe exhibited at the Royal Academy 1884--1935 and was a brother-upholder of the Art Workers’ Guild. He died 25 February 1938.
Sources: DNB 1931--1940; Gray, A.S., 1985; Pevsner, N. and Williamson, E., 1992; Service, A., 1977. [LR 2000]

Alexander Carrick (1882--1966)
Born in Musselburgh, Carrick trained as a stone-carver with Birnie Rhind before going on to become a student and then teacher at Edinburgh College of Art. He received many commissions for architectural sculpture and war memorials, including those at Ayr, Dornoch, Forres, Fraserburgh, Killin and Berwick. Carrick was also one of the sculptors employed by the architect Robert Lorimer on the Scottish National War Memorial at Edinburgh Castle. After his retirement from teaching in 1942 he moved to the Borders.
[1] Information provided by Elizabeth Doley, 1998. [NE 2000]

Derek Carruthers (b. 1935)
Artist and teacher born in Penrith, Cumberland. He studied art at King’s College, Newcastle University, 1953--7, his teachers there including Victor Pasmore and Lawrence Gowing. Carruthers went on to teach at Sunderland College of Art, 1957--64, and Trent Polytechnic, 1973--88, taking early retirement in the latter year to devote himself wholly to art. His earlier work, primarily sculpture, was abstract and influenced by Pasmore, although in the later seventies he re-embraced figuration and concentrated more on painting. Examples of his work are in Bradford City Art Gallery and the Abbot Hall Gallery, Kendal.
Sources: information from the sculptor; Buckman, D., 1998; Spalding, F., 1990. [LR 2000]

Robert Carruthers (b.1925)
Born in 1925, he studied at Cheltenham College of Art and the Royal College of Art where he was awarded the major travelling scholarship 1953--4. He taught at the RCA, winning the French scholarship in 1958, and at Swindon College of Art. Public works include: The Tower to Ledoux, c.1970. Exhibited at AIA Gallery, London, 1966; Museum of Modern Art, Oxford, 1970 and in subsequent group exhibitions in England. He possibly exhibited at the RA in 1951 and 1955.
1. RAE, vol.I, Wakefield, 1973, p.274; 2. City sculpture, Arts Council of Great Britain, London, 1972. [B1998]

Natasha Carsberg (b.1970)
Carsberg trained at North Essex School of Art (1988--9) and Falmouth School of Art and Design (1989--92). Her chief interest is in exploring the conflict between nature and the man-made environment by creating ephemeral organic forms in durable materials like industrial steel. Since 1993, she has undertaken a number of site-specific commissions for a variety of clients in Southern England. These have included Empty Shell (1994), a Christmas tree design for the Minories in Colchester (1998) and Shell Fragment II (1999).
Source: AXIS, The Axis Database Online, 1999, www.axisartists.org.uk/ [SBC2005]

George Carter (b. 1948)
Born in London, he studied at the University of Newcastle upon Tyne, 1966--72. In 1972--74 he worked as a museum assistant in the Geffrye Museum, London, and, in 1974--79 did free-lance exhibition design, graphics and sculpture. His solo exhibitions include An Order of Field Architecture (a portable roof garden on the roof of the Hatton Gallery, University of Newcastle upon Tyne), and Folly at Marble Hill, Marble Hill House, Twickenham, 1978.
(source: Festival Sculpture, 1984) [L 1997]

Sheila Carter (b.1928) and family
Born in Bolton, Lancashire, 28th March 1928, Sheila Carter studied art at Bolton Art School before winning a scholarship to the Royal College of Art where she studied 1949--51. She graduated as a textile designer before going into industry, producing designs for woven textiles and later on doing some teaching work. She married Ron Carter, a blacksmith, and they gradually developed their own business, the Trapp Forge in Burnley. She now produces all the designs for the forge’s ironwork. Commissions include: Beacon for Europe, London 1993; railing and lighting scheme, Victoria Square, Birmingham; Gates, Manhattan Brewing Company, New York; Chapel for the Loyal Regiment, Preston parish church 1995 and extensive iron-work in Manchester, Cambridge, Blackpool, Glasgow and Edinburgh. Private commissions include: firegrate for HM the Queen, Home Farm, Sandringham; lanterns, chandeliers and other metalwork for the Crown Prince Khalid, Saudi Arabia. The forge is presently producing gates and panels for the Honorable Artillery Company, City Road, London.
1. Telephone conversation with the artist, 8th February 1996; 2. Letter and promotional material from the artist, 8th February 1996. [B1998]

Hilary Cartmel (b. 1958)
Sculptor. Born in Wendover, Buckinghamshire. Studied at Exeter College of Art (1976--7) and Trent Polytechnic (1977--80). Works chiefly on site-specific sculptures, figurative and abstract, in metal. Public commissions include Lambis Shell (Wesley Green School, Oxford, 1983), Traffic Flow (wall relief, Maid Marian underpass, Nottingham, 1985), John Tradescant (Wilkinson Street, Lambeth, 1988), Carmen (Theatre Royal, Nottingham, 1989), Marathon Gates (Don Valley Stadium, Sheffield, 1990), The Filleters’ Gate (Fish Street, Hull, 1992), Portrait of Rotherham (Rotherham Transport Interchange, 1995--7) and A Bird in the Hand (Royal Mail Headquarters, Chesterfield, 1996). Recent work includes artworks at Home Farm Shopping Centre (Beaumont Leys, Leicester, 2001--2) and Henry Pease (with Michael Johnson) (Saltburn, 2001).
Sources: artist; Cavanagh, 2000. [Man2004]

Hilary Cartmel (b. 1958)
Sculptor born at Wendover, Buckinghamshire. She studied at Exeter College of Art, 1976--7, and Trent Polytechnic, 1977--80. She has had residencies at sculpture parks in Germany and in the UK, including Grizedale Forest, various public parks and schools, and at Carlton Hayes Hospital, Narborough, Leicestershire. Her first solo exhibition was at the Air Gallery, London, 1982; others have been at the Centre Gallery, Cheltenham, 1982, and Loughborough Art Centre, 1983. Her public commissions include Lambis Shell, 1983, Wesley Green School, Oxford; Traffic Flow (wall relief), 1985, Maid Marian underpass, Nottingham; The John Tradescant Commemorative Sculpture, 1988, Albert Square, Lambeth, London; Carmen, Theatre Square, and Three Swimmers, Arnold Leisure Centre, both 1989, Nottingham; The Herons Dream, a collaborative work with Christopher Campbell, Michael Johnson and Jonny White, 1991, Waverley Shopping Centre, Edinburgh; The Filleters’ Gate, 1992, Fish Street, Hull; Portrait of Rotherham, 27 screens for Rotherham Transport Interchange, 1995--7; and A Bird in the Hand, 1996, Royal Mail Headquarters, Chesterfield.
Sources: sculptor’s curriculum vitae, dated 1998; Buckman, D., 1998; Spalding, F., 1990; Strachan, W.J., 1984. [LR 2000]

John Cartwright
Sculptor employed by Norbury, Paterson & Co. Ltd, Liverpool. In addition to the figure of St Luke on the Liverpool Eye and Ear Infirmary, Myrtle Street, his work for them included the model for the frieze on the frontage of the Sessions House, William Brown Street (WAG Spring Exhibition 1893, cat. 923). [L 1997]

John Cassidy (1860--1939)
Cassidy studied at the Manchester School of Art and lived in the Manchester area for the rest of his life, establishing a studio in Lincoln Grove. In 1887 he was engaged to give demonstrations in modelling from life at the Manchester Jubilee Exhibition, during which he is said to have modelled more than 200 heads. As his reputation spread, his work was exhibited at the Royal Academy, the Royal Hibernian Academy, and frequently in Manchester City Art Gallery. His public sculpture includes Theology inspiring Science and Art, John Rylands Library, Manchester (1898), Hygeia, Duthrie Park, Aberdeen (1883), Edward Colston, Bristol (1895), Edward VII, Whitworth Park, Manchester (1913), and the Colwyn Bay War Memorial (1922).
Source: John Cassidy: Manchester Sculptor, University of Manchester, John Rylands Library, created 2002, accessed 19 June 2003, www.rylib.man.ac.uk [SBC2005]

John Cassidy (1860--1939)
Sculptor. Born in Littlewood, Slane, County Meath. Educated at Drogheda under a private tutor, and worked on the family farm. He studied art briefly in Dublin but left Ireland for London, eventually going to Manchester where he studied at the School of Art. Within three years Cassidy won four national medals for sculpture and several Queen’s prizes. He began sculpting professionally in 1887. At the Manchester Royal Jubilee Exhibition of that year, he was reported to have modelled 185 portrait busts and received commissions for many more. He decided to establish a studio in Manchester in preference to London. In the late 1880s he had premises in the Barton Arcade, Manchester, describing himself as a ‘modeller for bronze castings’. The decision proved successful, a steady supply of commissions arriving for busts, plaques and statues. Lancashire works include the statues John and Enriqueta Rylands, Ben Brierley, James Dorrian, Benjamin Dobson and Edward VII. Other major works included portrait statues of Edward Colston (Bristol,1895) and Queen Victoria (Belfast). The influence of the New Sculpture was evident in works such as Adrift. He exhibited at the New Gallery, London. After the First World War he sculpted many war memorials in the north of England and north Wales. Elected FRBS in 1914 and became successively Vice-President of the Manchester Academy of Fine Arts and President of the Manchester Sculpture Society. He had a studio in Lincoln Grove, Plymouth Grove, Manchester, but his final years were spent in Ashton upon Mersey. At the time of his death he was working on a bust of Pius XII.
Sources: Manchester Faces and Places (vol.IX); Manchester Evening News, 20 July 1939. [Man2004]

Castle Fine Art Foundry
Fine art bronze foundry based at Oswestry. The foundry cast the figures for Philip Bews’s Time and Tide outside the Customs and Excise Building, 1993, Liverpool, and Tom Murphy’s Statues of John Moores and Cecil Moores, 1996, in Church Street, Liverpool.
Source: Cavanagh, T., 1997. [LR 2000]

David Cation (fl.1740--56?)
Mason and carver known chiefly in connection with his work on the first phase of Glasgow Town Hall (1737--42), and who, together with Mungo Naismith (q.v.), probably carved the keystone masks known as the ‘Tontine Faces’ (see Castle Street, St Nicholas Garden, main catalogue). A Council minute of 1741 records that he was paid half a crown per day for a little over a year, with one shilling a day for his apprentice, but the document does not specify which parts of the building they were working on; a further payment of £3 2s. was made in 1742 for carving the jambs and hearthstones of the chimney-piece. He may also have been responsible for the capitals and other passages of decorative carving on St Andrew’s Parish Church (1739--56), again in collaboration with Naismith.
Source: Cowan, pp.434--5. [G2002]

Bartolomeo Cavaceppi (1716--99)
Italian sculptor, restorer, dealer, collector and antiquary. Apprenticed to the French sculptor Pierre-Etienne Monnot from around 1729 to 1733, he had become a prize-winning student at the Accademia di S. Luca by 1732. From the early 1730s, he appears to have worked on the renovation of sculptures in Cardinal Alessandro Albani’s collection of antiquities. After this was bought by Pope Clement XII in 1733, Cavaceppi worked as the principal restorer of the works housed in the Capitoline Museum in Rome until the end of Benedict XIV’s papacy in 1758. By mid-century, his reputation had extended beyond Italy and, with Albani’s help, he had set himself up as an independent dealer in antiquities. Cavaceppi made a considerable fortune from his copies, casts and elaborately restored fragments, which he largely reinvested in artworks for his museum near the Via del Babuino. In 1770, he was at the forefront of those entrepreneurs who supplied and restored antiquities for the Vatican’s new museum, the Museo Clementino. In his comparatively few original works, Cavaceppi’s style ranges from extremes of high baroque virtuosity (as in his marble portrait Frederick II of Prussia) and the more staid classicism of his marble statues, Ceres (London, Syon House) and Diana (Rome, Villa Ruffo).
Source: Howard, S., ‘Bartolomeo Cavaceppi’, The Grove Dictionary of Art Online, ed. L. Macy, accessed 22 July 2003, http://www.groveart.com [SBC2005]

Joseph Hermon Cawthra (1886--1957)
Sculptor. Trained at Royal College of Art schools. Hermon Cawthra exhibited at the RA 1912--65; elected RBS. His work included imaginative sculpture, portrait busts and architectural sculpture. He produced sculpture for a number of war memorials including Shipley, Yorkshire and the figures representing the armed forces for Bootle (1922--5). Models of the civil and military friezes for the Bury war memorial were exhibited at the RA. His architectural sculpture included Peace and Plenty and Benevolence and Prudence (Corn Street, Bristol, c.1935), Africa House, Kingsway, London and the two niche figures for Harris’s Manchester Town Hall extension, the latter being exhibited at the Royal Academy in 1937. Cawthra also provided statuary for the renovated Burns Mausoleum, Dumfries (1936).
Sources: Royal Academy, 1985; Bénézit, 1976. [Man2004]

Lynn Russell Chadwick (b.1914)
Sculptor, largely self-taught, born 24 November 1914 in London. His earliest ambition was to be a sculptor but he was persuaded by his family to enter an architect’s office. He worked as an architect’s draughtsman from 1933 until the Second World War when he became a Fleet Air Arm pilot (1941--4). After the war, whilst working for architect Rodney Thomas, he made his earliest sculptures. Chadwick’s first experiments were with mobiles but in the early 1950s he began making sculptures based on humanoid and animal forms. His first solo exhibition was in 1950 at Gimpel Fils, London, and his first in the USA was in 1957 at the Saidenberg Gallery, New York. In 1951 he was commissioned to produce two large sculptures for South Bank restaurants for the Festival of Britain and one large sculpture for the International Open-Air Exhibition of Sculpture at Battersea Park. These, his first large-scale commissions, instilled in him the necessity of learning to weld, which he did at the British Oxygen Company’s Welding School at Cricklewood in summer 1950. In 1953 Chadwick gained a national prize in ‘The Unknown Political Prisoner’ competition. In 1952 he made his first appearance at the Venice Biennale and in his second, in 1956, he won the International Sculpture Prize. In 1959 he won first prize at the Concorso Internazionale del Bronzetto, Padua. He has had numerous solo exhibitions, including a retrospective at the Yorkshire Sculpture Park in 1991--2, and his works are represented in the collections of the Arts Council and British Council, in the Tate Gallery and the Victoria and Albert Museum, and in many collections around the world. In 1964 he was appointed CBE; in 1986 he was created Officier and then, in 1993, Commandeur, Ordre des Arts et Lettres, France.
Sources: Buckman, D., 1998; Cerrito, J. (ed.), 1996; Farr, D. and Chadwick, E., 1990; Nairne, S. and Serota, N. (eds), 1981; Spalding, F., 1990; Strachan, W.J., 1984; Who’s Who 1999. [LR 2000]

John Henry Chamberlain (1831--83)
Architect and designer of stained glass, metalwork and domestic furniture, born 26 June 1831 in Leicester, the son of the Revd Joseph Chamberlain. He was first articled to Henry Goddard in Leicester but on completion furthered his training in a London practice. About this time Chamberlain became an ardent advocate of the teachings of John Ruskin, duly visiting Venice and other Italian cities before settling in Birmingham in 1856. His first short-lived partnership was with his friend William Harris. He then worked independently for a number of years before going into a more lucrative partnership in 1864 with William Martin who had already secured much work from Birmingham Corporation and other public bodies. The working relationship was ideal in that whereas Martin’s strengths were in planning and construction, Chamberlain’s was in the actual design of buildings. The practice thereafter produced many buildings for Birmingham, including the College of Arts and Crafts (1881--5), pumping stations for the Corporation Water Works Department, 30 board schools, several churches and numerous private houses. Chamberlain’s preferred sculptor was Samuel Barfield who worked for him on a number of independent schemes including Leicester’s Hollings Memorial, 1864 (see pp.319--20) and Birmingham’s Memorial Fountain to Mayor Joseph Chamberlain (no relation), 1880. Chamberlain’s work was firmly rooted in a Ruskin-influenced Gothic style; Ruskin in turn expressed his appreciation of Chamberlain’s work by selecting the architect as one of the trustees of the St George’s Guild. Chamberlain died suddenly of heart disease on 22 October 1883.
Sources: DNB; Dixon, R. and Muthesius, S., 1985; Noszlopy, G. and Beach, J., 1998. [LR 2000]

John Henry Chamberlain (1831--1883)
Born in Leicester, 16th June 1831, he died in Birmingham, 22nd October 1883. The son of Revd. Joseph Chamberlain, he was articled to Henry Goddard of Leicester and finished his training in London. An ardent disciple of Ruskin, he visited Venice before settling in Birmingham in 1856. In 1864 he joined the architect William Martin who had often worked for the Corporation in a previous partnership. Martin and Chamberlain designed many of the best civic buildings in Birmingham, including the old Reference Library, Ratcliffe Place (1879) and the Midland Institute, Paradise Street (1855--7), both destroyed; thirty Board Schools in Birmingham; pumping stations for the Water Works Department and also churches and private houses. Although Chamberlain was not related to Joseph Chamberlain, the councillor and Mayor of Birmingham 1870--4, he was acquainted with leading public figures in the city. He was appointed member of the Midland Institute Council in 1867 (Hon. Sec. 1868--83); Chairman of the School of Art Board 1874--83; committee member of the old library in Union Street; a founding member and honorary secretary of the Shakespeare Memorial Library and original member of the Shakespeare Club. Appointed Professor of Architecture at both the School of Art and Queen’s College, where he became Vice-President in 1879, and was also chosen by Ruskin as a trustee of the St. George’s Guild. Elected member of the Society of Artists, 1861.
1. L. Stephen, and S. Lee (eds.), Dictionary of national biography, vol.10, London, 1887, pp.2--3; 2. Pevsner, 1966, pp.118--19; 3. Hickman, 1970. [B1998]

Kathleen Chambers (b.1942)
A graduate of the Department of Sculpture at GSA, she has taught in Scotland, Canada and Ireland, and exhibited work at the Pearce Institute, Govan, 1988, and the City Chambers, Glasgow, 1989. She participated in adult education with the Govan Environment Project, 1988--90, and has been Exhibitions Co-ordinator at GSA since 1990.
Source: information provided by the artist. [G2002]

Basil Champneys (1842--1935)
Architect, late exponent of the Gothic style. Educated at Charterhouse and Trinity College Cambridge. Articled to John Prichard, diocesan surveyor of Llandaff Cathedral. Began practice in 1867. Won the Royal Gold Medal in 1912. Specialised in educational buildings including several in Oxford, Cambridge, and London. The Rylands Memorial Library was based on his earlier library at Mansfield College. It was said of him that ‘as an architect he was learned and correct, refined and scholarly, rather than highly original’. He took, it is said, what may be called the ‘literary’ view of architecture, being ‘more concerned that the details should be historically right and symbolically suggestive than that they should satisfy from a more formal point of view’.
Sources: Archer, 1985; Felstead, 1993. [Man2004]

Francis Legatt Chantrey (1781--1841)
Leading early nineteenth-century English sculptor. His first commission was the Revd J. Wilkinson Memorial for Sheffield Parish Church (1805), but it was his bust of the radical reformer John Horne Took, exhibited at the Royal Academy in 1811, which brought him recognition. In the same year, he produced a full-length marble portrait of George III for the Council Chamber of the London Guildhall (destroyed by bombing in 1940). In 1912, Johnes of Hafod commissioned him to carve a memorial to his daughter, Marianne. This work (unfortunately destroyed when Hafod Church was burned in 1932) is considered by Gunnis to have been Chantrey’s noblest monument. Best known for his portrait statues and memorials, Chantrey had a large studio and foundry where he produced his bronze statues, including George Washington, (Boston, USA, 1826), George IV (London, 1829), Sir Thomas Munro (Madras, 1838) and the equestrian statue Duke of Wellington (London, 1840). His major works include The Sleeping Children, Lichfield Cathedral (1817); and his statues Lady Frederica Stanhope in Chevening Church (1823) and James Watt at Handsworth Parish Church (1824). Chantrey despised allegory, and his works are in a naturalistic style, depicting their subjects in modern or ceremonial costume rather than in classical robes. Knighted in 1835, he exhibited at the Royal Academy from 1804 until 1842, and left part of his fortune to it to found what is known as the Chantrey Bequest.
Sources: Cavanagh, T., Public Sculpture of Liverpool, Liverpool, 1997, p.325; Graves, A., Royal Academy Exhibitors 1769--1904, vol.11, London, 1905, pp.40--2; Gunnis, R., Dictionary of British Sculptors 1660--1851, London, 1964, pp.91--6; McKenzie, R., Public Sculpture of Glasgow, Liverpool, 2002, p.479; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.187; Read, B., Victorian Sculpture, New Haven and London, 1982, pp.7, 32, 93; Ward-Jackson, P., Public Sculpture of the City of London, Liverpool, 2003, p.454; Whinney, M., Sculpture in Britain 1530--1830, Harmondsworth, 1964, pp.399--425; Yarrington, A., Lieberman, I.D., Potts, A. and Baker, M., ‘An Edition of the Ledger of Sir Francis Chantrey, R.A. at the Royal Academy, 1809--1841’, Walpole Society, vol.56, London, 1991/2; Yarrington, A., ‘Anglo-Italian Attitudes: Chantrey and Canova’ in The Lustrous Trade: Material Culture and the History of Sculpture in England and Italy 1700--1860, London and New York, 2000, pp.138--41. [SBC2005]

Sir Francis Legatt Chantrey (1781--1841)
Born Norton, near Sheffield, son of a carpenter. Apprenticed to a carver and gilder in Sheffield but did not complete his training. He took up portrait painting and went to London, where he struggled to make a living, turning again to wood carving. Marriage in 1809 to a wealthy cousin, Mary Ann Wale, provided him with the financial security to pursue his interest in sculpting. His first notable work, a bust of Horne Tooke, was exhibited at the RA in 1811. He had first exhibited at the RA in 1804. A statue of George III for the Guildhall was also completed in 1811. A stream of successful commissions for statues, busts and church monuments in the following years secured Chantrey’s position as one of the country’s finest sculptors. Public statues included William Pitt (Hanover Square, London), William Roscoe (St George’s Hall, Liverpool) and marble and bronze statues of James Watt (Handsworth Parish Church, Greenock and Glasgow). He also executed the equestrian statues George IV (for Marble Arch but later Trafalgar Square, 1829) and the Duke of Wellington (Royal Exchange, 1840; completed by Henry Weekes). Elected ARA in 1815, RA in 1818, Royal Society in 1822 and knighted in 1835. Chantrey’s considerable fortune was used, after his wife’s death, to establish the Chantrey Bequest.
Sources: DNB; Gunnis, 1968; Cavanagh, 1997. [Man2004]

Sir Francis Chantrey (1781--1841)
Born at Norton, near Sheffield. He began work in a grocer’s shop, but was then apprenticed to a Sheffield carver and gilder. He received lessons in drawing from the mezzotint engraver Raphael Smith, who visited the carver’s workshop. Becoming disillusioned with wood-carving, Chantrey bought himself out of his apprenticeship and began to paint portraits for a living. He moved to London around 1809 and set up as a portrait sculptor. He had already carved one bust in Sheffield, and in 1811, when he exhibited a very characterful bust of Horne Tooke at the RA (Fitzwilliam Museum, Cambridge), Chantrey’s powers as a portraitist were recognised. In the same year, a full-length marble portrait of George III was commissioned from him by the Corporation of the City of London for the Council Chamber of the Guildhall (destroyed in bombing in 1940). Chantrey established his credentials as a sculptor of church monuments when he showed his moving family group, commemorating Marianne Johnes, at Spring Gardrens in 1812. The group was destined for Hafod in mid-Wales, where it was destroyed in the fire of 1932. Busts, statues and church monuments account for the bulk of Chantrey’s output. Virtually his only imaginary works are two Homeric reliefs, executed in 1828 for Woburn Abbey. Chantrey despised allegory, and his many church monuments are characterised by their direct appeal to sentiment, as in his celebrated Sleeping Children (1817), on the tomb of the children of Revd William Robinson in Lichfield Cathedral. His busts and statues are in a naturalistic style, and depict their subjects in tempered modern or ceremonial costume. His equestrian statues of George IV (Trafalgar Square, London), of Sir Thomas Munro (Madras) and of the Duke of Wellington (Royal Exchange, London), depart from precedent by the rejection of movement in the horse. Chantrey visited Paris in 1815 and Italy in 1819. He was elected ARA in 1815 and full RA in 1818. He was knighted in 1835.
Sources: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968; M.Whinney, Sculpture in Britain 1530--1830 revised by J. Physick, London, 1988; ‘The Chantrey Ledger’ (ed. A. Yarrington), in Walpole Society 1991/2, vol. LVI. [CL2003]

Sir Francis Leggatt Chantrey (1781--1841)
Born in Norton, Derbyshire. He trained as a wood-carver before taking up portrait painting, but became a full-time sculptor after his marriage to a rich cousin enabled him to build his own studio. After achieving major success with a bust of the radical reformer John Horne Took (1811), he received commissions for busts, monuments and full-length portrait statues, including George Washington, Boston, USA (1826), William IV, Trafalgar Square (1829) and Sir Thomas Munro, Madras (1838). Although he ‘never received an hour’s instruction from any sculptor in his life’ (Gunnis), he was one of the most successful and prolific sculptors of his day, building a foundry to maintain his own exacting standards in bronze casting. Elected ARA in 1815 and RA in 1818, he exhibited at the RA from 1804 to 1842, and was knighted in 1835. His marble portrait of Sir Walter Scott in Abbotsford is generally regarded as his finest bust.
Sources: Gunnis; Cavanagh, p.325. [G2002]

Sir Francis Legatt Chantrey (1781--1841)
Born in Norton, near Sheffield, 7th April 1781, he died in London, 25th November 1841. Apprenticed in Sheffield to Mr. Ramsey, a carver and gilder, he was taught to draw by the engraver Raphael Smith. Chantrey’s early career was spent as a portrait painter and wood carver in Sheffield and London. In about 1805 he turned to clay modelling and received his first commission, the Rev. J. Wilkinson Memorial for Sheffield parish church. Chantrey went to Paris in 1814 and Rome in 1819, where he visited the studios of Thorwaldsen and Canova. Most well-known for his portrait statues and memorials, Chantrey had a large studio and foundry where he produced his bronze statues, including those of Sir Thomas Munro, 1838 and the Duke of Wellington, 1840. His bust of Horne Took, which was exhibited at the RA in 1911, brought him recognition. Other major works include the Children of Rev. W. Robinson, Lichfield Cathedral 1812; statue of Lady Frederica Stanhope, Chevening church 1823. Exhibited at the RA 1804--42. He left part of his fortune to the RA to found what is known as the Chantrey Bequest. ARA 1815; RA 1818; Knighted 1835; FRS; FSA.
1. Gunnis, 1964, pp.91--6; 2. Graves, vol.II, 1905; 3. E.G. Underwood, A short history of English sculpture, London, 1933; 4. E.B. Chancellor, The lives of the British sculptors, London, 1911; 5. M. Whinney, English sculpture 1720--1830, Victoria and Albert Museum, London, 1971. [B1998]

Sir Francis Legatt Chantrey (1781--1841)
Born in Derbyshire, his father was a carpenter. In Sheffield he served five years of a seven year apprenticeship to a woodcarver, before breaking his indentures and turning briefly to portrait painting. In 1802 he moved to London where he studied intermittently at the RA Schools, whilst again working for a woodcarver. By 1809 he had married his wealthy cousin and achieved sufficient financial security to be able to move to Pimlico and have his own studio built. From 1804 he exhibited chiefly portrait busts at the RA with great success. As a consequence, both the number of his commissions and the prices he could charge for them increased. Many of the most distinguished men of his time sat for him. He also executed many important full-length portrait statues, as well as bronze equestrian statues of the Duke of Wellington and George IV for London, building his own foundry so that the bronze could be cast to his own exacting standards. His first trip abroad was not until 1814, by which time his personal style was already formed. He was elected ARA in 1815, RA in 1818, and was knighted in 1835 by William IV. He was also an honorary DCL of Oxford University and an honorary MA of Cambridge.
(Sources: DNB; Gunnis, 1951; Whinney, 1988) [L 1997]

Siegfried Charoux (1896--1967)
Sculptor, painter and caricaturist. Born Siegfried Charous in Vienna, son of a dressmaker. Twice wounded in the First World War, Charoux studied 1922--4 at the Vienna Academy under Hans Bitterlich. More influential on his work at this point were the sculptors Josef Heu and Anton Hanak. Between 1923 and 1928, Charoux contributed hard-hitting political cartoons to the Vienna papers, chiefly Der Abend and the Arbeiter Zeitung. These and a number of sculptural projects, of which photographs survive from the inter-war years, testify to Charoux’ strongly held socialist convictions. The principal works which he actually realised in Vienna in these years were the Frieze of Work (1928--9) over the entrance to the Zürcher-Hof housing estate, and the Monument to Gotthold Ephraïm Lessing (1933--5) for the Judenplatz. The latter was destroyed by the Nazis, because Lessing was a Jew. Charoux replaced it with a more stylised figure in 1968. He moved to England in 1935, and was naturalised in 1946. His first major English commissions were for stone figures on new Cambridge University buildings, the School of Anatomy and the Engineering Laboratory. In such post-war works as The Islanders, a colossal plaster relief for the Festival of Britain (1951), and Neighbours, commissioned by the LCC for Highbury Quadrant, he celebrated British stoicism and social cohesion. Other important commissions from these years were the two family groups on the News Room War Memorial, Royal Exchange Buildings, Liverpool (1955), the Memorial to Amy Johnson for Hull, The Cellist (1958, Royal Festival Hall, London) and The Motorcyclist (1962, Shell Building, London). In 1958 Charoux was made an honorary professor of the Republic of Austria. He was elected ARA in 1949 and RA in 1956. He was also a Fellow of the Royal Society of British Sculptors. After his death, his widow donated the contents of his studio to the town of Langenzersdorf, outside Vienna, where the Charoux Museum was opened in 1982.
Sources: DNB; H.K. Gross, Die Wiener Jahre des Karikaturisten und Bildhauers Siegfried Charoux, Vienna, 1997; T. Cavanagh, Public Sculpture of Liverpool, Liverpool, 1997. [CL2003]

Siegfried Joseph Charoux (1896--1967)
Sculptor born in Vienna, of French descent. He studied at Vienna School of Fine Arts, 1919--24, and the Vienna Academy, 1924--28. He worked as a political cartoonist until 1933. His public commissions in Vienna include the Robert Blum Memorial,1928, the Matteotti Memorial, 1930, and, in the Judenplatz, the Memorial to Gotthold Ephraim Lessing, 1933--35, destroyed by the Nazis in 1938 and re-created by Charoux in 1968. Charoux moved to England in 1935 (naturalised in 1946). In 1938 he carved the stone figures for the new School of Anatomy and the Engineering Laboratory at Cambridge. His most famous public commissions in Britain include the Memorial to Amy Johnson for her native Hull, The Cellist, 1958, for outside the Festival Hall, London, and The Motorcyclist, 1962, for the Shell Building, London. In 1948 he received the city of Vienna’s highest award for sculpture and in 1958 was made an honorary professor of the Republic of Austria. In 1949 he was elected ARA and in 1956 RA. He was also a FRBS.
(sources: DNB; Spalding, 1990; Strachan, 1984) [L 1997]

Julius Alfred Chatwin (1830--1907)
Birmingham-based architect. Articled in 1851 to Sir Charles Barry, the most successful British architect of his day, Chatwin became the most prolific church builder and restorer in Birmingham. He built, enlarged or altered almost all the city’s parish churches. Except for alterations he made to St Philip’s (now Birmingham Cathedral) in 1864--9 and 1883, all his decorations were in the Gothic style. In every case he designed all the interior fittings and decorative carvings, most of which were carried out by Robert Bridgeman & Sons of Lichfield. Chatwin also designed domestic and commercial architecture, becoming the architect for Lloyds Bank for over 30 years (from 1864 onwards). He was elected a fellow of the Royal Institute of British Architects in 1863 and a member of the Royal Society of British Sculptors in 1866.
Sources: Chatwin, P.B., The Life Story of J.A. Chatwin 1830--1907, Oxford, 1952; Felstead, A., Franklin, J. and Pinfield, L., Directory of British Architects 1834--1900, London, 1993; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.187. [SBC2005]

Julius Alfred Chatwin (1830--1907)
Born at Great Charles Street, Birmingham in 1830, the son of a button manufacturer, he was educated locally and at London University before working from 1846 as an architect for Branson and Gwyther of Birmingham, then the largest building contractors in the country, designing architectural decoration for them. Articled in 1851 to Sir Charles Barry, the most successful British architect of his day, he returned to Birmingham and opened an office on Bennett’s Hill in 1855 before visiting Italy in 1857. Chatwin was the most prolific church builder and restorer in Birmingham. He built, enlarged or altered almost all of the city’s parish churches, and except for alterations he made to St. Philip’s (now Birmingham Cathedral) in 1864--9 and 1883, all of his decorations were in the Gothic style. In every case he designed all of the interior fittings and decorative carvings, most of which were carried out by Robert Bridgeman and Company of Lichfield. Chatwin also designed domestic and commercial architecture including, from 1866, most of the north side of Colmore Row in an Italian Mannerist style. From the first bank he designed on Temple Row West in 1864, he became the architect for Lloyds Bank for over thirty years. He was also architect to his old school, King Edward VI, from 1866. Philip B. Chatwin, his son, became his partner in 1897, seeing through most of his father’s last works. Made FRIBA 1863; elected to the RBS 1866; its President 1864; Vice-President RSA; Fellow of the Royal Antiquary Society of Scotland.
1. P.B. Chatwin, The life story of J.A. Chatwin 1830--1907, Oxford, 1952. [B1998]

Léon-Joseph Chavalliaud (1858--1921)
Born at Rheims, he studied under Jouffroy and Roubeaud II. He obtained honourable mentions in 1885 and 1886 and was elected as a member of the Société des Artistes Français in 1890. In 1891 he was awarded a third class medal. Shortly thereafter he moved to England, showing at the RA from 1893 onwards. His RA exhibits included portrait busts and statues, in both bronze and marble. Some of his sculptural work was executed for Farmer & Brindley. In Dublin (NG) is his bronze Bust of Revd James Healy, presented by Henry Yates Thompson. His public commissions in Britain include Cardinal Newman (1896, for Brompton Oratory) and Sarah Siddons (1897, for Paddington Green).
(sources: Bénézit, 1976; Gleichen, 1928; Gray, 1985; National Gallery of Ireland, 1975) [L 1997]

Sir Henry Cheere (1703--81)
Son of a Huguenot merchant residing in Clapham, South London. He was apprenticed to Robert Hartshorne. In 1726 he set up shop with Henry Scheemakers in St Margaret’s Lane, Westminster. The only monument on which the two sculptors are known to have collaborated is that to the Duke of Ancaster (d. 1728) at Edenham, Lincs. In 1734, Cheere was commissioned to produce three allegorical figures and a statue of Queen Caroline for Queen’s College, Oxford, and in the same year completed the statue of William III for the Bank of England. By building up a circle of contacts among wealthy Huguenots and in the court circle of Frederick, Prince of Wales, Cheere offered serious competition to the immigrant sculptors, J.M. Rysbrack and P. Scheemakers. Between 1730 and 1738 Cheere profited from the presence in his workshop of L-.F. Roubiliac. The young Sir Robert Taylor was also apprenticed to him in this period. Perhaps the most ambitious of Cheere’s church monuments is that to the 19th Earl of Kildare in Christchurch Cathedral, Dublin (1746). A large proportion of the workshop output, however, took the form of less substantial memorials and chimneypieces, in which elegant rococo ornament and reliefs stand out against coloured marble backgrounds. Cheere avidly sought public offices in the Parish of Westminster, and was knighted in 1760. Besides his own workshop, he was in long-term partnership with his brother, John, who in 1739, had taken over the lead statuary business of the Nost family, at Hyde Park Corner.
Sources: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968; M. Craske, ‘Contacts and Contracts: Sir Henry Cheere....’, in The Lustrous Trade, eds C. Sicca and A. Yarrington, London and New York, 2000. [CL2003]

John Cheere (d.1787)
In around 1739, John Cheere, in partnership with his brother, Sir Henry Cheere, took over the business of John Nost, including the yard and moulds for his lead-cast figures. Contemporary accounts describe the figures as life-size, and frequently painted. In 1752, Cheere produced Mars for Hampton Court. Augusta and Flora, 1759, were augmented by seven other mythological subjects in 1768, for Longford Castle. Two large wyverns for the brick gate-piers of Glynde, Sussex were made in 1759, and between 1762 and 1763 lead figures of Apollo, Venus, Mercury, Livia, Augusta, Flora and Fortina were made for Bowood. Sphinxes were supplied for the bridge at Blenheim in 1773, for Somerset House in 1778, and for Castle Hill, Devon (together with a lion and lioness). For Stourhead he made nine lead statues, including the River God in the grotto, often erroneously attributed to Rysbrack. For Castle Howard, he made two lead figures, a Dancing Faun and a Roman Gladiator. Wedgwood purchased from Cheere busts of Shakespeare, Plato, Homer and Aristotle, and in 1769 he produced the lead statue of Shakespeare which was presented by Garrick to the Corporation of Stratford-upon-Avon, and which was erected on the north side of the Town Hall. As well as working in lead, Cheere also worked in plaster, producing stock statues and busts of figures such as Homer, Virgil, Socrates, Milton, Chaucer and Shakespeare. His many works in plaster include four casts of classical figures for the Pantheon at Stourhead, 1766. He also made the chimney pieces for Kirtlington Park, Oxfordshire. Following his death in 1787, his nephew, Charles Cheere, offered the Royal Academy the figure of their choice from his uncle’s collection, and they selected Susannah. Samuel Whitbread purchased a number of the lead statues for Southill Park, Bedfordshire. The figure of Shakespeare was presented by Charles Cheere to Drury Lane Theatre, where it first stood in the portico, but latterly in the entrance hall.
Source: Gunnis, R., Dictionary of British Sculptors 1660--1851, London, 1964. [WCS2003]

Caius Gabriel Cibber (1630--1700)
Born in Flensborg, at that time part of Denmark, but now in Germany. He travelled to Italy in 1647, with a grant from the Danish king, Frederik III. He came to England around 1655, where he found employment as foreman to the sculptor, John Stone. Stone, at the Restoration, was appointed Master Mason at Windsor, and after his death, in 1667, Cibber was appointed sculptor to Charles II. The following year Cibber joined the Leathersellers’ Company. Cibber shares with John Bushnell the credit for having introduced a version of continental baroque style into England. Cibber’s contribution was the larger and more consistent, above all because it was reinforced by an understanding of the science of allegory. His first important public commission was the relief on the plinth of the Great Fire Monument, showing Charles II Succouring the City (1674). This was followed by the two reclining male figures, representing Raving and Melancholy Madness, for the gate of Bedlam Hospital (c.1680), and the Four Rivers Fountain in Soho Square (c.1681), from which only the much worn figure of Charles II survives in situ. Though he certainly produced many more, Cibber’s only documented church monument is that to Thomas Sackville (1677) at Withyham, East Sussex, with its reclining figure of the commemorated youth, flanked by kneeling figures of his mourning parents. Cibber produced allegorical figures for Trinity College Library in Cambridge (1681) and statuary for the chapel, staircase and garden at Chatsworth (1687--91). His last works, from the 1690s, were for Christopher Wren: garden urns and the pediment with Hercules Triumphing Over Superstition, Tyranny and Fury (1691--6) for Hampton Court, and work at St Paul’s including the relief of a Phoenix Arising from the Ashes in the pediment of the South Transept (1697--1700). Cibber was the architect of the Danish Church (1694--6) in Wellclose Square near the Tower of London, which he adorned with wood and lead statuary. The church has been demolished, but most of the sculpture survives.
Sources: H. Faber, Caius Gabriel Cibber, Oxford, 1926; M.Whinney, Sculpture in Britain 1530--1830, revised by J. Physick, London, 1988. [CL2003]

Giovanni Ciniselli (1832--83)
Born in Novate near Milan and studied at the Milan Academy. Established a studio in Rome, where he was celebrated for his sculptures of mythological and religious subjects. His ‘fantastic creations attracted strong partisans at all the exhibitions at which they appeared’. Sculptures include The Ruses of Love, Dawn and Dusk, Suzanne, and Ruth. Awarded medal at Melbourne Exhibition of 1881.
Source: Bénézit, 1976. [Man2004]

Giovanni Ciniselli (1832--83)
Italian sculptor, born in Novate near Milan, he studied at the Brera Academy and also in Magni’s studio. In 1856 he settled in Rome, specialising in portraits, mythological subjects and figures from the Old Testament, and exhibiting in both Europe and Australia. He died in Rome.
Source: Stevenson (n.d.). [G2002]

Thomas John Clapperton (1879--1962)
Born in Galashiels, the son of a photographer, he studied at Galashiels Mechanics’ Institute, 1896, GSA, 1899--1901, Kennington School of Art and the RA Schools, 1904--5, where he was student assistant to Sir William Goscombe John (q.v.). He later studied in Paris and Rome on a travelling scholarship. Returning to London, he set up studios at Chelsea and St John’s Wood, receiving commissions for the Mungo Park Memorial and Flodden Memorial in Selkirk (1913), and allegorical figures on the National Museum of Wales, Cardiff (1914--37). After war service in India, he executed war memorials at Canonbie (1919), Minto (1921) and Galashiels (1925). He executed a colossal frieze for Liberty’s store in London (1926), and in 1929 produced the statue of Robert the Bruce, at the portcullis, Edinburgh Castle. He also made work in New Zealand, Canada and California. His last important work was the 49th West Riding Reconnaissance Memorial, Wakefield Cathedral (1947). Elected ARBS in 1923 and FRBS in 1938, he exhibited at the RGIFA from 1915 to 1951. He died at Upper Beeching, Sussex.
Source: Parker, passim. [G2002]

Michael Clark (1918--90)
Born in Cheltenham, 19th December 1918, died 24th January 1990. Son and pupil of Philip Lindsey Clark. He studied art at the Chelsea School of Art 1935--7 and sculpture at Kennington City and Guilds School 1947--50. Largely producing religious works, he is represented in over a hundred churches, schools and public buildings in Britain. Sculptor in stone, wood, bronze and glass fibre, his major works include: relief of Christ, St. Edward and St. Peter, awarded the RBS ‘Best work of the year’ medal; Glorious Assumption, carving in wood, The Friars, Aylesbury, awarded the Otto Beit medal 1960; Risen Christ, Church of Our Lady, St. John’s Wood, London. Exhibitions; RA 1949 onwards. Otto Beit Medal for Sculpture, 1960; 1978; Silver Medal, 1967. ARBS 1949; FRBS 1960; President RBS 1971--6.
1. Royal Society of British Sculptors, Annual Report and Supplement, 1960, p.8, illus. p.22; 2.WWA, 20th edition, Wokingham, 1982, p.83; 3. Letter from the artist, 4th February 1985. [B1998]

Philip Lindsey Clark (1889--1977)
Born in London, the son of the sculptor Robert Lindsey Clark, he studied with his father, at Cheltenham School of Art (1905--10), and at the City and Guilds School, Kennington (1910--14). He received the Distinguished Service Order after the First World War, and on the return of peace continued his training at the Royal Academy Schools (1919--21). He exhibited at the Royal Academy from 1920 to 1952, and also showed work at the Paris Salon from 1921. Clark produced a number of War Memorials, including one for Southwark (1923--4), and one commemorating the Cameronians for Kelvingrove Park, Glasgow. From 1926 to 1928 Clark provided architectural sculpture for buildings in the City by the architect G. Val Myer. From 1930 all his RA exhibits were of religious and often specifically Catholic subjects, and from this time he worked largely on church commissions. He became a Carmelite Tertiary, and eventually retired from London to live in the West Country. Amongst many religious works from his later years one could mention the Hanging Rood (painted and gilded pinewood, 1950) for St Mary’s Church, Crewe, and the reliefs of St Augustine and the Virgin and Child (precast stone, 1962) on the west front of St Augustine’s Church, Hoddesdon, Herts.
Sources: G.M. Waters, Dictionary of British Artists Working 1900--1950, Eastbourne, 1975; J. Johnson and A. Greutzner, The Dictionary of British Artists 1880--1940, Woodbridge, 1976; F. Spalding, Twentieth Century Painters and Sculptors, Woodbridge, 1990; D. Buckman, The Dictionary of British Artists since 1945, Bristol, 1998. [CL2003]

Philip Lindsey Clark (1889--1977)
Son of the sculptor Robert Lindsey Clark, he studied in Cheltenham, 1905--10, the City and Guilds School, Kensington, 1910--14, and at the RA Schools after serving in the First World War. He exhibited at the RA from 1920 and at the Salon des Artistes, Paris from 1921. His output included war memorials, sculptures for churches and cathedrals, and the Monument to William Dennis, the ‘Potato King’, at Kirton, Lincolnshire (1930).
Sources: Waters; Mackay. [G2002]

Robert Lindsey Clark (fl.1890s--1920s)
Based in Cheltenham, he was a sculptor and father of Philip Lindsey Clark (1889--1977). Between 1895 and 1924, he exhibited four pieces at the Royal Academy: a relief Psyche, Cupid and Fortuna (1895), a statuette, Cupid (1901), an equestrian statuette, Triumph (1923), and The Limber (1924, now in Cheltenham Museum and Art Gallery).
Sources: Graves, A., Royal Academy Exhibitors 1769--1904, vol.II, London, 1905, p.66; Royal Academy Exhibitors 1905--1970, vol.II, Wakefield, 1973, p.68. [SBC2005]

Edward Clarke
Clarke’s best-known work was the sculpture in Llandaff Cathedral, carved during the 1860s. It included scenes on the font showing the story of the Flood (destroyed during the Second World War), four relief panels for the pulpit, including St John the Baptist and Moses, figures of the Evangelists in the tympana of the sedilia, and a representation of the Lamb and Flag in the central tympanum of the reredos.
Source: Read, B., Victorian Sculpture, New Haven and London, 1982. [WCS2003]

Geoffrey Clarke (b.1924)
As a sculptor and graphic designer, Clarke is best known for his large-scale abstract works. He trained at Preston and Manchester Schools of Art before the Second World War. He studied at the Royal College of Art (1948--52) and taught there in the Light Transmission and Projection Department (1968--73). He won the silver medal at the Milan Triennale and represented Britain at the Venice Biennale in 1952, 1954 and 1960. His commissions for a range of new buildings include The Spirit of Electricity, Thorn House, London (1958), the ceremonial portals for the Civic Centre at Newcastle upon Tyne (1969) and Cast Aluminium Relief for the Nottingham Playhouse. Clarke has works in many permanent collections including Coventry Cathedral, Liverpool and Manchester Universities and the Tate Gallery. He was elected ARA in 1970 and RA in 1976.
Sources: Strachan, W.J., Open Air Sculpture in Britain, London, 1984; Who’s Who in Art, 23rd edition, 1988; Black, P., Geoffrey Clarke: Symbols of Man: sculpture and graphic work 1949--94, London, 1994; Buckman, David, Dictionary of Artists in Britain since 1945, Bristol, 1998; Yorkshire Sculpture Park, Geoffrey Clarke, RA: sculpture and works on paper, 1950--1994, Wakefield, 1994. [WCS2003]

Geoffrey Clarke (b. 1924)
Sculptor, etcher, and designer in stained glass and mosaic, born 28 November 1924 in Darley Dale, Derbyshire. He studied at Preston School of Art, 1940--1, and Manchester School of Art, 1941--2. His studies were interrupted by the Second World War (he served in the RAF, 1943--6), after which he spent a year at Lancaster and Morecambe School of Arts and Crafts, finishing off at the Royal College of Art, 1948--52. He later taught at the RCA in the Light Transmission and Projection Department, 1968--73. Clarke won the Silver Medal at the Milan Triennale, 1951, and appeared at the Venice Biennales of 1952 and 1960. His first solo exhibition was at Gimpel Fils in 1952 and a touring retrospective of his works was organised by Ipswich Museums and Galleries, 1994--5. His commissions include an iron sculpture, 1952, for the Time-Life Building, Bond Street, London; the High Altar Cross and candlesticks, Flying Cross and Crown of Thorns, 1953--62, for Coventry Cathedral; The Spirit of Electricity, 1958, for Thorn House in London; Relief (‘Bubble Chamber Tracks’), 1966--8, for the University of Liverpool; ceremonial entrance portals, 1969, for the civic centre at Newcastle upon Tyne; and Cast Aluminium Relief, c.1964, for the Nottingham Playhouse. He was elected ARA in 1970 and RA in 1976. Examples of his work are in the collections of the Arts Council, Tate Gallery, Victoria and Albert Museum, and in the Leeds Sculpture Collections.
Sources: Black, P., 1994; Buckman, D., 1998; Cavanagh, T., 1997; Nairne, S. and Serota, N. (eds), 1981; Royal Academy of Arts, 1972; Spalding, F., 1990; Strachan, W.J., 1984; Who’s Who 1999. [LR 2000]

Geoffrey Clarke (b.1924)
Sculptor and graphic designer best known for large-scale abstract works. Trained at Preston and Manchester Schools of Art and then served in the RAF, 1943--7. He studied at the Royal College of Art 1948--52, and taught there in the Light Transmission and Projection Department, 1968--73. He won the silver medal at the Milan Triennale and represented Britain at the Venice Biennale in 1952, 1954 and 1960. His commissions for a range of new buildings made him one of the leading public artists of the day and included: The Spirit of Electricity, for Thorn House in London (1958); the ceremonial entrance portals for the Civic Centre at Newcastle upon Tyne (1969); and Cast Aluminium Relief for the Nottingham Playhouse. Clarke has works in many permanent collections including Coventry Cathedral, Liverpool and Manchester Universities, the Tate Gallery and the British Council. Ipswich Museums and Galleries organised a touring retrospective of Clarke’s work in 1994--5. He was elected ARA in 1970 and RA in 1976.
[1] Nairne and Serota, p.250. [2] Strachan, p.253. [3] Who’s Who in Art, 23rd ed., 1988, p.87. [4] Black, P., Symbols of Man, 1995, passim. [5] Buckman, p.266. [NE 2000]

Geoffrey Clarke (b. 1924)
Born in Derbyshire, he trained at Preston and Manchester Schools of Art and then served in the RAF, 1943--47. He studied at the Royal College of Art, 1948--52, and taught there in the Light Transmission and Projection Department, 1968--73. He won the silver medal at the Milan Triennale and appeared at the Venice Biennale in 1952 and 1960. His first one-man exhibition was at the Taranman Gallery in 1976. His commissions include The Spirit of Electricity for Thorn House in London (1958), the ceremonial entrance portals for the civic centre at Newcastle upon Tyne (1969) and Cast Aluminium Relief for the Nottingham Playhouse. He was elected ARA in 1970 and RA in 1976.
(sources: Nairne & Serota, 1981; Strachan, 1984; Tate Gallery Liverpool, 1988) [L 1997]

Robert E. Clatworthy (b.1928)
Sculptor born 31 January 1928 at Bridgwater, Somerset. He studied at the West of England College of Art, 1944--6; Chelsea School of Art, 1949--51; and the Slade School of Fine Art, 1951--4. He later taught at the West of England College of Art, 1967--71, and was visiting tutor at the Royal College of Art, 1960--72. He was a member of the Fine Art Panel of the National Council for Diplomas in Art and Design, 1961--71; a governor of St Martin’s School of Art, 1970--1; and Head of the Department of Fine Art, Central School of Art and Design, 1971--5. His first solo exhibition was at the Hanover Gallery, London, in 1954, and his work was included in the open air sculpture exhibitions at Holland Park, 1957, and Battersea Park, 1960 and 1963; in ‘British Sculpture in the Sixties’, Tate Gallery, 1965; and in ‘British Sculpture ’72’, Royal Academy, 1972. Clatworthy’s public commissions include The Bull, 1961, Alton Housing Estate, Roehampton; Horse and Rider, 1984, Finsbury Avenue, London. He was elected ARA in 1968 and RA in 1973. Examples of his work are in the Tate Gallery and the Victoria and Albert Museum.
Sources: Buckman, D., 1998; Nairne, S. and Serota, N. (eds), 1981; Royal Academy of Arts, 1972; Spalding, F., 1990; Strachan, W.J., 1984; Who’s Who 1999. [LR 2000]

Clegg and Knowles
Architects. Charles Clegg (1828--1922). Articled to Edwin Hugh Shellard for five years. Started practice 1851. In partnership with John Knowles as Clegg and Knowles. Took his son Charles Theodore Clegg into partnership from 1882. John Knowles, partner of Charles Clegg. The firm was responsible for many commercial buildings in Manchester city centre, including the Pickles Building on Portland Street and Princess Street.
Sources: Tracy, 1899; Felstead, 1993. [Man2004]

Benjamin Clemens
Sculptor. Based in London, working in first half of twentieth century. Works include Cain (1904), Immolate (1912), VAD Worker (1920), Stockwell War Memorial (1922) and Madonna and Child (St Stephen’s, Bournemouth). Clemens also sculpted the lions for the Government Pavilion, British Empire Exhibition, Wembley, 1923. He died 27 December 1957.
Sources: Bénézit, 1976; Royal Academy, 1985. [Man2004]

John Clinch (1934--2001)
Born in Folkstone, Kent, he studied fine art at Kingston School of Art, 1951--5, and sculpture at the RCA, 1957--61. A regular participant in group exhibitions since 1960, he held his first solo show in 1982. He has received several prestigious awards, including the Sir Richard Sainsbury Scholarship (1962), an ACGB Major Award (1979) and a Welsh Arts Council Travel Award (1989). His multi-figure, polychrome group in glass reinforced polyester, Wish You Were Here, was commissioned for the International Garden Festival at Liverpool in 1984. He was an ARBS and ARCA.
Source: Cavanagh, pp. 325--6. [G2002]

John Clinch (b. 1934)
Sculptor born at Folkestone, Kent. He studied fine art at Kingston School of Art, 1951--5, and specialised in sculpture at the Royal College of Art, 1957--61. In 1962 he was awarded the Sir Robert Sainsbury Scholarship. He taught at the University of Calgary, Canada, 1969--70, and from 1970 at Trent Polytechnic. In 1979 he won the Arts Council Major Award and in 1989, the Welsh Arts Council Travel Award. Clinch has shown in group exhibitions since 1960 and had his first solo exhibition at Graffiti, London, in 1982. In 1984 he was commissioned by the Merseyside Development Corporation to produce a sculpture (Wish You Were Here) for Liverpool’s International Garden Festival. Other public sculptures by Clinch include The Great Blondinis, Swindon city centre, and People Like Us, Cardiff Bay. He is an Associate of the Royal Society of British Sculptors and was included in the RBS exhibition ‘Chelsea Harbour Sculpture 93’. His sculpture, Mr ‘Fats’ Waller, 1981, is in the collection of the Arts Council.
Sources: Buckman, D., 1998; Chelsea Harbour Sculpture 93; Festival Sculpture, 1984; Spalding, F., 1990. [LR 2000]

John Clinch (b.1934)
Studied Fine Art at Kingston School of Art, 1951--5 and sculpture at the Royal College of Art, 1957--61. His usually figurative work is often based on popular imagery of the past. Wish You Were Here was one of the sculptures chosen to remain on permanent display at the close of Liverpool’s International Garden Festival in 1994; other works include The Great Blondinis, Swindon, and People Like Us at Cardiff Bay. He has shown in group exhibitions since 1960 and had his first one-man exhibition in London in 1982.
[1] PSoL, pp.64, 325. [2] Buckman, p.271. [NE 2000]

John Clinch (b. 1934)
Born at Folkestone, Kent, he studied Fine Art at Kingston School of Art, 1951--55, and sculpture at the Royal College of Art, 1957--61. In 1962 he was awarded the Sir Robert Sainsbury Scholarship. In 1979 he won the Arts Council Major Award and, in 1989, the Welsh Arts Council Travel Award. He has shown in group exhibitions since 1960 and had his first one-man exhibition in London in 1982. He is an ARBS and an ARCA.
(sources: Chelsea Harbour Sculpture 93; Festival Sculpture, 1984; Spalding, 1990) [L 1997]

Coade and Sealy (fl.1769--1820)
Based in Lambeth, Coade and Sealy manufactured artificial stone for architectural use including keystones, capitals and medallions, as well as busts, statues and monuments. Originally set up by Mrs Eleanor Coade (1733--1821) in 1769, the firm became known as Coade and Sealy after she went into partnership with her cousin John Sealy (1749--1813) in 1799. On the death of Sealy, Mrs Coade took on another cousin, William Croggan, who eventually gained sole control of the company on her death in 1821. He was succeeded by his son Thomas in 1835, but there was little demand for artificial stone by this time, and the moulds were sold in 1843. The firm employed several leading English modellers and designers, including John Bacon the Elder, John Rossi, John Flaxman, James George Bubb and Thomas Banks. Their works include the gate piers, Strawberry Hill, for Horace Walpole (1772); Monument to Sir Henry Hillman, formerly at St James’s, Hampstead Road, London, (c.1800); and the massive tympanum of the west pediment of the Royal Naval Hospital at Greenwich (1810--12).
Sources: Cavanagh, T. and Yarrington, A., Public Sculpture of Leicestershire and Rutland, Liverpool, 2000, p.361; Gunnis, R., Dictionary of British Sculptors 1660--1851, London, 1964, pp.105--9; Kelly, A., Mrs. Coade’s Stone, Upton upon Severn, 1990; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.188. [SBC2005]

Coade Stone (firm fl.1769--1843)
Mrs Eleanor Coade came to London from Lyme Regis and set up her artificial stone business in about 1769. It was to prove the most successful firm of its kind, but it had been preceded by other similar enterprises. Richard Holt had developed a special kind of terracotta for outdoor statuary in a Lambeth yard in the late 1720s. The journalist and architectural entrepreneur, Batty Langley, produced a recipe for composition statuary in about 1731, and, later, there was to be an artificial stone yard at Goldstone Square, Whitechapel. The Coade Yard at Pedlar’s Acre, Lambeth seems to have grafted onto a business in the vicinity, which had been producing an improved version of Holt’s terracotta, with the additional ingredient of finely ground glass or quartz. Mrs Coade ran her business in partnership with her nephew John Sealey (1749--1813). They employed skilled artists, sometimes with Royal Academy training. (J. Bacon the Elder, J. Flaxman, J.C.F. Rossi, J. Bubb, J. De Vaere and T. Banks) and some reputable architects, to model or design their products. Their output was immense and their market virtually world-wide. It included architectural ornament, entire architectural features, such as ornamental screens, chimneypieces, garden statuary and ornaments, church monuments, busts of celebrities, and figures of school-children for charity schools. Full-length portrait statues were not beyond their capabilities. Examples of Coade Stone can be seen on many London buildings. Probably their most ambitious work was the sculpture, modelled from designs by Benjamin West for the west pediment of Greenwich Palace (1810--13). After Eleanor Coade’s death in 1796, the firm was taken over by her daughter, also named Eleanor. When John Sealey died, Eleanor Coade the Younger took her nephew, William Croggan as her partner. Croggan was soon in control of the firm. He was succeeded in turn by his son, Thomas John Croggan. The firm was finally closed in 1840, and the moulds sold off in 1843.
Sources: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968; A. Kelly, ‘Mrs Coade’s Stone’, Connoisseur, January 1978; A. Kelly, Mrs Coade’s Stone, Hanley Swan, 1990. [CL2003]

Coade and Sealy, Lambeth (active 1769--1820)
Coade and Sealy manufactured artificial stone for architectural use including keystones, capitals, and medallions, as well as busts, statues and monuments. Coade stone was hardwearing, relatively inexpensive and allowed for particularly fine detailing as the cast moulds were sometimes hand-finished before baking. Originally run by Mrs. Eleanor Coade (1708--96) and her nephew John Sealy (1749--1813), the business was taken over on Mrs. Coade’s death by her daughter, also Eleanor Coade (1732--1821). Her cousin, William Croggan, succeeded Sealy and eventually gained complete control of the company. Several leading English modellers and designers were employed by the firm, including John Bacon the Elder (1740--99) as chief sculptor, as well as John Rossi, Flaxman, James George Bubb and Thomas Banks. Works include: gate piers, Strawberry Hill, for Horace Walpole 1772; Monument to Sir Henry Hillman, formerly at St. James’s, Hampstead Road, London c.1800; a massive tympanum, west pediment, Greenwich Palace 1810--13.
1. Gunnis, London, 1964, pp.105--9; 2. A. Kelly, Mrs. Coade’s Stone, 1990. [B1998]

Coade’s of Lambeth, Coade and Sealy (firm fl. 1769--1843)
Coade’s of Lambeth, a manufactory of artificial stone, was set up by Mrs Eleanor Coade in 1769. One of her advertisements precisely summed up the unique properties that made her product so successful: the stone, it claimed, has ‘a property peculiar to itself of resisting the frost and consequently of retaining that sharpness in which it excels every kind of stone sculpture’. This was not an inflated claim, as is attested by the good condition, even after nearly two hundred years, of much of the outdoor sculpture produced by her firm. It was for many years assumed that the Mrs Eleanor Coade referred to as the owner of the firm was the widow of George Coade (d. 1769), a wool merchant of Lyme Regis and Exeter. It has, however, been established by Alison Kelly that the owner was not the widow (1708--96) but the daughter, also called Eleanor (1733--1821). It was known that the daughter never married and the confusion arose from the contemporary use of ‘Mrs’ as a courtesy title for women in business whether they were married or not. Eleanor Coade had been born 3 June 1733 in Exeter. Following her father’s declaration of bankruptcy in 1759 the family moved to London. Eleanor soon established herself as a businesswoman and in 1769 purchased an artificial stone manufactory at Lambeth from Daniel Pincot, whom she retained for a short while as manager. He was replaced in 1771 by the sculptor John Bacon the Elder who for 28 years until his death in 1799 was to be not merely her manager but also her chief designer and modeller. Apart from the durability and relative cheapness of the artificial stone, the other principal ingredient in the firm’s success was that it employed as designers and modellers, in addition to Bacon, some of the finest sculptors of the day including (on an occasional basis) J.C.F. Rossi, John Flaxman and Thomas Banks. In 1799 Eleanor Coade went into partnership with her cousin, John Sealy (1749--1813), and the firm operated thereafter as Coade and Sealy. On the death of Sealy, Coade took on William Croggon (fl.1814--35) as manager and he in turn purchased the company on Coade’s death in 1821. The firm continued until Croggon’s death in 1835, at which point his son Thomas Croggon succeeded him. There was, however, no longer such demand for artificial stone and the moulds were finally sold off in 1843. Coade’s output was prolific, ranging from garden ornaments and architectural decoration through statues and monuments to what is perhaps its most ambitious and impressive work, the Nelson Pediment, designed for the firm by Benjamin West for the Royal Naval College (formerly Hospital) at Greenwich, 1810--12.
Source: Gunnis, R., [1964]; Kelly, A., 1990; Turner, J. (ed.), 1996. [LR 2000]

Douglas Cocker (b.1945)
Cocker trained at Duncan of Jordanstone College of Art in Dundee between 1963 and 1968, winning many awards that enabled him to travel extensively in Greece, Italy and America. Early on in his career, his box-like constructions incorporating both photographs and found objects conveyed a sense of place, as in his 1977 Perthshire Series. From 1981 to 1990, he taught sculpture at Gray’s School of Art, Aberdeen. It was during this period that he began to produce larger works that explored the themes of confinement and control, such as his State of a Nation, shown at the Scottish Sculpture Open at Kildrummy Castle (1985). During the early 1990s, Cocker continued to address this theme in smaller works such as Coda (1989) and Two Tribes/40 Shades (1994), both of which show a series of small objects in grids within boxes. More recently, his works have become more fluid, consisting of many sculpted wooden forms arranged in improvised patterns in a way that suggests a greater openness and optimism. His public art commissions are less imaginative. They include Song of Sisyphus, Nene Park, Peterborough (1988); Meridian for Mobil (UK), Aberdeen (1989); Conversation for the University of Glamorgan (1993); Font for Staffordshire County Council (Burton upon Trent, 1994); and Poet and Scholar for Ayr High Street (1995).
Sources: Buckman, D., Dictionary of Artists in Britain since 1945, Bristol, 1998, p.274; Cocker, D., Sculpture and Related Works 1976--86, Glasgow, 1986; Essex County Council, Doug Cocker: Essex Fine Art Fellowship 1991--92, Chelmsford, 1992; Spalding, F., 20th Century Painters and Sculptors, Dictionary of British Art, vol.6, Woodbridge, Suffolk, 1990, p.122; Talbot Rice Gallery, Doug Cocker: Sculpture and Drawings 1987--1995, Edinburgh, 1995. [SBC2005]

Doug Cocker (b.1945)
Born in Perthshire, he studied at Duncan of Jordanstone College of Art, Dundee. In 1982 he was appointed Lecturer in Sculpture at Gray’s School of Art, Aberdeen, but resigned in 1990 to become a full-time practitioner. He works on a colossal scale, combining formal simplicity with a concern for weighty social issues, but almost invariably leavening the political critique with a vein of ironic humour. Among his best works is State of a Nation (1985, destroyed), a Greek temple mounted on rockers, the entire exterior surface faced with tree bark. He is also a prolific draughtsman, and has developed a distinctive form of multi-compartment box construction to accommodate, in miniature, the prodigious outpouring of ideas for sculptures that would otherwise remain as two-dimensional designs on paper. A good example is 2 Tribes/40 Shades (1989, private collection). He was elected ARSA in 1984, and in 1992 he was awarded a Wingate Scholarship.
Sources: Christopher Carrell et al., Doug Cocker: sculpture and related works 1976--1986, (ex. cat.), Glasgow, 1986; Pearson, pp.113, 126; Patrizio, pp.44--9, 145. [G2002]

Charles Robert Cockerell (1788--1863)
Neoclassical architect. The son and pupil of S.P. Cockerell, he became assistant to Sir Robert Smirke in 1809. In 1810--17 he travelled in Greece (working on the discoveries at Aegina and Phigaleia), Asia Minor, and Italy. He wrote extensively and knowledgeably on archaeology, architecture and sculpture (including Iconography of the West Front of Wells Cathedral, 1851) and illustrated the 1830 edition of Stuart and Revett’s Antiquities of Athens and Other Places of Greece, Sicily, etc. In 1833 he became architect to the Bank of England, designing its branches in Liverpool and Manchester. He took over as architect to St George’s Hall, following Elmes’ death in 1847 and built the Liverpool and London and Globe Insurance Offices, Dale Street, 1855--57. Among his principal buildings outside Liverpool are the Cambridge University Law Library (1842) and the Taylorian-Ashmolean Museum, Oxford (1845). He was Professor of Architecture at the RA, the first recipient of the RIBA Gold Medal in 1848, and RIBA President in 1860.
(sources: Fleming, Honour and Pevsner, 1991; Watkin, 1974) [L 1997]

Richard Cole (b.1952)
Sculptor, specialising in forms derived from the English landscape. Studied at Newcastle University 1971--7 and subsequently worked as a lecturer at various universities, most recently at the University of Humberside. He has had many exhibitions in Britain and abroad. Commissions include: Wave, Wakefield train station, 1988; Light Piece, Gordon District Council, 1991; and Le Parc de Merl, Luxembourg, 1995.
[1] Buckman, p.278. [NE 2000]

Richard Coley (b.1938)
Sculptor in metal and fibreglass. Among the works he has exhibited at the RGIFA are Solar (1970), Cathedral (1971), Saturn’s Cradle (1972) and Pyramus (1975); the latter two were also exhibited at the RSA.
Sources: Laperriere; Billcliffe; McEwan. [G2002]

Stephen Collingbourne (b. 1943)
Sculptor born at Dartington, Devon. From 1960--1 he attended Dartington College of Art and then, from 1961--4, Bath Academy of Art, Corsham. After teaching at a comprehensive school in Oxford he returned to Dartington College of Art, where he lectured from 1965--70. In 1970 he took a foundry course at the Royal College of Art; in 1972 he worked as an assistant to Robert Adams and in 1972--3 lived in Malaysia. In 1974 he was fellow in sculpture at the University College of Wales and in 1976 was appointed lecturer in sculpture at Edinburgh College of Art. Collingbourne’s first solo exhibition was at Dartington Hall in 1968; others followed at the University of Wales, 1974, Oriel Gallery, Cardiff, 1975, and the MacRobert Arts Centre, Stirling University, 1979. His commissions outside Leicestershire include sculptures for Aberystwyth University College, Dyfed, 1977, and Royal Mile, Edinburgh, 1983.
Sources: Buckman, D., 1998; Spalding, F., 1990; Strachan, W.J., 1984. [LR 2000]

George Collin and Son (firm active c.1904--98)
Leicester firm of stonemasons. George Collin worked independently from c.1891 -- c.1899. He then established his own firm, operating first as ‘and sons’ and then from c.1916 as ‘and son’.
Sources: Kelly’s Directory of . . . Leicester and Rutland (edns from 1891--1941). [LR 2000]

Henry Collins (1910--94)
Sculptor. Studied at Colchester School of Art and the Central School of Arts and Crafts. With his wife, Joyce Pallot (b. 1912), he worked on designs and murals, including those at the Shell Centre, the General Post Office Tower and for British Home Stores. He taught graphic design at St Martin’s School of Art and Colchester School of Art.
Sources: Buckman, 1998; Usherwood, 2000. [Man2004]

Henry Collins (1910--1994)
Painter and designer living and working in the Colchester area. Studied at Colchester School of Art and the Central School of Arts and Crafts. With his wife, Joyce Pallot (b.1912), he worked on designs and murals, including those at the Shell Centre, the General Post Office Tower and British Home Stores. For years he taught graphic design at St Martin’s School of Art and Colchester School of Art.
[1] Buckman, pp.281 and 938. [NE 2000]

James Colquhoun (fl.1641--83)
Little is known about Colquhoun’s life, and the two statues listed in the main catalogue are the only surviving works that can be attributed to him. It is recorded, however, that he repaired and gilded the clock on the original Hutchesons’ Hospital (1683), and he is also credited with inventing Glasgow’s first fire engine -- an ‘ingyne for slockening of fyre’. A wright by trade, he was something of a polymath, and has been described as ‘a man of singular knowledge and skill in all mechanical arts and sciences’. He was, at different times, the Town Treasurer, Crafts Bailie and the Master of Works.
Sources: David Murray, ‘Early Art in Glasgow’, Scottish Art and Letters, vol.1, no.1, November 1901--January 1902, pp.13--14. [G2002]

William Robert Colton (1867--1921)
Born in Paris, Colton trained at Lambeth School of Art, the Royal College of Art and the Royal Academy Schools. On his return to Paris in 1899, he exhibited at the Salon and won a silver medal at the Exposition Universelle in 1900. He later became a teacher at the Royal Academy Schools (1907--12). His work was very fashionable around the turn of the twentieth century, and ranged from public monuments (including the Royal Artillery Monument, St James’s Park, London, 1910) to portrait busts and classical statuettes. He exhibited regularly at the Royal Academy from 1889 onwards, being elected Royal Academician in 1919. He was president of the Royal Society of British Sculptors at the time of his death. Heavily indebted to the French style of sculpture, female nudes, lovers and children dominated his output. Tate Britain owns two of his works, The Girdle (1898) and The Springtime of Life (1903), both purchased through the Chantrey Bequest.
Sources: Baldry, A.L., ‘Modern British Sculptors: W. Robert Colton A.R.A.’, Studio, vol.LXVI, November 1916, pp.93--9; Beattie, S., The New Sculpture, New Haven and London, 1983, p.241; Johnson, J. and Greutzner, A., Dictionary of British Artists 1880--1940, Woodbridge, 1976, p.117; Mackay, J., Dictionary of Western Sculptors in Bronze, Woodbridge, 1977, p.76; Underwood, E.G., A Short History of English Sculpture, London, 1933, p.126. [SBC2005]

Sir John Ninian Comper (1864--1960)
Architect, principally of churches, born 10 June 1864 at Aberdeen, the son of the Revd John Comper (High Church). Following his schooling in Scotland, Comper attended Ruskin’s School at Oxford before going on to London where he divided his time between studying at the South Kensington Schools and working at the stained glass works of C.E. Kempe. He was next articled to church architects Bodley and Garner. His independent work falls into two categories. Before c.1904 his work, like Bodley’s, was scrupulously based on the prevailing style of the fourteenth century and is typified by St Cyprian, Clarence Gate, London, 1903, which he designed in its entirety. After c.1904, following a trip to the Mediterranean which made him realise the debt owed by Christian art to the classical tradition derived from ancient Greece, he began to add classical, renaissance and baroque details, in a more eclectic style which he called ‘Unity by Inclusion’, a leading example of which is his church of St Mary, Wellingborough, Northamptonshire, 1904--40. In 1924--8 he designed in a thoroughly Classical style the Welsh National War Memorial (sculpture by Bertram Pegram), Cathays Park, Cardiff. Two works in Rutland and Leicestershire not included in the present catalogue are the south-east window of the south transept, 1912, of St Peter and St Paul, Langham, Rutland, and the north-east chapel, 1917, of All Souls, Aylestone Road, Leicester.
Sources: DNB 1951--1960; Gray, A.S., 1985; Pevsner, N. and Williamson, E., 1992; Service, A., 1977. [LR 2000]

Angela Conner
Born in London, she is a self-taught artist who served as an apprentice to Barbara Hepworth. She is a sculptor and painter in stone, bronze, water, light and wind. She has done many portrait sculptures, including General de Gaulle, Camilla Parker-Bowles and Dame Elizabeth Frink. Other commissions include a mobile water sculpture for outside the Heinz Hall, Pittsburgh (1981), a 3--metre tall water sculpture for the public gardens of the Count and Countess Oeynhausen, Bad Driburg, Germany, and the Yalta Memorial, Thurloe Square, London (1986). She has had one-woman exhibitions in London, New York and Istanbul as well as having work exhibited at the Royal Academy, the Victoria and Albert Museum, Birmingham Museum and Art Gallery and the Carnegie Museum of Modern Art.
Source: Courtney, C., ‘Sculpture by Angela Conner’, Architect (RIBA), vol.93, October 1986; WWA, 26th edition, Havant, 1994. [WCS2003]

Angela Conner
Born in London, a self-taught artist, she served as an apprentice to Barbara Hepworth and is a sculptor and painter in stone, bronze, water, light and wind. She has done many portrait sculptures, including General de Gaulle, Camilla Parker-Bowles and Dame Elizabeth Frink. Other commissions include: a large ‘tipper’ for the King of Saudi Arabia 1975; and a mobile water sculpture for outside the Heinz Hall, Pittsburgh USA 1981; 10--foot-tall water sculpture for the public gardens of the Count and Countess Oeynhausen, Bad Driburg, Germany; Yalta Memorial, Thurloe Square, London 1986. Solo shows include: Lincoln Centre, New York; Browse and Darby, Cork Street, London 1986 and Istanbul Biennale; and she has had work exhibited at the RA, V&A, Carnegie Museum of Modern Art, BMAG and others worldwide. Her works are in the collections of the Arts Council of Great Britain, House of Commons, Eton College and the National Portrait Gallery, among others. FRBS.
1. C. Courtney, ‘Sculpture by Angela Conner’, Architect (RIBA), vol.93, October 1986, p.13; 2. WWA, 26th edition, Havant, 1994, p.99; 3. Letter from the artist, 23rd February 1996. [B1998]

Robert Conybear
After studying at Wolverhampton Art College (1969--72), Robert Conybear obtained a master’s degree from Birmingham School of Art. During his career, he has received a number of awards from the English Arts Council. He has had one-man exhibitions at the ICA and Serpentine art galleries, London (1975), and his works have been included in group exhibitions at a number of museums, including the ICA, London (1980), the Kulturzentrum, Mannheim (1982--3), Drumcroon Art Centre, Wigan (1994) and the Arts Workshop Gallery, Swansea (1995). He has also held part-time teaching posts in Salford and Swansea. He is currently in partnership with the sculptor Uta Molling. Many of their commissions have been from his home town of Swansea, including a lighthouse sculpture for the marina (1986), a wall mosaic for the sea cadets’ headquarters (1991), a figure weather vane for Swansea Observatory (1991), and mosaics for the city centre (1992) and Swansea Mumbles (1993). More recently, they have designed a series of 24 mosaic ceramic panels for Luton town centre (1997) and site-specific sculpture in London (1998) and Coventry (1999).
Source: information from the sculptor. [WCS2003]

Edward Cooke (1811--80)
Marine painter and garden designer. The outstanding British marine artist of his time, Edward Cooke was the son of the engraver George Cooke, under whom he studied. He exhibited paintings at the Royal Academy from 1835 until 1880. By the time of his first visit to Biddulph Grange in 1847, he had established a considerable reputation as a painter of marine subjects, and was a knowledgeable and enthusiastic gardener. When Cooke was elected as a Fellow of the Royal Society, he was described as a landscape and marine painter, and a faithful delineator of geological features in nature.
Source: Hayden, P., ‘James Bateman: Plantsman and Garden Designer’, Staffordshire History, vol.1, Stafford, 1984, p.63ff. [SBC2005]

Dave Cooper
Between 1968 and 1982, Dave Cooper worked as a professional musician, a musical instrument maker, a gardener, a cabinet-maker and a theatre assistant at Walsgrave Hospital in Coventry. He studied art at Coventry University (1982--6), where he chose to specialise in sculpture. He is a founder member of both Arts Exchange (1987--9) and Coventry Artists’ Co-operative (1991--9). He has taught ceramics at Warwick University (1987--9) and Arts and Crafts Studies at Coventry University (1995--8). In 1990 he went on a 12--month cultural exchange to Perth, Western Australia, where he worked in studio ceramics and showed works in the Pommie Potters ceramic exhibition. Since 1987, he has also exhibited in London, Coventry, Glastonbury and Reading.
Source: information from the sculptor. [WCS2003]

Edward Bainbridge Copnall (1903--73)
Born in South Africa, Copnall moved to England as a child, studying painting at Goldsmith’s College of Art and at the Royal Academy Schools until 1924. Turning to sculpture in 1929, he produced mainly architectural and figurative works in stone and wood. He was head of the Sir John Cass College (1945--53). His major commissions include figures for the Royal Institute of British Architects headquarters, Portland Place, London (1934); Progression, Marks & Spencer, Edgware Road, London (1959); and St Thomas à Becket for St Paul’s Cathedral churchyard (1973). Author of A Sculptor’s Manual, (Oxford, 1971), he exhibited at the Royal Academy from 1925 until 1970, as well as at the Paris Salons, the Royal Scottish Academy and leading English galleries. He was represented in the British Sculpture of the Twentieth Century exhibition, Whitechapel Art Gallery (1980--1). Copnall was president of the Royal Society of British Sculptors (1961--6).
Sources: Johnson, J. and Greutzner, A., Dictionary of British Artists 1880--1940, Woodbridge, 1976, p.121; Nairne, S. and Serota, N., (eds), British Sculpture in the Twentieth Century, Whitechapel Art Gallery, London, 1981, p.250; Read, B. and Skipwith, P., Sculpture in Britain between the Wars, London, 1988, pp.48--9; Royal Academy Exhibitors 1905--1970, vol.II, Wakefield, 1973, p.80; Spalding, F., 20th Century Painters and Sculptors, Dictionary of British Art, vol.6, Woodbridge, 1990, p.130; Strachan, W.J., Open Air Sculpture in Britain, London, 1984, p.254; Usherwood, P., Beech, J. and Morris, C., Public Sculpture of North-East England, Liverpool, 2000, p.320. [SBC2005]

Edward Bainbridge Copnall (1903--1973)
Born in Capetown, South Africa, Copnall studied painting at Goldsmiths’ College in London, and at the Royal Academy Schools. He turned to sculpture in 1929, and enjoyed several prestigious architectural commissions in the 1930s. Perhaps the most conspicuous was the 5.5m high stone relief of Architectural Aspiration on Grey Wornum’s new headquarters of the Royal Institute of British Architects in Portland Place (1931--4). He also carved illustrational wooden reliefs for the main public spaces aboard the liners, the Queen Mary and the Queen Elizabeth. After the Second World War, Copnall became one of the pioneers of fibreglass resin sculpture. His book, A Sculptor’s Manual (Oxford, 1971), tells the story of his investigation of this medium, with his assistant Jose de Alberdi. Surviving examples of Copnall’s work in fibreglass resin are The Swanupper at Riverside House, Putney, his first work in the material, and St Thomas à Becket in St Paul’s Cathedral Churchyard (1973). Copnall’s largest work, however, the Stag, erected c.1960, as the central feature of Stag Place, off Victoria Street in London, was made in aluminium. This is no longer in situ. Copnall was President of the Royal Society of British Sculptors from 1961--6.
Source: D. Buckman, The Dictionary of British Sculptors Since 1945, Bristol, 1998. [CL2003]

Edward Bainbridge Copnall (1903--1973)
Sculptor in stone and wood, Copnall was born in Cape Town and moved to England as a child. He studied painting at Goldsmith’s College of Art and at the RA schools, turning to sculpture in 1929. Head of the Sir John Cass College 1945--53, his most important commissions include: Figure, RIBA headquarters, London 1931--4; Progression, Marks and Spencer, Edgware Road, London 1959; Swan Man, ICI Building, Putney Bridge, London, and Thomas à Becket, St Paul’s Cathedral churchyard 1973. He exhibited regularly at RA 1925--70 and was represented in ‘British Sculpture of the Twentieth Century’, Whitechapel Art Gallery, 1980--1. His Sculptor’s Manual appeared in 1971.
[1] PSoB, p.188. [2] Buckman, p.294. [NE 2000]

Edward Bainbridge Copnall (1903--73)
Born in Cape Town, South Africa, 29th August 1903, he died in Kent, 18th October 1973. He moved to England as a child and studied painting at Goldsmith’s College of Art and at the RA Schools until 1924. Turning to sculpture in 1929, he produced mainly architectural and figurative work in stone and wood. He was head of the Sir John Cass College 1945--53. Main commissions include: Figure, RIBA headquarters, London 1931--4; Progression, Marks & Spencer, Edgware Road, London 1959; Swan Man, ICI Building, Putney Bridge, London; Thomas à Becket, St. Paul’s Cathedral churchyard 1973. Author of A Sculptor’s Manual, Oxford, 1971. Exhibited at RA 1925--70; Paris Salons; Royal Scottish Academy and leading English galleries. He was represented in the British Sculpture of the Twentieth Century exhibition, Whitechapel Art Gallery, 1980--1. MBE 1946; President RBS 1961--6.
1. RAE, vol.I, Wakefield, 1973, p.80; 2. J. Johnson, and A. Greutzner, Dictionary of British artists 1880--1940, Woodbridge, Suffolk, 1976, p.121; 3. Strachan, 1983, p.254; 4. S. Nairne, and N. Serota, British sculpture in the twentieth century, London, 1981, p.250; 5. B. Read, and P. Skipwith, Sculpture in Britain between the wars, London, 1988, pp.48--9. [B1998]

Hattie Coppard (b.1956)
Hattie Coppard is a community artist living in North London who has made temporary and permanent public art commissions all over the country, including The Maidstone Sheep, Whitechapel Threads and Hackney Clocktower. Although she began her career leading mosaic and sculpture workshops for schoolchildren, she is now the director of Snug & Outdoor, a company of artists whose work involves designing innovative play spaces in London. She wrote Artists and School Grounds, published by Hackney Public Art Programme in 1999. In 2003, she was working on play areas for schools and housing associations in Hackney, Lambeth and Camden.
Sources: Borough of East Staffordshire: Leisure Services, Public Art in Burton, c.1990, no.7; Coppard, H., Visual Arts: Hattie Coppard, accessed December 2002, www.learninglive.co.uk; Curriculum vitae provided by the artist, 25 November 2003. [SBC2005]

Sioban Coppinger (b.1955)
Born in Canada, Coppinger left Bath Academy in 1977 with a BA in Fine Art. Works include a portrait bust of Professor J.B. Kimmonth, St. Thomas’s Hospital, London, 1981; and Ewe and Man on a Park Bench, Rufford Country Park, 1983.
1. Strachan, 1983, p.254. [B1998]

Trewin Copplestone (b.1921)
Born in Dartmouth in December 1921, he studied art at Nottingham College of Arts and Crafts and Goldsmith’s College of Art. He became a tutor of mural painting at Hammersmith College of Art and a visiting lecturer in Art History. He also worked as a consultant art advisor, subsequently becoming Editorial Director and later Director of Publishing for the Hamlyn Group. He now owns and manages his own publishing company. He has broadcast various programmes for television including ‘Art for All’ for London Weekend Television, and he has written and edited art books such as Architecture, an introduction for children, London, 1969 and history of art books for W.H. Smith & Son. Exhibitions include: New Burlington Gallery, London 1952 (with the London Group) and RBA Gallery, Pall Mall, London 1956. Solo shows include: Matthiesen’s, London 1957. Other work includes: theatre sets and costumes for the Mermaid Theatre and Margate Stage Theatre; his decorative work includes a mural at Carlisle Civic Centre, 1965 and paintings, murals and mosaics for apartments and offices in London and Birmingham.
1. Letter from the artist, 12th August 1985; 2. ‘Trewin Copplestone: portrait of the artist’, Art News and Review annual year book, 13th April 1957; 3. CV from the artist, 7th April 1996. [B1998]

Xavier Corberó (b. 1935)
Corberó comes from a family of Barcelona goldsmiths and attended the Escuela Massana de Artes Suntuarias de Barcelona, of which his father had been a founder. He also studied at the Central School in London from 1955--9. To an inherited disposition for work with precious stones and metals, he brought a personal interest in the constructivist aesthetic. In New York in 1960 he established contact with latter-day surrealists, and began to sculpt under the influence of Hans Arp. In more recent times he has experimented with combinations of materials, such as marble with bronze, and steel with granite. Around 1979/80, Corberó was instrumental in introducing a sculptural component into Barcelona’s urban renewal schemes. His American artistic contacts were of some importance in the realisation of these schemes. His own contribution was Homage to the Islands in Plaça de Soller. This celebration of the Balearic Islands consists of 42 juxtaposed marble elements, emerging from a pool to evoke ships, the moon, sun and clouds.
Sources: Enciclopedia del Arte Español del Siglo XX, ed. Francisco Calvo Serraller, Madrid, 1991; G. Apger, ‘Public Art and the Remaking of Barcelona’, Art in America, February 1991, pp.108--20 and 159. [CL2003]

Corinthian Bronze Foundry (c.1925 -- c.1971)
Foundry based at Peckham, London, specialising in sand casting.
Sources: James, D., 1970; Kelly’s Post Office London Directory (edns from 1970--2). [LR 2000]

Frank Cossell (fl.1965--7)
English sculptor about whom little is known other than that he lived at Herne Bay, Kent, and worked for the Architectural Department of British Rail. Recorded works by him include a statue of St Christopher at the railway station and a relief mural on the Tannery Buildings, Northampton.
Source: Johnstone. [G2002]

Jethro Anstice Cossins (1830--1917)
Born in Kingsdon, Somerset, Cossins was articled to Frederick William Fiddian of London in 1847 and came to Birmingham in 1850. He was in partnership with John George Bland in 1880, and with Peacock and Bewlay c.1900. A member of SPAB, he was also president of the Birmingham Architectural Association.
Source: Colvin, Howard, Dictionary of British Architects 1600--1840, London, 1993. [WCS2003]

William Couper (1853--1942)
Born in Virginia, he studied first under the sculptor Thomas Ball, whose daughter he later married, and then at the Cooper Institute in New York. After practising sculpture for a time in New York, he decided to move to Europe. In Munich, he studied anatomy and drawing, before settling down in Florence for a period of 20 years, only returning to America in 1897. While living in Florence, he sent works for exhibition at the Royal Academy in London. American observers noted a delicacy in the work of his Florentine period which contrasted with the more exhibitionist style of contemporary compatriots working in Paris. One of Couper’s specialities at this time was poetic low-relief marble sculpture. A typical full-length figure from this period is A Crown for the Victor (marble, 1896, Montclair Art Museum, New Jersey). After his return to the States, Couper produced commemorative statues in historical costume, of Captain John Smith (1907) for Jamestown, Virginia, and of John Witherspoon (1909) for Washington DC, and a figure of John D. Rockefeller, which stands in the Rockefeller Institute in New York. He also sculpted 13 over life-size busts of scientists for the Natural History Museum of New York. He ceased to sculpt in 1913.
Sources: L. Taft, The History of American Sculpture, New York, 1903; M. Fielding, Dictionary of American Painters, Sculptors, and Engravers, New York, 1965; G.B. Opitz (ed), Dictionary of American Sculpture, Eighteenth Century to the Present, New York, 1984. [CL2003]

George Cowper
(see The Bromsgrove Guild) [L 1997]

Cox & Sons (see Thames Ditton Foundry) [L 1997]

George Harry Cox (active c.1903--c.1916)
Modeller based in Leicester.
Sources: Kelly’s Directory of . . . Leicester and Rutland (edns from 1903--16). [LR 2000]

Stephen Cox (b. 1946)
Born in Bristol, Cox trained at the West of England College of Art (1964--5), Loughborough College of Art (1965--6) and the Central School of Art (1966--8). He then went on to teach at Coventry College of Art (1968--72). From 1974 to 1977 he worked on minimalist ‘surface works’, using paint finishes on steel panels and setting them up as installations. His aim was to reclaim flatness for sculpture. In the 1980s Cox turned his attention to stone, and sought inspiration from ancient traditions of carving. He worked in a vast variety of different stones and marbles, combining them occasionally with natural pigments. His first exhibition of stone works, at the Nigel Greenwood Gallery in 1983, consisted entirely of reliefs attached to the wall, but the following year he showed a large free-standing piece entitled Palanzano at the Liverpool International Garden Festival. This was named after the town in Italy where the peperino marble from which it was carved had been quarried. Italy was one of Cox’s inspirational places, but in 1986 he set up a stone-carving workshop at Mahabalipuram in Southern India, and he has also worked in Egypt on locally quarried granites. In 1991, one of Cox’s massive stone monoliths, entitled Hymn, was erected at the University of Kent, Canterbury. Although Cox has identified strongly with the religious and pantheistic qualities of Hindu temple sculpture, he has also contributed sculpture to Christian places of worship, notably the reredos, font and stations of the cross for St Peter’s Church, Haringey (1993).
Source: S. Bann and others, The Sculpture of Stephen Cox, London, 1995. [CL2003]

Stephen Cox (b. 1946)
Born in Bristol, he studied at Bristol, Loughborough and Central schools of art, 1964--68. His first one-man exhibition in London was in 1976 (Lisson Gallery), since when he has exhibited widely in Britain, Italy and elsewhere. In 1986 he had a one-man exhibition at the Tate Gallery, London. Since 1979 he has spent increasing amounts of time in Italy, pursuing his interest in the Italian tradition of marble and stone carving.
(sources: Tate Gallery 1986; Tate Gallery Liverpool 1988) [L 1997]

Tony Cragg (b.1949)
One of the ‘New British Sculptors’ represented by the Lisson Gallery, London, in the 1980s. Studied at Gloucester, Wimbledon, and the Royal College of Art 1969--77 and then moved to Germany in 1977 to teach at the Dusseldorf Academy where he began making the kind of work for which he is best known : floor- and wall-pieces made out of remnants of everday found objects such as the shards of plastic household objects and toys which he would arrange in the shapes of larger three-dimensional structures. Such work has been seen as wittily questioning the emotional and imaginative relationships we have with the world about us and acclaimed as reinvesting the forms of Conceptual Art with narrative and social meaning.
He has had numerous exhibitions in Britain and abroad. From the mid-1980s he has often produced large-scale objects, using carved or machine-cut stone, cast iron and bronze.
[1] Celant, G., Tony Cragg, London, 1996, passim. [2] Turner (ed.), p.25. [3] Buckman, p.305. [NE 2000]

Tony Cragg (b. 1949)
Born in Liverpool, Cragg moved with his parents to the South of England, where he studied at Gloucester, Wimbledon, and the Royal College of Art, 1969--77. In 1977 he moved to Germany, returning to Liverpool in 1986 to make Raleigh. He usually works with discarded found objects and various ephemeral materials. Since 1970, he has had solo exhibitions in Hamburg, Berlin, London, Paris, Milan, Tokyo, New York etc.
(source: Tate Gallery Liverpool, 1986) [L 1997]

Sean Crampton (1918--99)
Sculptor. Born in Manchester. Studied at Vittoria School of Art and the Central School of Art in Birmingham. He went to Paris where he was apprenticed to Fernand Léger. He joined the London Irish Rifles in the war, was wounded and awarded the George Medal. After the war he became Professor of Sculpture at the Anglo-French Art Centre, London. Nudes, animals and birds were important subjects in his sculpture. His preferred medium was phosphor bronze. His Catholic faith influenced his art, most obviously in works such as the Stations of the Cross which he created for his local church, St Edmund, Calne, Wiltshire. Public commissions included a memorial for the London Irish Rifles, and The Three Judges (Churchill College, Cambridge, 1970). His work was shown in group and solo exhibitions, and he was particularly associated with the Alwin Gallery. Crampton became a member of the RSBS in 1953 and served as president from 1966--71. Following his death, the RSBS organised a memorial exhibition in 2000.
Sources: Who’s Who, 1999; Lloyd, 2000. [Man2004]

Sean Crampton (1918--99)
Crampton was born in Manchester, the son of the architect Joshua Crampton. Between the ages of 12 and 15, he took silversmithing classes at Vittoria School of Art, Birmingham, going on to develop this talent in the Sculpture Department of the Central School of Art, Birmingham, and then becoming apprenticed to Fernand Léger in Paris. During the war, he served in the Western Desert and in Italy. He was awarded the George Medal for his bravery during a reconnaissance mission in January 1944, in the course of which he lost a foot. After a long period of convalescence, he was appointed Professeur de Sculpture at the Anglo-French Art Centre in London (1946--50). His deep commitment to the Catholic faith resulted in his production of many works depicting religious themes. His preferred medium was welded phosphor bronze, and from this he constructed the 14 Stations of the Cross for the Church of St Edmund in Calne, Wiltshire. Other works include figure groups, nude male and female figures, birds and animals. He also created a memorial for his old regiment, the London Irish Rifles. President of the Royal Society of British Sculptors for five years (1966--71), he was also Master of the Art Workers Guild (1978), Chairman of the Governors of the Camberwell School of Art during the 1980s and a governor to the court of the newly-founded London Institute. He had 17 solo exhibitions in London, exhibiting regularly with the Alwin Gallery, and was included in the first RWA Open Sculpture Exhibition, 1993.
Source: Dictionary of National Biography, CD ROM version. [WCS2003]

[Arthur Edward] Seán Crampton (1918--99)
Sculptor and printmaker born 15 March 1918 at Manchester. He first studied silversmithing at the Vittoria Junior School of Art, Birmingham, 1930--3, then attended Birmingham’s Central School of Art before going to Paris where he worked in Fernand Léger’s studio. Once back in England, Crampton enrolled in the Territorial Army and on the outbreak of the Second World War served in North Africa and in Italy. In July 1943, Crampton, by this time a Lieutenant, was awarded the Military Cross. Six months later, in January 1944, he stepped on a landmine. The official citation records that the moment Crampton felt his foot touch the igniter, he kept it pressed down, shouted to his men to take cover and, by virtue of allowing his foot to take the full force of the blast, prevented the mine from rising into the air, thereby undoubtedly saving the lives of his men, all of whom escaped without injury. Crampton, however, lost his foot. For this act of selfless bravery he was awarded the George Medal. After a long period of rehabilitation he resumed his career as an artist-craftsman and teacher. From 1946--50 he was Professeur de Sculpture at the Anglo-French Art Centre in St John’s Wood, London. Crampton exhibited (albeit infrequently) at the Royal Academy from 1955, had 17 one-man shows in various commercial galleries in the West End and was included in the first Royal West of England Academy Open Sculpture Exhibition in 1993. His commissions include a memorial for his old regiment, the London Irish Rifles, and The Three Judges, 1970, for Churchill College, Cambridge. He was a member of the Royal Society of British Sculptors from 1953, FRBS from 1965, President, 1966--71. In 1978 he was elected Master of the Art Workers’ Guild. He died at Calne, Wiltshire, 16 July 1999.
Sources: Buckman, D., 1998; Independent, 23 July 1999 (obituary); Spalding, F., 1990; Strachan, W.J., 1984; Waters, G., 1975; Who’s Who 1999. [LR 2000]

Douglas Cranmer (b. 1927)
Carver and artist. Born in British Columbia, son of Dan Cranmer, famous First Nation activist. Worked in the fishing and logging industries. Cranmer’s grandmother was married to Kwakwaka’wakw carver, Mungo Martin, and in 1955 Cranmer was taught the fundamentals of carving totems by Martin. Cranmer worked with Martin on other projects before he joined Bill Reid on the construction of Haida Houses for the University of British Columbia Museum of Anthropology. Cranmer has also worked in paint, creating a series of 48 works between 1974 and 1975. In 1994 he completed a residency at the UBC Museum of Anthropology.
Source: Jonaitis, 1988. [Man2004]

John Crawford (1830--61)
Taken as a boy apprentice into the Mossman firm after his precocious talents were noticed by William Mossman Junior (q.v.), he became the workshop’s ‘favourite pupil’. A frequent prizewinner at GSA, he received press attention in 1848 when the art patron A.S. Dalglish awarded him £5 for his copy of a statue of Niobe. In 1856, after completing his studies, he set up on his own at 28 Mason Street, producing work for John Thomas (q.v.) on the Houses of Parliament, London, and for John Honeyman on a monument in Bothwell (1856). He died with his wife and children in the typhus epidemic of 1861 and is buried in Sighthill Cemetery. A surviving son, John M. Crawford, became an architect.
Sources: GG, 8 July 1848, p.2; GH 13 December 1861(obit.); Eyre-Todd (1909), p.51. [G2002]

Tim Crawley
A stone-carver who, until 2002, was employed by the old-established Cambridge stonemasons firm of Rattee and Kett. He has worked on the restoration of historic buildings in Cambridge. He was chiefly responsible for the four figures of Virtues, and for the ten figures of Modern Martyrs, placed on the west front of Westminster Abbey between 1996 and 1998. Crawley made the models for these, but they were carried out with the assistance of other members of the Rattee and Kett team. Crawley is an Associate of the Royal Society of British Sculptors. [CL2003]

John Creed (b.1938)
Sculptor in iron and steel. Born Heswall, Cheshire, he studied at Liverpool College of Art, 1955--9, and Liverpool University, gaining an Art Teacher’s Diploma. He taught in the Department of Silversmithing and Jewellery at GSA, 1971--95, and became a professional blacksmith in 1988, establishing a forge at Milton of Campsie, East Dunbartonshire. Among his recent commissions are a set of sliding gates for the main entrance of Borders Regional Council Headquarters, Newton St Boswells (1990); internal double doors for the Royal Museum of Scotland (1995); Constellation (1997); and Benchmark, a series of sculptural seating units at Norrie Miller Park, Perth (1998). He exhibits widely and is represented in major public collections throughout the UK.
Source: information provided by the artist. [G2002]

Benjamin Creswick (1853--1946)
Although largely self-taught, Creswick was influenced by John Ruskin, under whose supervision he worked at Coniston and Oxford. By 1884, he had opened a studio in London. Working largely as an architectural decorator, Creswick was proficient in a variety of media, including metal, wood, plaster and terracotta. From 1889 until 1918, he taught modelling at Birmingham School of Art. His major works include the friezes for Cutlers’ Hall in London (1887--8) and Huddersfield’s Memorial to the Men of Huddersfield (1904--5). He exhibited at the Royal Academy from 1888 onwards, and was closely associated with Mackmurdo’s Century Guild (founded 1882).
Source: Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.189. [SBC2005]

Benjamin Creswick (1853--1946)
Born in Sheffield, he was apprenticed to a knife-grinder. Health problems obliged him to relinquish this profession. He was inspired after a visit to John Ruskin’s Walkley Museum to emulate the drawn and modelled exhibits. He made contact with Ruskin and worked under his supervision at Coniston and Oxford. By 1884 Creswick had opened a London studio, and around this time began an association with A.H. Mackmurdo’s arts and crafts organisation, the Century Guild. The Guild’s Magazine, The Century Guild Hobby Horse, in 1887 advertised his services in ‘carving and modelling for terracotta or plasterwork’. In the same year, he completed his ambitious frieze of cutlers at work for Cutlers’ Hall in the City of London. Raffles Davison of the magazine British Architect, who had already praised Creswick’s work, found that the sculptor had reached new heights in this frieze. Creswick then worked briefly in Liverpool and Manchester, before taking up the post of Master of Modelling and Modelled Design at the Birmingham School of Art in 1889. Creswick produced a great deal of architectural sculpture for Birmingham buildings, and proved an inspiring teacher. He retired from his post in 1918, though he continued to accept private commissions.
Sources: ‘An English Sculptor’, British Architect, 22 April 1887, vol.27, p.303; S. Beattie, The New Sculpture, New Haven and London, 1983; G.T. Noszlopy and J.Beach, Public Sculpture of Birmingham, Liverpool, 1998. [CL2003]

Benjamin Creswick (1853--1946)
Born 29th January 1853 in Sheffield, he died in Sutton Coldfield in February 1946. Originally apprenticed as a knife grinder, he began modelling in clay and was largely self-taught, though he was influenced by John Ruskin, under whose supervision he worked at Coniston and Oxford, and who gave him support both artistically and financially. During this time he made the first ever portrait of Ruskin from life and, sponsored by him, Creswick opened a studio in London by 1884. Ruskin introduced Creswick to A.H. Mackmurdo, and was associated with Mackmurdo’s Century Guild, founded in 1882. Although not actually a member, Creswick produced plaster figures for fireplaces shown at the Century Guild’s display at the Inventions Exhibition, London 1885. Working largely as an architectural decorator, like many Arts and Crafts artists Creswick was proficient in a variety of media, working in metal, wood, plaster and terracotta as well as printing. He worked for a period in Liverpool and Manchester before coming to the Birmingham School of Art as Master of Modelling and Modelled Design 1889--1918. From as early as 1890 the number of students attending his classes increased, testifying to his skill and enthusiasm, and Walter Crane remarked that the quality of modelling at the school had noticeably improved. After his retirement he continued to work, making sculpture for private commissions. Major works include friezes for Cutler’s Hall, City of London 1887--8; a frieze for Henry Heath’s showroom, Oxford Street, London (destroyed); a huge figure of Humanity for the Positivist church, London and Memorial to the Men of Huddersfield, Greenhead Park, Huddersfield 1904--5. Exhibited at the Sheffield Society of Artists 1877--1909; Walker Art Gallery, Liverpool 1886; Royal Academy 1888 onwards; Birmingham Arts and Crafts Guild and Birmingham Society of Art Spring Exhibition 1895; and the Royal Birmingham Society of Arts 1914.
1. Birmingham Museum and School of Art Committee, Annual report, 1890, pp.8--9; 2. Birmingham magazine of arts and industries, vol.III, 1901--3, pp.171--5; 3. F. Brangwyn, Obituary, Post, 13th February 1946; 4. Beattie, 1983; 5. S. Evans, Arthur Heygate Mackmurdo, 1851--1942 and the Century Guild of Artists (unpublished thesis), University of Manchester, School of Architecture and Town Planning, 1986. [B1998]

Richard Criddle (b.1955)
Educated at the Central School of Art and Design (1974--7) and the Royal College of Art (1977--8), Criddle was twice winner of the Landseer prize for sculpture. After teaching for several years in South Wales, he returned to London to complete a postgraduate diploma at the Royal Academy Schools with the help of a scholarship from the Henry Moore Foundation (1982--5). Criddle specialises in cast bronze and metal sculptures, and regularly holds workshops in bronze casting and mould making. Since 1982, he has worked in partnership with the stained glass artist Debora Coombs, first in London and then, since 1997, in southern Vermont, offering art and design services to colleges, museums and architects. He is currently Director of Fabrication and Art Installation at the Massachusetts Museum of Contemporary Art. His own work is on a massive scale, and includes a major public sculpture for New Jersey Transit sited outside Penn Station, Newark, New Jersey (2000) and Rigours of the Heart (2002), exhibited in Troy, New York, as part of a show bringing together the visual arts and the industrial world.
Sources: Coombs Criddle Associates, accessed 23 April 2002, www.zetat.demon.co.uk/cca; Purdie, D., Public Art on the Black Country Route, 1997, http://wavespace.waverider.co.uk/~scotdave; Wolverhampton City Council, Black Country Route Sculptures, CD-ROM, Wolverhampton, 2001. [SBC2005]

William Croggan (fl.1814--40)
Croggan ran the manufactory Coade and Sealy of Lambeth in the early years of the nineteenth century. During his period in sole control of the manufactory, he supplied a number of works for Buckingham Palace. These included six vases for the terrace and the statues Neptune, Commerce and Navigation for the Grand Entrance (1827), statues from designs by Flaxman representing Sculpture, Architecture, Painting and Geography (1828), and reliefs of King Alfred Expelling the Danes and King Alfred Delivering the Laws for the west front of the palace (also 1828). Croggan was succeeded by his son Thomas in 1835, but by this time there was no longer such a demand for artificial stone, and the moulds were finally sold off in 1843.
Sources: Bennett, J., Public Art Guide, Dudley Metropolitan Borough Council, 1990, p.9; Gunnis, R., Dictionary of British Sculptors 1660--1851, London, 1964, pp.116--17; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.188. [SBC2005]

Cruikshank & Co. Ltd (1863--1985)
Decorative cast iron manufacturers and general ironfounders, based at the Denny Works, Stirlingshire. Very little is known about the company, and the fact that its products are rarely referred to in recent literature on ornamental ironwork suggests that it was much smaller than many of its contemporary rivals, such as Walter Macfarlane & Co. (q.v.). Nevertheless, examples of its ornate drinking fountains can be found in many Scottish towns, including Dundee and Newcraighall, Midlothian. Most of the company’s records were destroyed in a fire in the 1980s, though some surviving documentation is now in Falkirk Museum Archive.
Source: Falkirk Museum. [G2002]

Robert H. Crutchley (b. 1943)
A senior lecturer at Bournville College of Art, Crutchley studied at the Birmingham College of Art. In 1990, he sculpted the statue of St Michael for St Michael’s Church, Manor Park. Crutchley’s exhibitions include Portfolio, RBSA (1988); Ikon Gallery, Birmingham (1991); 1st RWA Open Sculpture Exhibition (1993). He has exhibited most recently at the Royal West of England Academy in Bristol and the Hochschule für Graphik and Buchkunst in Leipzig.
Source: information from the sculptor. [WCS2003]

Edward Cullinan (b.1931)
Architect. Cullinan was educated at Cambridge University (BA, 1951) and University of California at Berkeley (George VI Memorial Fellow, 1956). He has taught architecture at University College, London (1978--9), the University of Sheffield (1985--7) and the University of Edinburgh (from 1987). He designed and built Horder House, Hampshire (1959--60), Marvin House, California (1959--60), Minster Lovell Mill (1969--72), the parish church of St Mary, Barnes (1978--84), Lambeth Community Care Centre (1979--84), and the Fountains Abbey visitor centre and landscape (1987--92). All have received awards. He is a Fellow of the Royal Society of Architects.
Source: information from the architect. [WCS2003]

John Cundall (1830--89)
One of Leamington Spa’s leading 19th-century architects. He was responsible for the west wing of the Warneford Hospital in 1868, the main building of Warwick School, various churches in Leamington, the extension to Honington Hall, and the School and School House at Sherbourne.
Sources: Leamington Spa Museum Service, Leamington Spa Museum and Art Gallery Information Files; Pevsner, N., Buildings of England: Warwickshire, Harmondsworth, 1966. [WCS2003]

Mitzi Solomon Cunliffe (b. 1918)
Sculptor. Born in New York City. Trained with the Art Students’ League in New York before studying at Columbia University (1935--40). She married the academic, Marcus Cunliffe (1922--90) and came to live in Manchester where she resided 1949--64. She later lived in Brighton and London. She contributed decorative sculptural work, including the door handles, to the Regatta Restaurant at the Festival of Britain, 1951. A bird sculpture, The Quickening, and Loosestrife (1951) were purchased by the University of Liverpool for their Civic Design Building. During the 1950s she designed ceramics for Pilkington’s and textiles for David Whitehead Fabrics. The mural for Heaton Park Reservoir Valve House was one of her largest works. The well-known BAFTA award is based on the design she made for the Guild of Television Producers and Directors, first presented in 1955. In later years she suffered from dementia but continued to work. A sculpture prize for undergraduates at Oxford University is named after her.
Sources: Strachan, 1984; Buckman, 1998; Cavanagh, 1997. [Man2004]

Mitzi Solomon Cunliffe (b. 1918)
Born in New York, she trained with the Art Students League in New York (1930--3), at Columbia University (1935--40), and in the Académie Colarossi in Paris. In 1949 she married the British academic Marcus Cunliffe, and went to live in England. She lived in Manchester from 1949 to 1964, and then in Brighton until 1971 when she moved to London. For the Festival of Britain in 1951 she contributed decorative work to the Regatta Restaurant, as well as exhibiting a group in red sandstone, entitled Root Bodied Forth. In the same year, her bird sculpture, Quickening (Portland stone) was purchased by Liverpool University. During the 1950s she designed ceramics for Pilkington’s and textiles for David Whitehead Fabrics. In 1955 she created a mural decoration for the Heaton Park Reservoir Valve House in Manchester. Cunliffe is perhaps best remembered as the designer of the BAFTA award trophy, a classical mask, first presented in 1955. Between 1971 and 1976 she lived in London. In her later years she has suffered from dementia. Works produced by her in this condition were shown in the exhibition ‘Look Closer -- see me’, at Brookes University, Oxford, in 2001. In 1999, a Mitzi Cunliffe Sculpture Prize Fund was donated to the Ruskin School of Art in Oxford by Joseph Solomon.
Sources: D. Buckman, The Dictionary of British Artists Since 1945, Bristol, 1998; T. Cavanagh, Public Sculpture of Liverpool, Liverpool, 1997; Saur (pub.), Allgemeines Künstler Lexikon, Munich/Leipzig, 1999. [CL2003]

Mitzi Solomon Cunliffe (b.1918)
Born in New York City, she graduated in Science and Arts at Columbia University, 1939--40. In the late 1960s she had a number of one-woman exhibitions in Britain. From 1971--76 she lived in London. Commissions in Britain (outside Liverpool) include a mural for Heaton Park Reservoir Valve House, Manchester. The BAFTA award is based on her design for the Guild of Television Producers and Directors, first presented in 1955.
(sources: Strachan, 1984; various) [L 1997]

Liam Curtin (b. 1951)
Sculptor. Born in Liverpool. Trained as a teacher at Christ College, Liverpool. Self-taught artist and potter. First public artworks produced in early 1990s. His public art includes both permanent and temporary installations, often using water. Curtin played a leading part in the public art programme in Manchester’s Northern Quarter as one of the principal figures in Majollica Works. He is now one of the directors of The Art Department. His works include the High Tide Organ (with John Gooding), a sculpture on Blackpool promenade. It uses the power of the waves at high tide to make music. The organ was influenced by an earlier temporary work, a musical fountain, located in the canal near the Bridgewater Hall, Manchester. It received a £65,000 award from the National Endowment for Science, Technology and the Arts (Nesta).
Source: artist. [Man2004]

Thompson Dagnall (b. 1956)
Sculptor. Born in Liverpool. Educated at Liverpool Polytechnic (1974--5), Brighton Polytechnic (1975--8), and at Chelsea Art College (MA, 1978--9). Tom Dagnall contributed a number of works to the Ribble Valley Sculpture Trail between 1988 and 1991. Public commissions include Mining Monument (St Helens, 1996), Altar and St. Chad (Chadkirk Chapel, Stockport, 1996), Spruced Up Heron and Orme Sight (Beacon Fell Country Park, 1996), sculpture (Lower Eccleshill Link Road, Blackburn, 1998) and Tolpuddle Martyrs Memorial (Tolpuddle, 2001). Exhibitions include The Orangery, London, Manchester City Art Gallery (1991, 1993) and successive Manchester Academy Annual Exhibitions.
Source: artist. [Man2004]

Aimé-Jules Dalou (1838--1902)
Son of a Parisian glove-maker, Dalou’s youthful talents in modelling were discovered by the sculptor J.-B. Carpeaux. He studied at the École Gratuite de Dessin, known as the Petite École. He was accepted at the École des Beaux Arts in 1854, but failed in his four attempts to win the Prix de Rome. During the 1860s, Dalou worked on a number of prestigious commissions for architectural and decorative sculpture, notably at the Hotel Païva in the Champs-Élysées. He also exhibited at the Salon, where, in 1869, his group of Daphnis and Chloë was seen and admired by the writer, Théophile Gautier. As a staunch republican, Dalou participated in the Paris Commune of 1871, and was appointed adjunct curator of the Louvre. When the Commune was suppressed, Dalou was obliged to flee to London, where he remained until the general amnesty permitted him to return to France in 1880. In England, Dalou’s poeticised modern realism, in works like the Boulonnaise allaitante of 1873 (terracotta version in the Victoria and Albert Museum), made a profound impression. He found many patrons, particularly amongst the landed aristocracy, and even worked for Queen Victoria. He was employed to teach modelling in the South Kensington School and briefly also at the City and Guilds School in Kennington. His teaching was one of the catalysts for the emergence of the English ‘New Sculpture’ in the last two decades of the nineteenth century. Dalou’s first task on his return to Paris was the completion of a competition model for a Monument to the Republic for the Place de la République. He did not win this competition, but his model made such an impression that the jury decided it should be erected in Place de la Nation. The bronze version of this was inaugurated only in 1899. In the meantime, Dalou had completed other commemorative monuments for Paris, Bordeaux and Quiberon. He had also, since 1889, been working towards an ambitious Monument to Labour, for which he amassed large numbers of small models and more completed figures, many of which are in the Musée du Petit Palais in Paris. The definitive monument was never completed.
Sources: M. Dreyfous, Dalou, sa vie et son œuvre, Paris, 1903; J. Hunisak, The Sculpture of Jules Dalou: Studies in His Style and Imagery, New York and London, 1977. [CL2003]

Hubert Dalwood (1924--76)
Dalwood trained at Bath Academy of Art under Kenneth Armitage and William Scott (1946--9). After his first solo show of sculpture at the Gimpel Fils gallery in London (1954), he was offered the Gregory Fellowship in sculpture at Leeds University (1955--8). Between 1954 and 1976, he taught at art colleges in Leeds, Hornsey, Maidstone and central London, travelling to the University of Illinois in 1964 as a visiting professor. He won the Churchill Fellowship in 1972, which gave him the opportunity to visit Japan and the Far East. From the late 1950s, Dalwood’s sculptures became increasingly abstract and hieratic in their forms, with such titles as Throne (1960) and High Judge (1962). Nevertheless, his humanity showed through in his exploration of the relationship between the viewer, the sculpture and the landscape in which it was set. Many of his sculptures were commissioned by universities and colleges, including Liverpool (1959); Leeds (1961); Nuffield College, Oxford (1962); Wolverhampton (1972); and the University of Central England (1974). He exhibited not only at the Tate Gallery (1966) and the Royal Academy (1972) in London, but also at the Venice Biennale (1962) and the Toronto International Sculpture Symposium (1967). His sculpture is in the collections of the Tate Gallery, the Victoria and Albert Museum, the Museum of Modern Art and the Guggenheim Museum in New York and the Albright-Knox Museum, Buffalo, USA.
Sources: Arts Council of Great Britain, Hubert Dalwood, Sculptures and Reliefs, London, 1979; Buckman, D., Dictionary of Artists in Britain since 1945, Bristol, 1998, p.326; Cavanagh, T., Public Sculpture of Liverpool, Liverpool, 1997, p.326; Cavanagh, T. and Yarrington, A., Public Sculpture of Leicestershire and Rutland, Liverpool, 2000, p.362; Dalwood, H., Hubert Dalwood, exhib. cat., Gimpel Fils, London, 1970; Maillard, R., New Dictionary of Modern Sculpture, New York, 1971, p.77; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, pp.51, 189; Spalding, F., 20th Century Painters and Sculptors, Dictionary of British Art, vol.6, Woodbridge, 1990, p.130. [SBC2005]

Hubert Cyril Dalwood (1924--76)
Sculptor, born 2 June 1924 at Bristol. He was an apprentice engineer to the British Aeroplane Company, 1940--4, and served in the Royal Navy, 1944--6. He studied at Bath Academy, 1946--9, under Kenneth Armitage and William Scott. He had his first solo exhibition at Gimpel Fils, London, 1954, and was Gregory Fellow of Sculpture at Leeds University, 1955--8. Between 1956 and 1964 he taught at Leeds, Hornsey, and Maidstone colleges of art and was Head of the Sculpture Department at Hornsey, 1966--73, and Central School of Art, 1974--6. In 1959 Dalwood won the Liverpool John Moores Exhibition sculpture prize and in 1962 was awarded the David E. Bright Prize for younger sculptors at the Venice Biennale. In 1976 he was elected ARA. Many of his sculptures were commissioned by universities including Liverpool (1960), Leeds (1961), Nuffield College, Oxford (1962), Manchester (early 1960s), and Nottingham (1974). He died 2 November 1976. Retrospective memorial exhibitions of his work were mounted at the Hayward Gallery, 1979, and Hebden Bridge Arts Festival, 1996. Examples of his work are held in the collections of the Arts Council and British Council, in the Tate Gallery, London, and in the Museum of Modern Art and Guggenheim Museum, New York.
Sources: Buckman, D., 1998; Nairne, S. and Serota, N. (eds), 1981; Royal Academy of Arts, 1972; Spalding, F., 1990; Strachan, W.J., 1984; Who Was Who 1971--1980. [LR 2000]

Hubert Dalwood (1924--1976)
Born in Bristol in 1924, he died in London, 2nd November 1976. Apprentice designer at Bristol Aeroplane Company 1939--45, he studied at Bath Academy of Art under Kenneth Armitage 1946--9. He won an Italian Government scholarship to study in Italy, 1951 and took up a teaching post at Newport School of Art, Monmouth 1951--70. After his first show of sculpture at Gimpel Fils gallery, London in 1954, he was offered the Gregory Fellowship in sculpture at Leeds University 1955--8. Taught at Leeds College of Art, Royal College of Art, London and Maidstone College of Art 1954--64. In 1964 he was appointed Visiting Professor at the University of Illinois, Urbana, USA. He was Head of Sculpture at Hornsey College of Fine Art 1966--73; he won the Churchill Fellowship in 1972, travelling to Japan and the Far East; and was made Head of Sculpture at the Central School, London 1974--6. Works include: Abstract, Liverpool University 1959; Screen, University of Manchester; Echelon with Concrete Pillars, Wolverhampton Polytechnic 1972; Untitled, outside the Business Statistics Office, Tredegar Park, Newport, Gwent 1978. His sculpture is in the collections of the Tate Gallery; Victoria and Albert Museum; MOMA, New York; Guggenheim Museum, New York; Albright-Knox Museum, Buffalo, USA. Member of RBS 1963. Exhibited at Gimpel Fils gallery, London 1954--70; Venice Biennale 1962; British Sculpture in the 60s, Tate Gallery 1966; the Toronto International Sculpture Symposium 1967; British Sculpture, RA 1972; retrospective at the Haywood Gallery, toured in 1979.
1. Hubert Dalwood, sculptures and reliefs, Arts Council of Great Britain, London, exh.cat., 1979; 2. Hubert Dalwood, Gimpel Fils, London, exh.cat., 1970. [B1998]

Hubert Cyril Dalwood (1924--76)
Born in Bristol, he was an apprentice engineer to the British Aeroplane Company, 1940--44, and served in the Royal Navy, 1944--46. He studied at Bath Academy, 1946--49, under Kenneth Armitage and William Scott. In 1955--59 he was awarded the Gregory Fellowship in Sculpture at Leeds University. Between 1956 and ‘64 he taught at Leeds, Hornsey, and Maidstone colleges of art and was Head of the Sculpture Department at Hornsey, 1966--73, and Central School of Art, 1974--76. In 1959 he won the Liverpool John Moores Exhibition and in 1962 was awarded the David E. Bright Prize for younger sculptors at the Venice Biennale. In 1976 he was elected ARA. He was commissioned to make sculpture by various universities (in addition to Liverpool), including Leeds (1961), Nuffield College, Oxford (1962), Manchester (early 1960s), and Nottingham (1974). Other public sculpture outside Liverpool includes Untitled (1974, Haymarket, Leicester). A retrospective memorial exhibition was devoted to him at the Hayward Gallery, 1979.
(sources: Nairne & Serota, 1981; Spalding, 1990; Strachan, 1984; Tate Gallery Liverpool, 1988). [L 1997]

Clemence Dane (1888--1965)
Clemence Dane was the pseudonym of Winifred Ashton, a playwright and novelist who had originally intended to make painting her career, studying at Dresden and the Slade. She continued painting and sculpting throughout her life. Her early plays were strongly criticised for the weakness of their central male characters, but she later gained a reputation as a writer of novels and film scripts. She was awarded the CBE in 1953.
Source: Stephens, L. and Lee, S. (eds), Dictionary of National Biography, London, 1990. [WCS2003]

Alfred Darbyshire (1839--1908)
Architect. Born in Salford. Educated at Friends’ School, Ackworth, and at Alderley Edge. Articled to Peter Bradshaw Alley. Began practice in Manchester from 1862 at the age of 23. He made his reputation building theatres, including the Comedy Theatre and the Palace in Manchester. He also made extensive alterations to the Theatre Royal and the Prince’s in Manchester, and renovated the Lyceum in the Strand. He designed the Manchester city abattoirs in Water Street and the lodges of Alexandra Park. Worked on the model of Old Manchester and Salford for the 1887 Manchester Exhibition. Elected FRIBA and President of Manchester Society of Architects, 1901--2. As president he helped set up a chair of Architecture at Owens College. He published an autobiography in 1887 entitled An Architect’s Experiences, Professional, Artistic and Theatrical.
Sources: Lockett, 1968; Felstead, 1993. [Man2004]

Allen David (b. 1926)
Painter, sculptor, photographer and gallery director. He was born in Bombay, but arrived in Melbourne, Australia, in 1948. After studying drawing and architecture at the University of Melbourne, he went on to direct the Gallery of Contemporary Art in Dalgety Street, St Kilda, Melbourne, from 1958--60. In 1955 he had a one-man exhibition at the Melbourne Tourist Bureau, and in 1962 contributed photographs of Central Australian landscape to Sir Russell Drysdale’s book entitled Form, Colour, Grandeur. By the end of the 1960s David was in England, where he exhibited work at the Camden Art Centre and at the church of All Hallows, London Wall. In 1969 he was given the commission for the Glass Fountain for the Guildhall Piazza in the City of London. At some time in the following decades he moved to Israel, where he received commissions for public sculpture in Tel Aviv. At present he is a member of the faculty of the New School in New York.
Source: M. Germaine, Artists and Galleries of Australia, Roseville, 1990. [CL2003]

Eric Davies (b.1910)
Architect. Born in Chadderton, Lancashire, Davies studied architecture at the University of Manchester, graduating in 1933, and becoming a Fellow of the Royal Institute of British Architects in 1960. During his working life, he worked for the architect’s department of the City of Manchester, Derbyshire, Lancashire and East Yorkshire, and later for 14 years as County Architect for Warwickshire. Other appointments include Chairman of the Coventry Society of Architects and Architect for the Central Area Redevelopment of Warwickshire Borough Council.
Source: information from the architect. [WCS2003]

Miles Davies (b.1959)
Davies was trained at Leamington Spa School of Art and Brighton Polytechnic (1978--81). With their large scale and hard-edged geometry, his works are influenced by American sculptors such as Calder, Judd and Serra. However, some of his pieces, including Open Door, exhibited at the Yorkshire Sculpture Park in 1991, also contain echoes of Dada and Surrealism. Public commissions include pieces for sculpture trails in the Forest of Dean (1988) and for Millfield School (1991). During the 1990s, he exhibited his work in many British cities, including Bath, Bristol, Wakefield and Birmingham as well as in Hanover (1991). He has works in public and private collections in England, France and Germany.
Sources: Garlake, M., ‘Round-up’, Art Monthly, October 1989, p.21; Hopper, R., Miles Davies, exhib. cat., Yorkshire Sculpture Park, Wakefield, 1991; Letter and curriculum vitae from the artist, 7 February 1996; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.189f.; Noszlopy, George T., Public Sculpture of Warwickshire, Coventry and Solihull, Liverpool, 2003, p.252; Purdie, D., Public Art on the Black Country Route, 1997, http://wavespace.waverider.co.uk/~scotdave [SBC2005]

Miles Davies (b.1959)
Davies was educated at Leamington Spa School of Art and and studied Fine Art at Brighton Polytechnic (1978--81). Public commissions include pieces for sculpture trails in the Forest of Dean (1988) and Open Door, Ashton Court, Bristol (1989); Millfield Sculpture Commission, Millfield School (1991). Solo exhibitions include: Artiste Sculpture Garden, Bath (1990); Arnolfini, Bristol (1990); Yorkshire Sculpture Park, Wakefield (1991). Recent group exhibitions include: Eisfabrik, Hannover; New Meanings for City Sites, Birmingham Museums and Art Gallery, Birmingham (1991); Road Works II, Bilston Art Gallery, Bilston (1994). He has works in public and private collections in England, France and Germany including, from 1995, the Peterborough Sculpture Trust.
Sources: Information from the artist, 7 February 1996; Art Monthly, October 1989; http://wavespace.waverider.co.uk/~scotdave; Yorkshire Sculpture Park, Miles Davies: sculptor, Wakefield, 1991. [WCS2003]

Miles Davies (b.1959)
Born 2nd April 1959 in Leigh, Lancashire, Davies was educated at Leamington Spa School of Art and studied Fine Art at Brighton Polytechnic 1978--81. Public commissions outside Birmingham include pieces for sculpture trails in the Forest of Dean, 1988 and Open Door, Ashton Court, Bristol 1989; Millfield Sculpture Commission, Millfield School 1991 and High Street roundabout, Bilston, Wolverhampton. Solo exhibitions include: Artiste Sculpture Garden, Bath 1990; Arnolfini, Bristol 1990; Yorkshire Sculpture Park, Wakefield 1991. Recent group exhibitions include: Eisfabrik, Hannover; New Meanings for City Sites, Birmingham Museums and Art Gallery, Birmingham 1991; Road Works II, Bilston Art Gallery, Bilston 1994. He has works in public and private collections in England, France and Germany including, from 1995, the Peterborough Sculpture Trust.
1. Letter and CV from the artist, 7th February 1996; 2. M. Garlake, ‘Round-up’, Art Monthly, October 1989, p.21; R. Hopper, Miles Davies sculpture catalogue, 1991. [B1998]

Richard George Davies (c.1790--after 1857)
Sculptor of statues and monuments in stone. Possibly the son of R.Davies (fl.1777--1800), R.G. Davies was born and lived in Newcastle. His major monuments include Grace Darling, Farne Islands (1844); Luke Clennell in St Andrew’s Church, Newcastle; Margaret Clavering (1821) and Francis Johnston (1822), both in Newcastle Cathedral. Exhibited Actaeon Devoured by his Hounds at Westminster Hall, 1844.
[1] Gunnis, p.122. [2] Hall, M., A Dictionary of Northumberland and Durham Painters, Newcastle, 1973, p.51. [NE 2000]

Arthur Joseph Davis (1878--1951)
Architect, born in London, educated firstly in Brussels and then in Paris at the École des Beaux-Arts and in the ateliers of J. Godefroy and J.-L. Pascal. In 1900 he entered into junior partnership with Charles Mewés. Working in a French classical style, the two moved to England, the most notable fruits of their partnership being the Ritz Hotel, Piccadilly, London (1906--09), Inveresk House, Aldwych, WC2 (1907), and the RAC Club, Pall Mall, SW1 (1908--11). Mewés died in 1914 and Davis, after serving in the First World War, went into partnership with C.H. Gage. In addition to his consultancy work with Willink and Thicknesse on the Cunard Building (1913--18) and his design of the war memorial outside, Davis was responsible for the decorations of the Aquitania, Laconia and Franconia, as well as some of the rooms on the Queen Mary, all for Cunard White Star. Throughout the ‘20s and ‘30s he designed a number of acclaimed buildings, including what is now the National Westminster Bank building in Threadneedle Street, London (1922--31), a design which earned him the London Street Architecture Medal in 1930. He also designed the Armenian Church of S. Sarkis at Iverna Gardens, W8 (1928) and Cunard House, Leadenhall Street, EC3 (1930). Davis was a member of the Royal Fine Art Commission, and was elected ARA in 1933 and RA in 1942. Also, he was Chevalier de la Légion d’Honneur (France) and was decorated with the Ordre de la Couronne avec Palmes (Belgium).
(sources: Builder [obit.], 27 May 1951; Gray, 1985; RIBA Journal [obit.], November 1951). [L 1997]

Edward Davis (1813--78)
Davis trained in the studio of Edward Hodges Baily and attended the Royal Academy Schools in 1833, exhibiting at the Royal Academy from 1834 until 1877. He specialised in portrait statues and busts: his statues include Duke of Rutland (1850), Sir William Nott (1851) and Josiah Wedgwood (Stoke-on-Trent, 1863), and his busts Duchess of Kent (1843) in the Royal Collection, and the painters, Daniel Maclise (1870) and John Constable (1874), both commissioned by the Royal Academy. His figure group, The Power of Law, was exhibited at Westminster Hall in 1844. At the Great Exhibition of 1851 he exhibited both Leicester’s Duke of Rutland statue and a marble group Venus and Cupid (now in Salford Art Gallery).
Sources: Cavanagh, T., Public Sculpture of Liverpool, Liverpool, 1997, p.327; Cavanagh, T. and Yarrington, A., Public Sculpture of Leicestershire and Rutland, Liverpool, 2000, pp.362--3; Gunnis, R., Dictionary of British Sculptors 1660--1851, London, 1964, p.122. [SBC2005]

Edward Davis (1813--78)
Born in Camarthen, he trained in the studio of E.H. Baily and attended the RA Schools in 1833, exhibiting at the RA, 1834--77. He specialised in portrait statues and busts, including a Statue of the Duke of Rutland for the Corn Exchange, Leicester (1851), and a Bust of William Rathbone for St George’s Hall, Liverpool (1857). He exhibited at the Liverpool Academy in 1837 (Bust of William Tooke) and 1838 (Bust of F. Raincock). At the Great Exhibition of 1851 he exhibited a marble group, Venus and Cupid (now Salford Art Gallery), and at the International Exhibition of 1862, a figure of Rebecca. The RA commissioned from him a Bust of Daniel Maclise in 1870 and a Bust of John Constable in 1874.
(source: Gunnis, 1951) [L 1997]

Edward Davis (1813--78)
Sculptor born in Carmarthen, Wales. He trained in the studio of Edward Hodges Baily and attended the Royal Academy Schools in 1833, exhibiting at the RA, 1834--77. He specialised in portrait statues and busts, his statues including those of Sir William Nott, 1851, Carmarthen, and Josiah Wedgwood, 1863, Stoke-on-Trent, and his busts, those of the Duchess of Kent, 1843, Royal Collection, William Rathbone, 1857, for St George’s Hall, Liverpool, and the painters Daniel Maclise, 1870, and John Constable, 1874, both commissioned by the RA. He also executed a number of church monuments, including those to Joseph Walley, 1851, St Luke’s Church, Lancaster, and to Colonel J. Bugle Delap, 1853, Church of the Assumption, Lillingstone Lovell, Buckinghamshire. At the Great Exhibition of 1851 he exhibited, in addition to Leicester’s Duke of Rutland Statue (see p.141--5), a marble group, Venus and Cupid (now Salford Art Gallery). At the International Exhibition of 1862, he exhibited a figure of Rebecca. He died 14 August 1878.
Sources: Good, M. (comp.), 1995; Gunnis, R., [1964]. [LR 2000]

Alan Dawson (b.1947)
Artist blacksmith, specialising in architectural metalwork, site specific street furniture and monumental free-standing sculptures. He was born in Whitehaven, Cumbria, and initially studied woodwork at Loughborough College of Art. After teaching metalwork for three years in a secondary school, he moved to a craft village near Cape Wrath, in the far north of Scotland, where he ran a candlemaking business. After participating in the inaugural conference of the British Artist Blacksmiths Association in 1978, he began to specialise in hand-forged work, later establishing Alan Dawson Associates Ltd in Workington, Cumbria. In addition to his numerous public commissions in Britain, including an activated sculpture based on a typewriter mechanism in the Daily Express building in London (1990) and Delius Leaf in Bradford, he has also executed a pair of Peacock Gates for the Sultan of Brunei and the entrance gates to Disneyworld in Paris.
Sources: Chatwin, pp.92--103; information provided by the artist. [G2002]

Archibald C. Dawson (1892--1938)
Born in Hamilton, the son of an architectural carver, Mathew Dawson, with whom he initially trained. He studied at GSA, winning Haldane Trust awards between 1911--13. After war service in the Highland Light Infantry he returned to GSA, succeeding William Vickers (q.v.) as teacher of stone carving, 1920--38, with Alexander Proudfoot (q.v.) and James Gray as colleagues. He became Head of Modelling and Sculpture in 1929, and taught design, decorative art and figure pottery at the School of Architecture. He worked for the architectural carvers James Young & Son (q.v.) (later Dawson & Young), specialising in commercial and ecclesiastical buildings, among which were the early churches of Jack Coia. For the Russell Institute, Paisley (1924--7), he provided bronze groups using his wife and sons as models. He exhibited at the RGIFA, 1914--38, showing genre pieces and portrait busts, including J.M. Groundwater (1931) and Jack Coia (1933). A member of the Glasgow Art Club, he executed their War Memorial in 1922. He died at a friend’s house at 81 Nithsdale Drive, and is buried in an unmarked grave in the Necropolis. Elected ARSA in 1936, his work is represented in private and public collections, including HAG and GAGM.
Sources: GH, 18 April 1938, p.13 (obit.); Dawson. [G2002]

Bob Dawson (fl. 1900--48)
Dawson was a decorative designer and craftsman who was born in Bingley, Yorkshire. After studying at the Royal College of Art, he taught there for two years. Later, he was headmaster of Belfast Municipal School of Art (1901--18) and then became principal of Manchester’s equivalent school (1919--39). He had exhibitions at the RHA, the RA and the Walker Art Gallery in Liverpool.
Source: Buckman, David, Dictionary of Artists in Britain since 1945, Bristol, 1998. [WCS2003]

J. Daymond
Architectural and ornamental sculptor. The earliest recorded work by Daymond seems to be the elaborate foliage carving on the Union Club (originally Thatched House Club), St James’s Street, London (architect Knowles, 1862). A fireplace by ‘Daymond of London’ is at Thoresby, Lincs., built 1865--75 by Anthony Salvin. From around 1880, the name occurs frequently in connection with architectural projects in London. The architects with whom Daymond’s firm chiefly worked were John Norton, Davis and Emmanuel, Treadwell and Martin, Sir H. Tanner, G. Sherrin, and F.W. Marks. Already in 1881, in connection with their largest endeavour, the figurative sculpture on Davis and Emmanuel’s City of London School, it is referred to as J. Daymond and Son. The firm continued active under this name up to 1935 at its address in Edward Street, Vincent Square, Westminster. Advertisements for its products between 1901 and 1907, in the magazine Academy Architecture, include photographic illustrations of the workshop, with stone-carvers at work.
Sources: Buildings of England; the Post Office London Directory; and other sources referred to in the text of this book. [CL2003]

Michelle de Bruin (b.1967)
An art and design graduate from Lincoln College of Art, she also studied sculpture at GSA, 1986--9. In 1988, she showed work at student exhibitions in GSA and the Christmas Show, Compass Gallery, and participated in the Sandstone Sculpture Project, College Lands, Glasgow. She is a frequent collaborator with Callum Sinclair (q.v.).
Source: Scott, p.30. [G2002]

Fiore De Henriques (b.1921?)
Very few biographical details are known about this half-Italian and half-Spanish sculptor. She exhibited bronze portrait heads at the RA in 1950 and 1955 and took part in the Festival of Britain touring exhibition, Skill of the British People, 1951. She exhibited at the Hanover Gallery, London 1957. Probably moving to America in the late 1950s, her work was shown at the Hutton Gallery, New York 1959. She was described in the Birmingham local press as ‘an unconventional cheroot-smoking Italian who lived in America’. Works include portrait busts of Princess Margaret, Adlai Stevenson, John Kennedy, Lord Olivier, Lady Egremont and Augustus John, many of which were exhibited in a garden in Cheyne Walk, London in 1975, her first exhibition in London for 25 years.
1. Art News, vol.58, no.50, March 1959, p.60; 2. RAE, London, vol.II, 1973, p.145; 3. N. Banks-Smith, ‘Fiore de Henriquez’, Guardian, 24th July 1978, p.8; 4. T. Mullaly, ‘Magical setting for portrait sculpture’, Daily Telegraph, 25th September 1975. [B1998]

Paul De Monchaux (b.1934)
De Monchaux studied at the Art Students’ League, New York from 1952 to 1954, then at the Slade School of Fine Art from 1955 to 1958. His first works were exhibited at the Institute of Contemporary Art in 1961. He has received an Arts Council Major Award (1980) and the Northern Electric Environment Award (1990). Before retiring in 1986 to work full time as a sculptor he taught at Goldsmith’s College between 1960 and 1965, and was Head of Sculpture and Fine Art at Camberwell.
Sources: [i] press release, 3 June 1999 [ii] letter, colour images and copies of designs for his works from the artist, 3 June 1999. [WCS2003]

Josefina de Vasconcellos (b.1904)
The daughter of the Brazilian Consul-General to Great Britain, she studied at Regent Street Polytechnic under Brownsward, the RA schools, the French Academy under Andreotti and Bourdelle’s studio in Paris. She has exhibited at the Royal Academy, and has a studio in Ambleside. She is a founder member of the Society of Portrait Sculptors.
Source: Buckman, David, Dictionary of Artists in Britain since 1945, Bristol, 1998. [WCS2003]

Richard Deacon (b.1949)
Deacon studied at Somerset College of Art (1968--9), St Martin’s School of Art (1969--72), the Royal College of Art (1974--7) and Chelsea School of Art (1977--8). Whilst a student Deacon became interested in the modernist ideas of William Tucker who was teaching at St Martin’s. Tucker conceived of sculpture as an autonomous object with a poetic dimension. Deacon was also influenced by the writings of Donald Judd, an American artist, who proposed a new category to replace sculpture, the ‘specific object’ grounded in reality. This relationship between the literal and the metaphoric in sculpture has dominated Deacon’s work. He uses simple armatures to allude to poetic and lyrical ideas, normally drawn from literature. Deacon’s works tend to incorporate unlikely non-art materials such as linoleum, leather and laminated wood that he glues, rivets or bends in an elegant and craftsmanlike manner. His many one-man exhibitions include the Royal College of Art (1975--6), the Tate Gallery (1985), the Whitechapel Gallery (1989) and the ‘New World Order’ at the Tate Gallery, Liverpool (1999). He won the Turner prize in 1997.
Sources: Whitechapel Art Gallery, Richard Deacon, London, 1988; Ades, D. and Amor, M., Richard Deacon: Esculturas y dibujos 1984--95, London, 1996; Spalding, F., 20th Century Painters and Sculptors, Dictionary of British Art, VI, Woodbridge, Suffolk, 1990; Deacon, Richard, For those who have eyes: Richard Deacon sculpture 1980--86: a touring exhibition, Aberystwyth, 1986. [WCS2003]

Richard Deacon (b.1949)
One of the ‘New British Sculptors’ represented by the Lisson Gallery in the 1980s. Deacon’s works tend to incorporate unlikely non-art materials such as linoleum, leather and laminated wood which he glues, rivets or bends in an elegant and craftsmanlike manner. Their forms seem to be derived from those of 1960s Modernist sculpture but at the same time, disconcertingly, to make metaphorical reference to the body and its methods of gathering information.
Trained at Somerset College of Art, St Martin’s and the Royal College of Art 1968--77, Deacon went on to teach at Chelsea and Winchester in the 1980s. His many one-man exhibitions include: Royal College of Art, 1975--6; Tate Gallery, 1985; Madrid and Antwerp, 1987--8; Whitechapel Gallery, 1989--90; Marian Goodman Gallery, New York, 1990 and ‘New World Order’ at the Tate Gallery, Liverpool, 1999. Deacon won the Turner Prize in 1997.
[1] Turner (ed.), vol.8, p.584. [2] Thompson, J., Richard Deacon, London, 1995. [3] Tate Gallery, New World Order -- Richard Deacon, (exhib. cat.), Liverpool, 1999. [4] Buckman, p.340. [NE 2000]

Andy DeComyn (b.1966)
Andy DeComyn has worked as a sculptor since 1985, when he left Bournville College of Art with a BTec Diploma in Three-Dimensional Design. Following his training in life sculpture under Stuart Osborne RA during 1987, he has received a number of major commissions, including the life-size figure of a child for Acorns Children’s Hospice, Birmingham (1998), Shot at Dawn (2000) and the Berlin Airlift Memorial (2001) for the National Memorial Arboretum, Alrewas, Staffordshire, and the WWI Pipers Memorial at Longeuval on the Somme (2002).
Sources: Artist’s website, accessed 24 November 2003, www.publicart.co.uk; Information provided by the artist, 2001. [SBC2005]

Mark Delf (b.1959)
A graduate of fine art, Mark Delf studied figurative sculpture at the Sir Henry Doulton School of Sculpture at Stoke-on-Trent. In 1988 he received a scholarship from the Italian Cultural Institute to work for a year at the Brera Academy in Milan. His work was first shown at Keele University alongside an important exhibition by Elisabeth Frink.
Source: Information provided by the sculptor’s father, 2001. [SBC2005]

Helen Denerley (b.1956)
Born in Roslin, Midlothian, she studied at Gray’s School of Art, Aberdeen, 1973--7, becoming a sculptor utilising farming implements, industrial machinery and scrap metal. Her early commissions include Musical Play Sculpture, for Aberdeen City Council (1977), Sundial in Steel and Granite, Sheltered Housing Complex, Inverurie (1991) and sculpture for the Princess Royal Trust Carers’ Centre, Aberdeen (1994). A founder member of Aberdeen Community Arts Association, 1982, she was Director of Upper Donside Community Trust and Strathfest, 1989--94. She has exhibited regularly since the late 1970s, and her recent work, Millie (1999), modelled on her own horse and symbolising the working relationship between humans and animals over the past 1,000 years, was shown at the West of England Art Fair, Bath, 1999.
Sources: Scotsman, 12 May 1999, p.26; information provided by the artist. [G2002]

John Macduff Derick (1805--59)
Irish-born architect who became an exponent of the Gothic Revival style in the early days of its development. A pupil of Sir John Soane, Derick’s busy architectural practice was concentrated chiefly upon ecclesiastical works. At one time, he was working simultaneously upon buildings in Oxford, London and Dublin. One of his more significant works was the design of the church of St Saviour, Leeds (1842--5). Derick was one of the original promoters of the Architectural Society of Oxford, and restored several of the colleges there. He was also a member of the Royal Hibernian Academy, and a personal friend of both Chantrey and Pugin. In 1858, he moved to the United States to renew his architectural practice following a period of illness, but died of poor health the following year.
Source: Mottram, P., ‘John Macduff Derick: A Biographical Sketch’ in Ecclesiology Today, issue 32, January 2004, pp.40--52. [SBC2005]

Avtarjeet Dhanjal (b.1940)
Dhanjal trained at the Government College of Arts in Chandigarh, India. He taught at the University of Nairobi in East Africa during the early 1970s before coming to the UK to study at St Martin’s School of Art in London. It was after he returned to the Punjab in 1978 that he came to develop a form of sculpture that drew upon the cultural life of the village in which he was brought up. He has since worked on a number of regional and international projects which take as their starting points environmental or community concerns. In 1980, he organised the First International Sculpture Symposium in India, where he has many works sited outdoors. These include his first site-specific work, Technology and Nature (1980, Punjabi University, Patiala), in which the shape is based on the ground plan of an Indian temple with its processional entry. This structure can be seen in many of Dhanjal’s public artworks, notably Dunstall Henge (1986). Dhanjal shares a concern to use natural objects in his work with artists such as Richard Long and Andrew Goldsworthy. His more recent sculptures in slate during the 1990s relate to his memories of childhood in a rural Punjabi village. He has exhibited widely throughout the UK as well as in India, Brazil, Italy, Germany and the United States. His public commissions include Along the Trail, National Garden Festival, Stoke-on-Trent (1986); Dunstall Henge, Peace Green, Wolverhampton (1986); Eroded Pyramid, Seneley’s Park, Birmingham (1989); and Interpreting the I-Ching, Maltings Park, Cardiff (1996).
Sources: AXIS, The Axis Database Online, 1999, www.axisartists.org.uk/; Birmingham Museums and Art Gallery Records; Dhanjal, A., Fire, Water, Stone and Silence, Border Press, 1989; McAvera, B., Avtarjeet Dhanjal, exhib. cat., Institute of International Visual Arts, London, 1997; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.190; Noszlopy, George T., Public Sculpture of Warwickshire, Coventry and Solihull, Liverpool, 2003, p.252f.; Strachan, W.J., Open Air Sculpture in Britain, London, 1984, p.267; Welsh Sculpture Trust, Sculpture in a Country Park, Margam (Wales), 1983, pp.84--7. [SBC2005]

Avtarjeet Dhanjal (b.1939)
Dhanjal first trained as a signwriter before studying sculpture at the Government College of Arts in Chandigarh. He taught in East Africa before coming to the United Kingdom to study at St Martin’s School of Art in London. He now lives and works in Ironbridge, Shropshire. He organised the First International Sculpture Symposium in India, where he has many works sited outdoors. He has worked on a number of regional and international projects that take as their starting points environmental or community concerns. His work is in collections in the United Kingdom, Brazil, Sloveneja, and India. Works include: Grown in the Field, Warwick University Arts Centre (1978); Untitled, Bodicote House, Cherwell District Council, Oxfordshire (1981); Along the Trail, slate and rope, National Garden Festival, Stoke-on-Trent (1986).
Sources: Welsh Sculpture Trust, Sculpture in a Country Park, Margam (Wales), 1983; AXIS, The Axis Database Online, www.axisartists.org.uk/, 1999; Birmingham Museums and Art Gallery Records; Strachan, W.J., Open Air Sculpture in Britain, London, 1984; CWN Coventry and Warwickshire Network, Coventry Canal Basin. [WCS2003]

Avterjeet Dhanjal (b.1939)
Born in Dalla, in the Punjab region of India, Dhanjal studied sculpture at Chandigarh Art School and now lives and works in Ironbridge, Shropshire. He organised the First International Sculpture Symposium in India, where he has many works sited outdoors. He has worked on a number of regional and international projects which take as their starting points environmental or community concerns. Works include: Grown in the Field, Warwick University Arts Centre 1978; Untitled, Bodicote House, Cherwell District Council, Oxon. 1981; Along the Trail, slate and rope, National Garden Festival, Stoke-on-Trent 1986.
1. BMAG records; 2. Welsh Sculpture Trust, Sculpture in a country park, Margam, Wales, 1983, pp.84--7; 3. Strachan, 1984, p.267. [B1998]

Mark Di Suvero (b.1933)
Born in Shanghai to Italian parents, Di Suvero’s family emigrated to the USA when he was seven. He studied philosophy at the University of California and moved to New York in 1957 where he started to make sculptures out of raw blocks of wood at the same time as he became interested in the work of the Abstract Expressionist painters and the sculptor David Smith. After an accident in 1960 which left him wheelchair-bound for two years, he developed a more monumental scale of sculpture, using steel I-beams and cables, which he often painted in bright colours. He campaigned actively against the Vietnam War (his Tower of Peace, 1966, was removed from its site in Los Angeles) and left America in 1971 for self-imposed exile in Europe. He returned in 1975, establishing a gallery in Soho, New York and promoting the creation of the Socrates Sculpture Park; later he set up a studio for visiting artists in Chalon-sur-Saône in France. In 1975 he was the first living artist to have a solo exhibition in the Jardin des Tuileries in Paris, and his works can now be found in many major collections in both the USA and Europe.
[1] Turner (ed.), vol.9, pp.39--40. [2] Osterwold, T., Mark Di Suvero (exhib. cat.), Stuttgart, 1988. [NE 2000]

Shirley Diamond
Sculptor. Studied at art school in Kingston upon Hull and Manchester Metropolitan University. Residencies in universities at Perth and Newcastle, Australia. Exhibitions at Whitworth Art Gallery, Manchester and Yorkshire Sculpture Park. Awarded Henry Moore Foundation Bursary, 1996.
Source: artist. [Man2004]

Sir William Reid Dick (1879--1961)
Sculptor. Born in Glasgow. Served apprenticeship as a stonemason before studying at Glasgow School of Art (1906--7). Established studio in London and began exhibiting at the RA in 1908. Works before 1914 included The Catapult (RA, 1911). After the war contributed to a number of war memorials, notably the gigantic lion on the Menin Gate (Ypres, 1927). He worked with leading architects including Lutyens and Blomfield. At Port Sunlight he contributed to the memorial to Lord Leverhulme, architect James Lomax Simpson. He executed the sculpture for the Kitchener Memorial Chapel (St Paul’s Cathedral, 1922--5). He became ARA in 1921, RA in 1928, and served as President of the RSBS 1933--8. He was knighted in 1935. As the King’s Sculptor in Ordinary in Scotland from 1938, and then the Queen’s Sculptor, he produced many statues and busts of the royal family, including George V in Old Palace Yard, Westminster. Franklin D. Roosevelt in Grosvenor Square and Sir John Soane at the Bank of England are among his other London statues. Regent’s Park is the location of his Boy with Frog Fountain (1936). His bronze Lady Godiva was unveiled in Coventry in 1949. His other works include a bust of Sir Edward Lutyens and a statue of Our Lady of Liverpool, both of 1933, and statues of Lord Duveen and the Countess of Jersey.
Sources: DNB; Fell, 1945; McKenzie, 2002; Ward-Jackson, 2003. [Man2004]

Sir William Reid Dick (1878--1961)
Born in Glasgow, he served a five-year apprenticeship in a stonemason’s yard, and trained in the Glasgow School of Art (1906--7). In 1907 he came to London, and started exhibiting at the RA in the following year. In his pre-war statuettes, such as The Catapult (RA 1911) and The Kelpie (RA 1914), he showed remarkable skill in figure composition in the round. From 1916 to 1918 he performed military service in France and Palestine. As a sculptor of First World War memorials, Dick’s most impressive contribution was the gigantic lion crowning the Menin Gate at Ypres, erected in 1927. Between the wars, he distinguished himself with monumental architectural sculptures, many of them for City buildings. His magnum opus, the sculpture for the Kitchener Memorial Chapel in St Paul’s (1922--5), is also in the City, though not within the scope of this volume. He collaborated with the architects Edwin Lutyens, Sir John Burnet, James Lomax Simpson and Reginald Blomfield. He was President of the Royal Society of British Sculptors from 1933 to 1938. In 1938 he became the King’s (later the Queen’s) Sculptor in Ordinary for Scotland. He executed effigies of George V and Queen Mary for St George’s Chapel, Windsor, and later, in 1947, the standing figure of George V for Old Palace Yard, Westminster. His public sculpture from the post-war years also includes the equestrian Lady Godiva for Coventry (c.1950) and Franklin D. Roosevelt for Grosvenor Square, London (1950).
Source, DNB (S.C. Hutchison). [CL2003]

Sir William Reid Dick (1879--1961)
Glasgow-born sculptor of figures, portraits and public monuments who lived for most of his working life in London. He served an apprenticeship with James C. Young and James Harrison Mackinnon (qq.v.) before receiving formal training at GSA and the City and Guilds School of Art, London. A regular exhibitor at the RGIFA, the RSA and the RA from 1912, he was elected RA in 1928 and president of the RBS in 1915. Major works include the equestrian group Controlled Energy on Unilever House, London and Godiva in Coventry, as well as studio pieces such as Androdus (1919) and Dawn (1921) in the Tate Britain Gallery. He was knighted in 1935, was King’s Sculptor in Ordinary from 1938 and Queen’s Sculptor from 1952.
Source: Buckman [G2002]

Roger Dickinson (b.1960)
Studied at Sunderland Polytechnic (1979--82) and Newcastle Polytechnic (1989--91). He was an assistant to Raf Fulcher and George Carter from 1983 to 1988. Subsequently he has worked on a number of exhibitions and public art projects in the Northern region both as an artist and as an administrator.
[1] Information provided by artist, 1998. [NE 2000]

Michael Disley (b.1962)
Sculptor in stone. Studied at Sunderland Polytechnic and Trent Polytechnic 1981--6. He has worked in Britain and in Japan, but most of his major commissions and residencies have been in Northern England.
[1] Information provided by Cleveland Arts and by artist, 1999. [NE 2000]

Frank Dobson (1887--1963)
Sculptor and painter. The son of a painter, Dobson trained at the Leyton School of Art, the Hospitalfields Art Institute (Arbroath), and the City and Guilds School in Kennington. He worked as a studio assistant to William Reynolds-Stephens, but also made contact with members of the Newlyn School on painting trips to Cornwall. His first exhibition at the Chenil Gallery in 1914 consisted entirely of paintings and drawings. Dobson’s early works in sculpture date from around this time. His first carvings and modelled works indicate familiarity with the sculpture of Gauguin and the Nabis, though his knowledge appears to have been derived entirely from art periodicals. Dobson also met Wyndham Lewis at this point, and during the 1920s he was to exhibit with the Vorticists, and to figure in their literature. Vorticist clarity and formal dynamism are present in such works as Two Heads of 1921 (stone, Courtauld Institute Galleries, London). In the mid-twenties Dobson returned to the simple classical monumentalism, which was to define his art for the rest of his life. This monumentalism can be found even in his small statuettes and sketches, mostly of the female figure. A late example of Dobson’s ‘Mediterranean’ classicism is the group named London Pride, which he modelled for the Festival of Britain in 1951. A later bronze cast of this is now outside the National Theatre, London. Dobson was Professor of Sculpture at the Royal College of Art from 1946 to 1953.
Source: N. Jason and L. Thompson-Pharoah, The Sculpture of Frank Dobson, Much Hadham, 1994. [CL2003]

John Dobson (1787--1865)
Prolific Newcastle architect, mainly in the classical style. He was a pupil of the architect David Stephenson in Newcastle and also studied drawing with John Varley in London. The region’s prosperity in the early nineteenth century saw him establish an extensive North-East practice with many country houses, public buildings and churches to his name. In Newcastle he designed the original Eldon Square 1825--31, the Grainger Market 1835--6 and part of Grey Street 1836--9.
[1] Faulkner, T. and Greg, A., John Dobson, Newcastle Architect 1787--1865, Newcastle, 1987. [2] Colvin, pp.263--8. [3] DBArch, pp.253--4. [NE 2000]

Julienne Dolphin-Wilding (b.1960)
Wilding is an applied artist and designer who studied furniture production at the London College of Furniture (1984) and three-dimensional design at Middlesex University (1985--8). She has taught furniture design at Kingston University since 1998, and is well known for her large-scale one-off chairs made from a wide selection of materials, including yew and recycled wood, metal and stone. Her concerns are environmental, and work within an ecological framework is evident in her diverse portfolio. Her work includes garden design and construction, water features and site-specific sculptures as well as furniture of all types. As well as working on public art commissions including large-scale chairs and a bed for the National Garden Festival in Gateshead (1990), an Outdoor Room for the Black Country Route near Bilston (1996) and a quartz crystal flood wall for the Loch Lomond National Park (2001), she has also undertaken a variety of high profile retail projects, notably for shops in Covent Garden. Since 1988, she has exhibited extensively in the UK, Spain and Japan.
Sources: Curriculum vitae from the artist, 2001; Purdie, D., Public Art on the Black Country Route, 1997, http://wavespace.waverider.co.uk/~scotdave; Wolverhampton City Council, Black Country Route Sculptures, CD ROM, Wolverhampton, 2001. [SBC2005]

Charles Leighfield J. Doman (1884--1944)
He studied at the Nottingham School of Art, winning the 1st National Scholarship in sculpture in 1906, and moving on to the Royal College of Art. In 1908 he won two further scholarships, including the Royal College’s travelling scholarship. He exhibited at the Royal Academy from 1909 to 1944. A number of his exhibits were imaginary subject pieces, taking the form of garden sculptures or statuettes. In 1910 he was elected a Fellow of the Royal Society of British Sculptors. Doman worked as an assistant to the architectural sculptor Albert Hemstock Hodge, and after the older sculptor’s death in 1919, executed work which Hodge had conceived for the architect Edwin Cooper’s Port of London Authority Building. This led on to further work for Cooper, mostly in the City of London. However Doman’s most ambitious work as an architectural sculptor was the frieze representing Britannia with the Wealth of East and West, carried out in collaboration with T.J. Clapperton for the attic parapet of Liberty’s shop in Regent Street (1924), for the architects E.T. and E.S. Hall.
Sources: G.M.Waters, Dictionary of British Artists Working 1900--1950, Eastbourne, 1975; J. Johnson and A. Greutzner, The Dictionary of British Artists 1880--1940, Woodbridge, 1976. [CL2003]

Arthur Dooley (1929--94)
Liverpool-born sculptor of mainly religious subjects. Before studying sculpture he was an apprentice welder at Birkenhead Shipyards, a heavyweight boxing champion in the Irish Guards, a factory worker and a cleaner at St Martin’s School of Art, London. He trained at the School from 1953, and began exhibiting in 1962 with a solo show at St Martin’s Gallery. He worked mostly in bronze or scrap metal, receiving commissions from churches in England, Spain and Latin America. He was a Roman Catholic and a Communist, but also a passionate admirer of the Beatles, whom he commemorated with Four Lads Who Shook the World in Mathew Street, Liverpool (1974).
Source: Cavanagh, p.327. [G2002]

Arthur Dooley (1929--94)
Born in Liverpool, he was at various times an apprentice welder at the Birkenhead shipyards, heavyweight boxing champion of the Irish Guards, worker at Dunlop’s Speke factory, and a cleaner at St Martin’s School of Art, London. It was while working at this last job (from 1953) that he started studying art. He had his first one-man show at St Martin’s Gallery, London, in 1962, but generally eschewed the London art world. He was born a Protestant, but converted to Catholicism in 1945 (remarkably joining the Communist Party at the same time). Much of his best work has been executed for churches, the most accomplished of which is generally considered to be the Stations of the Cross for St Mary’s Church, Leyland, Lancashire. He also executed work for churches in Latin America and Spain. His apprenticeship as a welder gave him experience in working with metals and his most characteristic work is usually in bronze or scrap metal. One of his latest works was a bronze sculpture of St Mary of the Key, 1993, for Liverpool Parish Church. His work is represented in the collections of the University of Liverpool and the WAG. He also executed the sculpture of Christ outside the Methodist Church, Princes Avenue.
(sources: Echo [obit.] 8 January 1994; Guardian [obit.] 17 January 1994.) [L 1997]

John Doubleday (b. 1947)
Sculptor, born in Essex. Following a period of several months in Paris where he sketched at the Musée Bourdelle, he attended first Carlisle School of Art and then Goldsmith’s College of Art. He has exhibited regularly since 1967 in Britain, Holland, and Germany. He had his first one-man exhibition at Wolverhampton Art Gallery in 1975, and is represented in the British Museum, the V&A, the National Museum of Wales and elsewhere. His bronze Statue of Sir Charles Chaplin was erected in Leicester Square, London, in 1981.
(sources: Byron, 1981; Spalding, 1990) [L1997]

Doulton & Co. (1815--)
Established as a pottery by John Doulton in 1815 at Vauxhall, London, the firm became Henry Doulton & Co., of Lambeth, in 1858. They patented improvements in the production of stoneware, earthenware and china, and won medals for their work at major international exhibitions. The firm flourished when terracotta was adopted by architects as a durable and easily produced building material, showcase examples being Alfred Waterhouse’s Natural History Museum, London (1873--81) and the firm’s own Lambeth headquarters. They produced statues, medallions, busts and other ornamental work from studios staffed by male and female crafts workers and students from the London art schools, all of whom were supervised by the chief designer A.E. Pearce and chief modeller George Tinwoth (qq.v.). Their work in Scotland includes a series of tiles of Famous Inventors in the Café Royal, Edinburgh (1901). The Lambeth works closed in 1956, but the company continues today at Burslem, Staffordshire (est. 1882).
Sources: Atterbury and Irvine, passim; Godden, pp.192--6. [G2002]

Abigail Downer
London-based sculptor and part-time lecturer in Southwark. She received a number of travel bursaries in the 1980s and went on to have solo shows in Sunderland Museum and Art Gallery, 1988; Newcastle Polytechnic, 1990; and in Huddersfield, 1995. Works by Downer can be found in Denby Dale, Derbyshire, 1995; and Kirklees, 1996.
[1] AXIS, Artists Register, 1999. [NE 2000]

Francis William Doyle-Jones (1873--1938)
Born in West Hartlepool, he was trained at the South Kensington School, under Edouard Lanteri. He made his début at the Royal Academy in 1903, with subjects relating to the recent Boer War. He created Boer War memorials for Middlesbrough (1904), West Hartlepool (1905), Llanelli (1905), Gateshead (1905), and Penrith (1906). He later made at least four Second World War memorials, including that at Gravesend, Kent, with a figure of Victory, and that at Sutton Coldfield (1922), with a figure of a typical private soldier. A large proportion of Doyle-Jones’s RA exhibits were portraits. His public monuments, apart from those put up in memory of journalists in Fleet Street, include Captain Webb (1910) at Dover, and Robert Burns (1914) at Galashiels. In 1936, his portrait bust of Edward VIII as Prince of Wales was presented to the Stationers’ Company. Doyle-Jones exhibited with the International Society, the Royal Hibernian Society, the Glasgow Institute, and the Walker Art Gallery.
Sources: J. Johnson and A. Greutzner, Dictionary of British Artists 1880--1940, Woodbridge, 1976; G.T. Noszlopy and J. Beach, Public Monuments of Birmingham, Liverpool, 1998. [CL2003]

Francis William Doyle-Jones (1873--1938)
Born in West Hartlepool, 11th November 1873, he died in London, 10th May 1938. Pupil of Edouard Lanteri (1848--1917), who succeeded Jules Dalou as master of sculpture at the National Art Training School (now the Royal College of Art). Doyle-Jones, who had studios in Chelsea, specialised in war memorials and portrait sculpture. His South African War Memorials include those for Middlesborough 1904; West Hartlepool 1905; Llanelly 1905; Gateshead 1905 and Penrith 1906. He designed and sculpted at least four World War I memorials, including Gravesend War Memorial, in the form of a figure of Victory. Models of two memorial statuettes were exhibited at the Royal Academy in 1921. Portrait busts and medallions include: Captain Webb Memorial, Dover 1910; Robert Burns, bust, Galashiels 1914; T.P. O’Conner, Fleet Street 1934; Edgar Wallace, Ludgate Circus 1934. Exhibited at the RA 1903--36 as well as the International Society, the Royal Hibernian Society, the Glasgow Institute and the Walker Art Gallery.
1. ‘Captain Webb Memorial at Dover’, Building News, vol.98, no.2893, 17th June 1910, p.825; 2. RAE, vol.IV, Wakefield, 1979, p.153; 3. J. Johnson, and A. Greutzner, Dictionary of British artists 1880--1940, Woodbridge, Suffolk, 1976, p.154. [B1998]

Kenneth Draper (b. 1944)
Sculptor and painter born at Killamarsh, near Sheffield, Yorkshire. He studied at Chesterfield College of Art, 1959--62, Kingston School of Art, 1962--5 (painting until 1964, then sculpture), and the Royal College of Art, 1965--8. In 1965 he was awarded the Young Contemporaries Prize for Sculpture and in 1971 the Mark Rothko Memorial Award (travel bursary to the USA). He had his first solo exhibition at the Redfern Gallery, London, 1969, a retrospective was held at the Warwick Arts Trust in 1981, and he had a solo exhibition in the USA in 1991, at the Glen Green Gallery, Santa Fe. Among the group exhibitions in which his work was featured are ‘British Sculptors ’72’, Royal Academy, 1972, and the ‘Silver Jubilee Contemporary British Sculpture’ exhibition, Battersea Park, 1977. From 1976 he taught at Goldsmiths’ School of Art and, from 1977, at Camberwell School of Arts and Crafts. His public commissions include sculpture, 1972--3, for the John Dalton Building, Manchester Polytechnic, and Oriental Gateway, 1977--8, Bradford University. He was elected ARA in 1990 and RA in 1991. Examples of his work are in the Arts Council collection, the Fitzwilliam Museum, Cambridge, the National Museum of Wales, Cardiff, the Cartwright Museum and Art Gallery, Bradford, and the Mappin Art Gallery, Sheffield.
Sources: Buckman, D., 1998; The Minories, 1982; Nairne, S. and Serota, N. (eds), 1981; Royal Academy of Arts, 1972; Spalding, F., 1990; Strachan, W.J., 1984. [LR 2000]

Conrad Dressler (1856--1940)
Sculptor and potter. He was born in London of German descent and studied at the National Art Training School under Edward Lanteri during the early 1880s. He exhibited at the RA from 1883. In 1886 he stayed at Coniston with Ruskin, receiving encouragement which influenced his future stylistic development. From 1891 he was a member of the Art Workers Guild. In December 1893 he set up the Della Robbia Pottery at Birkenhead with Harold Rathbone and, in 1897, joined Medmenham Pottery at Marlow. He was elected FRBS in 1905.
(sources: Beattie, 1983; Johnson & Greutzner, 1976; Waters, 1975) [L 1997]

Judith Holmes Drewry
Leicestershire-based sculptor, principally of portraits. She studied at Norwich Art School before attending San Francisco Art Institute on an English Speaking Union exchange scholarship to the USA. Apart from her work in Leicestershire, Drewry’s public commissions include a sculpture, 1989, for the Woolwich Building Society head offices, London; a Memorial to the Home Guard, 1996, Lyndhurst, Surrey; and sculpture features for the Hampton Court Flower Show, 1997, and Chelsea Flower Show, 1998. She casts all her own sculptures at Le Blanc Fine Art, the foundry she runs in collaboration with her husband and fellow sculptor, Lloyd Le Blanc.
Sources: information from Le Blanc Fine Art; L. Mercury, 22 April 1994, p.18. [LR 2000]

Driver and Webber
Architects. Charles Henry Driver (1832--1900), worked with Sir Joseph William Bazalgette (1819--91). ARIBA 1867, FRIBA 1872. Exhibited at the RA. With Bazalgette he designed pumping stations at Crossness and Abbey Mills and also worked on the Victoria Embankment. Also designed many of the stations on the London, Brighton and South Coast Railway. Worked for the Metropolitan Board of Works on drainage covers and ornamental lamps. Designed Buenos Aires station with Edward Wood, along with the pier at Nice. Designed memorial to Sir Tatton Sykes and many private houses. Was an active Freemason and designed the Mark Masons Hall in St James’s Street, London.
Source: Felstead, 1993. [Man2004]

Gary Drostle -- see ‘Wallscapes’ [LR 2000]

Alfred Drury (1856--1944)
Born in London, Drury studied sculpture at the South Kensington School under the French instructors, Jules Dalou and Edouard Lanteri. Between 1881 and 1885, he worked in Dalou’s Paris studio as an assistant, and, on returning to London, showed a Triumph of Silenus at the Royal Academy, which was strongly marked by the French sculptor’s influence. Work with J.E. Boehm and emulation of his contemporaries, such as Alfred Gilbert and George Frampton, helped him to form his own style. For his poetic pieces and allegories, Drury invented a characteristic female type. This proved most popular in the fanciful and dreamy busts of young girls, entitled Griselda and The Age of Innocence, both of which were frequently reproduced in bronze. Drury’s many architectural commissions include the colossal allegorical groups on the War Office in Whitehall (1904). After the First World War he executed a number of war memorials. His most successful public statues were of historical figures, Richard Hooker for Exeter (1907), Elizabeth Fry for the Old Bailey (1913), and Joshua Reynolds for the forecourt of Burlington House.
Source: S. Beattie, The New Sculpture, New Haven and London, 1983. [CL2003]

[Edward] Alfred Briscoe Drury (1856--1944)
Born in London, 1856 and died there in 1944. He studied at Oxford School of Art and the National Art Training School. An outstanding student, he was awarded the gold medal for his sculpture in 1879, 1880 and 1881, and then became assistant to Dalou in Paris 1881--5. On his return to London, he worked as an assistant to Boehm. Taught briefly at Wimbledon School of Art 1892--3. Public commissions include figures of Morning and Evening for City Square, Leeds 1898; Peace, Truth and Justice for the War Office, Whitehall, London 1904--5; architectural sculpture for the Victoria and Albert Museum 1908; statue of Joshua Reynolds, Burlington House (Royal Academy) courtyard, London 1932. He produced numerous portrait busts, statuettes and memorials, including Queen Victoria, Bradford 1902. Exhibited at the RA 1885--1945. Awarded a gold medal at the Paris International Exhibition 1900; ARA 1900; RA 1913; Associate of Royal Belgian Academy 1923; RBS silver medal 1932.
1. A.L. Baldry, ‘A notable sculptor: Alfred Drury, ARA’, The Studio, vol.37, February 1906, pp.3--18; 2. M.H. Spielmann, British sculpture and sculptors today, London, 1901, pp.109--15; 3. Beattie, 1983, p.242; 4. E.G. Underwood, A short history of English sculpture, London, 1933. [B1998]

Chris Drury (b. 1948)
Sculptor. Born in Colombo, Sri Lanka. Educated at Camberwell School of Art (1966--70). Began as a figurative and animal sculptor, but after 1974, influenced by Hamish Fulton, became interested in landscape art. Solo exhibitions include ‘Silent Spaces’, Janus Avivson Gallery, New York (1998) and ‘Shelter’ at Fabrica in Brighton (1999). Site-specific works include Vortex (Lewes Castle, Sussex, 1994), Wave Chamber (Kielder Reservoir, Northumberland, 1996), Shimanto River Spheres (Kochi Province, Japan, 1997), Coming Full Circle (Stacksteads, Irwell Sculpture Trail, 2001, and Eden Cloud Chamber (Eden Project, Cornwall, 2001). Awards include the Pollock-Krasner Award, 1995.
Sources: artist; Drury, 1998. [Man2004]

Chris Drury (b.1948)
Sculptor who uses natural materials to create baskets, cairns and shelter forms. Trained at the Camberwell School of Art 1966--70, Drury has exhibited in Europe, America and Japan since the early 1980s. His works include: Cedar Log Sky Chamber, Kochi, Japan (1996); Copice Cloud Chamber, Kings Wood, Kent (1997); Hut of the Shadow, Lochmaddy North Uist (1997); Tree Vortex, Odsherred Denmark (1998).
[1] Information supplied by the artist, 1998. [2] Buckman, p.371. [NE 2000]

Dryad Metal Works (active c.1925--1970s)
Firm of art metalworkers owned by Harry Hardy Peach, based originally at St Nicholas Street, Leicester.
Sources: Kelly’s Directory of . . . Leicester and Rutland (edns from 1925--71). [LR 2000]

Wilfred Dudeney (b. 1911)
Born in Leicester, son of Leonard Dudeney, journalist, he was educated at St Paul’s School. He studied at the Central School under the sculptor Alfred Turner. He occupied a number of teaching posts. He was Assistant Professor at the National College of Art in Dublin in 1938--9, and his last teaching job was at Isleworth Polytechnic. He exhibited with the New English Art Club and at the RA. He was elected a fellow of the Royal Society of British Sculptors in 1952. He lived in London.
Source: D. Buckman, The Dictionary of British Artists Since 1945, Bristol, 1998; Who’s Who in Art, 7th edn, London, 1954. [CL2003]

Wilfred Dudeney (b.1911)
He was born in Leicester and educated at St Paul’s School. From 1928 to 1933, he studied with Alfred Turner at the Central School of Arts and Crafts. Living in London, he held a number of teaching positions, including one at Isleworth Polytechnic, Middlesex. He has exhibited at the RA, NEAC, RHA, and elsewhere. In 1952 he was elected a Fellow of the RBS. His works include Boy and Ram, Derby (1963). His Falcon is illustrated in Eric Newton’s British Sculpture 1944--1946.
Source: Buckman, David, Dictionary of Artist in Britain since 1945, Bristol, 1998. [WCS2003]

Samuel Dunckley (d. 1714)
Mason based in Warwick, where he was employed in the rebuilding of St Mary’s Church following the fire of 1694. He is solely credited with the design, building and carving of the portal of the church’s Beauchamp Chapel in what Colvin has described as ‘an elaborate and remarkably convincing Gothic style’.
Source: Colvin, H., 1978. [LR 2000]

Alfred Dunn (b. 1927)
Sculptor, printmaker and teacher born in Wombwell, Yorkshire. He studied at Barnsley and Leeds schools of art and then, 1959--61, at the Royal College of Art, later becoming senior tutor there. He had his first solo exhibition at the Redfern Gallery, 1965, since which time he has shown both in England and on the continent (Germany and Italy). His Together, 1974, painted mild steel, was purchased for the Yorkshire Sculpture Park.
Sources: Buckman, D., 1998; Spalding, F., 1990; Strachan, W.J., 1984. [LR 2000]

Chris Dunseath (b.1949)
Dunseath trained at Gloucestershire College of Art and Design (1968--71) and the Slade School of Fine Art (1971--3). From 1974 until 1999, he taught sculpture at Coventry School of Art and Design, becoming Head of Sculpture in 1986. Since 1974, he has exhibited widely throughout England and Wales. Over the years, his sculpture has been made from a wide variety of materials, including wood, stone and bronze. Although the majority of his work is abstract, his public sculptures tend to be figurative and cast in bronze. These include Hand and Cross (1989, West Bromwich) and Spirit of the Waterfront (1992, Brierley Hill). His most recent work reflects his interest in certain aspects of theoretical physics, and includes Light Trap (1998), Black Loop (1998) and Double Wormhole (2000). In 1993 he was elected an Associate of the Royal Society of British Sculptors, later becoming a member of the Society of Portrait Sculptors (1997).
Sources: AXIS, The Axis Database Online, 1999, www.axisartists.org.uk/; Buckman, D., Dictionary of Artists in Britain since 1945, Bristol, 1998, p.378; Information from records held at Dudley Public Art Resource Unit, Himley Hall, Dudley, 2001. [SBC2005]

Susan Durant (d. 1873)
She was born in Devon. After taking lessons in studios in Rome, and studying in Paris with the romantic sculptor, Henri de Triqueti, she set up her own studio in London in 1847. Thereafter Durant exhibited a number of ideal and imaginary subjects at the Royal Academy. The only work of this type by her known today is her Faithful Shepherdess (1863) commissioned for the Egyptian Hall of the Mansion House, but she exhibited The Chief Mourner and Belisarius at the Great Exhibition in 1851, and lent a statue of Robin Hood to the Manchester Art Treasures Exhibition in 1857. After Prince Albert’s death she was introduced, probably by Triqueti, to Queen Victoria, and became sculpture instructor to the young Princess Louise. She contributed a series of high-relief portrait medallions of members of the Royal Family to Triqueti’s mural decorations in the Albert Memorial Chapel at Windsor (1866--9). In 1867 she was commissioned to sculpt a memorial to King Leopold of the Belgians for St George’s Chapel, Windsor. Queen Victoria finally took against Durant and her work, and the memorial to King Leopold was removed to the parish church at Esher. Durant also produced portrait busts, including one to the novelist Harriet Beecher Stowe (marble, c.1863, Harriet Beecher Stowe Center, Hartford, Conn.). Her last known work is a high-relief portrait of Nina Lehmann (marble and inlay, 1871, private collection), in which she followed the example of Triqueti in using coloured marbles to frame the white marble image of the young woman.
Sources: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968; Dictionary of Women Artists, London and Chicago, 1997 (entry by S. Hunter Hurtado). [CL2003]

Joseph Durham (1814--77)
Following his apprenticeship with John Francis, Durham worked for a while in the studio of Edward Hodges Baily. In 1858 his model of Britannia Presiding over the Four Quarters of the Globe won first prize in a competition to select a memorial for the Great Exhibition of 1851. This eventually took the form of a statue of Prince Albert, first erected in the gardens of the Royal Horticultural Society in 1863, but later placed at the rear of the Albert Hall. Other well-known works include his group Santa Filomena, which included a figure of Florence Nightingale (1864), a statue of Euclid for the University Museum, Oxford (1867), statues of Newton, Bentham, Milton and Harvey for the University of London (1869), and a bust of Hogarth for London’s Leicester Square Gardens (1875). He also made a number of fountains, including those at Somerleyton Hall, Suffolk (1868) and Gloucester Gate, Regent’s Park (1878). He exhibited 128 works at the Royal Academy between 1835 and 1878, the last being shown posthumously.
Sources: Gunnis, R., Dictionary of British Sculptors 1660--1851, London, 1964, p.135f.; Noszlopy, George T., Public Sculpture of Warwickshire, Coventry and Solihull, Liverpool, 2003, p.253; Read, B., Victorian Sculpture, New Haven and London, 1982, pp.123, 171, 226; Ward-Jackson, P., Public Sculpture of the City of London, Liverpool, 2003, p.459. [SBC2005]

Joseph Durham (1814--77)
Born in London, he was apprenticed to the sculptor John Francis, and, after becoming free, worked in the studio of E.H. Baily. He first exhibited at the Royal Academy in 1835. Twenty years later, the Art Journal claimed that Durham had not yet achieved celebrity. However, in 1856 his bust of Queen Victoria was presented to the Guildhall, and he received the first of two commissions for statues for the Mansion House. Durham was the sculptor chosen in 1858 to create the Memorial to the Great Exhibition. This eventually took the form of a statue of Prince Albert, erected in the Gardens of the Royal Horticultural Society in 1863. It still stands close to its original site, behind the Royal Albert Hall. Durham chiefly distinguished himself with his single figures and groups of children. Some of these were of purely imaginary or literary inspiration. Others, like Waiting his Innings (marble, 1866, Guildhall Art Gallery, London), functioned both as genre subject and as a portrait. Durham was also noted for the sculpture he provided for another distinctively Victorian monument type, the drinking fountain. He had received no formal training, and though elected an Associate of the Royal Academy in 1868, never became a full RA.
Sources: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968. [CL2003]

Joseph Durham (1814--77)
Joseph Durham was born in London and, following his apprenticeship with J. Francis, worked in the studio of Edward Hodge Bailey, first exhibiting at the Royal Academy in 1835. 128 of his works were exhibited at the Royal Academy between 1835 and (posthumously) 1878, and he was elected an Associate of the Academy in 1868. His major works include Britannia Presiding Over the Four Quarters of the Globe (1858) (winning first prize in a competition for a memorial for the Great Exhibition); a statue of the Prince Consort, Royal Horticultural Society Gardens, later erected in front of the Albert Hall (1863); Santa Filomena, a group sculpture which included a figure of Florence Nightingale (1864); a memorial for the Building Committee of Freemasons’ Hall (1871); Sunshine (1857). Other works include The First Dip; At the Spring; The Sirens and the Drowned Leander; Go to Sleep; Master Tom and Miss Ellie. He executed many statues, including Caxton, Westminster Palace Hotel (1859), Prince Albert, Guernsey (1863), and Agricultural College, Framlington (1865), Stephenson and Euclid, University Museum, Oxford (1867); ideal figures, including Hermione (1858) and Alastor (1865) for the Mansion House, Perdita and Florizel, Walker Art Gallery, Liverpool (1870); busts, including Jenny Lind (1848), Queen Victoria, Guildhall, destroyed 1940 (1856), and Hogarth, Leicester Square (1875). His fountains include those located at St Lawrence Jewry (1866), Somerleyton Hall (1868), Gloucester Gate, Regent’s Park (1878); his monuments include that to Thomas Dealtry, Bishop of Madras, Madras Cathedral (1861).
Sources: Dictionary of National Biography, CD ROM version; Art Journal; Builder; Athenaeum, 3 November, 1877. [WCS2003]

Alan [Lydiat] Durst (1883--1970)
Sculptor born 27 June 1883 at Alverstoke, Hampshire. He served in the Royal Marines, 1902--13. In 1913 he enrolled at Central School of Art and Design, but at the outbreak of the First World War he returned to the Royal Marines, 1914--18, resuming his studies at the end of the war. On leaving art school, Durst became Curator of the G.F. Watts Museum, Compton, 1919--20. He left to take up sculpture full time, later teaching wood carving at the Royal College of Art, 1925--40 and 1945--8. He exhibited with the Seven and Five Society, 1923--4, and had his first solo exhibition at the Leicester Galleries, London, in 1930. In 1938 he published his book, Wood Carving. He exhibited at the Royal Academy, 1938--70. Durst’s public commissions include Masks of Comedy and of Tragedy, 1931, for the frontage of the Royal Academy of Dramatic Art, London, Christ in Majesty, gilded wood, 1960, for St Mary the Great, Cambridge, and statues for the west front of Peterborough Cathedral. He was elected ARA in 1953.
Sources: Buckman, D., 1998; Good, M. (comp.), 1995; Nairne, S. and Serota, N. (eds), 1981; Popp, G. and Valentine, H. (comps), 1996; Spalding, F., 1990; Waters, G., 1975; Who Was Who 1961--1970. [LR 2000]

Andrew Dwyer (b.1967)
Since studying Three Dimensional Design at Carlisle and Exeter Art Colleges, Andrew Dwyer has worked in industrial design, journalism, furniture making and exhibition installation. He took a short course in Public Art run by Free Form Arts Trust in 1997. It was at this time that he designed the Blue Ribbon Sculpture in Coventry. Since then, he has continued working in this field.
Source: information from the sculptor. [WCS2003]

Earp, Hobbs and Miller
Architectural sculptors. Thomas Earp (1828--93) studied at Nottingham School of Art and Design before working for George Myers. He moved to London where his stone-carving skills, particularly on ecclesiastical buildings, saw him undertaking work for George Gilbert Scott, Pugin and Teulon. A close working relationship developed between Earp and G.E. Street. The Eleanor Cross (Charing Cross, 1863) was one of Earp’s many successful works. Earp’s already considerable business, based in Lambeth, South London, expanded further in 1864 through a partnership with Edwin Hobbs. The firm opened premises in Manchester on Lower Mosley Street. Edwin Hobbs oversaw the Manchester business, residing in Chorlton-upon-Medlock and, later, Moss Side. Their reputation as ecclesiastical architectural carvers was of the highest, but they also undertook extensive work on public and private buildings throughout the country. The firm operated under the name of Earp, Son and Hobbs from the early 1890s, the founder dying in 1893. By 1910 they had become Earp, Hobbs and Miller, continuing under that name in Manchester until the early 1940s.
Sources: Manchester Directories; Read, 1982; Mitchell, 2002. [Man2004]

Thomas Earp (1828--93)
London-based stone-carver specialising in ecclesiastical sculpture, whose works can be seen throughout England. They include the pulpit at St James the Less, Westminster (1860--1), the carving on the Eleanor Cross at Charing Cross (1863) and the reredos at Exeter Cathedral (1870--7). He received an Honourable Mention at the International Exhibition, London (1862) for his work in the church of St John the Baptist, Huntley, Gloucestershire.
Source: Read, B., Victorian Sculpture, New Haven and London, 1982, pp.246--7, 250; Saunders, M., ‘Samuel Sanders Teulon’, The Grove Dictionary of Art Online, ed. L. Macy, accessed 30 June 2003, http://www.groveart.com [SBC2005]

Bertram Eaton (1912--77)
Self-taught sculptor born 15 April 1912 in Northampton. After school he worked in a succession of office jobs before being taken on, at the age of 21, by a leather manufacturer on the outskirts of Northampton, in the Nene Valley. He stayed with the firm until his retirement in 1977. By the late 1930s he had become interested in modern sculpture. At the outbreak of the Second World War he registered as a conscientious objector and it was during this period that he carved his first sculpture, a female torso in oak in the style of Maillol, using his wife, whom he had married in 1938, as a model. He persevered in the difficult job of teaching himself to carve and in the late 1940s became friends with Robert Adams. In 1948, Eaton’s wife took some of his pieces to the Leicester Galleries in London and had a couple of them accepted. By the time of his first (and only) solo exhibition in London, at the Galerie Apollinaire, in 1950, his work was almost completely abstract. In 1952 and 1954 he showed with the London Group, and in the latter year he showed one sculpture, Space Form Composition, with the short-lived Groupe Espace in its exhibition in the foyer of the Royal Festival Hall. He thereafter showed at the Royal Scottish Academy, at various London galleries and annually in the exhibitions of the Northampton Town and County Art Society (President 1968--9). In 1975 he had his second solo exhibition, at the Central Art Gallery, Northampton. By this time his work had reached its final phase, consisting of severely rectilinear sculptures in a variety of woods, the importance of the distinctive characteristics of each wood being conveyed in the titles, e.g., Applewood sculpture, Mahogany and ebony sculpture, etc. In 1980 a touring exhibition of Eaton’s work was organised by East Midlands Arts.
Source: Bertram Eaton. A Northamptonshire sculptor (exhib. cat.), 1980. [LR 2000]

Robert Easton (d. 1722)
Apprenticed to Charles Cotton. In 1708 he had a yard in Bow Street, Covent Garden. He was mason to the Fishmongers’ Company, for whom he executed in 1721 a statue of James Hulbert for the Company’s almshouses in Newington Butts. This statue now stands at the back of Fishmongers’ Hall in the City of London. Easton’s widow appears to have carried on her husband’s business after his death.
Sources: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968; Minutes of the Fishmongers’ Company in the Guildhall Library, London. [CL2003]

John Eaton
Architect. Pupil of Richard Moffat Smith of Manchester from 1856. Educated at Manchester School of Art 1857--60. In office of father at Ashton-under-Lyne. Travelled on the continent. At his death was senior partner in John Eaton, Sons and Cantreel of Ashton-under-Lyne. Elected FRIBA 1882 and Vice-President of Manchester Society of Architects 1904--5. Designed public and commercial buildings in Ashton-under-Lyne and surrounding area, including Heginbotham Technical School, School of Art and Free Library in Ashton.
Source: Newspaper cuttings, Tameside Local Studies. [Man2004]

Robert Edgar (c.1837--73)
Edgar was a London-based architect who studied under Sir George Gilbert Scott (1811--78), and was probably influenced by Scott’s neo-Gothic style. His works include Compton School in Leek, Staffordshire (1863) and the Wedgwood Institute in Burslem (1869). Edgar died the day after the Wedgwood Institute was offically completed.
Sources: Dawson, J., The Wedgwood Memorial Institute, Burslem, 1894; Dobraszczyc, A., A Walk Around the Wedgwood Institute, Burslem, WEA Social History Walks, University of Keele, undated; Pevsner, N., The Buildings of England: Staffordshire, Harmondsworth, 1974, pp.37, 100n, 170, 254; Swale, A., ‘The Terracotta of the Wedgwood Institute, Burslem’, Journal of the Tiles and Architectural Ceramics Society, vol.2, 1987, p.22; Illustrated London News, 11 October 1873. [SBC2005]

Arthur Sherwood Edwards (1897--1960)
Artist and sculptor. Born in Leicester in 1897 and educated at Grimsby Art School. Lived in London and Grimsby before settling in Ashton upon Mersey in early 1920s. Most of his working life was spent as an architect with Manchester City Council. Exhibited at the RA, Royal Glasgow Institute and Royal Cambrian Academy. His paintings, including one of Sale’s Town Clerk, J.W.I. Fowkes, were exhibited at the RA, and at the Walker Art Gallery in Liverpool. Many of his works were of local scenes in Ashton, Altrincham and Sale, and of group studies in the style of the Manchester School. He also completed the ‘Battle of Peterloo’ painting for the Manchester Free Trade Hall.
Source: Newspaper cuttings, Trafford Local Studies. [Man2004]

Julie Edwards (b. 1965)
Sculptor. Born in Birmingham. Studied at Walsall College of Art, 1981--3 and Nottingham Trent University, 1983--6. Awarded Margaret Bryan Travel Scholarship, 1986--7. Solo exhibitions include Bonnington Gallery, Nottingham, 1986--7, Leicester City Art Gallery, 1989 and Gallery Joux Massif, 1998. Artist-in-residence at Abbey Park, 1990 and Grimsby Fishing Heritage Centre, 1994. Public commissions include Stainless Arc (G.E.N. Electricity Plant, Killinghome, 1993).
Source: artist. [Man2004]

David Edwick (b.1954)
Edwick was a stonemason at St Paul’s Cathedral and Chichester Cathedral from 1975 to 1979. For the next eight years he worked as a stone-carver and conservator at English Heritage Sculpture Studio, Vauxhall, London, and since then he has been a self-employed sculptor and architectural carver with a workshop in Hexham.
[1] Newcastle Yearbook. A Local History, Guide and Annual Review, Newcastle 1905. [NE 2000]

George Ehrlich (1897--1966)
Ehrlich studied ornamental art with Franz Cisek at the Vienna Kunstgewerbeschule. In the years immediately after the First World War he worked as a graphic artist. In 1919 he moved to Munich, and then to Berlin in 1921, where, under contract to Paul Cassirer, he exhibited alongside Oscar Kokoschka, Ernst Barlach and Wilhelm Lehmbruck. In 1923 he returned to Vienna, and in 1926 took up sculpture, exhibiting in Vienna, Prague, Zurich, and at the pre-war Venice Biennales. Ehrlich came to England in 1937, and was naturalised in 1947. The etiolated forms and suffering air of his juvenile figures came to be seen as a reflection of the tragedy of war, though his style had developed under the influence of German and Austrian expressionism. Shortly after the end of the Second World War, in 1945, his figure of Pax was inaugurated in the Coventry Garden of Rest. In May 1947, Hertfordshire County Council acquired the bronze group, Two Sisters, for Essendon School. In 1950 Ehrlich had his first British one-man show, at the Leicester Galleries. He showed work at the Festival of Britain in 1951, and at the LCC’s open-air sculpture exhibitions. Ehrlich was diagnosed with a heart condition long before his death, and took to spending his summers in Grado in Italy for the good of his health. It was observed that his art grew more robust under the influence of these Mediterranean sojourns. Ehrlich became an animalier of great ability. His Nibbling Goat was acquired by the Arts Council. As a portraitist he was particularly successful in his depiction of other artistic personalities, such as Benjamin Britten (plaster, 1951, National Portrait Gallery, London) and Peter Pears (plaster, 1963, National Portrait Gallery, London). Ehrlich’s wife, Bettina, was an illustrator of children’s books.
Sources: Obituary in The Times, 5 July 1966, and ‘Tribute’ by Philip James in The Times, 29 July 1966; E. Tietze-Conrat (foreword by E. Newton), Georg Ehrlich, London, 1956; D. Buckman, The Dictionary of British Artists Since 1945, Bristol, 1998. [CL2003]

Georg Ehrlich (1897--1966)
Erlich trained at the School of Applied Arts in Vienna between 1912--15. He lived in Munich (1919--22), Berlin (1921--3) and Vienna (1923--37). After the Second World War he came to England as a refugee and took British nationality. He began to sculpt in 1926 and is known for his symbolic figures and animals in bronze. He exhibited in several European countries and at the Royal Academy. He won the gold medal at the 1937 Paris Exposition Internationale. In 1961 he was awarded the Sculpture Prize of the City of Vienna, and in 1962 he was elected ARA.
Sources: Turner, J., Dictionary of Art, vol.10, London, 1996; Tietze-Conrat, Erica, Georg Ehrlich, London, 1956; Spalding, F., 20th Century Painters and Sculptors, Dictionary of British Art, VI, Woodbridge, Suffolk, 1990; MacKay, J., Dictionary of Western Sculptors in Bronze, Woodbridge, Suffolk, 1977; Arts Council Exhibition, 1964; Scottish Arts Council exhibition, 1973. [WCS2003]

Georg Ehrlich (1897--1966)
Sculptor, painter and etcher born 22 February 1897 in Vienna. He studied art at the Kunstgewerbeschule, Vienna, 1912--15, after which he served in the Austrian Army until the end of the First World War. From 1919--21 he lived in Munich, having an exhibition of his prints there in 1920 at the Hans Goltz Gallery. He began to exhibit widely, moving next to Berlin and then in 1923 back to Vienna where, in about 1926 he began to sculpt. The rise of Nazism meant that Ehrlich, a Jew, could no longer safely remain in Austria, and in 1937 he moved to England, in the same year winning a Gold Medal at the Exposition Internationale des Arts et Techniques in Paris. From the year after he arrived until 1960 he had numerous solo exhibitions in London. In 1948 he was artist-in-residence at the Columbus Gallery of Fine Arts, Ohio. From 1950--1 he taught at Hammersmith School of Art. In 1951 two of his sculptures were included in the Festival of Britain and in 1958 he showed at the Venice Biennale. In 1960 his Head of a Horse was purchased by the Chantrey Bequest, in 1961 he was awarded the Sculpture Prize of the City of Vienna, and in the following year, 1962, he was elected ARA. He showed at the RA from 1940--67. His public sculptures include his ‘Pax’ Memorial, Coventry; The Young Lovers, 1973, St Paul’s Cathedral churchyard, London, and The Bombed Child, Rathaus, Lünen, Germany. He died 1 July 1966. Examples of his work are in the Tate Gallery, the British Museum, the Victoria and Albert Museum, Wakefield City Art Gallery; Tel Aviv Museum of Art, Israel; and the Metropolitan Museum of Art, New York.
Sources: Buckman, D., 1998; Spalding, F., 1990; Strachan, W.J., 1984; Waters, G., 1975; Who Was Who 1961--1970. [LR 2000]

Matthew Elden (act.1860s)
Elden studied at Stoke School of Art in Staffordshire. He then became a member of the Department of Science and Art at the South Kensington Museum (now the Victoria and Albert). He is best known for designing the Wedgwood Institute in Burslem, Staffordshire.
Sources: Swale, A., ‘The Terracotta of the Wedgwood Institute, Burslem’, Journal of the Tiles and Architectural Ceramics Society, vol.2, 1987, p.22; Wedgwood Institute (Burslem Library), Files. [SBC2005]

Herbert Ellis (c.1877-- c.1910)
An artist and modeller in stoneware and terracotta employed by Doulton & Co., of Lambeth (q.v.). In 1889 he won a prize in the Art Workmanship competition of the Society of Arts for a modelled ewer in silicon with a Bacchanalian subject.
Source: Bergesen, p.99. [G2002]

Penelope Ellis (b.1935)
Sculptor born in London. She studied at the Slade School of Fine Art, 1953--6, and was awarded a British Institute in Paris Scholarship,1956--7, to continue her studies in art. From 1957--8 she was at the Institute of Education, London University, and went on to teach art and design at secondary school level in Bristol, 1958--97. In 1958 she exhibited with the ‘Young Contemporaries’, and in 1962, 1963 and 1964 with the Women’s International Art Club. In 1963 Ellis was the sculptor-member of the British team in the Manifestation Biennale et Internationale des Jeune Artistes at the Troisième Biennale de Paris. The team’s entry in the ‘Travaux d’Equipe’ section won first prize for foreign entries and in 1964 was exhibited at the Institute of Contemporary Art, London, and the Bristol Building and Design Centre. In about 1969 Ellis showed a kinetic piece, Spinning Colour, at a mixed exhibition on the theme of colour at the Graves Art Gallery, Sheffield.
Source: information from the sculptor. [LR 2000]

John Ely
Architect. Articled to Henry John Paull (d. 1888) and Oliver Aycliffe (d. 1897), from 1864--9. Architectural assistant to the Salford Corporation 1872. Chief assistant to Edward Salomons, 1873--4. Partnership with Salomons, 1875--86. Practised alone from 1887 onwards. Elected FRIBA 1888, and served as member of the Council. President of Manchester Society of Architects, 1897--8, and Vice President, 1903--4. Winning architect in the Salford Royal Hospital extension competition, 1907. Also worked on Women’s and Children’s Hospital, Manchester.
Source: Felstead, 1993. [Man2004]

Robert Jackson Emerson (1878--1944)
Emerson studied at Leicester College of Art, London and Paris. He lived and worked in Wolverhampton, being an art teacher at the Wolverhampton Municipal School of Art between 1910 and 1942. His exhibits at the Royal Academy included Love’s Unfolded Innocence (1906), Life’s Light and the Soul (1908), and The Awakening Soul (1899). His most successful sculpture is thought to be Golden Youth, now in Wolverhampton Art Gallery, which was awarded a gold medal in 1941 by the Royal Society of British Sculptors. He was elected a Fellow of the Royal Society of British Sculptors in 1913, and taught three sculptors who later went on to win the Prix de Rome -- Cecil Brown, T.B. Huxley Jones and Geoffrey Deeley.
Sources: Wolverhampton Chronicle, 12 April 1991; Walsall Archives, Carless Memorial, file 1/116/4 (includes letters from Emerson). [SBC2005]

Stanley Sydney Smith English (b. 1908)
Sculptor in wood, stone and bronze, born at Romford, Essex. He studied at Lambeth School of Art and the RA Schools and exhibited at the RA in 1939 and 1940. In 1946 he was appointed teacher of ceramics at Liverpool College of Art.
(sources: Spalding, 1990; Waters, 1975) [L 1997]

Sir Jacob Epstein (1880--1959)
Between 1902 and 1904, Epstein studied sculpture at the École des Beaux-Arts and then at the Academie Julian, Paris, thereafter settling in London. In 1907, he received his first major commission, to carve 18 life-size figures for the façade of the new British Medical Association building in the Strand, London. These became the centre of the first of a number of public scandals caused by his work during his early career. Indeed, throughout his life he remained a controversial figure whose early direct carvings often outraged the public because their massive character and Expressionist deformations were taken for wilful brutality. In 1912, while in Paris engaged in the erection of his Tomb of Oscar Wilde in the Père Lachaise cemetery, he met Picasso, Brancusi and Modigliani, by whom he was introduced to African and Oceanic carving. Until about 1916 his work tended towards abstraction, but he was also well known for his portrait sculpture. His major works include Rock Drill (1913, destroyed); Joseph Conrad (1924, Birmingham Museum and Art Gallery); Night and Day for St James’ Underground Station (1928--9); Albert Einstein (1933, Birmingham Museum and Art Gallery); Ecce Homo, Coventry Cathedral (1935); Lucifer (1945, Birmingham Museum and Art Gallery); Madonna and Child, Cavendish Square (1952); Christ in Majesty, Llandaff Cathedral (1953); and St Michael and the Devil, Coventry Cathedral (1958). He exhibited regularly at the Leicester Galleries, London, from 1917. There was a major retrospective exhibition of his work at Temple Newsam, Leeds (1942) and at the Tate Gallery, London (1952). He was knighted in 1954.
Sources: Buckle, R., Jacob Epstein, Sculptor, London, 1963; Cavanagh, T., Public Sculpture of Liverpool, Liverpool, 1997, p.327f.; Cork, R., Vorticism and Its Allies, Haywood Gallery, London, 1974, p.30; Epstein, J., Epstein Centenary, London, 1980; Epstein, J., Epstein: An Autobiography, London, 1975; Gardiner, S., Epstein: Artist Against the Establishment, London, 1993; Maillard, R., New Dictionary of Modern Sculpture, New York, 1971, p.93; Noszlopy, George T., Public Sculpture of Warwickshire, Coventry and Solihull, Liverpool, 2003, p.253f.; Silber, E., The Sculpture of Epstein: with a Complete Catalogue, Oxford, 1986; Silber, E., Rebel Angel, Sculpture and Watercolours by Sir Jacob Epstein 1880--1959, Birmingham, 1980; Spalding, F., 20th Century Painters and Sculptors, Dictionary of British Art, vol.6, Woodbridge, 1990, p.160. [SBC2005]

Sir Jacob Epstein (1880--1959)
Epstein studied drawing and painting c.1896 at the Art Students’ League in New York. He attended night classes in sculpture 1899--c.1901 under George Grey Bernard, and worked by day in a bronze foundry. Between 1902--4 he studied sculpture at the École des Beaux Arts, then at the Académie Julian, Paris, before settling in London. He became a British subject in 1907 and received his first major commission, to carve eighteen life-size figures for the façade of the new British Medical Association building in the Strand, London (1907--8). These became the centre of the first of a number of public scandals caused by the nudity in his early work. In 1912, while in Paris engaged in the erection of his tomb of Oscar Wilde (1908--12) for the Père La Chaise cemetery, he met Picasso, Brancusi and Modigliani. He became a member of the London Art Group and had his first one-man show at the Twenty One Gallery, Adelphi, London in 1913, briefly being associated with the Vorticist group. Until c.1916 his work tended towards abstraction, but he was also well known for his portrait sculpture. His main subjects were family members, friends, high society people and the famous men and women of the day, busts of whom include: Joseph Conrad (1924) and Albert Einstein (1933), both in Birmingham Museum and Art Gallery; Princess Margaret (1933). Other major works include Rock Drill (1913--25), destroyed; bronze cast of Rock Drill torso (in Tate Gallery); Rima for the W.H. Hudson memorial, Hyde Park (1925); The Visitation, Tate Gallery (1926); Night and Day for St James’ underground station (1928--9); Ecce Homo, Epstein Estate (1935); Lucifer (1945), in Birmingham Museum and Art Gallery; Christ in Majesty, Llandaff Cathedral (1953); St Michael, Coventry Cathedral (1959). Exhibitions include Leicester Galleries, London from 1917; Temple Newsam, Leeds (1942); Tate Gallery, London (1952); Memorial Exhibitions -- Edinburgh Festival (1961), Tate Gallery (1961). DCL degree (Oxford University) (1953); KBE (1954).
Sources: Epstein, J., Epstein Centenary, London, 1980; Gardiner, S., Epstein: Artist Against the Establishment, London, 1993; Silber, E.: [i] The Sculpture of Epstein: With a Complete Catalogue, Oxford, 1986 [ii] Rebel Angel, Sculpture and Watercolours by Sir Jacob Epstein 1880--1959, Birmingham, 1980; Cork, R., Vorticism and Its Allies, Haywood Gallery, London, 1974; Chamot, M., Modern British Painting, Drawing and Sculpture, vol.1, Tate Gallery, London, 1964; Buckle, R., Jacob Epstein, Sculptor, London, 1963; Epstein, Sir Jacob, Epstein An Autobiography, London, 1975. [WCS2003]

Sir Jacob Epstein (1880--1959)
Born in New York to wealthy Jewish immigrants from Poland, he showed an early interest in drawing from life around him. He was attracted to sculpture, learning bronze casting by working in a foundry and studying modelling at evening classes. Fees from book illustrations paid for his passage to Paris in 1902 where he studied firstly at the Beaux-Arts School, then at the Académie Julien. He moved to London in 1905 and was naturalised in 1911. He studied at the British Museum, especially the Greek, Egyptian, and ethnographic collections. His very unclassical nude figures for the British Medical Association Building in the Strand, commissioned by the building’s architect, outraged the British public when unveiled in 1908 and were virtually destroyed when the building transferred to the Southern Rhodesian Government in 1937. Others of his public works also met with prurient attacks. Both the RBS and the RA denied him membership in his early years and several major museums rejected his controversial works (e.g. the Fitzwilliam, V&A and Tate Gallery all refused Lucifer), though he had achieved acceptance with his portrait bronzes from at least the 1920s and was esteemed by artists such as Augustus John and Sickert. Apart from an honorary LL.D. from Aberdeen in 1938, he enjoyed little official recognition before the 1950s when he received a knighthood (1954) and numerous public commissions.
(sources: Buckle, 1963; DNB; Gardiner, 1992; Silber, 1986) [L 1997]

Charles Errington (1869--1935)
Newcastle architect, practising independently from 1896 and Diocesan Surveyor from the late nineteenth century until 1914. He was responsible for the design of a number of schools, memorial halls and housing developments in the city during that time, as well as Lloyds banks in Sunderland and Hartlepool. President Northern Architects’ Association 1919--20.
[1] DBArch, p.293. [NE 2000]

Robert Erskine (b.1954)
Erskine trained at Kingston School of Fine Art (1973--6) and the Slade School of Fine Art, London (1976--8). From 1979 until 1983, he was involved in a series of international design projects, including the design of the Sultan of Brunei’s palace and that of the Ashoka Hotel, New Delhi (1983). Since 1984 he has been a full-time professional sculptor. His major commissions include Rhythm, Strength and Movement (1987, Basingstoke); Quintisection (1993, Sunderland), for which he won the Sir Otto Beit Bronze award; and Power Rhythm (2000, Peterborough). Elected a Fellow of the Royal Society of British Sculptors in 1998, he has exhibited in London and at Wakefield’s Yorkshire Sculpture Park as well as at the Hakone Open Air Museum in Japan (1992). He represented Britain at the International City of Culture Symposium, A Sea of Steel, held in the Netherlands, where he was awarded first prize for his sculpture White Rhythm (2002).
Sources: Artist’s curriculum vitae, PACA Archive, UCE, Birmingham, PA/PR/64/5; Erskine, R., Power Rhythm, accessed 24 November 2003, www.peterborough.net/lifestyles/articles [SBC2005]

David Evans (1893--1959)
Born in Manchester, he attended the Manchester School of Art, and won a scholarship to the Royal College of Art. After active service in the First World War, he resumed his studies at the Royal Academy, where he was instructed by Francis Derwent Wood. In 1922, he won the Landseer Prize, and later went to work in the British School in Rome. He had been exhibiting at the Royal Academy since 1921. His works from the 1920s are mainly highly stylised and decorative interpretations of religious and mythological themes. A group entitled Labour, exhibited at the Royal Academy in 1929, now in the Newport Museum and Art Gallery, showing two quarrymen moving blocks of stone, strikes a harsher and more realistic note. In 1927, the critic Kineton Parkes had written of this work at an early stage, and had hailed Evans as one of the young sculptors whose talent might lead sculpture back to its true glyptic traditions. Evans became sculptor in residence at the Cranbrook Foundation, in Bloomfield Hills, Michigan in 1929. During his stay in the United States he executed some significant work for public buildings in New York. Towards the end of the Second World War, Evans left London for Welwyn Garden City. His traditional craftsmanly skills recommended him for some post-war reconstruction work, such as the replacement figures of Gog and Magog for the Guildhall, and the restoration of the wooden frieze of St James’s Piccadilly.
Sources: Kineton Parkes, ‘A Prix de Rome Sculptor: David Evans’, Studio, August 1927; G.S. Sandilands, ‘The Sculpture of David Evans’, Studio, September 1955. [CL2003]

Garth Evans (b.1934)
Sculptor and teacher born at Cheadle, Cheshire. He studied at Manchester School of Art, 1955--7, and Slade School of Fine Art, 1957--60. In 1960 (and 1965) he showed at the John Moores Exhibition, Liverpool, and in 1962 he had his first solo exhibition at the Rowan Gallery (and many thereafter). His work was included in the ‘British Sculpture ’72’ exhibition at the Royal Academy, 1972, and the ‘Silver Jubilee Contemporary British Sculpture’ exhibition at Battersea Park, 1977. He taught at Camberwell School of Arts and Crafts, and was visiting lecturer at St Martin’s School of Art, the Royal College of Art and Slade School of Fine Art. In 1973 he was visiting professor at Minneapolis College of Art and Design. Evans’s awards include a Gulbenkian Purchase Award, 1964; an Arts Council Sabbatical Award, 1966; a British Steel Corporation Fellowship, 1969; and a Bradford Print Biennale Prize, 1972. He lived and worked in the USA from the early 1980s. Examples of his work are in the Arts Council collection and in the Tate Gallery, Victoria and Albert Museum, Bristol City Art Gallery, Portsmouth City Art Gallery, Metropolitan Museum of Art, New York, and the Power Gallery of Contemporary Art, Sydney, Australia.
Sources: Buckman, D., 1998; Nairne, S. and Serota, N. (eds), 1981; Royal Academy of Arts, 1972; Spalding, F., 1990; Strachan, W.J., 1984. [LR 2000]

John Evans
Chief modeller for Gibbs and Canning, John Evans was born in Liverpool and worked with his father, Samuel Evans who had his own practice in Liverpool. He later started to work intermittently for Gibbs and Canning whose works were near Glascote colliery, Tamworth, where he was eventually appointed modeller and head of the model and mould plaster department. Other works included modelling for the Technical Institute, coat of arms for the electricity power station, Birmingham and an Indian figure for a bootmakers in Northampton.
1. Tamworth News and Four Shires Advertiser, January 1935. [B1998]

Simon Evans (b.1963)
Simon Evans studied at Blackburn School of Art and Design, and was a student of Coventry Polytechnic (now Coventry University) when he made Steel Horse (1986). He also created a 13--metre Minotaur, which was temporarily exhibited opposite Coventry Cathedral in 1988. His other works include steel sculptures of a horse in Blackburn, a crow in Tring, a goose in Worplesdon and another horse exhibited at Earls Court, London, in June 2000. He is currently based in Trawden, East Lancashire.
Source: Coventry Evening Telegraph, 18 June 1988. [WCS2003]

John Breedon Everard (1844--1923)
Architect, civil engineer and President of the Leicester and Leicestershire Society of Architects, born in Groby, Leicestershire. He was articled to John Brown, a mining engineer, for four years in 1862 and after completion, in 1866, became assistant to W.H. Barlow (MICE) of Westminster. He returned to Leicester and began in independent practice in 1868, later entering into partnership with S. Perkins Pick (see below). In 1888 he was elected a Fellow of the Royal Institute of British Architects. Everard’s principal architectural works, all in Leicestershire, include the Leicester Cattle Market, 1871; the Church of St John the Baptist, Hugglescote, 1878--9, 1887--8, which has been described as ‘easily the best C19 [Leicestershire] church outside Leicester’;¹ St Peter, Bardon, 1898--9; and, for himself, ‘Woodville’, a large house in Knighton Park Road, Leicester, 1883. He retired in 1911 and died at ‘Woodville’ on 12 September 1923.
Sources: Builder, vol. 125, no. 4207, 21 September 1923, p.436 (obituary); Felstead, A., et al, 1993; Pevsner, N. and Williamson, E, 1992; RIBA Journal, vol. 30, no. 20, 20 October 1923, p.653 (obituary).
Note: [1] Pevsner, N. and Williamson, E., 1992, p.181. [LR 2000]

Everard and Pick (active from c.1891)
John Breedon Everard (see above) and Samuel Perkins Pick (1859--1919) established their Leicester-based architectural and civil engineering practice, Everard and Pick, in 1888. In 1905, Everard’s son Bernard joined and the practice became Everard, Son and Pick . By 1918 J.B. Everard had retired and William Keay (d. 1952) became a partner, the practice being re-designated Pick Everard and Keay. This in turn became Pick Everard Keay and Gimson in 1923, a name it retained until 1991, from which date it has operated as Pick Everard. The practice exhibited at the Royal Academy in 1901, 1904, 1915, 1916 and 1917. Everard and Pick built the original Leicester College of Art and Technology (now the Hawthorn Building, De Montfort University), 1896--7 (additions 1909, 1928 and 1937), and also Pares’s Bank, Leicester, 1900--1.
Sources: information from Pick Everard; Beaumont, L. de, 1987; Kelly’s Directory of ... Leicester and Rutland (various edns); L. Chronicle, 31 May 1919, p.2 (obituary of Pick). [LR 2000]

George Edwin Ewing (1828--84)
Born in Birmingham, he worked as a sculptor in Liverpool and London, and briefly studied with John Gibson (q.v.) in Rome. In 1859 he established a successful practice in Glasgow as a portrait sculptor, producing busts of prominent Scots and the royal family, with Lord Clyde and the painter Thomas Faed among his sitters. His architectural and public work is rare, and his monuments to James Jamieson (1861) and David Miller (c.1862) in the Necropolis are at risk. Joined by his brother James Alexander Ewing (q.v.) in 1875, he lived and worked at various addresses in the city before he moved to the USA, c.1882, working in Philadelphia and New York, where he died. He exhibited at the RA, 1862--79.
Sources: Bailie, 1 April 1874; POD, 1859--82. [G2002]

James Alexander Ewing (1843--1900)
Born in Carlisle, he received art training in England, but moved to Glasgow in 1875, where he remained for his entire career. He worked at first in collaboration with his brother George Edwin Ewing (q.v.), then independently with John Tweed as his assistant. Though chiefly a portraitist working in marble and bronze, he produced architectural sculpture for the Scottish Co-operative Wholesale Society and the figure of Justice on Dunbeth Municipal Buildings (1894). Among the many busts he produced are Alexander Duff Robertson (1880), Alexander Smollet (1882), Ellen Terry (1885, from a sketch by G.E. Ewing, lent by Sir Henry Irving) and Sir Michael Connal (1894). He also exhibited genre pieces at the RGIFA, including Comin’ thro’ the Rye (1878) and Bonny Meg (1879). His work is represented in GAGM and other public collections.
Sources: Woodward, pp.114--17; Billcliffe. [G2002]

Aristide Fabbrucci (fl.1880--1903)
An architectural sculptor, born in Florence, but resident in London. He is an elusive figure, who may be identical with the sculptor known as Fabruzzi who introduced G.F Watts to the technique known as ‘gesso grosso’. He is listed in Grant as a regular exhibitor at the RA from 1880 to 1903, showing portrait busts and imaginitive pieces such as Federica Cockerell (1882), The ball player (1883) and First love (1885), and with an address at 14a Hollywood Road, London. Walkley, however, cites ‘?Aristide Louis Fabbrucci’ as the proprietor of a now demolished suite of studios at 454a Fulham Road, where his tenants included J.A.M. Whistler, Walter Sickert, Alfred Drury, Paul Raphael Montford and Henri Gaudier-Brzeska.
Sources: Grant; Read, p.285; Mackay; Giles Walkley, Artists’ Houses in London 1764--1914, Aldershot, 1994, p.238. [G2002]

Paul Fairclough
Stonemason and sculptor. Leonard Fairclough established a successful business as a stonemason and builder in Adlington, Lancashire in 1883. Civil engineering projects began to be undertaken by the early twentieth century and this became the principal business of the firm which expanded to become one of the town’s largest employers. Fairclough’s four sons went into the business, Paul continuing his father’s original trade as a stonemason and carver. A sandstone statue of Queen Victoria unveiled in Adlington in 1887 was the work of Leonard Fairclough.
Source: Smith, 1991. [Man2004]

Harry Smith Fairhurst (1868?--1945)
Architect. Born in Blackburn. Articled to James Wolstenhome, 1883--8. Improver with Maxwell and Tuke and William Charles Tuke, 1888--91 and assistant to J.H. Stones and A.R. Gradwell. Experience with William Frame in Cardiff. Travelled in Italy. Passed Qualifying Exam 1891. Started independent practice 1895 in Blackburn. Moved to Manchester 1901 and entered into partnership with J.H. France. Partnership dissolved 1905. In partnership with son Philip Garland Fairhurst from 1929. Succeeded by son in 1941. His first major commission was for India House, Whitworth Street, followed by Lancaster House (1906) and Bridgewater House (1913). Also designed model housing in Gorton as well as the offices of Manchester Liners and headquarters of the Manchester Ship Canal (exhibited RA, 1926). Elected ARIBA in 1926.
Sources: Whittam, 1986; Felstead, 1993. [Man2004]

Farmer & Brindley (fl.1850--1929)
Firm of architectural stone-carvers with premises on Westminster Bridge Road, Lambeth. They undertook an extensive amount of ornamental work for Sir George Gilbert Scott, including that for the Albert Memorial, the capitals on Scott’s Government Offices, Whitehall, and much of the ornamental carving for his major ecclesiastical restorations at Exeter, Gloucester and Lichfield. In 1863--9 they made the statues Science and Art for the Holborn Viaduct, London. Under the surviving partner, Brindley, the firm served almost every English architect of repute until the First World War. Other work by them includes the historical sculpture on Alfred Waterhouse’s Manchester Town Hall (1868--77) and the terracotta animals and plants decorating the Natural History Museum in South Kensington; the carved stone pedestal of Thornycroft’s Monument to General Gordon (1885--8); and the reredos of St Paul’s Cathedral (since dismantled).
Sources: Beattie, S., The New Sculpture, New Haven and London, 1983, p.24f.; Cavanagh, T., Public Sculpture of Liverpool, Liverpool, 1997, p.328; Cavanagh, T. and Yarrington, A., Public Sculpture of Leicestershire and Rutland, Liverpool, 2000, p.365; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.191; Read, B., Victorian Sculpture, New Haven and London, 1982, pp.265--9; Ward-Jackson, P., Public Sculpture of the City of London, Liverpool, 2003, p.460. [SBC2005]

Farmer & Brindley
Architectural sculptors. One of the country’s leading firms of architectural sculptors from the 1860s onwards, occupying premises on Westminster Bridge Road, Lambeth. William Brindley (1832--1919) was the executant under the direction of William Farmer (1823--79) who also handled the contracts. They worked for most of the major Victorian architects especially George Gilbert Scott, Alfred Waterhouse and Lockwood and Mawson. Brindley’s stone-carving contributed to a number of prestigious projects including the Albert Memorial, Natural History Museum and major ecclesiastical restorations at Exeter, Lichfield and Worcester. The firm carved the controversial reredos designed by Bodley and Garner for St Paul’s Cathedral. They employed and helped train a large number of British and Continental stone-carvers including Charles J. Allen and Harry Bates. The firm amalgamated with another in 1929, when all their records appear to have been lost.
Sources: Hardy, 1993; Cavanagh, 1997. [Man2004]

Farmer & Brindley
A firm, based in Westminster Bridge Road, producing architectural and memorial sculpture, church furniture and ornament, which operated also as a marble merchant. The firm’s directors, William Farmer (1823--79), and William Brindley (1832--1919), were both from Derbyshire. Initially Farmer went into business independently, employing Brindley as a stone-carver. In the late 1860s they became partners. Their first documented work was on George Gilbert Scott’s parish church at Woolland, Dorset, consecrated in 1856. They were to produce a huge amount of work for Scott, including the decorative sculpture on the Albert Memorial. Other architects with whom they enjoyed fertile collaborations were Lockwood and Mawson, Bodley and Garner, and Alfred Waterhouse. For the latter they produced stone figures and reliefs for Manchester Town Hall, and the models for the copious terracotta decoration on the Natural History Museum in South Kensington. In all, they collaborated with Waterhouse on over 100 buildings. After Farmer’s death, the firm increased its turnover of marble, an activity in which it benefited from Brindley’s extensive geological knowledge. Foreign sculptors known to have worked for the firm include L.-J. Chavalliaud, Guillemin, and the Piccirilli brothers. British employees include the distinguished sculptors C.J. Allen and H. Bates. The firm’s sculptural magnum opus, the reredos for St Paul’s, which it carried out to designs by Bodley and Garner, met with hostile criticism, and has since been dismantled. In the twentieth century, the firm provided marble and fireplaces for R. Knott’s County Hall, and although the business continued after Brindley’s death, Farmer & Brindley was amalgamated with another firm in 1929.
Sources: S. Beattie, The New Sculpture, New Haven and London, 1983; E. Hardy, ‘Farmer and Brindley, Craftsmen and Sculptors, 1850--1930’, The Victorian Society Annual, 1993, pp.4--17. [CL2003]

Farmer & Brindley (fl.1860--1929)
London firm of architectural sculptors, decorators and church furnishers founded by William Farmer and William Brindley. Their work in Scotland includes a reredos in St Mary’s Episcopal Cathedral, Glasgow (c.1874), furnishings in St Mary’s Episcopal Cathedral, Edinburgh (1878) and a chimney-piece at 3 Rothsay Terrace, Edinburgh (1883). The firm amalgamated with another company after the partners’ deaths.
Sources: Gifford, et al., p.365; Cavanagh, p.328. [G2002]

Farmer and Brindley (fl. mid-1850s -- 1929)
A firm of decorative craftsmen and church furnishers providing architectural sculpture under contract, based at Westminster Bridge Road, London. William Farmer was the director of the firm and William Brindley the chief executant. Many of the workers for the firm, including Charles John Allen and Harry Bates, trained at the South London Technical Art School. The firm provided decorative sculpture for many of the most important architects up until the First World War, their major contracts including work on Sir George Gilbert Scott’s Albert Memorial, London, and Alfred Waterhouse’s Natural History Museum, London, and Town Hall, Manchester. Scott said of Brindley that he was ‘the best carver I have met and the one who best understands my views’. After Farmer’s death, the firm continued to flourish under Brindley, but was eventually amalgamated with another firm in 1929. No records appear to survive from the firm’s heyday.
Sources: Beattie, S., 1983; Read, B., 1982. [LR 2000]

Farmer & Brindley (active mid 1850s--1929)
A firm of architectural stone carvers who carved under contract. They had premises on Westminster Bridge Road, Lambeth, an area of London long associated with suppliers of architectural sculpture. William Brindley was the executant under the direction of William Farmer who also handled the contracts. Sir George Gilbert Scott, their most notable and prolific patron, said of Brindley that he was ‘the best carver I have met with and the one who best understands my views’. They produced the model of the Albert Memorial for Scott and later all of the ornamental work for it; the capitals, etc., on Scott’s Government Offices, Whitehall; and ornamental carving for the series of his major ecclesiastical restorations at Exeter, Gloucester, Lichfield (the choir and Lady chapel statues) and figures for the reredos at Worcester. In 1863--9 they made the statues of Science and Art for the Holborn Viaduct, London. Under the surviving partner, Brindley, the firm served almost every English architect of repute until World War I. Other work by them includes the historical sculpture on Alfred Waterhouse’s Manchester Town Hall (1868--77); the carved stone pedestal of Thornycroft’s Monument to General Gordon, 1885--8; all the subsidiary sculpture on Belcher and Pite’s Institute of Chartered Accountants Hall, City of London (1888--93); and the reredos of St. Paul’s Cathedral. A large number of their carvers attended the South London Technical Arts School, notably C.J. Allen and H. Bates. The firm amalgamated with another in 1929, when all of their records were destroyed.
1. B. Read, Victorian sculpture, New Haven and London, 1982; 2. Beattie, 1983. [B1998]

Farmer & Brindley
A firm of decorative craftsmen and church furnishers providing architectural sculpture under contract, based at Westminster Bridge Road, London. William Farmer was the director of the firm, whilst William Brindley acted as chief executant. Many of the workers for the firm, including C.J. Allen and Harry Bates, trained at the South London Technical Art School. The firm provided decorative sculpture for many of the most important architects up until the First World War, their major contracts including work on Sir George Gilbert Scott’s Albert Memorial, London, and Alfred Waterhouse’s Natural History Museum, London, and Town Hall, Manchester. After Farmer’s death, the firm continued to flourish under Brindley, but was eventually amalgamated with another firm in 1929. No records appear to survive from their heyday.
(sources: Beattie, 1983; Read, 1982) [L1997]

Michael Farrell (b.1964)
Born in Paisley, Michael Farrell was educated at St Helens College of Art and Design and Birmingham Polytechnic, where he obtained a BA in Fine Art. He has held one-man exhibitions at Highcroft Hospital (1986) and the Midland Arts Centre, Cannon Hill Park (1987), both in Birmingham. He has also exhibited at group shows in Brentwood Co-op Hall (1985), Harborne and Perry Barr Baths, Birmingham (1986) and Rufford Art Centre (1987).
Sources: http://wavespace.waverider.co.uk/~scotdave; Timothy Emlyn Jones, Michael Farrell: The Vision, Birmingham, 1989. [WCS2003]

Michael Farrell
A sculptor, he graduated from Birmingham Polytechnic with a degree in fine art.
Source: L. Mercury (NW Leics edn), 15 December 1992, p.5. [LR 2000]

Richard Farrington (b.1956)
Metalworker and sculptor. Studied sculpture and printmaking at Bath Academy of Art, 1975--9. His major commissions have been for public sculptures and decorative way-markers and seats which are often figurative and sometimes based on childrens’ drawings. He has been involved in a number of community artwork projects at sites across England.
[1] Information provided by the artist, 1998. [NE 2000]

Henry Charles Fehr (1867--1940)
Fehr trained at the Royal Academy Schools from 1885, winning several prizes including the Armitage Scholarship. Between 1889 and 1893 he was studio assistant to the sculptor Thomas Brock (1847--1922). He exhibited regularly at the Royal Academy from 1887. In 1904 he was a founding member of the Royal Society of British Sculptors. His works include Perseus Rescuing Andromeda (1893, bought by the Chantrey Bequest in the following year); portrait statues James Watt (1898) and John Harrison (1903) for Leeds City Square; and the statue of Queen Victoria (1903) in Hull.
Sources: MacKay, J., Dictionary of Western Sculptors in Bronze, Woodbridge, 1977, p.131; Read, B., Victorian Sculpture, New Haven and London, 1982, pp.294, 364. [SBC2005]

Brian Fell
Sculptor. Born in Liverpool. Studied sculpture at Manchester Polytechnic, awarded MA in 1979. Sculpture Fellow, Cheltenham College of Art, 1979--80; Henry Moore Fellow, Yorkshire Sculpture Park, 1989--90. Based in Glossop, Derbyshire, with strong interest in public art. Fell works in metal, especially steel. Public commissions include the Merchant Seafarers’ War Memorial and Cargoes (Cardiff Bay, 1998, 2000), Footplate (Flint Railway Station, 1999) and the Tern Project (Morecambe Bay, 1995--2000). Ajax Bow is at the Open Air Museum of Steel Sculpture, Ironbridge.
Sources: Groundwork Trust; artist. [Man2004]

Richard Ferris (fl.1886--1915)
The son of a plasterer, he attended GSA, 1879--87, training under John Mossman and Francis Leslie (qq.v.). In 1886 his work was noticed by Robert A. McGilvray (1849--1914), who awarded him a cash prize for ornamental design and offered him a partnership in his firm. With their studio at 129 West Regent Street, they were responsible for the decorative carving on many Glasgow Style buildings and the plasterwork in several others, including Norwich Union Chambers (1898) and the plaster panels in the Willow Tea Rooms (1903) by C.R. Mackintosh (q.v.). For Honeyman & Keppie they executed carving on the Canal Boatmen’s Institute (1891, demolished 1966), Queen Margaret College (1894) and a memorial tablet at Bellahouston Dispensary (1900). Ferris operated independently as a sculptor, exhibiting portraits at the RGIFA from 1885. He later taught modelling to evening students at the Glasgow and West of Scotland Technical College. The firm amalgamated with George Rome & Co. after McGilvray’s death in 1914.
Sources: HAG, Honeyman & Keppie Job Books, 1890--1909; GSA Reports, 1879--87; GAPC, 1898--1903; GH 2 October 1914, p.4 (obit., McGilvray); Billcliffe. [G2002]

Steve Field (b.1954)
Graduating with a BA (Hons) in Architecture from Sheffield University (1975) and later completing an MPhil in Fine Art at Wolverhampton University in 1984, Steve Field was a member of the West Midlands Public Art Collective (1985--8). Artist-in-residence at Dudley Metropolitan Borough’s Public Art Resource Unit since 1989, he has designed a large number of sculptural works in the West Midlands area, predominantly in and around Dudley. His major works include Lone Rider, Wolverhampton (1996), Sleipnir, Wednesbury (1998), the Lunar Society Monument, Great Barr (1998), and Salamander Obelisk, Dudley (2001). He defines his work as falling into two categories, ‘organic work, based on archetypal forms found in nature’ and ‘figurative work derived from a kind of British version of futurism and cubism’. His mentors for the former approach include Gaudi, Bruce Goff and Henry Moore; for the latter, Edward Wadsworth and Wyndham Lewis.
Sources: AXIS, The Axis Database Online, 1999, www.axisartists.org.uk/; Buckman, D., Dictionary of Artists in Britain since 1945, Bristol, 1998, p.422; Cavanagh, T. and Yarrington, A., Public Sculpture of Leicestershire and Rutland, Liverpool, 2000, p.365; Information provided by the artist, 2002. [SBC2005]

Steve Field (b.1954)
Artist working in a variety of media, born in Saltash, Cornwall. He studied at Sheffield University and then Wolverhampton Polytechnic where he was a joint research fellow and gained a master’s degree in fine art. He was a member of the West Midlands Public Art Collective, 1985--8, and won a Royal Society of Arts ‘Art for Architecture’ Award in 1992. He is a member of Art for Architecture (a4a), an informal collaborative association of artists, designers and craftsmen. He has made a number of designs for execution by sculptor John McKenna (founder of a4a), including the two relief roundels at Fosse Park, Leicestershire (see p.50), The Glassblower, 1995, Stourbridge Railway Station, Worcestershire, and four bronze relief panels for St John’s Retail Park, Wolverhampton.
Source: Art for Architecture website: a4a.clara.net/a4a.htm; Buckman, D., 1998. [LR 2000]

James Fillans (1808--52)
Born in Wilsontown, a mining village in Lanarkshire. A self-taught sculptor and painter, he was apprenticed first as a handloom weaver in Paisley then as a stonemason with Hall McLatchie. He set up a studio in Paisley specialising in portrait busts, moving to Glasgow, c.1830, and finally settling at 8 High Holborn in London in 1835. His Scottish patrons remained faithful, commissioning wax portraits of William Motherwell (1835) and James Ewing of Strathleven (1845), a marble bust of architect John Burnet (1840) and the statue of Sir James Shaw, Kilmarnock (1848). Among his public monuments are James Dick, Old Kirkyard, Ayr (1840), Jacobus Brown, Necropolis (1846) and the model for Grief, or Rachel Weeping For Her Lost Children (1852). Originally intended for his father’s grave in Woodside Cemetery, Paisley, Grief was completed in marble by John Mossman (q.v.) and placed over Fillans’ own grave in Woodside in 1854. His work was exhibited at the RA, 1837--50, and posthumously at the RSA, 1916 and 1926.
Sources: Paterson; Gunnis. [G2002]

Margaret Cross Primrose Findlay (1902--68)
A Glasgow-born sculptor, she was a pupil of Archibald Dawson (q.v.) at GSA, where she won the Guthrie Award enabling her to study in Italy. She exhibited at the RGIFA, 1925--35, and the RSA, 1928--34, showing mainly genre pieces including Blind (1925), The Bathers (1926), Dorothy (1928) and Morning Song (1935). She was an expressive modeller of small animals and also produced lead garden ornaments. Her career, however, was principally as an art teacher at Sir John Maxwell School, Hillhead High School, and King’s Park Primary School. She lived at 30 Falkland Mansions, Hyndland, and retired in 1966.
Sources: GH, 1 February 1968, p.10 (obit.); Billcliffe. [G2002]

John Firn (active c.1861 -- c.1877)
Leicester-based monumental mason, stonemason and builder. In addition to items covered in the present volume, he rebuilt the tower, spire and north aisle of St Mary’s, Stoughton, Leicestershire, 1861--2, and executed the tomb of John Biggs (died 1871) in Welford Road Cemetery (signed).
Sources: Pevsner, N. and Williamson, E., 1992; various Leicester trade directories; personal information. [LR 2000]

Mark Firth (b.1952)
He trained as an engineer before studying fine art at Camberwell School of Art and sculpture at the Slade School of Art. His interest in engineering remains evident in many of his public commissions, including work for Marconi Radar Systems, the Chicago Research and Trading Company, as well as collaborative projects with British Airports Authority at Heathrow, IBM and British Rail Freight.
Source: Art in Partnership information sheet. [G2002]

Derek Fisher
Having graduated from Manchester University with a degree in Geography (1961), Derek Fisher began a career as a town planner and urban designer. He gained a postgraduate diploma in Town and Country Planning in 1963 and has since worked for a large number of local authorities, choosing to specialise in urban design from 1982 onwards. He gained a postgraduate diploma in Urban Design from Oxford Polytechnic in 1982 and took a course in technical illustration at Bournville College, Birmingham (1985--6). His projects include the Lye Community Regeneration Project (1986--8), the design of the Binley Business Park in Coventry (1990), decorative brick finishes to walls and a canal bridge in Coventry (1992), and the design of spatial forms with a reference to local history and culture in Longford Square, Coventry (1993). When implementing the last of these, he aimed to encourage public involvement as far as possible. From 1990 onwards, he has managed various other public art projects in Coventry.
Source: information from the artist. [WCS2003]

Karl Fisher
Sunderland-based sculptor in iron and stone. Fisher trained under Colin Wilbourn as an artist-in-residence at St Peter’s Riverside, Sunderland, before moving on to create his own work. [NE 2000]

Percy Hetherington Fitzgerald (1834--1925)
Irish sculptor and writer. Fitzgerald trained as a lawyer at Trinity College, Dublin, but later forsook law and Ireland to become a writer in London. He was a personal friend of Charles Dickens and a prolific author of fiction, biography, histories and plays. As a sculptor, Fitzgerald executed busts of Carlyle and Dickens, as well as bronze statues of Johnson and Boswell.
Source: Merriam, G. and Webster, C., Webster’s Biographical Dictionary, Springfield, Mass., USA, 1960, p.528. [SBC2005]

Janet Fitzsimons (b. 1963)
Educated at Tuson FE College, Preston and University of Wolverhampton (BA Three-Dimensional Design, 1981--4). In 1985 began work at Salford City Council, taking up the post of landscape technician in 1988, working with multi-disciplinary design teams on the Trinity and Ordsall Projects.
Source: artist. [Man2004]

Barry Flanagan (b. 1941)
Sculptor, draughtsman, print, film and furniture maker. He was born in Prestatyn in North Wales. He studied at Birmingham College of Arts and Crafts (1957--8) and at St Martin’s School of Art (1964--6), where his sculpture tutor was Phillip King. At St Martin’s he acquired an anarchic mental habit through contact with the sculptor John Latham, and from reading the work of the French author Alfred Jarry. His first exhibition in 1966 at the Rowan Gallery consisted of a pile of sand. Flanagan went on to contain his sand in sacks and to introduce lengths of rope and supports into his installations. Between 1967 and 1971 he taught at St Martin’s. After a trip to Italy in 1973, traditional sculptural materials reappear in Flanagan’s work, but he has been inclined to make stone take on the forms of more malleable materials and to allow it to announce its own fossil origins. In 1978 he had a one-man exhibition at the Serpentine Gallery. In 1980 he produced two public sculptures in cut-out sheet metal. One of these, Camdonian (Lincolns Inn Fields, London), was the result of a competition funded by Camden Council. Around this time his work became more obviously figurative, with a wide variety of animals, and later primitive renderings of the human figure, taking the stage. Foremost among Flanagan’s animals is the hare, which he presents alone or in combination with supports in the form of symmetrical artefacts, such as bells, helmets or cricket stumps. In 1987 Flanagan took up residence in Ibiza, but in 1996 he moved to Dublin.
Source: The Grove Dictionary of Art, Macmillan, London, 1996 (Catherine Lampert). [CL2003]

John Flaxman (1755--1826)
Born in York, he was the son of a caster and model maker who worked for the leading sculptors of the mid-eighteenth century. By 1767 Flaxman began to exhibit plaster models of classical figures at the Society of Arts, and in 1769 entered the RA Schools, where he befriended William Blake. Working with his father for Matthew Boulton in Birmingham and the Wedgwood factory, he designed cameos and made wax models of classical friezes and portrait medallions, which helped develop his linear style. In 1787 he visited Rome, where he remained for seven years, making monuments and producing his first book of illustrations, while also working as the Director of Josiah Wedgwood’s pottery. His funerary works, such as the Monument to Lord Nelson, St Paul’s Cathedral (1808--18), are considered his finest achievements. Public sculptures by Flaxman are rare in Scotland, but among them are Christ Blessing Little Children, St Cuthbert’s Parish Church, Edinburgh (1802), and the statue of Robert Burns, SNPG (1822). He is also reputed to have modelled plaster reliefs for the Assembly Rooms, Glasgow (1796, demolished 1890).
Sources: Gunnis; Irwin; Noszlopy, p.191. [G2002]

John Flaxman (1755--1826)
Born in York in 1755, he died in London, 7th December 1826. Son of a caster and model maker who worked for the leading sculptors of the mid-18th century. By 1767 Flaxman began to exhibit plaster models of classical figures at the Society of Artists and in 1769 entered the RA Schools where he befriended William Blake. Working with his father for Matthew Boulton in Birmingham and the Wedgwood factory, he designed cameos and made wax models of classical friezes and portrait medallions, which helped develop his linear style. Visiting Rome in 1787 he remained there for seven years making monuments and producing his first book of illustrations. On return to England in 1794 he built up a good practice specialising chiefly in monuments and portrait busts. Considered one of the foremost Romantic-Classicists in England his works include: statue of Sir Joshua Reynolds, St. Paul’s Cathedral 1813; busts of Josiah Wedgwood, Stoke-on-Trent parish church 1803 and Pasquale di Paoli, Westminster Abbey 1807; Monument to Lady Fitzharris, Christchurch Priory, Hampshire 1817. He exhibited at the Royal Academy 1770--1827. Became Professor of Sculpture at the RA in 1810 and a member of the Painting and Sculpture Academy in Rome in 1816. ARA 1797; RA 1800.
1. A. Graves, The Royal Academy of Arts 1769--1904, vol.III, London, 1905, pp.123--5; 2. Gunnis, 1964, pp.147--9; 3. D. Irwin, John Flaxman 1755--1826, London, 1979; 4. E.G. Underwood, A short history of English sculpture, London, 1933; 5. E.B. Chancellor, The lives of the British sculptors, London, 1911; 6. M. Whinney, English sculpture 1720--1830, Victoria and Albert Museum, London, 1971; 7. D. Bindman, (ed.), John Flaxman, London, exh.cat., 1979. [B1998]

Carl Fleischer (b.1968)
Since graduating with an MA in Fine Art from the University of Sussex, Brighton, Carl Fleischer has undertaken a number of urban public commissions including the Foleshill Blue Ribbon Sculpture (1998) and the Watford Memory Wall (2000). His video installations have been shown in London, Brighton, Amsterdam, Arnheim, Leipzig and Mainz as well as being broadcast on Liquid TV as part of the Brighton International Arts Festival.
Source: information from the artist. [WCS2003]

Arthur John Fleischmann (1896--1990)
Fleischmann was born in Bratislava, Slovakia (at that time a part of Hungary) and studied medicine at Prague Academy. He became interested in art and won a scholarship to the Master School of Sculpture in Vienna. He also studied in France and Italy. His work was originally figurative, but became more abstract during the 1960s. He worked in many media, including Perspex. Between 1935 and 1937, he taught art in Vienna, moving on to South Africa, Bali and Australia, before eventually settling in London in 1948. He exhibited with the RA, the NS and the RBA, and became a Fellow of the RBS. His portraits include those of Kathleen Ferrier, Trevor Howard, and the industrialist Lord Robens. A devout Roman Catholic, his notable achievement is having sculpted four Popes from life. His work is contained in churches and other buildings in Britain and abroad, including galleries in Blackburn, Sydney and Bratislava.
Sources: Barnes, Joanna, Arthur Fleischmann 1896--1970: A Centennial Celebration, Fine Art, 1996; Voak, Jonathan, Sculpture and Light: an exhibition of sculptures by Arthur Fleischmann (1896--1990), Westminster Cathedral, 12--27 October 1991, Manchester, 1991. [WCS2003]

Arthur Fleischmann (1896--1990)
Sculptor born in Bratislava, Slovakia (then part of Hungary). He studied medicine in Budapest and Prague, eventually qualifying as a doctor. However, he became interested in art and won a scholarship to the Master School of Sculpture at Vienna, also studying in France and Italy. He taught art in Vienna, 1935--7, and also held classes for the Czech army. He lived for a number of years in successive countries (South Africa, Bali and Australia) before settling in London in 1948. He exhibited from this date at the Royal Academy, the National Society of Painters, Sculptors and Gravers, and the Royal Society of British Artists. Fleischmann did many portrait busts including four successive popes from life, a record accomplished by no other artist. His work, though originally figurative, became increasingly abstract from the 1960s and he became a pioneer in the use of perspex for sculpture. A devout Roman Catholic, he has work in many churches. Examples of his work are also in public galleries in Leeds and Blackburn in the UK as well as in Bratislava and Sydney.
Sources: Buckman, D., 1998; Spalding, F., 1990. [LR 2000]

Benjamin John Fletcher (1868--1951)
Artist, craftsman and teacher. He worked for the Coalbrookdale Company, Shropshire, from the age of about eleven and from 1885--8 attended part-time classes at Coalbrookdale School of Art. Here he was influenced by the principal Augustus Spencer’s ideas about linking art to manufacturing. When in 1888 Spencer left to become Principal of Leicester School of Art, he employed Fletcher as a teacher and as his deputy. Fletcher succeeded Spencer as Principal (1900--20), his ideas during his principalship strongly influenced by the Arts and Crafts movement. He and his students produced much work for Dryad Metal Works, his friend Harry Peach’s firm (formed in partnership with William Pick in 1912). In 1920 Fletcher left Leicester to take up the post of Principal at Birmingham School of Art.
Sources: L. Advertiser, 2 May 1914, p.[?]; L. Mercury, 3 August 1922, p.1; L. Daily Post, 25 September 1920, pp.2, 3. [LR 2000]

Ron Florenz
Sculptor based in Nottingham. In summer 1980 he had a solo exhibition and held a public demonstration of portraiture at Hinckley Public Library. [LR 2000]

John Ashton Floyd
Sculptor. Based in Manchester in the interwar years with addresses in Daisy Bank Road and Plymouth Grove. His works include war memorials and architectural carving (Midland Bank, Manchester). ARCA.
Source: Manchester Directories. [Man2004]

Fogg, Son & Holt
Firm of architects, based in Liverpool. [LR 2000]

John Henry Foley (1818--74)
Sculptor. Born in Dublin. Followed his brother Edward in training as a sculptor, first at the Royal Dublin Society’s School and from 1835 at the RA Schools. His The Death of Abel and Innocence were well received when exhibited at the RA in 1839. In the following year he carved the marble group, Ino and Bacchus, for Lord Ellesmere. Such works helped to build his reputation. Foley executed a considerable number of public portrait statues including John Hampden (St Stephen’s Hall, London, 1847) and John Fielden (Todmorden, 1863). Statues of the temperance advocate, Father Matthew (Cork, 1864), Daniel O’Connell (Dublin, 1866) and Edmund Burke (Dublin, 1868) were among commissions received from Ireland. An impressive equestrian statue of Viscount Hardinge (Calcutta, 1858), was one of a number of public commissions he received from that city. Foley also produced several statues of Prince Albert, including the gilt bronze one for the Albert Memorial in London (completed after his death by his pupils). Elected ARA in 1849 and RA in 1858.
Sources: Gunnis, 1968; Cavanagh, 1997. [Man2004]

John Henry Foley (1818--74)
Born in Dublin. His elder brother, Henry, preceded him in the sculptor’s profession. J.H. Foley entered the Royal Dublin Society’s School in 1831. He became a student at the Royal Academy in London in 1835. In 1839, his Death of Abel and Innocence were favourably received at the Royal Academy exhibition, and in the following year the Earl of Ellesmere commissioned a group of Ino and Bacchus. Following the exhibition of Youth at the Stream at the Westminster Hall Exhibition of 1844, Foley received commissions for statues of Hampden (1847) and Selden (1853), for the Houses of Parliament. During the 1850s he produced two of the most highly praised statues in the series commissioned for the Egyptian Hall of the Mansion House. After the death of Prince Albert, Foley created for Cambridge University a memorial statue of Albert (1866), now in the village of Madingley, Cambs. When the sculptor Marochetti, who had been given the commission for the statue of the Prince for the Albert Memorial, died in 1867, the commission was given to Foley. The colossal gilt bronze statue was completed after Foley’s death by his pupil, G.F. Tenniswood. Foley also sculpted the allegorical group of Asia for the memorial. For his birthplace, Dublin, Foley produced the ambitious monument to Daniel O’Connell (1866). His equestrian statue of Viscount Hardinge (1858) for Calcutta, was described by the Art Journal as ‘a masterpiece of art’. A later equestrian statue, also for Calcutta, of Sir James Outram (1864) was more complex and dynamic in its movement. Foley introduced a degree of naturalistic sensuality into the sculptural idiom of the day, without relaxing compositional control. He became a full RA in 1858.
Sources: J.T. Turpin, ‘The Career and Achievement of John Henry Foley, Sculptor (1818--1874)’, Dublin Historical Record, March and June 1979; B. Read, ‘John Henry Foley’, Connoisseur, August 1974. [CL2003]

John Henry Foley (1818--74)
Foley studied at the Royal Dublin Society’s School between 1831--4 and entered the RA Schools in 1835, later winning the Silver Medal. In the front rank of British sculptors, he produced statues, busts and monuments in England, Ireland and India. His works include his masterpiece, the equestrian statue of Viscount Hardinge, Calcutta (1859), his most prestigious commission, Prince Albert, and the group of Asia on the Albert Memorial, Kensington Gardens (1864--72), and Prince Consort, Fitzwilliam Museum, Cambridge (1876). He exhibited at the RA between 1839 and 1861, being elected RA in 1858. He was a member of the Royal Hibernian Society (1861) and of the Belgian Academy of Arts (1863) as well as of the British Institution (1840--54).
Sources: Cosmo, W., The Works of J.H. Foley, London, 1875; Underwood, E.G., A Short History of English Sculpture, London, 1933; Read, B., Victorian Sculpture, New Haven and London, 1982; MacKay, James, Dictionary of Western Sculptors in Bronze, Woodbridge, Suffolk, 1977. [WCS2003]

John Henry Foley (1818--74)
Born in Dublin, he was educated at the Royal Dublin Society Schools, 1833, and was admitted to the RA Schools in 1835. He exhibited there from 1839, and in 1844 received the first of many commissions for statues of historical and contemporary political figures, including John Hampden, Palace of Westminster (1844), and the equestrian Monument to Viscount Hardinge, Calcutta (1858). His most famous work is the seated figure of the Prince Consort in the Albert Memorial, London, for which he also produced the representative group Asia. The commission was awarded to him after the death of Marochetti (q.v.), but Foley himself died before it was finished, and the statue was completed by his studio assistant Thomas Brock. He executed numerous portrait busts of society figures and monuments in churches throughout Britain, Ireland and India; he also designed the Great Seal of the Confederate States of America and the Stonewall Jackson Monument, Virginia (1874). He was elected ARA in 1849, and RA in 1858.
Sources: BN, 4 September 1874, p.283; Gunnis; Cavanagh, p.328; Brooks, pp.189--97. [G2002]

John Henry Foley (1818--1874)
Studied at the Royal Dublin Society Schools from the age of thirteen. He then moved to London in 1834 and was admitted to the RA Schools in 1835. In 1844 his entry for the Westminster Hall competition brought him a commission to execute a statue of John Hampden, and thereafter he was one of the most sought-after sculptors in Britain and elected RA in 1858. His equestrian statue of Viscount Hardinge for Calcutta was regarded as his masterpiece. His most prestigious commissions were Prince Albert and Asia for the Albert Memorial, Kensington Gardens. It was claimed that it was while working in the open on the cold wet clay of Asia that he contracted the pleurisy which eventually killed him. Many of his works were unfinished at his death, though several of them were completed by his leading assistant Thomas Brock, including the O’Connell Monument in Dublin, Viscount Gough and Canning in Calcutta and the Prince Consort for the Albert Memorial.
[1] PSoL, p.328. [2] Spielmann, p.26. [3] Sankey, J., ‘Thomas Brock and the Albert Memorial’, Sculpture Journal, vol.3, 1999, pp.87--92. [NE 2000]

John Henry Foley (1818--1874)
Born in Dublin, 24th May 1818, he died in London, 27th August 1874. After studying at the Royal Dublin Society’s School 1831---4, he entered the RA Schools in 1835, later winning the silver medal. In the front rank of British sculptors he produced statues, busts and monuments in England, Ireland and India. Works include: Equestrian Statue of Viscount Hardinge, Calcutta 1859; Prince Albert and group of Asia on the Albert Memorial, 1864--72; Prince Consort, Fitzwilliam Museum, Cambridge 1876. Exhibited at the RA 1839--61. ARA 1849; RA 1858; Member of Royal Hibernian Society 1861; Member of Belgian Academy of Arts 1863; and British Institution 1840--54.
1. W. Cosmo, The works of J.H. Foley, London, 1875; 2. J. Mackay, Dictionary of western sculptors in bronze, Woodbridge, Suffolk, 1977, p.137; 3. B. Read, Victorian sculpture, New Haven and London, 1982; 4. E.G. Underwood, A short history of English sculpture, London, 1933. [B1998]

John Henry Foley (1818--74)
Born in Dublin, he entered the Royal Dublin Society Schools at the age of thirteen, gaining first prizes for human form, ornamental design, animals, and architecture. He moved to London in 1834 and was admitted to the RA Schools the following year. In 1840 his group, Ino and Bacchus, was purchased by Lord Ellesmere and in 1844 his entry for the competition at Westminster Hall secured him a commission to execute a Statue of John Hampden for the Houses of Parliament. Henceforward, Foley was one of the most sought after sculptors in Britain. He was elected ARA in 1849 and RA in 1858. In 1861 he was elected full member of the Royal Hibernian Academy and, in 1863, the Belgian Academy of Arts. His equestrian Viscount Hardinge (for Calcutta, now private collection) was acclaimed as his masterpiece, but his Prince Albert and Asia for the Albert Memorial were perhaps his most prestigious commissions. It was while working in the open air on the cold wet clay of Asia that Foley is believed to have contracted the pleurisy that killed him, leaving unfinished numerous works including the Sefton Park William Rathbone, which his pupil, Brock, completed.
(sources: DNB; Gunnis, 1951) [L 1997]

Giovanni Giuseppe Fontana (1821--1893)
Sculptor and watercolourist, born at Carrara. He gained a gold medal at Carrara Academy and later was awarded a scholarship to Rome. He aligned himself politically with Garibaldi and came to England as an exile in 1848. Subsequently he became a naturalised British citizen and remained here for the rest of his life. He exhibited in London from 1852 to 1886, notably at the RA and the New Watercolour Society. In addition to the Corporation of Liverpool, he received commissions from the Governments of Sydney and New South Wales. A number of his works are in the collection of the WAG.
(sources: Art Journal [obit.], 1894; Bénézit, 1976) [L 1997]

Deborah Ford (b.1968)
She attended Coventry Polytechnic as an art student from 1987 until 1990, and subsequently moved into graphics design. She is currently based in London.
Source: information from the artist. [WCS2003]

Edward Onslow Ford (1852--1901)
Sculptor. Born in London. Ford studied first as a painter in Antwerp and Munich in the early 1870s before deciding to take up sculpture. Established studio in London. An important early commission, won in public competition, was the statue Rowland Hill (King Edward Street, London, originally outside the Royal Exchange, 1882). Other commissions followed including General Gordon Riding a Camel (Brompton Barracks, Chatham, 1890 and Khartoum, later Gordon’s Boys’ School, Woking) and Gladstone (National Liberal Club, 1894). The Shelley Memorial in University College, Oxford, was completed in 1893, a gift to the college that had expelled the poet when a student. A leading figure in the New Sculpture, Ford was recognised for his bronze studies of female figures including Folly (1886), Peace (1890) and Echo (1895). Exhibited at the RA from 1875 and was elected ARA in 1888 and RA in 1895. He died in 1901, the year in which his much criticised Victoria Memorial was unveiled in Manchester.
Sources: Read, 1982; Beattie, 1983; Usherwood, 2000. [Man2004]

Edward Onslow Ford (1852--1901)
Born in London, he trained as a painter in Antwerp (1870) and in Munich (1871--2), where he shared a studio with the sculptor Edwin Roscoe Mullins. It was the Munich sculptor Wagmüller who persuaded Ford to take up modelling. On his return to London, Ford began to exhibit sculpture at the Royal Academy. His first important commission was for the statue of Rowland Hill (1881) for the City of London. Many more commissions for public work followed, including one for a full-length marble figure of the actor Henry Irving as Hamlet (1883), commissioned by Irving himself, and later presented by him to the Guildhall Art Gallery. Ford’s statue of General Gordon Riding a Camel (bronze, 1890, the original statue, once in Khartoum, is now at the Gordon Boys School in Woking, and another cast is at the Royal Engineers Barracks in Chatham) is a novel variant on the usual equestrian type, remarkable for the finesse of its exotic detail. Ford’s Jubilee statue of Queen Victoria for Manchester, was inaugurated there in the year of the Queen’s death. His memorial to the poet Shelley in University College, Oxford, takes the form of a tomb, with the poet’s body laid, as if washed up by the sea, on an elaborate table-like plinth, guarded by a female muse. Ford also produced a number of bronze statuettes of pubescent nude figures: Folly (1885, Tate Britain, London), The Singer (1889), Peace (1890, Walker Art Gallery, Liverpool), Echo (1895). Though he belonged to the circle known as the New Sculptors, Ford’s work is free of philosophical symbolism. He shared with the other members of the group only the desire to escape from the canons of ideal beauty adhered to by earlier Victorian sculptors. Ford was Master of the Art Workers’ Guild in 1895 and elected RA in the same year.
Sources: S. Beattie, The New Sculpture, New Haven and London, 1983; B. Read and A. Kader, Leighton and his Sculptural Legacy 1875--1930, Exh. cat. Joanna Barnes Fine Art, London, 1996. [CL2003]

Edward Onslow Ford (1852--1901)
Born in Islington, London, he originally studied painting at Antwerp Academy, 1870, but turned to sculpture while studying in Munich, 1871--4. A close associate of Alfred Gilbert (1854--1934), and a contributor to the New Sculpture movement, his many public commissions include statues of General Gordon, Chatham (1890, repeated at Khartoum, 1904) and Queen Victoria, Manchester (1901). He exhibited busts, statuettes and genre pieces at the RA from 1875, many of them with exotic subject matter drawn from Egyptian archaeology, such as The Singer (1889) and Applause (1893). He was elected ARA in 1888, and RA in 1895.
Sources: Spielmann, pp.51--63; Waters; Beattie, p.242; Mackay. [G2002]

Edward Onslow Ford (1852--1901)
Studied at the academies in Antwerp and Munich (1870--2) and subsequently worked in Munich for five years. On his return to London he set up as a portrait sculptor and received his first public commission in 1881. In the mid-1880s his work became affected by what later came to be termed the New Sculpture, particularly the poetic symbolism of Alfred Gilbert. His later notable public commissions, for instance General Gordon on a Camel (1890) and the Shelley Memorial, Oxford, 1893, tend to be more conventional. He was elected ARA in 1888 and RA in 1895.
[1] Turner (ed.), vol.11, pp.302--4. [2] Spielmann, pp.51--63. [3] Dixon, M., ‘Onslow Ford RA’, Art Journal, 1898, pp.294--7. [NE 2000]

George Henry Ford (1912--77)
Having studied sculpture at Hornsey School of Art under Harold Youngman, Ford exhibited at the Royal Academy, the Royal Glasgow Institute of Fine Arts, the Walker Art Gallery in Liverpool, and elsewhere in Britain. Bradford City Art Gallery holds his carving Eve, executed in teak. He was elected a Fellow of the RBS in 1955.
Source: Gowing, L., A Biographical Dictionary of Artists, London, 1983. [WCS2003]

Jonathan Ford (b.1971)
After graduating from Coventry University with a degree in Fine Art in 1995, Jonathan Ford became a freelance artist specialising in public sculpture in steel and aluminium. His major works include Schlanke Meth (1997) and the Giant Vacuum Cleaner (1998), both in Coventry, and the kinetic sculpture Rotor-Relief (1998) for Wysing Arts in Cambridge. He is currently working on two pieces, a First and Second World War memorial sculpture commissioned by Llandudno Junction Memorial Hall, and Depth Charges at 500ft for Wednesfield Way, Wolverhampton.
Source: information from the artist. [WCS2003]

Ken Ford (b. 1930)
Sculptor born at Birstall, Leicestershire. He studied at Leicester College of Art, 1946--9, and the Royal College of Art, 1949--53, gaining a Rome Scholarship, 1955--7. He was Head of Sculpture at Leicester Polytechnic, 1967--88. From 1998 he has been a visiting lecturer at the Elizabeth Frink School of Sculpture, Stoke-on-Trent. His public commissions outside Leicestershire include Into our First World, 1993, Surrey Heath House, Camberley, Surrey.
Sources: information from the sculptor; L. Mercury, 13 October 1992, p.4. [LR 2000]

Laura Ford (b.1961)
Ford trained at Bath Academy of Art (1978--82) and at Chelsea School of Art (1982--3). Her group shows include those at the Whitworth Art Gallery, Manchester (1982); the Hayward Gallery, London (1983); the Tokyo Museum of Modern Art (1984); Wakefield’s Yorkshire Sculpture Park (1986) and the Third Eye Centre, Glasgow (1988) as well as the touring exhibitions The Deadly Grove (1988) and Ariadne (1989--90). These last two were collaborations with Annie Griffin, in which she aimed to sharpen the viewer’s awareness of internal conflicts within the female psyche. She has since held solo exhibitions in Nottingham (1991), New York (1994) and Exeter (1996). Her work is included in the collections of the Art Council, the Contemporary Arts Society, Unilever, Penguin Books and the Government Art Collection.
Sources: Buckman, D., Dictionary of Artists in Britain since 1945, Bristol, 1998, p.436; Crichton, F., Laura Ford: Paintings and Sculpture, London, 1991; Goodwood Sculpture Park, Sculpture at Goodwood: British Contemporary Sculpture, accessed 2002, www.sculpture.org.uk; Nicola Jacobs Gallery, Laura Ford: Paintings and Sculpture, London, 1987; Spalding, F., 20th Century Painters and Sculptors, Dictionary of British Art, vol.6, Woodbridge, Suffolk, 1990, p.182. [SBC2005]

Robert Forrest (1791--1852)
A stonemason and self-taught sculptor, he was born in Carluke, Lanarkshire, near the Clydesdale quarries where he worked until being ‘discovered’ by an army officer named Colonel Gordon. His first commission was for a life-size Highland Chieftain, followed by William Wallace, for Lanark (1817). As a full-time sculptor he produced statues of literary and historical figures, and completed Chantrey’s (q.v.) Monument to Lord Melville, St Andrew Square, Edinburgh (1822). Despite his secure reputation as a sculptor, in 1823 he began attending classes in drawing, modelling and anatomy in various private studios and schools, including the Trustees’ Academy in Edinburgh and Warren’s Academy in Glasgow. His education was continued in 1837 when he visited France and Italy. In 1832 he was given permission to set up a temporary exhibition hall beside the National Monument on Calton Hill, Edinburgh, to display four colossal equestrian statues of historical figures, including Robert the Bruce and Mary, Queen of Scots, each carved from a single block of sandstone weighing approximately twenty tons. The collection was subsequently extended to about thirty groups. Although the exhibition was well received, and did much to enhance his reputation as Scotland’s ‘national sculptor’, it was not a financial success, and eventually proved ruinous. His most ambitious project was the design for a statue of the Duke of Wellington, commissioned by Lord Elgin for the summit of Arthur’s Seat, Edinburgh. This was to be eighty feet tall, but remained unexecuted after Lord Elgin’s death in 1841.
Sources: Anon., ‘The Lanarkshire Sculptor’, Chambers Edinburgh Journal, no.1 (1832), pp.357--8; Descriptive Catalogue of Statuary from the Chisel of Mr Robert Forrest, Edinburgh, 1835; Scottish Reformers Gazette, 4 April 1840, p.2; Robert Forrest, Descriptive Account of Exhibition of Statues, National Monument, Calton Hill, Edinburgh, Edinburgh, 1846. [G2002]

James Forsyth (1827--1910)
Forsyth trained as a wood-carver and stonemason in Edinburgh. In 1882, he settled in Hampstead, where he practised as an architectural and ecclesiastical sculptor, working closely with James Nesfield, Norman Shaw, Ernest George, Salvin and Gilbert Scott. Between 1880 and 1889, he exhibited at the Royal Academy and at the Glasgow Institute of the Fine Arts. His most notable architectural commissions are the Perseus and Andromeda Fountain at Witley Court in Worcestershire (c.1860), and the Market Place Fountain, Dudley (1867). He executed a number of monuments, including those to Bishop Parry (1881) and the Hon. James Beaney (1893), both in Canterbury Cathedral, and to Bishop Pelham (1896) in Norwich Cathedral. He also carried out work to others’ designs, including a font for William Slater at Lichfield Cathedral (c.1862).
Sources: Cavanagh, T. and Yarrington, A., Public Sculpture of Leicestershire and Rutland, Liverpool, 2000, p.366; Grice, F., ‘Two Victorian Sculptors -- James and William Forsyth’, Transactions of the Worcestershire Archaeological Society, 3rd series, vol.9, 1984, Worcester, pp.101--6; Johnson, J. and Greutzner, A., Dictionary of British Artists 1880--1940, Woodbridge, 1976, p.182. [SBC2005]

James Forsyth (1826--1910)
London-based architectural and ecclesiastical sculptor. His most notable architectural commissions are the Perseus Fountain, c.1860, Witley Court, Great Witley, Worcestershire, and the Market Place Fountain, 1867, Dudley, Staffordshire. His ecclesiastical commissions include an Ascension relief, date unknown, for Trinity Hall Chapel, Cambridge, and an alabaster relief of Christ Appearing to his Disciples, 1860, for the pulpit of St Dionysius Parish Church, Market Harborough, Leicestershire (removed to Harborough Museum, 1975). He executed a number of monuments, including those to Bishop Parry, 1881, and to the Hon. James Beaney, 1893, both Canterbury Cathedral, to Bishop Fraser (died 1885), Manchester Cathedral, and to Bishop Pelham, 1896, Norwich Cathedral. He also carried out much work to others’ designs, especially the architect William Eden Nesfield, for whom he executed the stone reredos, organ case, table tomb, etc., 1868, at St Mary’s, Kings Walden, Hertfordshire, and the Village Cross, 1861--70, West Derby, Liverpool. For William Slater he executed a font, c.1862, at Lichfield Cathedral; for R.H. Carpenter relief figures for the reredos, 1884, in the choir at Sherborne Abbey; for B. Ingelow the pulpit, 1899, for the crossing, also at Sherborne Abbey; and for Oldrid Scott the recumbent marble effigy for the Monument to Bishop T. Leigh Claughton, 1895, St Alban’s Cathedral. Forsyth exhibited between 1880 and 1889 at the Royal Academy and at the Glasgow Institute of the Fine Arts. He was the father of another sculptor, James Nesfield Forsyth.
Sources: Good, M. (comp.), 1995; Johnson, J. and Greutzner, A., 1976; personal knowledge. [LR 2000]

James Forsyth
An architectural sculptor, he exhibited between 1880 and 1889 at the RA and the Glasgow Institute of the Fine Arts. He was the father of sculptor, James Nesfield Forsyth.
(source: Johnson & Greutzner, 1976) [L 1997]

John Fortnum (b.1945)
After completing his studies in sculpture at Camberwell School of Art in 1964, John Fortnum became a sculptor’s assistant to a number of artists, including Philip King and Freda Brilliant. Based in London, he has exhibited in the UK since 1970 and, by 1980, was also exhibiting abroad, in Norway. He works in a variety of media, including ceramics, pastels, photography, stone, steel and found objects. His public art commissions include Medusa in stone for Portland Clifftop Sculpture Park (1985); Flying Figure, Flotta, Orkney (1988); a nine-metre figure of Robert de Brunne in Bourne Wood, Lincolnshire (1992); Jack the Treacle Eater, Yeovil (1994); William De Dalby, North Yorkshire Moors (1997) and Woodlands Tunnel, Rochester (1998).
Sources: AXIS, The Axis Database Online, 1999, www.axisartists.org.uk/; Borough of East Staffordshire: Leisure Services, Public Art in Burton, 1990, no.11; Information from records held at Dudley Public Art Resource Unit, Himley Hall, Dudley, 2001. [SBC2005]

Thomas Fradgley (fl.1830s)
Uttoxeter-based architect who designed several buildings in the town in addition to working at Alton Towers, Staffordshire.
Source: Pevsner, N., The Buildings of England: Staffordshire, Harmondsworth, 1974, pp.56ff., 77, 270, 290. [SBC2005]

Sir George James Frampton (1860--1928)
Sculptor. Born in London. Worked in an architect’s office and then for a firm of architectural stone-carvers, before training at the Lambeth School of Art under W.S. Frith and, in 1881--7, at the Royal Academy Schools. His group, An Act of Mercy, exhibited at the RA in 1887, won the Gold Medal and Travelling Scholarship. In 1888--90 he was in Paris, studying sculpture under Antonin Merci. Frampton’s Angel of Death gained a gold medal at the Salon of 1889. Frampton was an important figure in the New Sculpture movement. He was also a member of the Art Workers’ Guild from 1887 and Master in 1902. He was elected ARA in 1894 and RA in 1902. In 1908 he was knighted. In 1911--12 he was President of the Royal Society of British Sculptors. He developed a large practice producing ideal works, monuments, busts and statues. His principal public commissions included statues of Queen Victoria in Calcutta, Winnipeg, St Helens and Leeds, and the memorial to Edith Cavell (St Martin’s Place, London, 1920). Best remembered for his bronze Peter Pan (Kensington Gardens, 1912), a replica of which for Sefton Park, Liverpool was completed shortly before his death.
Sources: DNB; Cavanagh, 1997. [Man2004]

Sir George James Frampton (1860--1928)
Frampton was born in London. He began his professional career in an architects’ office, but went on to train at the South London Technical Art School (1880--1), and at the Royal Academy Schools (1881--7). The next two years were spent in Paris, where Frampton studied with Antonin Mercié. On his return to London he developed his own distinctive version of the symbolist style, which combines dreamlike and suggestive qualities with a draughtsmanly perfection seemingly derived from the English tradition of Flaxman. His symbolism was most spectacularly embodied in the poetic busts, Mysteriarch (painted plaster) of 1892, now in the Walker Art Gallery, Liverpool and the Lamia (ivory, bronze and opals) of 1900, in the collection of the Royal Academy. During the 1890s, Frampton wrote articles on woodwork, enamelling and polychromy, and he made a distinctive contribution to the movement for the integration of sculpture and architecture, contributing work to buildings by T.E. Collcutt, J. Belcher, Aston Webb and J.W. Simpson. Frampton’s 1897 statue of Queen Victoria for Calcutta launched his career as a public statuary. It was followed by several commissions for Liverpool, including those to William Rathbone (1899--1900) and Canon T. Major Lester (1904--7), both in St John’s Gardens. In London, his public statues include the small and atmospheric Peter Pan Memorial in Kensington Gardens (1912--15) and the towering national memorial to Edith Cavell in St Martin’s Place (1920). Frampton was Master of the Art Workers’ Guild in 1902. He was knighted in 1908, and in 1911--12 served as President of the Royal Society of British Sculptors. As an eminence grise of the sculpture world, during and after the First World War, his influence was often crucial in the selection of sculptors as war artists and as creators of war memorials.
Sources: S. Beattie, The New Sculpture, New Haven and London, 1983. [CL2003]

Sir George James Frampton (1860--1928)
Born in London, he trained as an architect, then studied sculpture at Lambeth School of Art, under W.S. Frith (q.v.), and at the RA Schools, winning the Gold Medal and a travelling scholarship to Paris in 1887. A central figure in the New Sculpture movement, he produced ideal work, busts in marble and bronze, and received many commissions for architectural and public sculpture throughout the UK. These include terracotta decoration on the Constitutional Club, London (1883--6), the Sailingship and Steamship bronzes on Lloyds Registry, London (1902), the lions at the Edward VII Galleries, British Museum, for J.J. Burnet’s London practice (1903--14) and sculpture on the façade of the V&A (1899--1908). His public monuments include statues of William Rathbone, Liverpool (1899), Queen Victoria, Newcastle (1901) and the W.S. Gilbert Memorial, Victoria Embankment, London (1915). Frampton’s most popular work, however, is Peter Pan in Kensington Gardens, London (1912). After the First World War he executed the Pearl Insurance War Memorial, High Holborn, London (c.1918), and the Edith Cavell Memorial, St Martin’s Place, London (1920). He exhibited at the RA from 1884, was elected ARA in 1894, RA in 1902, and served as PRBS, 1911--12. He was knighted in 1908.
Sources: Waters; Beattie, pp.243--4; Gray. [G2002]

Sir George James Frampton (1860--1928)
Sculptor and craftsman, born 16 June 1860 in London. He worked first in an architect’s office, then for a firm of architectural stone carvers, before training at the Lambeth School of Art under William Silver Frith and, in 1881--7, at the Royal Academy Schools. His group, An Act of Mercy, exhibited at the RA in 1887, won the Gold Medal and Travelling Scholarship and in 1888--90 he was in Paris, studying sculpture under Antonin Mercié. Frampton’s Angel of Death gained a gold medal at the Salon of 1889. In the 1890s he became interested in the Arts and Crafts movement and wrote influential articles on enamelling, woodcarving, and polychromy, etc., as well as actually producing works in those media. His Mysteriarch of 1893, which shows the influence of French symbolism, was awarded the médaille d’honneur at the Paris International Exhibition 1900. Frampton was a member of the Art Workers’ Guild from 1887 and Master in 1902. He was elected ARA in 1894 and RA in 1902 (exhibiting there regularly 1884--1928). In 1908 he was knighted. From 1911--12 he was President of the Royal Society of British Sculptors, having been a founder member. Such recognition brought increasing numbers of public commissions, including many for monuments to Queen Victoria (firstly at Calcutta, 1897; then variants at Winnipeg; St Helens, Lancashire; Leeds, etc.). One of his most splendid private commissions is the set of silver-gilt figure panels of Arthurian heroines for the door of the Great Hall for Lord Astor’s London house, 1895--6. Perhaps his most famous work, however, is his bronze Peter Pan, Kensington Gardens, 1910 (with a replica at Sefton Park, Liverpool, unveiled 1928). He died 21 May 1928 in London.
Sources: DNB 1922--1930; Beattie, S., 1983. [LR 2000]

George Frampton (1860--1928)
Sculptor and craftsman. First worked in an architect’s office, then for a firm of architectural stone-carvers, before training at the Lambeth School of Art under W.S. Frith and at the RA Schools (1881--7). An Act of Mercy, exhibited at the RA in 1887, won the gold medal and travelling scholarship and Frampton subsequently studied sculpture under Antonin Mercie in Paris (1888--90). His Angel of Death gained a gold medal at the Salon of 1889.
In the 1890s Frampton became interested in the Arts and Crafts Movement and wrote influential articles on enamelling, wood-carving, and polychromy, in addition to producing works in those media. His Mysteriarch of 1893, which shows the influence of French symbolism, was awarded the medaille d’honneur at the Paris International Exhibition 1900. Frampton was a member of the Art Workers’ Guild from 1887 and a Master from 1902. Elected ARA in 1894 and RA in 1902, knighted in 1908. He was president of the RBS 1911--12, having been a founder member. Memorials by him to the Mitchell family in St George’s Church, Jesmond, Newcastle (1903) incorporate elaborate and highly individual bronze reliefs.
[1] PSoL, p.328. [2] Beattie, pp.76--8. [3] Turner (ed.), vol.11, pp.499--500. [NE 2000]

Sir George James Frampton (1860--1928)
Sculptor and craftsman, born in London. He worked first in an architect’s office, then for a firm of architectural stone carvers, before training at the Lambeth School of Art under W.S. Frith and, in 1881--87, at the RA Schools. His group, An Act of Mercy, exhibited at the RA in 1887, won the gold medal and travelling scholarship and in 1888--90 Frampton was in Paris, studying sculpture under Antonin Mercié. His Angel of Death gained a gold medal at the Salon of 1889. In the 1890s he became interested in the Arts and Crafts movement and wrote influential articles on enamelling, woodcarving, and polychromy etc, in addition to actually producing works in those media. His Mysteriarch of 1893, which shows the influence of French symbolism, was awarded the médaille d’honneur at the Paris International Exhibition 1900. Frampton was a member of the Art Workers Guild from 1887 and a Master from 1902. He was elected ARA in 1894 and RA in 1902. In 1908 he was knighted. From 1911 to ‘12 he was president of the RBS, having been a founder member. Such recognition brought increasing public commissions, most of which date from after 1900.
(sources: Beattie, 1983; DNB) [L1997]

Linda France (b.1958)
Freelance writer and tutor in adult education. France returned to the North East in 1981 and is now based in Hexham. Her first collection Red was published by Bloodaxe Books in 1992 and she edited their anthology Sixty Women Poets the following year. France has taken part in various collaborations with artists, photographers and musicians, and her work has been featured on radio and television. In 1993 she was awarded the first Arts Foundation Poetry Fellowship. Her second collection The Gentleness Of The Very Tall was published by Bloodaxe in 1994.
[1] France, L. and Aris, B., Acknowledged Land, Newcastle upon Tyne, 1994, p.23. [NE 2000]

Alan Franklin (b.1954)
Sculptor in a variety of materials. Graduated from Goldsmith’s College with MA in 1983. He has exhibited since 1982 in Britain, Europe and Japan. Most of his major works have been for outdoor sites, for example the Chiltern Sculpture Trail, Grizedale Forest and the Gardens of Gaia in Kent. He was a founder of the Chiltern Sculpture Trust.
[1] Information supplied by the artist, 1998. [2] Kielder Partnership Press Release, 1998. [NE 2000]

Ben Franklin (1918--86)
Artist and teacher born at Petworth, Sussex. He worked as a lithographic artist, 1933--9, for the last three years of which he studied part-time at Croydon School of Art. During the Second World War he served in the Devonshire Regiment, completing his course at Croydon following demobilisation. From 1947--50 he studied sculpture at Goldsmiths’ School of Art and in 1951 worked as an assistant to Frank Dobson on work for the Festival of Britain. Franklin showed at the Royal Academy 1951, 1952 and 1954. He was Head of Sculpture at the West Surrey College of Art and Design, Farnham, 1969--81, and had a retrospective at the James Hockey Gallery in Farnham in 1988.
Sources: Buckman, D., 1998; Spalding, F., 1990. [LR 2000]

John Freeman and Sons
Granite merchants and quarry owners based in Penryn, Cornwall, active from the second half of the nineteenth into the twentieth century.
Sources: Kelly’s Directory ... of Cornwall (various edns). [LR 2000]

Elisabeth Frink (1930--93)
Sculptor. Born in Thurlow, Suffolk. Studied at Guildford School of Art (1947--9) and Chelsea School of Art (1949--53) under Bernard Meadows and Willi Soukop, making her first visit to France in 1951. She received public recognition after her first exhibition at the Beaux Arts Gallery in 1952 and for her prize-winning entry for the Monument to the Unknown Political Prisoner competition in 1953. Taught at Chelsea School of Art 1953--61, at St Martin’s School of Art 1954--62 and the Royal College of Art 1965--7. Her early work was based on memories of growing up during the Second World War, as she translated the aggressive forms of war machines and missiles into anthropomorphic human and animal forms. The male figure, animals and birds were constant subject-matter throughout her career. Public works include Wild Boar (Harlow New Town, 1957), Blind Beggar and his Dog (Tower Hamlets, 1958), Our Lady of the Wayside (Solihull, 1964), Horse and Rider (Dover Street, London, 1974), Running Man (Barbican, 1982) and Christ (Liverpool Anglican Cathedral, 1993). Awarded CBE in 1969, and created Dame of the British Empire in 1982. A major retrospective of her work was held in 1985 at the RA, where she exhibited regularly after 1954.
Sources: Gardiner, 1998; Noszlopy, 1998. [Man2004]

Dame Elisabeth Frink (1930--93)
Born in Thurlow, Suffolk, daughter of a Brigadier and one time polo-player, she studied at Guildford School of Art (1947--9) and at Chelsea School of Art (1949--53), under Bernard Meadows and Willi Soukop, making her first visit to France in 1951. The Tate Gallery acquired her Bird, when it was exhibited at the Beaux Arts Gallery in 1952, and she won a prize for her entry to the ICA’s competition for the Monument to the Unknown Political Prisoner in 1953. Frink was preoccupied throughout her career with the male figure and with positive and negative aspects of masculinity, and also with animals. Aggression, endurance and suffering are the pervading themes of her early work. Later, in the 1960s her male figures and heads assume grotesque and machistic features. However, after her second marriage and removal to Southern France in 1967, her representations of men grew more affirmative. From 1954 to 1962, Frink had taught at St Martin’s School of Art, but found herself increasingly at odds with the emergent vogue for welded abstract sculpture, and also with the ethos of Pop Art. Her first public commissions had come in 1957: a Wild Boar for Harlow New Town, and a Blind Beggar and Dog for an estate in Bethnal Green. Many more were to follow, the last being a figure of Christ for the Anglican Cathedral in Liverpool, which was completed in the year of her death. Her last years were spent in Woolland in Dorset. In 1982 she was made a Dame of the British Empire. Frink’s preferred sculptural technique involved modelling directly in plaster and then modifying the work with carving tools. After 1988, she was inspired by the newly discovered Riace Warriors to add colour to her work.
Sources: Elisabeth Frink, Sculpture and Drawings 1952--1984, Exh. cat. Royal Academy, London, 1985. Introduction by Sarah Kent; E. Frink and E. Lucie Smith, Frink: A Portrait, London, 1994. [CL2003]

Dame Elizabeth Frink (1930--93)
Born in Thurlow, Suffolk, 14th November 1930, she died in Woolland, Dorset, 18th April 1993. Studied at Guildford School of Art 1947--9 and Chelsea School of Art 1949--53 under Bernard Meadows and Willi Soukop, making her first visit to France in 1951. She received public recognition after her first exhibition at the Beaux Art Gallery in 1952 and for her prize-winning entry for the Monument to the Unknown Political Prisoner competition in 1953. Taught at Chelsea School of Art 1953--61, at St. Martin’s School of Art 1954--62 and the Royal College of Art 1965--7. Much of her early work was based on memories of growing up during World War II, as she translated the aggressive forms of war machines and missiles into anthropomorphic human and animal forms. Using a fast technique of modelling in plaster from which direct casts in bronze are made, her work is based on a series of themes, predominantly massive male figures and heads as well as animals and birds. Main public works include: Wild Boar, Harlow New Town 1957; Eagle, lectern, Coventry Cathedral 1962; Risen Christ, Our Lady of the Wayside, Solihull 1964; Horse and Rider, Dover Street, London 1974; Running Man, Barbican 1982; Christ, Liverpool Anglican Cathedral 1993. Her work is represented in the major art galleries in Great Britain as well as in the USA, Australia and South Africa. Exhibiting since 1952, her first solo exhibitions include St. George’s Gallery, London 1955 and Waddington Galleries, London from 1959. During the 1970s she made works for Amnesty International protesting human rights violations. A major retrospective of her work was held in 1985 at the Royal Academy, where she exhibited regularly since 1954. CBE 1969; ARA 1972; RA 1977; DBE 1982.
1. E. Frink, Catalogue raisonné, Salisbury, 1984; 2. Obituary, The Independent, 19th April 1993; 3. E. Frink, and E. Lucie-Smith, Frink: A portrait, London, 1994; 4. E. Roberts, ‘Frink again’, Women’s Art Magazine, no.62, January/February 1995, pp.22--3; 6. E. Lucie-Smith, ‘Dame Elizabeth Frink 1930--1993: an appreciation’, Art Review, London, vol.45, June 1993, pp.58--9; 7. M. Wykes-Joyce, ‘Elizabeth Frink’, Art and Artists, no.221, February 1985, pp.17--19; 9. E. Frink, The art of Elizabeth Frink, London, 1972; 10. Elizabeth Frink: sculpture and drawings 1950--1990, National Museum of Women in the Arts, Washington DC, exh.cat., 1990; 11. E. Lucie-Smith, Elizabeth Frink: sculpture since 1984 and drawings, London, 1994; 13. Elizabeth Frink: sculpture and drawings 1952--1984, Royal Academy of Arts, London, exh.cat., 1985. [B1998]

William Silver Frith (1850--1924)
Studied at the Lambeth School of Art from the late 1860s, then concurrently, from 1872, at the Royal Academy. In collaboration with the art teacher and administrator, John Sparkes, and under the auspices of the City and Guilds of London Institute, he transported the Lambeth School’s modelling class to the South London Technical Art School in 1879. In 1880, he succeeded Jules Dalou as modelling instructor at the SLTAS, and remained in the post until 1895, when he was succeeded in his turn by Thomas Tyrrell. Frith supervised the sculptural scheme for the Victoria Fountain, manufactured in terracotta by the Lambeth firm of Doulton, for the Glasgow International Exhibition of 1888. His personal contribution was the statue of the Queen, and a group representing Canada. This fountain demonstrated the creative link between the SLTAS and Doulton’s. Frith distinguished himself above all as an architectural sculptor. He collaborated with T.E. Collcutt, C.J. Harold Cooper and J.L. Pearson, but his chief partnership, maintained over several decades, was with Aston Webb. The many buildings by Webb on which he worked include the Victoria Law Courts, Birmingham (1887--91), Metropolitan Life Assurance Building, Moorgate, London (1891--3), and Christ’s Hospital School, Horsham (1902--3). At Christ’s Hospital School, Frith carved the free-standing fountain with figures of famous old boys. He also contributed the bronze reliefs and figures on the Memorial to Edward VII in the Whitechapel Road (1911).
Sources: S. Beattie, The New Sculpture, New Haven and London, 1983; B. Read, Victorian Sculpture, New Haven and London, 1982. [CL2003]

William Silver Frith (1850--1924)
A graduate of Lambeth School of Art and the RA Schools, he succeeded Jules Dalou as modelling master at SLTAS, 1880--95, and became ‘one of the most successful instructors who ever worked in England’ (Spielmann). As a student he won premiums for his entries in the Blackfriars Bridge competition (1884), for which he submitted an equestrian Boadicea, and the competition for the relief panels on St George’s Hall, Liverpool. Principally an architectural sculptor, much of his work was in terracotta, including a figure of Justice on the Victoria Law Courts, Birmingham (1887--91). A founder member of the RBS, he also produced decorative metalwork, as well as public monuments such as King Edward VII, Whitechapel.
Sources: Spielmann, pp.95--6; Beattie, p.244; Noszlopy, p.192. [G2002]

W.S. Frith (1850--1924)
Studied at Lambeth School of Art in the late 1860s, and also at the RA Schools from 1872. In 1879, he and John Sparkes effected the transfer of the Lambeth modelling classes to SLTAS and the following year, he succeeded Jules Dalou as modelling master. His public work included a substantial amount of carving for architects and he carried out pieces for many buildings by the architect Aston Webb, for example: lectern, St. Mary, Burford, Shropshire, c.1890; terracotta figures, Clare Lawn, Sheen, c.1893 (destroyed); stone carving and fountain, Christ’s Hospital School, Horsham, Sussex, 1902--3. He collaborated with F.W. Pomeroy and Doulton artists on the Victoria fountain (1888, now on Glasgow Green) making the group representing Canada and the figure of Victoria, 1886--7. AWG 1886; founder member RBS.
1. S. Beattie, The new sculpture, New Haven and London, 1983, p.244. [B1998]

William Silver Frith (1850--1924)
Sculptor and teacher. He studied at Lambeth School of Art from 1870 and from 1872 also at the Royal Academy Schools. By 1879 he was assistant to the modelling master, Jules Dalou, and in that year moved with him to the newly-established South London Technical Art School. In the following year he succeeded Dalou and from then until his retirement in 1895 exerted a strong influence over a whole generation of young sculptors, including Frampton, Pomeroy and C.J. Allen, imbuing them with Dalou’s more vivacious approach to drawing and modelling. Most of Frith’s work as a sculptor was for architects, notably Aston Webb; for example Frith worked on the Victoria Law Courts, Birmingham (figure of Justice on the central gable and the spandrel figures of Truth, Patience and Plenty, the latter to designs by Walter Crane, 1887--91); on 13--15 Moorgate, City of London (the niche figures and reliefs, c.1893); on the Cromwell Road façade of the Victoria and Albert Museum (figures of Grinling Gibbons and John Bacon the Elder, 1899--1909); and at Imperial College, South Kensington (allegorical figures flanking the entrance, c.1906). His other works include the high-relief carvings on the Royal Engineers South African War Memorial, 1905, Chatham, Kent; bronze standard lamps, 1908, outside Lord Astor’s home at 2 Temple Place, London; spandrel reliefs, c.1908, on the bridge over King Charles Street, Whitehall, London; and the King Edward VII Memorial, 1911, Whitechapel. From 1886 he was a member of the Arts Workers’ Guild and, in 1905, a founder member of the Royal Society of British Sculptors. He exhibited at the Royal Academy 1884--1912.
Sources: Beattie, S., 1983; Builder, 29 August 1924, p.310 [obituary]; Gildea, J., 1911; Gray, A.S., 1985; Stratton, M., 1993. [LR 2000]

Andy Frost (b.1957)
Sculptor using a variety of materials including wood, steel and fibreglass. Studied at Lanchester Polytechnic and Coventry and Reading universities. Frost visited the Netherlands and USA on scholarships 1979--82 and subsequently was Henry Moore Foundation Fellow in sculpture at Camberwell School of Arts and Crafts. He has exhibited at the ICA; Whitechapel Open (1983); and Welsh Sculpture Trust (1983).
[1] Buckman, p.451. [NE 2000]

Arthur P. Fry
A Liverpool architect, he exhibited between 1893 and 1905 at the WAG.
(source: Johnson & Greutzner, 1976) [L 1997]

David Fryer
Sculptor. Educated at Goldsmiths’ College (BA Hons Textiles, 1985--8) and Royal College of Art (1998--2000). Fryer has taught at Camberwell and Reading Schools of Art and at the Architectural Association in London. Recent exhibitions include Home Alone post design, Milan (1999) and Young Parents at the Castlefield Gallery, Manchester. Major commissions include England’s Glory (Ikon Gallery, 1995) and Holly Street Public Arts, Dalston, London (1995).
Source: artist. [Man2004]

Raf Fulcher (b.1948)
Sculptor and landscape designer, Fulcher is known for works which combine architectural forms with landscaping. Studied at the University of Newcastle upon Tyne 1966--72. He has shown in several group exhibitions, including ‘The Sculpture Show’, Serpentine and South Bank 1983; Chelsea Flower Show (1985, 1987); and Garden Festivals in Liverpool (1984), Stoke (1986), Glasgow (1988) and Gateshead (1990). He has also designed landscaping for Easington District Council, 1996. In 1993 Fulcher was appointed Reader in Fine Art Practice at Sunderland University, where he continues to teach.
[1] Miles, M., Art for Public Places, Winchester, 1989, p.52. [2] France, L., Looking Beyond: Easington District Council’s Progamme for Visual Arts Year 1996, 1997, passim. [3] Buckman, p.454. [NE 2000]

Raf Fulcher (b. 1948)
Born in Essex, he studied at the University of Newcastle upon Tyne, 1966--72. He has shown in several group exhibitions, including The Sculpture Show, Serpentine and South Bank, 1983. Commissions include Jesmond Metro Station, Newcastle upon Tyne.
(source: Festival Sculpture, 1984) [L 1997]

Bettina Furnee (b.1963)
Bettina Furnee was born in the Netherlands and studied the history of art at Leiden. She came to Britain to train as a lettering artist under David Kindersley. She designs and executes works in stone, wood, glass and bronze.
Source: University of Warwick, Sculpture Trail Brochure, Coventry, 1997. [WCS2003]

Hideo Furuta (b. 1949)
Born Hiroshima. Educated in Hiroshima including Hijiyama Art College. Trained in sculpture and quarry work in Hiroshima. Left Japan in 1983 and settled in Wales in 1985. Since then he has had many posts as artist-in-residence or as a lecturer at various universities in the United Kingdom, including Grizedale Forest, 1994 and at the University of Northumbria 1992--4. Works include: Kido (Edinburgh University, 1989); East-West (Margam Sculpture Park, Port Talbot, 1991), Quiescence (Bottisham, Cambridgeshire, 1994--5) and Axiom (Gateshead Sculpture Park, 1993--6). Awarded Henry Moore Fellowship by UNN in 1992.
Sources: Oldham Public Art Officer; Usherwood, 2000. [Man2004]

Hideo Furuta (b.1949)
Sculptor, artist, performer and teacher, Furuta was born in Hiroshima, Japan, and attended the Tokyo Visual Art College between 1969 and 1971, studying mathematics, physics and art. From 1977 to 1978, he studied at the Hijiyama Art College, Hiroshima, where he specialised in etching and engraving, going on to study comparative philosophy and aesthetics at Hiroshima University between 1978 and 1980, and subsequently working as a quarryman at Ishizaki Quarry, Kurahashi Island from 1982 to 1983. Furuta moved to Chile, and then to Wales, where he began working and teaching from 1985, holding such posts as visiting lecturer at Trondheim Art College, Norway (1991) and Henry Moore Fellow in Sculpture at Northumbria University, Newcastle upon Tyne (1992--4). His most recent post was as artist-in-residence at Grizedale Forest (1994). His solo exhibitions include silkscreen prints at Saeki Gallery, Hiroshima (1977); and sculpture, drawing, photography and video works at University Gallery of Newcastle (1997), which included granite and basalt spheres and cones. His many public commissions include a monumental sculpture in white granite and black basalt (Axiom) for Gateshead Sculpture Park, Gateshead (1993--6). Collections holding his work include Glynn Vivian Art Gallery and Museum, Swansea; Gallery/Oriel 31, Newtown; Edinburgh Printmakers’ Workshop, Edinburgh; Margam Sculpture Park, Port Talbot. He is also noted for his sound works and public performances, which include an African Drum performance in Newcastle, 1993.
Source: University of Warwick, Sculpture Trail Brochure, Coventry, 1997. [WCS2003]

Hideo Furuta (b.1949)
Trained in sculpture and quarry work in Hiroshima. Left Japan in 1983 and settled in Wales in 1985. Since then he has had many posts as artist in residence or as a lecturer at various universities in the United Kingdom, most recently in Grizedale Forest 1994 and at the University of Northumbria 1992--4. Works include: Kido, Edinburgh University, 1989; East--West, Margam Sculpture Park, Port Talbot, 1991; and Quiescence, Bottisham, Cambridgeshire, 1994--5.
[1] Press Release, Gateshead MBC, 1997. [NE 2000]

Lawrence Gahagan (fl.1756--1820)
Born Lawrence Geoghegan in Ireland. In 1756 he won a premium from the Dublin Society ‘for a piece of sculpture’. Shortly after this he went to London, and anglicised the spelling of his name. In 1777 he was awarded a premium by the Society of Arts for a 2m-high relief of Alexander Exhorting his Troops. In 1801 he was employed on decorative work at Castle Howard, and in 1806 unsuccessfully submitted a model to the competition for the monument to William Pitt the Younger for Guildhall. Gahagan made a speciality of busts and statuettes representing the celebrities of his time. Some of these were produced in editions and seem to have been available either in bronze or plaster. Gahagan also sculpted representations of topical events, including the murder and the assassination of Spencer Perceval. He belonged to a numerous family of sculptors, the most successful member of which was probably his brother Sebastian, who sculpted the multi-figure monument to Sir Thomas Picton in St Paul’s.
Source: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968. [CL2003]

Galbraith & Winton (1846--c.1970)
Firm of marble cutters, sculptors and stone engravers, established by William Galbraith in 1846 with a workshop at Kelvin Street and a showroom at 350 Argyle Street. In 1854, David Winton joined the firm, which remained active throughout the remainder of the nineteenth century, adding mosaic work to its range of practices and undertaking contract work for steamships. In 1913 the firm converted its steam power works at Kelvin Street to electricity, and continued to flourish until after the post-war period. In 1968 the firm moved to Hillington, and probably ceased to trade shortly afterwards.
Source: POD, 1846--1968. [G2002]

Richard Garbe (1876--1957)
Born in Dalston, London, son of a manufacturer of ivory and tortoiseshell fancy goods, to whom he was apprenticed. Garbe studied at the Central School and at the Royal Academy Schools. His early work is divided into the miniature sculpture in diverse materials, often applied to domestic objects, which he showed at arts and crafts exhibitions, and the more monumental treatments of subjects of philosophical import, which he showed at the Royal Academy. One of the latter type, Man and the Ideal, shown in 1907, is illustrated in the Studio of that year. It is a tremendously ponderous Germanic allegory. Before the First World War, Garbe produced much architectural sculpture, including the pediments and spandrels of Thames House, Queen Street Place, in the City of London (1911--12), and two large groups representing the Mediaeval and the Modern Age, on the National Museum of Wales, Cardiff (1914--15). Always craft-oriented, Garbe’s Royal Academy exhibits from between the wars encompass the full gamut of traditional materials, but with a decided preponderance of ivory. It was an ivory carving of Autumn which won him the RBS Silver Medal in 1930. This work is now in Tate Britain. In the 1930s, Garbe modelled a number of pieces for production in ceramic by the firm of Doulton’s. He taught at the Central School 1901--29, and at the Royal College of Art 1929--46.
Sources: Tate Gallery Catalogue, Modern British Paintings, Drawings and Sculpture, London, 1964; The Doulton Story, Exh. cat. Victoria and Albert Museum, London, 1979. [CL2003]

Rose Garrard (b.1946)
Rose Garrard trained at Birmingham Polytechnic (1966--9) and Chelsea School of Art (1969--70). She won a one-year scholarship to Paris at the École des Beaux-Arts where she won the Prix d’Honneur for her sculpture. Since the mid 1970s, her work has been concerned with the historical reclamation of women’s creativity. Primarily a feminist performance artist, she uses popular forms of representation, notably theatre, mime and role-playing, to suggest alternatives to the traditional ways of viewing powerful figures. However, Garrard has also produced paintings and sculptures associated with this work. Since she began by exhibiting fibreglass figures in 1967, her work has been shown in the UK, Canada, Australia and Europe. In one of her earliest works, Circle (1971), her series of four female figures with their heads and bodies covered by cloth, she draws upon the devices of the horror story -- concealment and exclusion -- to convey a sense of powerlessness. Other sculptures include Framed Model, a sculpture representing the unseen side of Degas’ Old Lady Sitting in a Window; and Three Sisters: Time, Life and Space, made for a medieval herb garden at the Stoke-on-Trent Garden Festival (1986). She has worked on public art projects in Liverpool, the Elephant and Castle in London, and Malvern.
Sources: Dunford, P., A Biographical Dictionary of Women Artists in Europe and America Since 1850, Hemel Hempstead, 1990, p.107; Garrard, R., Archiving My Own History: documentation of works 1969--1994, unpublished; Malvern Gazette and Ledbury Reporter, 4 October 1996; Number Nine the Gallery -- The Contemporary Gallery in Birmingham, biographical entry on Rose Garrard, accessed 13 March 2002, www.ajw.net/numbernine/; Purdie, D., Public Art on the Black Country Route, 1997, http://wavespace.waverider.co.uk/~scotdave; Roberts, J., Rose Garrard: Old Tales/New Stories, exhib. cat., Ikon Gallery, Birmingham, 1983. [SBC2005]

Daniel Garrett (?--1753)
Architect trained as an assistant to Lord Burlington. In 1722 he was given a subordinate post in the Office of Works, first at Richmond and then at Windsor. From c.1735 he was practising on his own account in the North, remodelling Wallington Hall, Northumberland, and undertaking work at Castle Howard. This was probably why in 1737 he lost his Office of Works position for ‘not attending his duty’. In the 1740s and 1750s he was working in London (Northumberland House) and in the North (Gibside, Fenham Hall, Nunwick, Kippax Par and Newcastle Infirmary).
Most of his buildings are in Burlington’s Palladian style. He did, however, occasionally venture into the Gothic, e.g., for the Banqueting House at Gibside 1751.
[1] Colvin, pp.393--4. [NE 2000]

Hans (sometimes Hanns) Gasser (1817--68)
Austrian painter, sculptor and collector, he was born in Eisentratten and learnt painting and carving from his father, a cabinet-maker and wood-carver. In 1838 he moved to Vienna to study at the Akademie, earning his living by painting portraits. He produced some architectural sculpture, but was most renowned for his portrait busts, as well as his work on unusual commissions, such as the figures on a bookcase presented in 1851 to Queen Victoria by the Emperor Franz Joseph. Among his best known works are a Self Portrait (1855) and the monument for Mozart’s tomb in Vienna (1859). He died in Pest, Hungary, from a festering wound he received while carving.
Sources: HAG, GLAHA 44315, unpublished letter from Walter Krausse to Martin Hopkinson, 23 July 1981; Turner, vol.12, p.172. [G2002]

Stefan Gec (b. 1958)
Sculptor. Born Huddersfield, Yorkshire. Studied art at Huddersfield Polytechnic, Newcastle Polytechnic, 1984--7 and Slade School of Fine Art, 1991--3. Site-specific and process-based art inspired by living history and his Ukrainian father’s experiences. Solo and group exhibitions include Transmission Gallery, Glasgow (1989), ICA, London (1996), Lux Gallery, London (2001) and Yorkshire Sculpture Park (2002). Works include Trace Elements (1990), Detached Bell Tower (1994--5), Natural History (1995) and Fragment/ Vengeance (2001). Gec submitted a sculpture for the fourth plinth, Trafalgar Square.
Sources: Bewley, 2002; Irwell Sculpture Trail. [Man2004]

Emanuel Edward Geflowski (1834--98)
Born in Poland. Exhibited four works at the RA from 1867--72. Commissions include public statue of Queen Victoria for Singapore (1889) and portrait busts, including Garibaldi (Walker Art Gallery, Liverpool) and Edwin Waugh (Salford Art Gallery and Museum). His commissions for ecclesiastical sculpture included All Souls Chapel, Oxford and reredos at Holy Trinity, Cirencester.
Source: Bénézit, 1976. [Man2004]

Steve Geliot
Sculptor and teacher born at Chislehurst, Kent, currently (1999) living at Brighton, Sussex. He studied at Brighton College of Art and Chelsea School of Art. He then went on to teach at Brighton and also at West Surrey College of Art and Design, Farnham. In 1986 he took part in the Camden Annual at the Camden Arts Centre, London, winning first prize. He has had solo exhibitions at the Camden Arts Theatre, 1987, and the Sue Williams Gallery, London, 1990. His public commissions include Environment, Wigmore Park, Luton, 1991; Fencing and Gateways, Oldham Park, 1992; Trefoil, Norbury Park, Surrey, 1992; Environmental Works, Brighton Seafront, 1993; Courtyard Environment, Taunton and Somerset NHS Trust Hospital, 1994; and a sequence of six works for Car Dyke, North Kesteven, Lincolnshire.
Source: Axis -- Visual Arts Information Service, East Midlands Arts. [LR 2000]

John Geraghty
Stonemason. Born in Bootle, c.1853. Geraghty is listed as monumental mason and sculptor in the commercial directories at the end of the nineteenth century and the beginning of the twentieth century. His works address was Stanley Road, Bootle. In the 1901 census he was married and living in Exeter Road, Bootle.
Sources: Mark Sargant, Crosby Library; Kelly’s Liverpool Directories. [Man2004]

Grinling Gibbons (1648--1721)
Born in Rotterdam, his parents were English, but he was brought up as a Dutchman and always spoke and wrote broken English. His father James Gibbons was a member of the Drapers’ Company, and he was admitted to the Company by patrimony in 1672. On his arrival in England around 1667, he is said to have spent time in York before settling in London. In 1671 he was ‘discovered’ by the diarist John Evelyn, in a house in Deptford, working on a wood relief of the Crucifixion (probably the one now at Dunham Massey, Cheshire), after a painting by Tintoretto. Evelyn’s attempt to promote Gibbons at court failed, and his introduction of the carver to Sir Christopher Wren did not lead to immediate employment. However, Gibbons found advancement and work at Windsor Castle, through an introduction by the painter Peter Lely to Hugh May, Comptroller of the Royal Works. This initiated his career as an immensely prolific decorative wood-carver. Gibbons’ work as a statuary seems to have begun with a commission, in 1678, to carve the decorative panels on the pedestal of the equestrian statue of Charles II at Windsor. It is possible that he also modelled the statue itself. Gibbons then produced further standing figures of Charles, for the Royal Exchange (marble, 1683--4), and for Chelsea Hospital (bronze, c.1686), and of James II for Whitehall Palace (bronze, 1687--8, now in front of the National Gallery, Trafalgar Square). From 1679 Gibbons worked with the Flemish sculptor, Arnold Quellin, who died in 1686. Quellin was a more fluent designer than Gibbons, and his skilled hand may be detected in the angels from the altar of Whitehall Palace Chapel, on which they worked together in 1686 (marble, now in the parish church at Burnham, Somerset). Some of the church monuments executed by Gibbons himself are, nevertheless, extremely grand decorative conceptions. Fine examples are the tomb of Viscount Campden at Exton, Rutland (1684), and that of the First Duke of Beaufort (d. 1699) at Great Badminton, Gloucs. Gibbons’ work with Sir Christopher Wren included the reredos (1684) and marble font for St James’s Piccadilly, and culminated with the carvings for the choir of St Paul’s (1695--7). In 1693, Gibbons was appointed Master Sculptor and Carver to the Crown.
Sources: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968; G. Beard, The Work of Grinling Gibbons, London, 1989; D. Esterly, Grinling Gibbons and the Art of Carving, London, 1998; K. Gibson, ‘The Emergence of Grinling Gibbons as a “Statuary”’, Apollo, September 1999. [CL2003]

Gibbs & Canning, Tamworth (active c.1840--1940)
One of the four principal producers of terracotta in England, alongside Edwards of Ruabon, Burmantofts of Leeds and Doultons of Lambeth, Gibbs & Canning existed before 1851 and were described in 1861 as makers of sewerage pipes. However, in 1873--81 they supplied the buff and grey terracotta for the Natural History Museum, Kensington, designed by Alfred Waterhouse and considered the first building of repute and standing to use terracotta to any significant degree. Cheaper than stone and able to take fine, sharp detailing, terracotta quickly became the most popular decorative facing material and remained so into the 20th century. As terracotta clay is only found next to deposits of coal, Gibbs & Canning remained at their site near to Glascote colliery outside Tamworth, but in the 1890s, the heyday of terracotta, they also established a pottery in Deptford, London. Their work can be seen on buildings throughout Britain: largely in London, such as on G.H. Townsend’s Bishopsgate Institute (1894) and Frank Matcham’s Victoria Palace Theatre (c.1910); in Liverpool on Alfred Waterhouse’s Victoria building, Liverpool University (1887--92); but mostly in Birmingham and the Midlands. They worked with several local architects, notably Sandy and Norris, Harrison and Cox, and Horace Bradley, decorating theatres, cinemas, offices and church buildings. As terracotta declined in popularity Gibbs & Canning had to lay off staff from 1932 onwards. In March 1940 they closed the terracotta department, and finally closed down completely in the late 1950s.
1.A. Crawford, Tiles and terracotta in Birmingham, Victorian Society, Birmingham Group, 1975; 2. Unpublished notes and original documents, Tamworth Museum collection. [B1998]

James Gibbs (1682--1754)
Scots-born architect who trained in Rome under the renowned Italian baroque architect Carlo Fontana. His first building following his return to London in 1709 was the baroque church of St Mary-le-Strand (1714--17), which was strongly influenced by Sir Christopher Wren. Like St Martin-in-the-Fields (1722--6), it combined a Wren steeple with a classical portico, setting a standard Georgian design for churches. In 1727 he was made architect of the Ordnance and in 1728 published his Book of Architecture, with 150 illustrations of designs for architecture, monuments, chimneypieces, garden buildings, urns and cartouches. It was immediately successful and became widely used, especially in North America. Gibbs was the first British architect to make a practice of designing monuments. Sculpted mainly by Rysbrack or Guelfi, they include several in Westminster Abbey. He was elected a Fellow of the Royal Society in 1729, and received an Honorary MA from Oxford in 1749.
Sources: Colvin, H., Biographical Dictionary of British Architects 1600--1840, London, 1978, pp.337--45; Underwood, E.G., A Short History of English Sculpture, London, 1933, p.80. [SBC2005]

Sir Donald Gibson (1908--91)
Architect and planner. Gibson trained at the University of Manchester’s School of Architecture and Town Planning, and spent a year in the USA, qualifying in 1932. He spent two and a half years at the Building Research Station in the mid-1930s, when he realised the architectural implications of technology and building programmes. In 1938 he took up the newly created post of Coventry City Architect. The bombing of Coventry during the Second World War made the existing problems of poor housing far more extreme. It was Gibson’s task to oversee the rebuilding of Coventry after the War. Between 1955--8 he was the County Architect for Nottinghamshire where he initiated the CLASP system of prefabricated school buildings. From 1958 to 1962 he was the Director General of Works for the War Office, and from 1967 to 1969 he was the Controller General of the Ministry of Public Works. He was knighted in 1962.
Source: Turner, J., Dictionary of Art, vol.12, London, 1996. [WCS2003]

John Gibson (1790--1866)
Born in Wales, he moved at the age of nine with his family to Liverpool. In about 1806, while apprenticed to a wood-carver, he met F.A. Legé, who brought him to the notice of his employers, Messrs Franceys, the Liverpool statuaries, who paid to cancel Gibson’s existing indentures so that he might take an apprenticeship with them. His work there attracted the attention of William Roscoe, who supplied him with commissions, contacts and access to his collection of antique sculpture. In 1817, Gibson moved to London, but in the same year left for Rome, where he trained under Canova and Thorvaldsen. Apart from occasional visits to the UK, he remained in Rome for the rest of his life, undertaking lucrative commissions from wealthy English visitors. He was a friend and professional associate of the Scottish photographer Robert Macpherson, who photographed many of his statues. His most prestigious patron was Queen Victoria, upon whose statue he first introduced touches of colour, as Canova had done before him, in accordance with ancient Greek practice. The culmination of his experiments in polychromy is The Tinted Venus, in the Walker Art Gallery, Liverpool. He was elected ARA in 1833 and RA in 1838, exhibiting at the RA from 1816 until 1864.
Source: Cavanagh, p.329. [G2002]

John Gibson (1790--1866)
Born in Wales, he moved at the age of nine with his family to Liverpool. In about 1806, whilst apprenticed to a wood-carver, he met F.A. Legé who brought him to the notice of his employers, Messrs Franceys, the Liverpool statuaries, who paid to cancel Gibson’s existing indentures so that he might take an apprenticeship with them. His work there attracted the attention of William Roscoe, who supplied him with commissions, contacts, and access to his collection of antique sculpture. In 1817 Gibson moved to London, armed with letters of introduction from Roscoe. That same year, however, he left for Rome, where he trained mainly under Canova, but also with Thorvaldsen and, apart from occasional visits to England on business, he remained in Rome for the rest of his life, taking lucrative commissions from the many wealthy English visitors. His most prestigious patron was Queen Victoria, upon whose statue he first introduced touches of colour, as Canova had done before him, in accordance with ancient Greek practice. The culmination of his experiments in polychromy is The Tinted Venus (WAG). Despite the Greek precedent, many contemporaries found the naturalistic result an unsettling clash with the formal idealization of the figure. In 1833 Gibson was elected ARA and in 1838 RA, exhibiting at the RA from 1816 until 1864. On his death, his fortune and the contents of his studio were left to the RA.
(sources: DNB; Gunnis, 1951) [L 1997]

John Gibson (1817--1892)
Architect-trained in Sir Charles Barry’s office from 1835 to 1844. He later became a prolific bank architect, working mostly for the National Provincial. His works, for instance those in Middlesbrough and Newcastle, tend to be variants of Barry’s Renaissance palazzo formula.
[1] Turner, J (ed.), Dictionary of Art, London, 1996, vol.12, p.599. [2] DBArch, pp.345--6. [NE 2000]

Sir Alfred Gilbert (1854--1934)
Sculptor. Born in London. His formal art training began at Heatherley’s School of Art in 1872 and continued at the RA Schools. He also served as an assistant to Joseph Edgar Boehm. In 1875 he went to study at the École des Beaux-Arts, under Pierre-Jules Cavalier and Emmanuel Frémiet. He studied and worked in Italy from 1878-84 where Donatello’s sculpture proved particularly influential. He favoured bronze over marble. He sent The Kiss of Victory from Rome to the RA in 1882. Icarus, modelled using the neglected cire perdue process, was one of his first major works. Commissioned by Lord Leighton, it was one of the outstanding exhibits at the RA in 1884. Gilbert became a leading figure in the New Sculpture movement and his work quickly confirmed him as one of the country’s foremost sculptors. His commissions included the Fawcett Memorial (London, 1887) and the Shaftesbury Memorial Fountain (Piccadilly Circus, London, 1893). Outside London his public statues included the Victoria Jubilee Monument (Winchester, 1887; Newcastle, 1903), John Howard (Bedford, 1894) and David Davies (Llandinam, Powys, 1894). Gilbert also received commissions from the royal family, including the prestigious tomb of the Duke of Clarence for Windsor. His financial problems combined with a scandal surrounding the Clarence commission led him to leave the country in 1901. He did not return until 1926, following requests from George V to complete the Clarence tomb. His last major work was the Queen Alexandra Memorial Fountain (Marlborough Gate, London, 1932). Gilbert’s talents were also evident in his work as a goldsmith, jeweller and stuccoist. He was elected ARA in 1887, RA in 1892 and knighted in 1932.
Sources: DNB; Beattie, 1983; Dorment, 1986; Usherwood, 2000. [Man2004]

Sir Alfred Gilbert (1854--1934)
Sculptor born 12 August 1854 in London, the elder son of a musician. Gilbert had hoped to become a surgeon, but was distracted by the more congenial prospects of a career in art, and managed to get into the Royal Academy Schools in 1873. He also received in 1874 some instruction from Joseph Edgar Boehm who recommended he should study in Paris. This he did, followed by six years working in Italy, where he executed his earliest ideal bronzes and learnt the lost-wax casting process, which he was instrumental in re-introducing to England with a series of bronzes in which the sensitive control of modelling obtainable through this process helped make him the most influential British sculptor of his generation. His Icarus of 1884, commissioned by Lord Leighton (PRA), secured Gilbert’s election as ARA in 1887. He was a member of the Art Workers’ Guild from 1888 and, in 1892, was elected RA. He won important commissions from the Royal Family, including the prestigious Tomb of the Duke of Clarence for Windsor. In 1897 he was appointed MVO and in 1900 was nominated Professor of Sculpture at the RA Schools. In 1901, however, he became bankrupt and, amidst a scandal over his unauthorised sale of figures from the unfinished royal tomb, fled to Bruges, returning only in 1926 after George V had personally requested that he finish the tomb. On his return he was awarded the gold medal of the Royal Society of British Sculptors and, in 1932, was knighted. He was, both before and after his exile, a regular exhibitor at the RA (1882--1907 and 1933--5). He died 4 November 1934 in London. Examples of his work are held in numerous public collections, including the Tate Gallery, Victoria and Albert Museum, Leeds City Art Gallery, Walker Art Gallery, Liverpool, and National Museum of Wales, Cardiff.
Sources: Beattie, S., 1983; DNB 1931--1940; Dorment, R., 1985; Dorment, R. (ed.), 1986; Who Was Who 1929--1940. [LR 2000]

Alfred Gilbert (1854--1934)
The foremost British sculptor at the turn of the century and a leading member of the New Sculpture movement. Trained at Heatherley’s, the RA Schools and the École des Beaux Arts in Paris under various teachers including Joseph Edgar Boehm, Pierre-Jules Cavalier and Emmanuel Fremiet. A visit to Italy in 1878 spawned an interest in the sculpture of Donatello and Cellini which allowed him to escape the thrall of strict classicism and find his own, more personal way of treating the figure. It also encouraged him to experiment with unconventional materials and casting techniques. The works that followed such as the statuette of Icarus (1884, National Museum, Cardiff) and the monuments to the Earl of Shaftesbury (Eros, 1885--93, Piccadilly Circus) and Queen Victoria (1887--1912, Winchester Great Hall) are notable for their combination of realism and flights of fantasy. Although Gilbert was eventually knighted in 1932, the latter part of his career was marked by sadness. The expense of casting the ornate Eros plunged him into debt and he felt obliged, in 1901, to go into self-imposed exile in Belgium. During the twenty-five years he was there he produced relatively little.
[1] Turner (ed.), vol.12, pp.610--13. [2] Dorment, R., Alfred Gilbert, London 1995. [NE 2000]

Sir Alfred Gilbert (1854--1934)
Born in London, he was the elder son of a musician. Gilbert had hoped to become a surgeon, but was distracted by the more congenial prospects of a career in art and managed to get into the RA Schools in 1873. He also received in 1874 some instruction from J.E. Boehm who recommended he should study in Paris. This he did, followed by six years working in Italy, where he executed his earliest ideal bronzes and learnt the lost-wax casting process, which he re-introduced to England in a series of bronzes in which the sensitive control of modelling obtainable through this process helped make Gilbert the most influential British sculptor of his generation. His Icarus of 1884, commissioned by Lord Leighton (PRA), secured Gilbert’s election as ARA in 1887. He was a member of the Art Workers Guild from 1888 and, in 1892, was elected RA. He won important commissions from the Royal Family, including the prestigious Tomb of the Duke of Clarence for Windsor. In 1897 he was appointed MVO and in 1900 was nominated Professor of Sculpture at the RA Schools. In 1901, however, he became bankrupt and, amidst a scandal over his unauthorized sale of figures from the unfinished royal tomb, fled to Bruges, returning only in 1926 after George V had personally requested that he finish the tomb. On his return he was awarded the gold medal of the RBS and, in 1932, was knighted.
(sources: Beattie, 1983; DNB; Dorment, 1985) [L1997]

Donald Gilbert (1900--61)
Born at Burcot, Worcs., son of the sculptor Walter Gilbert, he trained at the Birmingham School of Art, then at the Royal Academy Schools and the Royal College of Art. In 1923 he travelled to Rome with his distant relative Sir Alfred Gilbert, where the two sculptors worked together in a studio in the Via Pontefici. He exhibited at the Royal Academy between 1925 and 1957. His exhibits of the 1920s are of imaginary subjects, but, from 1935, he showed almost exclusively portraits and animal subjects. In 1938 he showed a Coronation Medal. Between 1936 and 1938, Gilbert worked on a colossal figure entitled Night Thrusting Aside Day, for one of the corners of Collcutt and Hamp’s Adelphi Building in London. In 1936 he showed a Mozambique Monkey and a Rhinoceros in ceramic, at the Royal Scottish Academy. His bronze bust of the inventor of television, John Logie Baird (1943), is in the National Portrait Gallery, London. Gilbert also showed work at the Paris Salon. Resident in Birmingham in 1922, by the mid-20s Gilbert was working in London, but in 1941 he moved to Pulborough in Sussex. He became a Fellow of the Royal Society of British Sculptors in 1937.
Sources: G.M. Waters, Dictionary of British Artists Working 1900--1950, Eastbourne, 1975; J. Johnson and A. Greutzner, The Dictionary of British Artists 1880--1940, Woodbridge, 1976; R. Dorment, Alfred Gilbert, New Haven and London, 1985; F. Spalding, 20th Century Painters and Sculptors, Woodbridge, 1990. [CL2003]

Walter Gilbert (1872--1945)
Born in Rugby. He was second cousin to the sculptor Sir Alfred Gilbert, and father of the sculptor Donald Gilbert. After receiving a university education, he attended Birmingham School of Art (1898--9), as a part-time student. In 1900 he became Master of the art department of Bromsgrove School of Science and Art. He was founder and chief member of the Bromsgrove Guild of Decorative Arts, which had its first successes at the Paris International Exhibition of 1900, and which, in 1904, produced the decorative metalwork for the architect Aston Webb’s gates for Buckingham Palace. Gilbert later seceded from the Guild, and worked in partnership with another ex-member, Louis Weingartner. Together they produced the sculptural details of the reredos of Liverpool Cathedral (1909--10). They had a studio in Weaman Street, Birmingham from 1923 to 1932, producing garden sculpture and numerous war memorials. Walter Gilbert also wrote articles on metalwork for the Architectural Review and the R.I.B.A. Journal.
Source: G.T. Noszlopy and J. Beach, Public Sculpture of Birmingham, Liverpool, 1998. [CL2003]

Walter Gilbert (1872--1945)
Born in Rugby, 1872 he died in Worcester, 23rd December 1945. Second cousin to the sculptor Sir Alfred Gilbert, RA. After a university education he attended Birmingham School of Art 1898--9 as a part-time student. In 1900 he became Master of the Art Department at Bromsgrove School of Science and Art. A great entrepreneur, he also acted as agent to several craftworkers, selling their products under the name of the Bromsgrove Guild of Decorative Arts which had its first major success at the Paris Exhibition of 1900, where it won nine awards. Around 1904 the flourishing business was converted into a limited company and employed several continental craftsmen. A major commission from this period was the ornamental brasswork for the Great Gates at Buckingham Palace for Sir Aston Webb (1904). Gilbert later withdrew from the Guild and set up in partnership with the gifted Swiss modeller and brassworker from the Guild, Louis Weingartner, their main commission being the sculptural details for the Great Reredos at Liverpool Cathedral in 1909--10. They had a studio in Weaman Street, Birmingham from 1923--32 and, while Gilbert also worked freelance in local industries, together they produced garden sculptures as well as numerous war memorials including that for the Birmingham Conservative Club (now in the Birmingham Club, Ethel Street), and others at Crewe, Troon and Eccleston Park, Liverpool. Gilbert had a broad art-historical knowledge and wrote articles including ‘Romance in Metalwork’, and ‘The essentials of craftsmanship in metalwork’. A bronze bust of Walter Gilbert by his son, Donald Gilbert, was exhibited at the RA in 1931 and there is a memorial to him and Louis Weingartner, also by Donald Gilbert, at Hanbury church, Worcester.
1. Birmingham School of Art, Student registers, 1898--1899; 2. Kelly’s directory of Warwickshire, London, 1900, p.41; 3. W. Gilbert, and L. Weingartner, Sculpture in the garden, publicity booklet, Birmingham, undated (c.1925); 4. W. Gilbert, ‘The essentials of craftsmanship in metalwork’, Architectural Review, vol.59, April 1926, pp.127--47; 5. Loppylugs and B.J. Morrison, Characters and craftsmen, Bromsgrove, 1976; 6. RAE, vol.III, Wakefield, 1973, p.150; 7. R. Pancheri, ‘The rise and demise of the Bromsgrove Guild’, Bygone Bromsgrove, Stratford-upon-Avon, 1981; 8. W. Gilbert, ‘Romance in metalwork’, RIBA Journal, 3rd series, vol.XIII, no.6, 1906. [B1998]

Eric Gill (1882--1940)
Sculptor, engraver, letter-carver and typographer. Born in Brighton, the son of a minister. In 1897 the family moved to Chichester and Gill attended the art school there for two years. In 1900 apprenticed to the architect W.D. Carse but found contemporary notions of architecture not to his taste. He took lessons in masonry and lettering, the latter under Edward Johnston at Central School of Art and Design. In 1903 Gill left the architect’s office and worked as a letter-cutter. In 1904 he married and by 1907 was living in Ditchling, Sussex. About this time he began engraving and in 1909 made his first stone figure, not following the traditional method of first producing a clay model for replication in stone, but carving directly from the stone. By now Gill had acquired influential friends, including Roger Fry and Augustus John, the latter of whom helped him set up his first solo exhibition in 1911 at the Chenil Gallery, Chelsea. Always of a deeply religious mind, in 1913 Gill converted to Roman Catholicism (becoming in 1918 a Dominican tertiary) and in the same year was commissioned to carve the Stations of the Cross for Westminster Cathedral. Following the First World War, he was commissioned to execute war memorials at Bisham, South Harting and Trumpington. He also continued working on religious commissions including another set of Stations of the Cross, 1921--4, for St Cuthbert’s Church, Bradford. In 1924 Gill moved to Capel-y-ffin, Wales, for four years. In this period he executed Mankind, a colossal torso in Hoptonwood stone, later acquired by the Tate Gallery. In 1928 he moved to Pigotts, near High Wycombe, and over the next three years published Art-Nonsense (1929), his first full-length book; some of his finest illustrations; and, in 1929--32, his sculptures for the exterior of Broadcasting House, including Prospero and Ariel. From 1935--8 he was engaged on his large relief, The Creation of Adam, for the League of Nations Palace at Geneva. In 1935 he was elected honorary ARIBA and in 1937 he was made an honorary associate of the RBS and was elected ARA (thereafter exhibiting at the RA 1938--41). He died in 1940, the year his Autobiography was published. Retrospectives include Kettle’s Yard, Cambridge, 1979, and Barbican Art Gallery, 1992--3 (and tour).
Sources: DNB; Cavanagh, 2000. [Man2004]

Eric Gill (1882--1940)
Gill was apprenticed by his father to the architect of the Ecclesiastical Commissioners in 1900. He studied lettering in evening classes with Edward Johnston, then worked for the typographers Monotype, for whom he designed popular typefaces such as Perpetua and Gill Sans. In 1910 he began to make sculptural works in stone and wood. He was the leader of a religious group of artists, designers and printers, converting to Catholicism in 1913. Gill did not considered himself to be primarily a typographer, though during his life he designed eleven typefaces, some of which are still in use today, and wrote a lengthy and influential Essay on Typography. As a sculptor Gill worked directly with his materials rather than initially creating a clay model.
Sources: Yorke, M., Eric Gill: Man of Flesh and Spirit, London, 1981; Collins, Judith, Eric Gill: Sculpture, London, 1992; Wolseley Fine Art, Eric Gill 1882--1940: a catalogue of sculpture, inscriptions, drawings, prints, manuscripts and books, London, 1994; Gill, Eric, Sculpture and the Living Model, London, 1932. [WCS2003]

(Arthur) Eric (Rowton) Gill (1882--1940)
Sculptor, draughtsman, engraver, letter-carver, typographer and author born 22 February 1882 at Brighton, the son of a minister. In 1897 the family moved to Chichester and Gill attended the art school there for two years. In 1900 he was apprenticed in London to the architect W.D. Caröe but found contemporary notions of architecture not to his taste. In the evenings he took lessons in masonry and lettering, the latter under Edward Johnston at Central School of Art and Design. In 1903 Gill left the architect’s office and worked as a letter-cutter. In 1904 he married and by 1907 was living in Ditchling, Sussex. About this time he began engraving and in 1909 made his first stone figure, not following the traditional method of first producing a clay model for replication in stone, but carving directly from the stone. By now Gill had acquired influential friends, including Roger Fry and Augustus John, the latter of whom helped him set up his first solo exhibition in 1911 at the Chenil Gallery, Chelsea. Always of a deeply religious mind, in 1913 Gill converted to Roman Catholicism (becoming in 1918 a Dominican tertiary) and in the same year was commissioned to carve the Stations of the Cross for Westminster Cathedral (completed 1918). Following the First World War, he was commissioned to execute war memorials at Bisham, South Harting, and Trumpington. He also continued working on religious commissions including another set of Stations of the Cross, 1921--4, for St Cuthbert’s Church, Bradford. In 1924 Gill moved to Capel-y-ffin, Wales, for four years. In this period he executed Mankind, a colossal torso in Hoptonwood stone later acquired by the Tate Gallery, and designed his ‘Perpetua’ and ‘Gill Sans’ typefaces. In 1928 he moved to Pigotts, near High Wycombe, and over the next three years published Art-Nonsense (1929), his first full-length book; some of his finest illustrations; and, in 1929--32, his sculptures for the exterior of Broadcasting House. From 1935--8 he was engaged on his large relief, The Creation of Adam, for the League of Nations Palace at Geneva. In 1935 he was elected honorary ARIBA and in 1937 he was made an honorary associate of the RBS and was elected ARA (thereafter exhibiting at the RA 1938--41). In 1938 he collaborated with a professional architect to build an octagonal church planned round a central altar at Gorleston-on-Sea, Norfolk. He was busy to the very end of his life. He died of a lung infection on 17 November 1940, the year his Autobiography was published. Retrospectives include Kettle’s Yard, Cambridge, 1979, and the Barbican Art Gallery, 1992--3 (and tour).
Sources: Collins, J., 1992; Collins, J., 1998; DNB 1931--1940; Nairne, S. and Serota, N. (eds), 1981; Spalding, F., 1990; Strachan, W.J., 1984; Who Was Who 1929--1940. [LR 2000]

Michael Gillespie (b. 1929)
Sculptor and teacher. He studied at Hammersmith College of Art and later taught at Hertfordshire College of Art and Cambridgeshire College of Art and Technology. A major influence on his work was Jacob Epstein from whom he learnt bronze casting; he also carried out some casting for Epstein and for Elizabeth Frink. Gillespie exhibited at the Royal Academy in 1962 and 1963 and had a solo exhibition at the Gilbert-Parr Gallery, London, 1979. In 1969, with John W. Mills, he published the manual, Studio Bronze Casting.
Sources: Buckman, D., 1998; National Art Library information file. [LR 2000]

Ernest George Gillick (1874--1951)
Sculptor. Born in Bradford. Studied at the Nottingham School of Art and then at the Royal College of Art where he won the Italian travelling scholarship in 1902. Gillick became a member of the Art Workers’ Guild. Public commissions include the figures of J.W.M. Turner and Richard Cosway on the façade of the Victoria and Albert Museum (1899--1908) and a memorial fountain to the novelist Ouida (Marie Louise de la Ramée) at Bury St Edmunds. Glasgow’s principal war memorial was the work of Sir John Burnet and Gillick (George Square, 1924). He also executed the memorial to Sir George Frampton (St Paul’s Cathedral, 1928). Nottingham Museum has his bronze medallion portraits of Thomas Miller and Robert Millhouse. Elected ARA in 1935.
Sources: Bénézit, 1976; McKenzie, 2002. [Man2004]

Ernest Gillick (1874--1951)
He studied at Nottingham School of Art, from which he won a three-year scholarship to the Royal College of Art. After studying at the RCA for three years under Edward Lanteri, he won the Italian travelling scholarship in 1902. An early commission was for high-relief figures of Richard Cosway and J.M.W. Turner for Aston Webb’s new Victoria and Albert Museum (1905). Between 1908 and 1951, Gillick was a regular exhibitor at the Royal Academy. In 1910 he was commissioned to produce the memorial in Wigan to Sir Francis Powell. To the pantheon of Welsh historical figures in Cardiff City Hall he contributed a lively group of Henry VII at Bosworth Field (RA 1918). He collaborated with the architect, Sir John Burnet, on the First World War Memorial for George Square, Glasgow, which was unveiled in 1924. An element of humour is present in his memorial to the sculptor, Sir George Frampton (1930), in the crypt of St Paul’s Cathedral, in which a life-size baby shows its delight in a miniature replica of Frampton’s statue of Peter Pan. Gillick worked frequently as a medallist, as did his wife Mary.
Source: Who’s Who in Art, 3rd edn, London, 1934. [CL2003]

Ernest Gillick (1874--1951)
Born in Bradford, he studied at the RCA, later receiving commissions for public monuments and architectural sculpture throughout Britain and abroad. In London he carved statues of J.M.W. Turner and Richard Cosway for the façade of the V&A (1899--1908) and the Britannia group on the former National Provincial Bank, Princes Street, London. In 1909 he executed the memorial drinking fountain to the novelist Ouida (Marie Louise Rame) at Bury St Edmunds, the Monument to Sir Francis Sharp Powell, Wigan (1910) and monuments in India and New Zealand. After the First World War he executed the memorial to The Missing, Vis-en-Artois, France. A member of the Art Workers’ Guild, he executed the medallion portrait of fellow Guild member Sir George Frampton (q.v.) for St Paul’s Cathedral (1928). He was elected ARA in 1935.
Sources: Grant; Waters; Gray. [G2002]

Nicholas John Gillon (b.1967)
A Scottish sculptor, he was educated at St Thomas Aquinas High School, Edinburgh and Duncan of Jordanstone College of Art, where he graduated with a BFA Hons in sculpture in 1991. He then became the Head of the Mould Making and Casting Departments at Wildtrack Wildlife Art Ltd in Perth (1991--3), and taught life drawing at Telford College of Further Education (1994--5). He has participated in group exhibitions since 1990, and his public commissions include four low relief panels for the Abbey Gate Development, Forfar (1992) and a replica statue of St Roland for Historic Scotland in Orkney (1994). He is currently based in Wigan.
Source: information provided by the artist. [G2002]

Gerald Gladstone (b. 1929)
Sculptor, painter and draughtsman born in Toronto, Canada, of English-born parents. Largely self-taught as an artist, he started drawing at the age of eleven. After leaving school he had a number of jobs, mostly in advertising. He made his first piece of sculpture in 1956 as a result of seeing a solo exhibition of work by Gordon Rayner at the Art Gallery of Toronto. Drawn to working in steel, Gladstone studied welding, and in 1957 he too had a solo exhibition at the Art Gallery of Toronto. Furthermore, the Gallery purchased one of his sculptures, Female Galaxy. More solo exhibitions followed, as well as two important commissions in 1959 in the city of Toronto: Fountain (a construction) for the Federal Government’s William Lyon MacKenzie Building, and Pylon, a construction in bronze and concrete for the East York Public Library. In 1961 Gladstone was awarded a Canada Council grant. This funded a visit to England of several months, during which time he produced paintings and sculptures, studied at the Royal College of Art and in 1962 had his first London exhibition, at the Molton Gallery. Gladstone returned to Canada and continued working and exhibiting to considerable critical acclaim. In 1964, three of his sculptures were selected for the Second Canadian Sculpture Exhibition (sponsored by the National Gallery of Canada). In the same year he had his second solo show in London, at the Hamilton Galleries, his first in New York City, at the Graham Gallery, and was the subject of a CBC TV documentary, The Creative Welder. He continued to show internationally and to receive commissions, including Solar Cone, for Winnipeg Air Terminal Building, a fountain for the Toronto Telegram Newspaper Building, and a couple of pieces for the Canadian Pavilion at Expo 67. Examples of Gladstone’s work are in the National Gallery of Canada; Montreal Museum of Fine Arts; the Victoria and Albert Museum, London; and in private collections in Canada, USA and Britain.
Sources: Apollo, February 1964, pp.147--8; Connoisseur, February 1964, p.127; MacDonald, C.S. (comp.), 1977; Spencer, C.S., 1962. [LR 2000]

William Glanfield (b.1957)
Glanfield took a foundation course in art at Medway College of Design before studying for a degree in Fine Art at Canterbury College of Art (1979). After several years of sporadic employment, he finally enrolled on a government TOPS course in 1988, gaining a City and Guilds certificate in carpentry and joinery. He then set himself up as a self-employed woodworker, his first work coming by word of mouth. In 1989 he made a sculpted seat, Oyster Bench, for his home town of Folkestone. Since this project he has had commissions for many other sculpted wood pieces, a high proportion of which have been in his home county of Kent.
Source: CWN, The Coventry and Warwickshire Network, Coventry Canal Basin. [WCS2003]

The Countess Feodora Gleichen (1861--1922)
Born in London, 20th December 1861, she died there 22nd February 1922. Taught first by her sculptor father, Admiral Prince Victor of Hohenlohe-Langenburg and at the Slade School under Alphonse Legros, she then completed her studies in Rome. Producing mainly portraits, allegorical figures and decorative objects, she was one of the few successful women sculptors at this time. Commissions include: life-size statue of Queen Victoria, Jubilee Hospital, Montreal; bust of Queen Victoria, Cheltenham Ladies’ College; statue of Peace, 1899; bust of Emma Calvé, 1896, at Osborne; Diana Fountain, in bronze and coloured marbles, presented to Hyde Park by Lady Walter Palmer in 1906. Exhibited: RA from 1892--1922; Paris Exhibition, 1900; New Gallery 1894; New Dudley Gallery, 1907. Awarded prize for Bas Relief Competition organised by the Royal Academy, 1906.
1. M.H. Spielmann, British sculptors of today, London, 1901, pp.18--19; 2. ‘London exhibitions’, Art Journal, 1907, p.43; 3. The Studio, vol.36, 1906, p.86; 4. B. Read, Victorian sculpture, New Haven and London, 1982, p.355. [B1998]

Count Victor Gleichen (1833--91)
The youngest son of Prince Ernest of Hohenlohe-Langenburg, his mother was half-sister to Queen Victoria. He assumed the lesser title of Count Gleichen following his marriage to a commoner in 1861. His distinguished naval career ended in 1866 when, owing to repeated illness, he had to retire on half-pay. In 1867 he was created KCB and appointed governor and constable of Windsor Castle. After his retirement from the navy he studied sculpture under William Theed the Younger for three years and the Queen granted him permission to set up a studio in a suite of apartments in St James’s Palace. His success as a sculptor allowed him to have a small house erected near Ascot. He executed imaginative groups, monuments and portrait busts. In 1885 the Queen permitted the Count and Countess to revert to the titles Prince and Princess and, in 1887, Prince Victor was promoted to GCB and admiral on the retired list.
(source: DNB) [L 1997]

Joseph Goddard and Son
A firm of Leicester architects who also carried out church restoration work.
Source: Herbert Museum and Art Gallery, A Survey of Public Art in Coventry, Coventry, 1980. [WCS2003]

Joseph Goddard (1840--1900)
Leicester-based Gothic Revival architect, the son of architect Henry Goddard (1792--1868). Joseph was articled to his father in 1856, aged 16. In 1862 he became a partner and the firm was henceforth known as Goddard and Son, soon becoming the leading Leicestershire church architects, a position the firm held until the end of the century: during the 1860s Goddard and Son restored 23 churches in the county and built one new church, St Andrews, Tur Langton, 1865--6 (from about this time onwards, Joseph was effectively in control of the practice and the design here is generally attributed to him). In 1874 A.H. Paget (1848--1909) joined the practice and in c.1890 so did Joseph’s son, Henry Langton Goddard (1866--1944) at which point the practice became known as Goddard, Paget & Goddard and from 1897, Goddard & Co. The practice exists to this day, now based in London, as the Goddard and Manton Partnership. The buildings for which Joseph Goddard is best known in Leicester are the Haymarket Clock Tower, 1868 (see pp.112--18) and the Leicestershire Banking Company Headquarters (now HSBC), Granby Street, 1872--4 (see pp.105--6). He also designed numerous houses and schools throughout the county. By the early 1890s his son, Henry Langton, had effectively taken over and a renaissance-influenced style prevailed.
Sources: Brandwood, G. and Cherry, M., 1990; Gill, R., 1989. [LR 2000]

Keith Godwin (1916--91)
Sculptor. Born Warsop, Nottinghamshire. Studied at Mansfield Art School before going to Nottingham and Leicester Colleges of Art (1935--9). Attended the Royal College of Art before and after the war, 1939--40, 1946--8. Teaching posts at Bromley School of Art and Hammersmith School of Art before moving to Manchester Regional College of Art, later Manchester Polytechnic. Godwin developed a close collaboration with architects and designers. Abstract and figurative sculpture in different media, including stone, cement, terracotta and bronze. Godwin was responsible for the Neptune relief in Basil Spence’s Sea and Ships Pavilion, Festival of Britain, 1951. Other commissions include The Philosopher (Harlow), Polar Theme (Philips Laboratories, Redhill), Fountain (ATV Building, Elstree) and The Architect and Society. Godwin also produced works for British Railways, Reed Page Group and the National Union of Teachers. Sculptures in Imperial War Museum, London and Red Army Museum, Moscow. Member and President of the Manchester Academy of Fine Arts, which presents the Keith Godwin Sculpture Award to a young sculptor in his memory.
Sources: Strachan, 1984; Manchester Academy of Fine Arts. [Man2004]

Keith Godwin (1916--91)
Born in Warsop, Nottinghamshire, Godwin trained at Mansfield Art School (1934--5), Nottingham College of Art (1935--6), Leicester College of Art (1936--9) and the Royal College of Art (1946--8). He exhibited at the Royal Academy, and was elected RBA in 1950. He sculpted figures and portraits in plaster, cement, stone, terracotta and bronze.
Sources: MacKay, James, Dictionary of Western Sculptors in Bronze, Suffolk, 1977; Memorial Exhibition: Woodlands Art Gallery, 1992. [WCS2003]

William Gofton (b.1945)
Featured regularly in the local press, Gofton originally worked as a shot-blaster, painting and sculpting in his spare time. He then became a marine engineer, able to work on contracts for half the year and on his art for the rest of the time. Gradually his work has become more widely known and he is now represented by a London-based agent. Gofton’s house has become filled with many sculptures, usually made from scrap metal and cement. He has a keen sense of the grotesque, with most pieces being virtual caricatures: he is quoted as saying, ‘I see only extremes of either beauty or ugliness’.
[1] Local Biographies, South Shields, vol..57, p.20. [2] South Tyneside Weekender, 16 August 1980. [3] Evening Chronicle, 22 August 1981. [4] Journal, Newcastle, 18 November 1983. [5] Evening Chronicle, 20 February 1992. [NE 2000]

Andy Goldsworthy (b.1956)
Sculptor best known for works in the landscape using found materials such as icicles, maple leaves, pebbles and twigs. Studied at Bradford College of Art and Preston Polytechnic (1975--8), he now lives and works in Dumfriesshire. His sculptures are often very short-lived and have to be recorded as photographs (which are found in many public collections). Goldsworthy’s approach stems from a desire not to make a ‘mark’ on the landscape but rather to contact the rhythms and more ephemeral aspects of the natural world. More recently, he has worked on large-scale, permanent pieces, most notably a series of sheepfolds across the Northern region in 1996.
[1] Kastner, J. and Wallis, B., Land and Environmental Art, London, 1999, p.69. [2] Goldsworthy, A., Stone, London, 1994. [3] Buckman, p.491. [NE 2000]

Francis Gomila (b.1954)
Francis Gomila was Town Artist for Sandwell between 1985 and 1990, during which time he perceived himself as an agent for social and political change. From 1990 until 1995 he was a director of Fine Arts International, an artist-led company dedicated to the production of innovative art events in urban locations, most notably Spaghetti Junction (1993), a two-day performance-based event held under Birmingham’s famous motorway junction. More recently, Gomila has explored video as a sculptural form in its own right, creating multi-media installations and interventions in public places in both the UK and abroad. In 2000, he was artist-in-residence at BALTIC, based in Gateshead town centre. He produced two major pieces of work during this period, Breach and The Fall, a video piece inspired by the gangster movie Get Carter. By this time, he was less optimistic about the ability of artists to achieve real change in the face of opposition from government officials and politicians.
Sources: Baltic Mill Arts Centre, Francis Gomila, former Artist in Residence, accessed 13 February 2002, www.balticmill.com; Selwood, S., The Benefits of Public Art, Policy Studies Institute, London, 1995, pp.167--73. [SBC2005]

Edward Good (fl.1888--1923?)
Architectural carver and sculptor based in the west end of Glasgow. His name first appears in the Post Office Directories in 1888, with an address at 376 Lansdowne Terrace, and later at 259 St Vincent Street, but disappears between 1891 and 1895, only to reappear for a year at 96 Napiershall Street in 1896. In 1889 he submitted an unsuccessful tender for the carver work at Anderson College of Medicine (56 Dumbarton Road, q.v.). His few recorded works include the Egyptian-style Monument to James Sellars, Lambhill Cemetery, designed by John Keppie (1890).
Sources: POD, 1888--96.; HAG, Honeyman & Keppie Job Book, 1881--94. [G2002]

Douglas Gordon (b.1966)
Born in Glasgow, he studied with David Harding in the Department of Environmental Art at GSA, 1984--8, and attended the Slade School of Art, London, 1988--90. He won the Turner Prize in 1996, the Premio 2000 at the 1997 Venice Biennale, and the prestigious Hugo Boss Award, New York, in 1998. Working in a variety of media ranging across video, film, photography and text, his installations include 24 Hour Psycho (1993) and Déjà-vu (2000). His work was also included in Between Cinema and a Hard Place, the inaugural exhibition at Tate Modern, London, in 2000. A teacher as well as an independent artist, he is a titular professor of Fine Art at GSA.
Sources: H, 29 December 1997; Patrizio, pp.149--52. [G2002]

Diane Gorvin (b.1956)
Since graduating with a Diploma in Environmental Design from Bournemouth and Poole College of Art in 1977, Gorvin has exhibited throughout the North West and, from 1997 onwards, in Gloucestershire, Devon, France and Sweden. She works as a figurative sculptor on public artwork projects in a wide range of materials, including ceramics, bronze, concrete, stone, paper, wrought iron, glass and stainless steel. Her major commissions include Ariel and Belphoebe (1986, Manor Park, Runcorn); Walking Woman (1989, Apley Castle Park, Telford); and Dr Salter’s Daydream (1990, London Docklands). More recently, she has collaborated on large-scale projects with her partner, Philip Bews. Their work includes Time and Tide (1993, Queen’s Dock, Liverpool); Mill Girl and Calf (1995, Burnley); Nye Bevan Memorial (1998, Tredegar, Wales); Flora’s Garden (1999, Maidenhead); and Founding (1999, Dudley).
Sources: AXIS, The Axis Database Online, 1999, www.axisartists.org.uk/; Cavanagh, T., Public Sculpture of Liverpool, Liverpool, 1997, p.329f. [SBC2005]

Antony Gormley (b.1950)
One of the ‘New British Sculptors’ who emerged in the 1980s, Gormley studied at Cambridge (anthropology and art history) 1968--70 and then at Goldsmith’s College and the Slade 1975--9. Unlike Cragg, Deacon or Wentworth, his work has been primarily concerned with the human body. Typically this comprises smooth-surfaced, impersonal casts in lead of his own body assuming enigmatic poses on the floors, walls or even ceilings of the gallery. Whilst at times the artist talks of these in almost Minimalist terms, as ‘vessels that both contain and occupy space’ he also sees them in a mystical light which owes something to the time he spent as a young man in India studying meditation. ‘I am trying to make a sculpture from the inside, by using my body as the instrument and the material. I concentrate very hard on maintaining my position and the form comes from this concentration.’
Gormley has had one-man exhibitions throughout the world and won the Turner prize in 1994. His charismatic interview manner and the controversy surrounding various public works, notably the vandalised sculpture for the ramparts in Derry and the unrealised Brick Man for Leeds (1987), have long kept him in the public eye. However, it is undoubtedly the extraordinary publicity given to the Angel of the North -- Gormley even appeared on Desert Island Discs -- which has made him one of Britain’s best known living artists.
[1] Hutchinson, J., Gombrich, E., and Njatin, L., Antony Gormley, London, 1995.[2] Antony Gormley, Tate Gallery Liverpool, 1994, passim. [3] Buckman, p.497. [NE 2000]

Antony Gormley (b.1950)
Born in London, he studied archaeology and anthropology, then art history at Cambridge, before spending three years in India. He then studied sculpture at the Chelsea School of Art and at Goldsmith’s College of Art. He has worked with a wide range of media including bread, clay, rock, copper, wood, steel and lead, the latter being one of his preferred materials due to its ambiguous connotations of death and environmental hazards. From his travels in India he gained an interest in Eastern culture and tradition, particularly through the works of the aesthetic philosopher Coomaraswamy, and it was through this source that he began to explore the relationship between art and life. Gormley says of his work that it is ‘about the relationship between space and imagination’. He began to gain his reputation in the 1980s particularly through his works which are based on direct casting of his own or other peoples’ bodies, and had his first solo exhibition at the Whitechapel Gallery in 1981. Throughout the 1980s he was connected with the New British Sculpture Movement. He exhibited at the Venice Biennale 1986 and Documenta 8, Kassel 1987, and he won the prestigious Turner Prize in 1994. Works include: Untitled (Peace Sculpture), stone and iron, Maygrove Peace Park 1984; Learning to See, lead, fibreglass and plaster male figure, Roche Court Sculpture Garden, Salisbury 1992; Field for the British Isles, shown at the Ikon Gallery in 1995; Angel of the North, Gateshead, 1997; and many other international commissions.
1. M. Roustayi, ‘An interview with Antony Gormley’, Arts Magazine, vol.62, September 1987, pp.21--5; 2. Antony Gormley, five works, Arts Council of Great Britain, Ikon Gallery, London, exh.cat., 1987; 3. A. Gormley, Antony Gormley, New York, 1984; 4. M. Newman, ‘New sculpture in Britain’, Art in America, vol.70, September 1982, p.177; 5. M. Archer, ‘Antony Gormley’, Studio International, vol.196, 1984, p.44; 6. M. Beller, ‘Heavy metal’, Artweek, vol.23, 3rd December 1992, p.23; 7. J. Hutchinson, Antony Gormley, London, 1995. [B1998]

Diane Gorvin
Trained at Bournemouth and Poole colleges of art, 1973--77, in 1981 she took a part-time stone carving course at Weymouth Technical College and, 1981--86, was employed as Town Artist by the Warrington and Runcorn Development Corporation. She has had three-week residencies at Norton Priory Museum, Runcorn (1988), Groundwork Trust, Knutsford (1989), and Gorse Covert School (1992). Since 1978 she has produced over thirty publicly-sited sculptures at, e.g., the Art Centre, Poole, and the Winter Gardens, Bournemouth (relief sculptures for the Western Orchestral Society), Norton Priory Museum (sculpture trail), and London Docklands (bronze sculpture: Dr Salter’s Daydream). Gorvin also works in ceramics, her Big Yellow Head winning the 1989 purchase prize at Warrington Art Gallery. Her most important public work in Liverpool has been executed in collaboration with Philip Bews.
(source: Gorvin) [L 1997]

William Goscombe John (1860--1952)
Worked in London for an architectural carver 1881--6, and for C.B. Birch 1886--7 whilst studying at the South London Technical Art School and the RA Schools. He won the RA gold medal and travelling studentship in 1889, visiting Sicily, North Africa and Spain, before setting up a studio in Paris for a year where he came under the influence of Rodin. Throughout the 1890s he exhibited ideal bronzes and in 1900 won a gold medal at the Paris International Exhibition for The Elf, Study of a Head and Boy at Play. He received many commissions for public statues and portrait busts and also designed the regalia for the investiture of the Prince of Wales in 1911, the year in which he was knighted. A member of the Art Workers’ Guild from 1891, he was elected ARA in 1899 and RA in 1909. In 1942 he was awarded the gold medal of the RBS and continued to exhibit annually at the RA until 1948.
[1] PSoL, pp.331--2. [2] Spielmann, pp.129--32. [NE 2000]

Julian (Jules) John Gosse (b.1967)
A Scottish sculptor, he studied Fine Art at Gray’s School of Art, Aberdeen from 1986 to 1990, and is currently a lecturer in Product Design at Glasgow College of Building and Printing. He has participated in group exhibitions, including Benchmarks at the House for an Art Lover, Bellahouston Park, Glasgow (1999--2000), in addition to undertaking commissions for interior design work for numerous private and public clients. He also designed and fabricated a group of kinetic ‘inventions’ for the film My Life So Far, directed by David Puttnam.
Source: information provided by the artist. [G2002]

John Alfred Gotch (1852--1942)
Architect and author born 28 September 1852 at Kettering, Northamptonshire. He studied at the University of Zurich and King’s College, London, after which he was articled to architect and surveyor R.W. Johnson of Melton Mowbray and Kettering. After Johnson’s death in 1879 his Kettering practice was taken over by Gotch and Charles Saunders, a partnership which lasted 55 years (the partnership exhibited at the Royal Academy 1890--1928). In 1882 Gotch became surveyor to Kettering Urban District Council. In 1886--7 he was President of the Architectural Association and in 1923--5 President of the Royal Institute of British Architects (as well as being a member of the RIBA council for forty years). For some years he was a member of the Royal Fine Art Commission, an honorary corresponding member of the American Institute of Architects, and first President of the Northamptonshire Association of Architects. He was also a member of Northamptonshire County Council. In addition to being a practising architect, Gotch was an eminent architectural historian, notably of early Renaissance architecture, particularly that of Northamptonshire. He died at Weekley Rise, near Kettering, 17 January 1942.
Sources: Builder, 23 January 1942, p.78 (obituary); Gray, A.S., 1985; Royal Institute of British Architects Journal, February 1942, pp.66--7 (obituary). [LR 2000]

Joseph Gott (1785--1860)
Sculptor, born in London and baptised at St Martin-in-the-Fields 11 December 1785.¹ He first served as an apprentice in the studio of John Flaxman and then, in 1805, entered the Royal Academy Schools where he won a Silver Medal in 1806 and a Gold in 1807. In 1808 he was awarded the Greater Silver Palette by the Society of Arts for Samson, a sculpture in plaster, and in 1819 a second Gold Medal from the RA for his Jacob Wrestling with the Angel. Gott enjoyed the patronage of individuals both highly influential -- e.g., Sir Thomas Lawrence -- and wealthy -- e.g., Benjamin Gott (no relation) of Armley House, Leeds. It was the latter who paid for Gott to go to Rome in 1824. He was to remain there for the rest of his life, continuing to send work to the Royal Academy (1820--48) and to produce works for Armley House. In 1821 and 1822 he showed at the British Institution and in 1855 sent a sculpture, Ruth Gleaning, to the Universal Exhibition, Paris. Examples of his work are in the John Soane Museum, London, and the Leeds Sculpture Collections. His monuments include Thomas Lloyd, 1828, Leeds Parish Church, and Benjamin Gott, 1840, Armley, Yorkshire. He died 8 January 1860 in Rome and was buried in the Protestant Cemetery.
Sources: Gunnis, R. [1964]; Temple Newsham House, 1972.
Note [1] Information from Dr Terry Friedman. [LR 2000]

William D. Gough (active c.1915-- c.1937)
Architectural sculptor based in London. He practised alone until c.1933 after which he continued as W.D. and J.H. Gough, taking on monumental as well as architectural sculpture. He carried out much work for the architect Ninian Comper; in addition to those works covered in the present volume, in 1915 he carved figures for Comper’s reredos in St Michael’s Church, Stanton, Gloucestershire.
Sources: Good, M. (comp.), 1995; Post Office London Directory (edns from 1916--37). [LR 2000]

William Venn Gough (1842--1918)
Architect. Born Frome, Somerset. Pupil of Henry Masters, elected ARIBA in 1872. Worked in Charles F. Hansom’s office in Bristol before establishing partnership with Archibald Ponton from 1870 to 1878. Then worked on his own. Principal works included churches and schools in and around Bristol. Described as ‘undoubtedly very short of architectural tact, yet on occasion could bring off a remarkable theatrical tour de force, whose very brashness was persuasive’.
Source: Gomme, 1979. [Man2004]

Richard Reginald Goulden (1877?--1932)
Sculptor. Studied at Royal College of Art. Lived in London, created FRBS and ARCA. Exhibited at the RA in 1909. Also produced war memorials including ones at Gateshead and Congregational Church, Surbiton. Philip Jackson’s Gurkha Soldier (Whitehall, London, 1997) was based on a life-size statue Goulden sculpted in 1924.
Source: Bénézit, 1976. [Man2004]

Richard Reginald Goulden (1877--1932)
Born in Dover, Goulden studied at the Royal College. He exhibited at the Royal Academy from 1903 to 1932. Goulden became the art adviser to the Carnegie Dunfermline Trust. He produced bronze reliefs for the Carnegie Centre in Dunfermline (1901--5), a fountain with a statue of Ambition (1908), for the town’s Pittencrief Park, and a statue of Andrew Carnegie himself (1913--14), for the same park. In 1905, he carved a high-relief portrait of G.F.Watts for Aston Webb’s façade of the Victoria and Albert Museum. Shortly before the First World War, Goulden was commissioned to produce the Memorial to Margaret MacDonald, wife of Ramsay MacDonald, for Lincoln’s Inn Fields, London. This was inaugurated in 1914. On the outbreak of war Goulden enlisted in the Royal Engineers, but was invalided out in 1916. After the war he produced many war memorials, including those of the Bank of England, St Michael Cornhill, Kingston upon Thames, Reigate and Crompton. Goulden was a Fellow of the Royal Society of British Sculptors.
Sources: G.M. Waters, Dictionary of British Artists Working 1900--1950, Eastbourne, 1975; J. Blackwood, London’s Immortals, London, 1989. [CL2003]

Richard Goulden (1877--1932)
Sculptor living in London. Exhibited at the RA 1903--32, with works in the Walker Art Gallery.
[1] Johnson, J. and Greutzner, A., Dictionary of British Artists 1880--1940, Woodbridge, 1976, p.28. [NE 2000]

Lord Ronald Gower (1845--1916)
Lord Gower studied sculpture in Paris, then took his own studio assisted by the Italian Luca Madrassi (fl. 1869--1914). He produced statues and statuettes for the Royal Academy, Grosvenor Gallery and the Paris Salon. He was one of a number of later nineteenth-century sculptors who made use of semi-industrialised methods of production.
Sources: Turner, J., Dictionary of Art, vol.19, London, 1996; Gower, Lord Ronald, Records and Reminiscences, selected from ‘My Reminiscences’ and ‘Old Diaries’, London, 1903. [WCS2003]

Edward Graham See Mortimer, Willison & Graham
Charles Benham (sometimes Blenkarn) Grassby (1834 -1910)
A figurative sculptor from Hull, he worked in London before establishing a career in Glasgow spanning 48 years. He executed the carver work on many churches and schools by John Honeyman, including Methven UP Church (1867) and Partick Free High Church (1869, demolished). In 1865 he executed the memorial to the stained glass artist David Keir in Glasgow Cathedral burial ground. Outwith Glasgow he worked on the Church Schools, Aberfoyle (1870), Free West Church, Perth (1872) and the Sailors’ Home, Dundee (1881), as well as many banks, municipal buildings, private houses and commercial premises. His Reformers’ Monument (‘Statue of Liberty’) in Kay Park, Kilmarnock (1885), was blown down in a storm in 1936, and his gothic angel on the Leiper Family Monument in Sighthill Cemetery (c.1864) is now lost. He exhibited at the RGIFA, mostly religious subjects, including Christ in the Temple (1878) and Blind Girl Reading. He occupied addresses at 139 Wellington Lane, 170 Pitt Street, and 40 Apsley Street, Partick, where he died on 17 December 1910.
Sources: HAG, Honeyman & Keppie Job Books, 1861--94; POD, 1862--1911; GH, 20 December 1910, p.6 (obit.); CI, 1911, p.246; GCA: AGN 1194; Tweed (Guide), pp.37, 51; Eunson, p.25. [G2002]

Giuseppe Grandi (1843--91)
Sculptor, painter and etcher. Grandi trained at the Brera Academy in Milan. In 1866 he won the ‘Canonica’ prize with a Ulysses, which it was claimed he had cast from the life. He then travelled to Turin, where he studied under Vincenzo Vela and Odoardo Tabacchi at the Accademia Albertina. He returned to Milan in 1869, where he sculpted figures of Saints Tecla and Orsola for the cathedral. At this time he joined the painters Tranquillo Cremona and Daniele Ranzoni, to form the group known as the scapigliati, or dishevelled ones. The aim of the painters was the adoption of a freer style of brushwork to express a poeticised vision of modern life, and Grandi applied to sculpture his friends’ painterly approach. The first sculptural product of the movement was Grandi’s statue of the political theorist Cesare Beccaria (1871). In the next year Grandi exhibited the highly controversial Paggio di Lara, a costume piece based on one of Byron’s more enigmatic narrative poems. Grandi’s most significant public sculpture commission for Milan was the Monument to the Five Days. This commemorates the insurrection against the Austrians of 1848, and takes the form of an obelisk, whose base is surrounded by an agitated tangle of allegorical and symbolic imagery. Grandi worked on it over a long period from 1883 to 1891.
Sources: F. Fontana, Giuseppe Grandi, Milan, 1895; ‘Artisti Contemporanei: Giuseppe Grandi’, Emporium, 1902, vol. XVI, no.92; M. de Micheli, La Scultura dell’Ottocento, Turin, 1992. [CL2003]

Lee Grandjean (b.1949)
Stone-sculptor educated at Winchester School of Art 1968--71, and a Research Fellow there 1980--1. His work has been described as having ‘essentially non-physical concerns, striving after a formal equivalent for a sensation, a belief or urgent desire’. Grandjean’s works can be found in the collections of the Arts Council, Leicestershire Education Committee and the Department of the Environment, amongst others. Has exhibited widely in Britain in the 1980s and 1990s.
[1] PSoB, p.194. [2] Buckman, p.501. [NE 2000]

Lee Grandjean (b.1949)
Educated at Winchester School of Art 1968--71, and was a Research Fellow there from 1980--1. His work has been described as encapsulating ‘essentially non-physical concerns’, and pieces such as From the City (1988) sum up this ‘striving after a formal equivalent for a sensation, a belief or urgent desire’. Has work in collections of the Arts Council, the Department of the Environment and Leicestershire Education Committee, among others. Exhibitions include: Figures in the Garden, Yorkshire Sculpture Park 1984; Before it hits the floor, Institute of Contemporary Arts, London 1983; Blond Fine Art, London 1983; Stoke National Garden Festival 1986; The Cutting Edge, Manchester 1989; solo show, Beaux Arts Gallery, Bath 1990; Christchurch Mansion, Ipswich 1990. Has been commissioned by the Royal Bank of Scotland, 1986; Peterborough Development Corporation, 1987--8; and St. Mary’s church, Peterborough, 1990--1, among others.
1. Public Art Commissions Agency records; 2. D. Lee, ‘The human touch’, Arts Review, vol.40, 12th and 26th August 1988, p.585; 3. R. Rushton, Arts Review, vol.42, 13th July 1990, p.390; 4. R. Ayers, ‘Before it hits the floor’, Artscribe, no.39, February 1983, p.48. [B1998]

Nicolette Gray (1911--97)
The daughter of the poet Laurence Binyon, Nicolette Gray was an art historian and a designer of lettering. Among her notable works is the façade lettering of Sotheby’s and Agatha Christie’s tombstone. Arguably, her finest work is in Westminster Cathedral: Cardinal Heenan’s tombstone, a mosaic over the north-west door, and a tablet commemorating Pope John Paul II’s visit in 1982.
Source: The Shakespeare Centre, Art Work and Design, publicity leaflet, Stratford-upon-Avon, 1999. [WCS2003]

Robert Gray (fl.1850--)
Firm of monumental sculptors established at 44 York Street, and listed in the Post Office Directories from 1857. They moved to 40 Bothwell Street in 1858, though by the late twentieth century they were trading from 167 Clarence Drive. They operated workshops at Sighthill Cemetery and the Western Necropolis in Glasgow, as well as in Helensburgh, Largs, Renfrew and Lochgilphead. The firm latterly amalgamated with J. & G. Mossman (q.v.).
Sources: POD 1850--1978; Morgan. [G2002]

Tawny Gray (b.1965)
Born in Zimbabwe, 23rd May 1965, she moved to the UK in 1984. Gray works on a consultancy basis in graphic design and has also had a number of artistic and sculptural commissions. These include: fountain in the shape of a male torso, London 1985; Flying man, in steel and fibreglass, 1992; six sculptures based on the logo of The Big Peg (jewellery company), mixed metals 1992; gate, steel, Canalot Production Studios, London 1992; mural on the theme of Dürer’s rhinoceros carried by seven old women, Custard Factory, Digbeth, Birmingham 1993.
1. Letter from the artist, 8th February 1994. [B1998]

Benjamin Green (1813--1858)
Architect son of the North-East architect and civil engineer, John Green. Trained with the elder Pugin; from the early 1830s he practised with his father. Whilst the latter is said to have been ‘a plain practical, shrewd man of business’ who looked after the engineering side of the business, Benjamin was ‘an artistic and dashing sort of a fellow’ whose style was ‘ornamental, florid and costly’. Together father and son designed several rather pedestrian Gothic churches on Tyneside, some accomplished classical buildings such as the Theatre Royal, Newcastle (1836--7) and the Corn Market (1838, later destroyed), as well as stations and bridges for the North-East Railway.
[1] Welford, R., Men of Mark twixt Tyne and Tweed, London, 1895, vol.2, pp.326--30. [2] Colvin, pp.361--3. [NE 2000]

Betty Leuw Green
Sculptor. Born in Holland, moved to England as a young child in 1921. Studied at Manchester Regional College of Art, where she was awarded a prize in 1959, and later at other art colleges in the region. Her main influences come from the European and Dutch schools. Specialises in terracotta sculptures. Examples of her work are in Salford Art Gallery, Haworth Art Gallery, Accrington and the Portico Library, Manchester.
Source: artist. [Man2004]

John Green, Senior (1787--1852)
Started out in Northumberland as a carpenter and agricultural implement-maker and, later, builder with his father. In 1820 he moved to Newcastle and from the early 1830s practised there as an architect and civil engineer with his son Benjamin. His first notable buildings were the Newcastle Literary and Philosophical Society (1822--5) and Scotswood Bridge (1829-- 31). At the British Association meetings in Newcastle in 1838 his designs for the viaducts at Willington Dene and Ouseburn on the new North Shields railway were widely admired.
[1] Welford, R., Men of Mark twixt Tyne and Tweed, London, 1895, vol.2, pp.326--30. [2] Colvin, pp.361--3. [NE 2000]

John Greenshields (1797--1835)
Born in Lesmahagow, and apprenticed as a mason, he became interested in sculpture while employed by Robert Forrest (q.v.) in 1822, after which he set up a studio in Milton, near Carluke, Lanarkshire. He carved the pediment of Hamilton Palace (c.1822, demolished 1926) and a statue of Robert Burns for Australia. His statues of George Canning (1827) and the Duke of York (1828) received critical acclaim and his statue of King George IV so impressed Sir Walter Scott that he visited him in his cottage in 1829. Numerous portraits of Scott followed, including the sic sedebat statue in Parliament House, Edinburgh, the plaster model of which is in Abbotsford. His last completed work was The Jolly Beggars (1835).
Sources: Anon. (Daniel Reid Rankin), pp.302--24; Gunnis; Pearson, p.156. [G2002]

Elizabeth Greenwood (b.1942)
Greenwood studied at Coventry College of Art, St Martin’s School of Art and Goldsmith’s College of Art, subsequently teaching in adult education and youth centres, in London schools and at the Avery Hill College of Education. Her work is light-hearted and related to popular culture, and appears in many mixed shows and exhibitions. Her solo exhibitions include the Proscenium Gallery, the Greenwich Theatre Gallery, and Woodlands Art Gallery (1978).
Source: information from the artist. [WCS2003]

Geoffrey Greetham (b.1934)
Born in Yorkshire, he studied at Keighley School of Art and Camberwell School of Art. From 1962 until 1965, he worked as an assistant to Henry Moore. He held a Sculpture Fellowship at Coventry College of Art (1965--7), and had a solo exhibition at the Drian Galleries, London (1969).
Source: Spalding, F., 20th Century Painters and Sculptors, vol.VI, Dictionary of British Art, Woodbridge, Suffolk, 1990. [WCS2003]

Suzi Gregory (b.1967)
Received an MA in fine art from the Chelsea School of Art and won the first prize in the Henry Butcher Prize 1989. Her commissions include three works for various sections of Sir Terence Conran’s businesses, one at the Heal’s Building on Tottenham Court Road and another at Butler’s Wharf, all in London.
1. Public Art Commissions Agency records. [B1998]

Michael Grevatte (b.1943)
Since graduating from Leicester Polytechnic with a Diploma in Fine Art in 1972, Michael Grevatte has worked as a sculptor. He has shown works at a large number of one-man and group exhibitions in London and other parts of England, including Leicester, Warwick, Oxford, Nottingham, Liverpool, Stoke-on-Trent, Yorkshire, Derby, Bristol, Somerset and Worcester. His works include a large stone sculpture for Centre Parcs, Sherwood Forest, Nottinghamshire (1987), a monumental bronze sculpture of a steelworker for Corby District Council, Northamptonshire (1989), a figurative sculpture of ten building workers for the Colin Draycott Group, Six Hills, Leicestershire (1991), a commemorative sculpture of a steelworker, a miner and a railway worker for Chesterfield Borough Council (1992), two large stone carvings of a swan and a Norman knight on the main road through Mountsorrel (1994), a replica of a medieval stone market cross for Mountsorrel Market Place, Leicestershire (1994), and the carved Wave Seat for Coventry Canal (1998).
Source: CWN, The Coventry and Warwickshire Network, Coventry Canal Basin. [WCS2003]

Mike Grevatte (b. 1943)
Sculptor born in Northern Rhodesia. He studied at Leicester Polytechnic, 1969--72, receiving a Diploma in Art and Design (Fine Art). From 1974--5, he worked as a conservator at Leicester City Museum and from 1982--3 was artist-in-residence at Nottingham City Hospital. In 1984 his Swan in elmwood was selected for the International Garden Festival at Liverpool.
Sources: Festival Sculpture (Liverpool), 1984; L. Mercury, 6 April 1984, p.15. [LR 2000]

Edward Owen Griffith
Sculptor. Exhibited at the Walker Art Gallery five times from 1888 to 1912. Executed sculptural work on the New Post Office (Victoria Street, Liverpool) and worked with William Birnie Rhind on the New Cotton Exchange (Old Hall Street, Liverpool). He also executed the stone-carving in the Church of the Holy Trinity, Southport.
Source: Cavanagh, 1997. [Man2004]

Edward O. Griffith (active 1888--1921)
A Liverpool sculptor, he exhibited at the Walker Art Gallery five times from 1888 to 1912. He executed all the sculptural work on (Sir) Henry Tanner’s New Post Office in Victoria Street, Liverpool, and worked with William Birnie Rhind on Matear and Simon’s New Cotton Exchange in Old Hall Street, Liverpool. He also executed all the stone carving in the church of the Holy Trinity, Southport.
Sources: Cavanagh, T., 1997; Johnson, J. and Greutzner, A., 1976. [LR 2000]

Edward O. Griffith
A Liverpool sculptor, he exhibited at the WAG five times from 1888 to 1912. He executed all the sculptural work on the New Post Office in Victoria Street and worked with Rhind on the New Cotton Exchange in Old Hall Street. He also executed all the stone carving in the church of the Holy Trinity, Southport.
(source: Johnson & Greutzner, 1976) [L 1997]

Paul Grime (b.1956)
Born in Stockport, Cheshire, now based near Kelso as a multi-media artist producing murals, mosaic and metalwork. He was a contributor to the establishment of Dundee Public Art Programme and in 1998 was appointed Artist in Residence at Barrow, executing architectural glass, metalwork, silkscreen prints and landscape design projects for Barrow Borough Council.
Sources: Castlemilk Environment Trust; information provided by the artist. [G2002]

David Gross (b.1960)
Sunderland-based wood-sculptor, usually working in collaboration with community groups and schools. Trained at Bolton Metropolitan College and West Surrey College (1980--5) then University of Northumbria (1991--3). Gross has undertaken a number of residencies throughout Britain, and his work can be found in Leatherhead, Southampton, Scunthorpe and Anglesea. He has exhibited widely 1987--96, including group shows in France and Poland.
[1] Information provided by http://members.aol.com/dgross1998, 1999. [NE 2000]

Edward Grubb of Birmingham (1740--1816)
Probably born in Towcester in 1740, he moved to Stratford-on-Avon with his two brothers, one of whom, Samuel, was a stonemason. Edward Grubb worked as a stonemason and statuary, but later turned to portrait painting. He and Samuel then moved to Birmingham before 1769, although Edward returned to Stratford where he died in 1816. He signed a monument to the Earl of Carhampton at Kingsbury (d.1788); monuments to William Ash in 1789 and the Revd. Richard Riland in 1790, both in Holy Trinity church, Sutton Coldfield, to Peter Judd at Stratford-on-Avon in 1796, and another to Edward Taylor at Steeple Aston, Oxon., in 1797.
1. S. Redgrave, Dictionary of artists of the English school, London, 1878, p.189; 2. R. Gunnis, Dictionary of British sculptors 1660--1851, London, 1964, pp.181--2. [B1998]

Theo Grunewald (b. 1927)
Born in Germany, he worked as a blacksmith in Glamorgan from 1964.
(source: Festival Sculpture, 1984) [L 1997]

William Hackwood (1757--1839)
Hired by Josiah Wedgwood in 1769, he developed into an able and prolific modeller. His work included finishing bas-reliefs, making stamps from small heads and repairing antique gems and figures that could be used as models for Wedgwood’s jasper cameo work. In 1776, Hackwood modelled both The Birth of Bacchus and his first portrait head, that of the Revd William Willett, Wedgwood’s brother-in-law. Later portrait medallions designed by him include those of George III and Queen Charlotte (1776), Shakespeare (1777), Garrick (1777), and Josiah Wedgwood (1782). By 1778, Hackwood was able to command a high price for his work and had become Wedgwood’s chief modeller. His best-known piece is the cameo he produced in support of the movement to abolish slavery. Produced in 1788, it shows an African slave kneeling, with manacled hands raised in supplication, and with the inscription ‘Am I not a man and a brother?’
Sources: Finer, A. and Savage, G., (eds), The Selected Letters of Josiah Wedgwood, London, 1965, pp.257, 311, 357; Reilly, R. and Savage, G., The Dictionary of Wedgwood, Woodbridge, 1980, p.180. [SBC2005]

Charles Hadcock (b.1965)
Hadcock studied at Gloucestershire College of Art and Technology (1984--7) and at the Royal College of Art (1987--9). He has exhibited regularly since 1987, and has had solo exhibitions at 249 Long Lane, London (1991), the Crypt Gallery, London (1992) and Reed Wharf Gallery, London (1996). Throughout his career, his works have expressed his interest in multiple images and the ready-made. For example, he has used mass-produced paving stones to give texture and repetitive form in some sculptures, as well as casting polystyrene packaging in bronze and repeating it as a multiple. This aspect of his work has been enriched by his abiding interest in Victorian engineering, geometry and musical rhythms. His work is largely abstract, with the basic qualities of the factory processes used in creating his sculpture visible in his finished works. His major commissions include Caesura IV (1995, Goodwood) and Passacaglia (1998, Brighton beach).
Source: Elliott, A., Sculpture at Goodwood, Goodwood, 1999, p.108. [SBC2005]

David Hall (b. 1937)
Sculptor and teacher born at Leicester. He studied at Leicester College of Art, 1954--60, and the Royal College of Art, 1960--4 (under Bernard Meadows). In 1964 he won the Young Contemporaries Kasmin Prize and in 1965, at the IV Biennale de Paris, the Prix des Jeunes Artistes and Prix de la Ville de Paris. His work was included in the 1966 Battersea Park open-air exhibition and the 1968 Arts Council touring exhibition, ‘Art in a City’.
Sources: Art Council of Great Britain, 1968; Buckman, D., 1998. [LR 2000]

E.T. Hall
Architect. Born in Lowestoft the son of architect George Hall. South Kensington School of Art 1865--7. In office of Joseph Fogarty c.1865--76, as manager from c.1870. Travelled widely on the continent to Belgium, France, Switzerland, and visited Germany, Russia and India to study architecture. Started independent practice in 1876, architect and surveyor to various estates. Consulting architect to King Edward VII Sanatorium, Sussex, and to the General Infirmary, Leeds. Designed the Liberty’s building in Regent Street, London, as well as several hospitals, including military hospitals. The Manchester Royal Infirmary, according to Paul Waterhouse, was a ‘monument of his special skill in the achievement of those essential and intricate elements in a building of hygienic purpose which are not always classed as architecture’. He also had an extensive practice in factories and churches. Was Vice-President of the London Society and author of a design for an Imperial Memorial (1915) which involved replacing Charing Cross Station with a piazza. He won two gold medals at the Milan Exhibition for his architectural exhibits. Vice-President of RIBA 1905.
Source: Felstead, 1993. [Man2004]

Marshall Hall
Hall served in the Royal Navy before deciding to study for an art degree. He joined the fine arts course at Manchester Polytechnic in 1989. The sculpture Combustion was a work he had begun developing before coming to the polytechnic.
Source: Christopher Rose-Innes. [Man2004]

James Theodore Halliday (1882--1932)
Senior partner in Manchester architectural firm of Halliday, Paterson and Agate. Battersea Power Station (with Sir Giles Gilbert Scott) is his best-known building. [Man2004]

Francis J. Hames (fl.1871--9; d. 1922)
An architect, he designed Leicester’s Town Hall, 1873--6 (designs shown at the Royal Academy, London, 1874) and the Fountain in Town Hall Square (see pp.155--7). He also designed a ‘simple Domestic-Revival-style building (the earliest in Leicester, 1871--3)’ in Silver Street, Leicester.¹ As Pevsner has noted, very little else is known about his career. Hames died at his home in London.
Sources: L. Chronicle, 3 June 1922, p.3 (obituary); Pevsner, N. and Williamson, E., 1992; Wilshere, J., 1976.
Note [1] Pevsner, N. and Williamson, E., 1992,p.230. [LR 2000]

John Hancock (1825--69)
Hancock’s father was an assistant to Sir Humphrey Davy, but he died when his son was still young, having entrusted his family to the care of a brother living in Stoke Newington, London. This brother, Thomas Hancock, was the discoverer of the vulcanisation process for rubber. John studied briefly at the Royal Academy, and exhibited a statue of Geoffrey Chaucer in the Westminster Hall exhibition of 1844. In 1847 he became acquainted with Dante Gabriel Rossetti, and the influence of pre-Raphaelitism was clearly to be seen in his Beatrice, executed in 1850 and shown at the Great Exhibition the following year. A plaster version of this survives in the Victoria and Albert Museum, London. Important commissions in the City followed, for a statue entitled Penserosa for Mansion House in 1861, and for a series of reliefs for the National Provincial Bank in Bishopsgate (1865). Hancock seems to have experienced financial difficulties from the mid-1860s, and to have created no further work after 1865.
Source: B. Read and J. Barnes (eds), Pre-Raphaelite Sculpture -- Nature and Imagination in British Sculpture 1848--1914, London, 1991. [CL2003]

Cecil G. Hare -- see Bodley and Hare [LR 2000]

Henry Thomas Hare (1861--1921)
Architect articled to Charles Bury of Scarborough before joining the London office of Zephaniah King and Richard Harris Hill (1876--80). He went on to study at the École des Beaux-Arts and the Atelier Ginain in Paris. Sitting for his qualifying exam in 1886, he came out top of his year and was awarded the Ashpitel Prize. He had great success in winning competitions to design public buildings, including the County Offices, Stafford (1892), the Municipal Buildings of Oxford (1897) and those at Southend-on-Sea and Henley-on-Thames (1898). Hare’s buildings at Stafford and Oxford are in the then prevalent early Renaissance style, but he changed with the fashion to neo-baroque, a style that eventually became characteristic of his work. He is perhaps best remembered for his work in designing public libraries following the passing of the Public Libraries Act in 1892. Apart from his public buildings, Hare designed Westminster College, Cambridge (1897--9) and University College, Bangor (1907--10). These are in the Collegiate Tudor style, at which he was also adept. Hare’s few commercial buildings included Ingram House, 196 Strand, built for the United Kingdom Provident in 1906 and demolished in 1961. Hare was elected president of the Architectural Association in 1902, and served as president of the Royal Institute of British Architects from 1917 to 1919. On returning to England from service with the Army Service Corps in France, he became an adviser to the government on the reconstruction of industry and housing after the war in 1917.
Sources: RIBA, Directory of British Architects 1834--1900, London and New York, 1993, p.411; Gray, A.S., Edwardian Architecture, a Biographical Dictionary, London, 1985, pp.204--5; RIBA Journal, vol.28, 1921, p.173ff.; Builder, vol.120, 21 January 1921, pp.67--93. [SBC2005]

Stockdale Harrison & Sons Ltd (practice active c.1904 -- c.1954)
Leicester-based architectural practice founded by Stockdale Harrison (1846--1914). He is listed working independently from c.1875. The practice was continued after his death by his sons, James Stockdale Harrison (1874--1952) and Shirley Harrison (1876--1961). In addition to the works covered in the present volume, Stockdale Harrison was responsible for the former Abbey Sewage Pumping Station (now a museum), Leicester, 1889--91, St Thomas’s Church, South Wigston, 1892--3, Vaughan College, Leicester, 1906, St Guthlac’s Church, South Knighton, 1912 (Stockdale Harrison’s last work) and a considerable amount of better-quality domestic architecture in Leicester. The practice’s most important commission outside Leicestershire was the Usher Hall, Edinburgh, 1910--14.
Sources: Kelly’s Directory of . . . Leicester and Rutland (edns from 1875--1954); Pevsner, N. and Williamson, E., 1992. [LR 2000]

Richard Harris (b.1954)
Sculptor in wood, steel and stone, whose works have a close relationship to their sites in both form and materials. Harris studied at Gloucestershire College of Art and was resident sculptor at Grizedale Forest, 1977--8. He travelled and worked in Australia, where he was sculptor-in-residence at Birrigai school (1980--1) and exhibited at the First Australian Sculpture Triennial in Melbourne, 1981; returned to work at Grizedale Forest in 1982, 1988 and 1990--1. Harris has shown at several exhibitions including: ‘Sculpture and Architecture -- Restoring the Partnership’ for the Welsh Sculpture Trust, 1985; ‘30 Years of British Sculpture’ at Rouen, 1988; Bede Gallery, Jarrow, 1991; and Gate Foundation, Amsterdam, 1997. His works in public include Passage Paving made for ‘The Sculpture Show’, Royal Festival Hall, 1983--4 (still in situ); and pieces at Manchester Airport, 1993; West Dorset Hospital, 1996; Millennium Coastal Park, Llanelli, 1998; and Wrexham, 1999.
[1] Northern Arts Index, 1998. [2] Hooper, L., ‘The Urban Grizedale’, in Davies, P. and Knipe, T. (eds), A Sense of Place, pp.158--64. [3] Information provided by the artist, 1999. [4] Buckman, p.544. [NE 2000]

Charles Leonard Hartwell (1873--1951)
Trained at the City and Guilds School under W.S. Frith, and at the Royal Academy from 1896. He also studied privately with Edward Onslow Ford and W.H. Thornycroft. He exhibited at the Royal Academy between 1900 and 1950. His Dawn (marble, c.1909--14, Tate Britain, London) is a languidly sensual poetic figure in the manner of French Salon sculptors of the turn of the century. Hartwell’s humorously entitled A Foul in the Giants’ Race (bronze, 1908, Tate Britain, London), a group of elephants and their riders, is animalier sculpture inspired by life in India. During both World Wars, Hartwell exhibited works with war-related subjects, such as Blighty (1916), Tommy (1918) and An Ally (1945). In 1923, Earl Haig unveiled Hartwell’s First World War Memorial for Newcastle-upon-Tyne, a dynamic equestrian group of St George and the Dragon on a tall stone plinth. A version of this group was later used for the Marylebone War Memorial, in front of St John’s Wood Church in London. Hartwell was elected RA in 1924, and presented as his diploma work a poetic and slightly androgynous head in marble entitled The Oracle. In 1929, he won the Royal Society of British Sculptors’ Silver Medal for a work which displayed his appreciation of beautiful girls as well as his skills as an animal sculptor, the Goatherd’s Daughter (bronze, Courtauld Institute of Art, Somerset House, London). Portraiture, in the form of busts, is a predominant feature of Hartwell’s oeuvre.
Sources: J. Christian (ed.), The Last Romantics, London, 1990; P. Usherwood, J. Beach and C. Morris, Public Sculpture of North-East England, Liverpool, 2000. [CL2003]

Charles Leonard Hartwell (1873--1951)
Sculptor trained at the City and Guilds under Frith and at the RA Schools, also privately under Onslow Ford and Hamo Thornycroft. He exhibited at the Academy from 1900--50, mostly portrait busts and genre figures and was elected RA in 1924. He produced a number of war memorials, notably at Wimbledon, Clacton, Brighton, Bushmills, Cape Town, Denby and Lord’s Cricket Ground in London.
[1] Christian, J. (ed.), The Last Romantics. The Romantic Tradition. Burne-Jones to Stanley Spencer, London, 1990, p.147. [NE 2000]

John Harvey (fl.1790s)
Architect. Pupil of Samuel Wyatt from 1785 onwards, later working on his own with indifferent success until around 1819. His only known surviving building is the Shire Hall at Stafford (1794), built to a plan by Wyatt and designed in a manner transitional between that of Robert Adam and a more austere neo-classicism.
Source: Placzek, A.K., (ed.), Macmillan Encyclopaedia of Architects, vol.II, New York and London, 1982, p.328. [SBC2005]

Ron Haselden (b.1944)
Born in Gravesend, Kent he attended the Gravesend School of Art 1961--3 and the Edinburgh College of Art 1963--6 where he studied sculpture. His work consists mainly of light installations, both for gallery spaces and large-scale al fresco pieces. He has also worked extensively in collaboration for educational projects and with the mentally handicapped. Since 1971 he has taught sculpture at the University of Reading, Fine Art Department, and he lectures at many other colleges both in Britain and abroad. Other commissions include: Neon Sculpture, Royal Centre, Nottingham, with J. Sullivan (award-winning piece); Magnetism affects our social behaviour, George Green Memorial Museum, Nottingham 1985; If music be the food of love, play on, Chipping Norton School, Oxfordshire 1989. Solo exhibitions and installations include: Third Eye Gallery, Glasgow 1977; Paper, Ikon Gallery, Birmingham 1980; Camerawork Gallery, London 1985 and 1987; Belvedere, TSWA 3-D Project, Bellever Forest, Dartmoor 1987; Patience: Son et lumière performance, Whitechapel Art Gallery, Pomeroy Purdy Gallery and Architectural Association, London 1988; Fête, Feeringbury Manor, Essex 1989. This latter piece was the title piece for a solo exhibition, Fête and other works, Serpentine Gallery, London 1990. Other shows include: Grey Matter, Six Sculptors, Ikon Gallery, Birmingham 1988; Whitechapel Open, Whitechapel Art Gallery, London 1988 and 1989; Tree of Life, Cornerhouse Gallery, Manchester (touring) 1989.
1. Ron Haselden, Fête and other works, Serpentine Gallery, London, exh.cat., 1990. [B1998]

W.S. Hattrell & Partners
This architectural firm was active in the 1950s on the development of the precincts in Coventry.
Source: Ritchie, W., Sculpture in Brick and Other Materials, Kenilworth, 1994. [WCS2003]

Eddie Hawking (b.1926)
Studied at the West of England College of Art and taught at Middlesbrough College of Art, 1952--86, eventually becoming its Director of Studies. Most of his exhibitions and commissions have been local.
[1] Northern Arts Index, 1998. [NE 2000]

Benjamin Waterhouse Hawkins (1807--89)
Waterhouse Hawkins studied art under the sculptor William Behnes, but after 1827 devoted himself primarily to the study of natural history. He was the assistant superintendent of the Great Exhibition in 1851. He is best known for his construction of 33 full-size concrete models of dinosaurs, which were installed in the grounds of Sydenham Park in 1854. To celebrate his achievement, he held a dinner on 30 December 1853 in the interior of his model Iguanodon for leading scientists of the day, including Sir Richard Owen and Professor Edward Forbes. In 1868, he travelled to New York, where he lectured on popular science. He set up a studio in Manhattan where he was engaged in making further models of extinct animals, the plan being to set them up in a Paleozoic Museum in Central Park. However, this project was abandoned in 1871, following a change in the control of City Hall. His dinosaur models were broken up and buried, and he left New York a greatly embittered man. He was elected a fellow of the Linnean Society in 1847, of the Geological Society in 1854, and a member of the Society of Arts in 1846. An enthusiastic educator, he published Popular Comparative Anatomy (London, 1840); Elements of Form (1842); Comparative View of the Human and Animal Frame (1860); Atlas of Elementary Anatomy (in collaboration with Professor Thomas H. Huxley, 1865); Artistic Anatomy of Cattle and Sheep (3rd edition, 1873); and Artistic Anatomy of the Horse (5th edition, 1874).
Sources: Biography of Benjamin Waterhouse Hawkins, accessed 16 July 2002, www.famousamericans.net/benjaminwaterhousehawkins; Hawkins, B.W., ‘On Visual Education as Applied to Geology’, Journal of the Society of Arts, vol.2, 1854, pp.444--9. [SBC2005]

Bill Haynes (b.1939)
Haynes attended the School of Jewellery in Birmingham, trained in sculpture at the Birmingham School of Art, and was apprenticed to Barkers. His work as a silversmith includes both domestic and ecclesiastical pieces, as well as model-making for bronze and silver casting commissions and trophy work.
Sources: Hockley Flyer, August 1993; Jewellery Quarter Magazine, Autumn, no.2, 1993. [SBC2005]

Richard Hayward (1728--1800)
Mason-sculptor, born in Bulkington, Warwickshire. He was first apprenticed to Christopher Horsenaile (died 1742) in London, transferring on the death of his master to Henry Cheere, with whom he stayed until 1749. Very large payments from Cheere in the latter part of his apprenticeship indicate his importance in the workshop and suggest that he may have been solely responsible for some of the work put out under Cheere’s name during this period. He may have continued working for Cheere following the completion of his apprenticeship, as his datable works do not appear before the 1760s. In 1752 he was appointed Renter Warden of the Masons’ Company and in 1753 went to Rome where he stayed for about a year. One of his earliest patrons was Charles Jennens of Gopsall, Leicestershire (see pp.187--9), in whose London home in 1761, according to Dodsley (London, 1761, vol. v, p.96) were works by Hayward including ‘a Bacchanalian Boy, Bust of Aratus, and a Vestal’. Hayward received many commissions for carved marble chimney-pieces, including those at Kedlestone, 1760; Woburn Abbey, 1771; and, from 1778 onwards, several at Somerset House. In 1772 and again in 1774 he was at Blenheim providing terms for the gallery and an ornamental fountain for the grounds. Hayward also has the distinction of having executed the earliest surviving public statue in the USA (Statue of Lord Botetourt, 1773, Williamsburg, Virginia). He also enjoyed a highly successful practice as a maker of church monuments, his commissions including six for Westminster Abbey. In 1789, he presented a carved marble font to the church at his birthplace, Bulkington. Hayward, who exhibited at the Society of Arts, 1761--6, died at his lodgings in Halfmoon Street, London, on 11 September 1800.
Sources: Gentleman’s Magazine, September 1800, p.909; Gunnis, R., [1964]; Webb, M.I., 1958; Whinney, M., 1988. [LR 2000]

William Haywood (1877--1957)
Architect. William Haywood was in partnership for many years with Herbert Tudor Buckland. Their work included the Royal Naval Hospital School at Holbrook, college buildings at Oxford and Cambridge, Carlisle Technical College, and university and school buildings in Birmingham. Haywood was also responsible for the civic decorations for Birmingham’s 1937 Coronation celebrations. He taught civic design and town planning at Birmingham University (1918--43), and was a founder member of the Birmingham Civic Society in 1918.
Source: RIBA Journal, Vol.65, 1957--8. [WCS2003]

Andrew Hazell (b.1959)
Andy Hazell works in a variety of media, producing a wide range of work from simple tinplate automata to complex interactive installations. He trained at Reading University (BA Hons in Fine Art, 1981) and the Slade School of Art (Higher Diploma in Mixed Media, 1986), and has since acquired an international reputation as an artist and film-maker. His commissions include a 16-minute animated film for Hull Fast Film (1992); two life-size figures for the Science Museum in London (1994); Featherlight, a glass and neon wall for the Yorkshire Dance Centre (1997); The Big Globe for Jersey Maritime Museum (1998); and Buried Bulb, Forster Square, Bradford (1998). Since 1992, he has exhibited widely in Britain, USA, Brussels and Japan. He won an award for redesigning an exhibition area for the Jersey Maritime Museum in 2000.
Source: AXIS, The Axis Database Online, 1999, www.axisartists.org.uk/ [SBC2005]

Andy Hazell (b. 1959)
Sculptor. Born Altrincham, Cheshire. Studied at University of Reading, 1977--81 and then Slade School of Fine Art, 1984--6. Hazell now lives in Powys, Wales, specialises in public art and tin automata, working with a wide range of materials. Commissions include The Ride of Life (Meadowhall Shopping Centre, Sheffield, 1990), The Singing Horse (Bradford Industrial Museum, 1993), The Temple of Disagreement (Dunham Massey, 1995), Buried Light Bulb (Bradford, 1998), Ring of Railway Wagons (Hengoed, Caerphilly, 2000), Thumbprint (Swansea, 2001) and Malt Shovel (Burton upon Trent, 2001).
Source: artist. [Man2004]

Charles Heathcote (1850--1938)
Architect. Articled to church architect Charles Hansom of Clifton. Awarded Medal of Merit by the Royal Institute, 1868. Worked for a year in the offices of Messrs Lockwood and Mawson. Started practice 1872. Major works in Manchester include Lancashire and Yorkshire Bank (now Lloyds Bank, Cross Street), Commercial Union Assurance Offices (now Eagle House), Alliance Assurance Company offices (corner of St Ann’s Street), as well as the Institute for the Blind, Cheadle Royal Lunatic Asylum, and a number of other hospitals, warehouses and commercial buildings, including the Westinghouse offices in Trafford Park.
Sources: Tracy, 1899; Felstead, 1993. [Man2004]

Roger Hedley (1879--1972)
Roger Hedley and his brother Fred inherited their father Ralph’s Newcastle carving firm in 1913, which continued to carry his name. (Ralph Hedley is best known today as a painter of genre scenes.) During the War, while Fred was away in the army, Roger used his woodworking skills in the manufacture of aeroplanes during the day, whilst keeping the business going in the evenings. After the War he undertook the figure-carving and masonry side of the business, his most renowned work being the replacement head for the statue of Earl Grey on the Grey Monument which was struck by lightning during the Second World War. In 1960 his premises in St Mary’s Place, Newcastle, were given to one of his former employes, Bill Dixon, and the young Gilbert Ward.
[1] Millard, J., Ralph Hedley. Tyneside Painter, Newcastle upon Tyne, 1990, pp.87--8. [NE 2000]

Gordon Hemm (?1891--1956)
Born at Stockport, Hemm trained under C.H. Reilly at the School of Architecture, University of Liverpool. At the time of his collaboration with C.J. Allen on the University of Liverpool War Memorial (1927), he was a partner in the architectural firm of Foden, Hemm, and Williams, of Liverpool and Manchester. He was elected ARIBA in 1931. He was also the author of several books on Merseyside architecture and a painter of Liverpool architectural subjects, contributing to the RA summer exhibition in 1940 and 1947 (views of the Anglican Cathedral), and in 1953 (a view of the industrial dockside).
(sources: Builder, 27 May 1927; RIBA Journal [obit.], April 1957). [L1997]

John Henning the Younger (1801--57)
Sculptor. Eldest son of the Scottish-born sculptor, John Henning (1771--1851). Awarded the Silver Isis medal from Society of Arts for his relief, The Good Samaritan. Collaborated with his father on many works, including the classical martial reliefs on Decimus Burton’s screen at Hyde Park. Henning executed the reliefs on the column raised to honour Thomas Coke, Earl of Leicester (Holkham, 1845) and on the Colosseum (Regent’s Park, London, 1845). He also completed reliefs based on Hogarth’s idle and industrious apprentices for the Freeman’s Orphan School (Brixton, c.1850). He produced many busts including Ann, Duchess of Bedford at Woburn Abbey and the first Duke of Marlborough at Windsor Castle. Exhibited at the RA, 1828--52 and the Society of British Artists.
Source: Gunnis, 1968. [Man2004]

Barbara Hepworth (1903--75)
Hepworth attended Leeds School of Art from 1919 to 1921 (where she met fellow student Henry Moore) and the Royal Academy (1921--4). After winning a scholarship for one year’s study abroad, she worked in Rome for two years studying the Italian technique of marble carving. There she met the sculptor John Skeaping, whom she married in 1925 (divorced 1933). In Rome, her work consisted of sculptures of figures and animals influenced by Brancusi, Arp, Gabo and Moore. These were abandoned in favour of more abstract work in the 1930s, a process influenced by Ben Nicholson, whom she married in 1933. During this time, she shared with Henry Moore an interest in opening up the sculptural mass fully by piercing it and hollowing it out. However, she used figuration to a much lesser degree than Moore, and showed a greater interest in the relationship between geometrical forms. In 1939 she and Ben Nicholson moved to St Ives, Cornwall, where she developed a lyrical style influenced by the sea and the landscape. Between 1943 and 1947, she produced a number of open and hollowed forms, mostly carved in wood, sometimes threaded with strings, and sometimes painted with white or a flat colour upon their concave surfaces. In the 1950s she gained an international reputation with anthropomorphic works like Figures in a Landscape, but later turned once again to non-figuration, often on a considerable scale. Her most prestigious commission was Single Form for the United Nations Building in New York (unveiled 1964). She had numerous retrospective exhibitions, including those at the Venice Biennale (1950); Whitechapel Art Gallery (1954 and 1962); the São Paulo Biennale (1959); the Tate Gallery, London (1968); the Yorkshire Sculpture Park, Wakefield (1980); and the Tate Gallery, Liverpool (1994). Awarded the CBE in 1958 and the DBE in 1965, she received honorary degrees from several British universities and, in 1973, honorary membership of the American Academy of Arts and Letters. She died in a fire at her studio in St Ives on 20 May 1975.
Sources: Cavanagh, T., Public Sculpture of Liverpool, Liverpool, 1997, p.330; Cavanagh, T. and Yarrington, A., Public Sculpture of Leicestershire and Rutland, Liverpool, 2000, pp.370--1; Curtis, P. and Wilkinson, A.G., Barbara Hepworth: a Retrospective, exhib. cat., Tate Gallery, Liverpool, 1994; Curtis, P., Barbara Hepworth, exhib. cat., Tate Gallery, London, 1998; Festing, S., Barbara Hepworth: a Life of Forms, London, 1995; Hepworth, B., Barbara Hepworth, a Pictorial Autobiography, revised edition, Tate Gallery, London, 1985; Maillard, R., New Dictionary of Modern Sculpture, New York, 1971, pp.136--8; Marlborough Fine Art, Barbara Hepworth: Carvings, London, 1982; Marlborough Gallery, Barbara Hepworth: Carvings and Bronzes, exhib. cat., New York, 1979; Matthew, G., Barbara Hepworth: Works in the Tate Collection and the Barbara Hepworth Museum, St Ives, Tate Gallery, London, 2001; Nairne, S. and Serota, N., (eds), British Sculpture in the Twentieth Century, Whitechapel Art Gallery, London, 1981, p.254; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.194f.; Spalding, F., 20th Century Painters and Sculptors, Dictionary of British Art, vol.6, Woodbridge, Suffolk, 1990, p.236; Stephens, C., (ed.), Barbara Hepworth: a Centenary, Tate Gallery, London, 2003. [SBC2005]

Barbara Hepworth (1903--75)
Sculptor. Born in Wakefield. Hepworth attended Leeds School of Art 1920--1, where she met fellow student Henry Moore, and the Royal Academy 1921--4. Worked in Rome with John Skeaping 1924--6 whom she married. First major exhibition in 1928 at the Beaux Arts Gallery, Hampstead (with Skeaping), her work there consisting of stone carvings of figures and animals. During the early 1930s carving in both wood and stone, her work became entirely abstract, a process encouraged by her association with Ben Nicholson, who was to become her second husband. They joined Abstract-Creation and Unit One in 1933. In 1939 they moved to St Ives, where Hepworth stayed for the rest of her life, allowing the Cornish landscape to influence her abstract forms. In the 1950s her reputation as one of the leading figures in the abstract movement was further consolidated. She continued to explore in her sculptures the relationship between mass and space, working in wood, stone and bronze. Her international reputation was confirmed with many high-profile commissions including the memorial to Dag Hammarskjöld, Single Form (United Nations Building, New York, 1963). Retrospectives include Wakefield Art Gallery, 1951; Whitechapel Art Gallery, London, 1954, 1962; São Paulo Biennale, 1959; Tate Gallery, London, 1968; Yorkshire Sculpture Park, 1980 and Tate Gallery, Liverpool, 1994. Awarded CBE 1958 and OBE 1965. She died in a fire in her studio at St Ives in 1975. The studio and garden, as she wished, is now a museum explaining her life and displaying her work, administered by Tate St Ives.
Sources: DNB; Nairne and Serota, 1981; Curtis, 1998; Noszlopy, 1998. [Man2004]

Barbara Hepworth (1903--75)
Born in Wakefield, 10th January 1903, died in a fire at her studio in St. Ives, 1975. The daughter of a Yorkshire county surveyor, Hepworth attended Leeds School of Art 1920--1, where she met fellow student Henry Moore, and the Royal Academy 1921--4. Worked in Rome with John Skeaping 1924--6, whom she married in 1925 but divorced in 1931. Influenced by Brancusi, Arp, Gabo and Moore, her early sculptures of figures and animals were abandoned in favour of abstract work in the 1930s. From 1931 she worked with Ben Nicholson (whom she married in 1933) under whose influence she made severe, geometrical pieces. They exhibited together at the Lefèvre gallery, working in groups such as Unit One (1933--4) and Abstraction-Creation (1933--5). In 1939 they moved to St. Ives, Cornwall, where she developed a lyrical style closer to Moore’s. In the 1950s she gained an international reputation with anthropomorphic works like Figures in a Landscape. In the 1960s she was commissioned to make a 20--foot high Winged Figure, London 1962; and Single Form, United Nations Building, New York 1962--3. Exhibited at the Beaux Arts Gallery, Bath 1928; retrospectives include Wakefield Art Gallery, 1951; Whitechapel Art Gallery, London 1954, 1962; Tate Gallery, London 1968; Yorkshire Sculpture Park, 1980; Tate Gallery, Liverpool 1994. Awarded CBE 1958; OBE 1965.
1. S. Nairne, and N. Serota (eds.), British sculpture in the twentieth century, Whitechapel Art Gallery, London, 1981, p.254; 2. P. Curtis, and A.G. Wilkinson, Barbara Hepworth: a retrospective, Tate Gallery, Liverpool, exh.cat., 1994; 3. B. Hepworth, Barbara Hepworth, a pictorial autobiography, revised edition, Tate Gallery, London, 1985; 4. Barbara Hepworth: carvings, Marlborough Fine Art, London, 1982; 5. Barbara Hepworth: carvings and bronzes, Marlborough Gallery, New York, exh.cat., 1979. [B1998]

Dame (Jocelyn) Barbara Hepworth (1903--75)
Sculptor, born 10 January 1903 at Wakefield, Yorkshire, the daughter of a civil engineer. She entered Leeds School of Art in 1919, transferring to the Royal College of Art in 1920. In 1924 she won a scholarship for one year’s study abroad and went to Italy with sculptor John Skeaping, whom she married in 1925 (marriage dissolved 1933). They stayed in Rome until 1926. In Italy Hepworth learned to carve stone, a skill not taught at the Royal College, as it was at this time considered stonemason’s work. She had her first major exhibition in 1928 at the Beaux Arts Gallery, Hampstead (with Skeaping), her work there consisting of stone carvings of figures and animals. During the early 1930s she simplified her forms to the point of complete abstraction, a process encouraged by her association with Ben Nicholson, who was to become her second husband in 1938¹ (marriage dissolved 1951). The couple visited Paris and were in touch with the international avant-garde, notably Picasso, Brancusi, Braque and Mondrian, both becoming members of the Paris-based Abstraction-Création group. They were also members of the English Seven and Five Society and Unit One. In 1939 they moved to St Ives, where Hepworth stayed for the rest of her life, allowing the Cornish landscape to influence her abstract forms. She had numerous retrospective exhibitions, including the Venice Biennale in 1950, the Whitechapel Art Gallery in 1954 and 1962, the São Paulo Biennale in 1959, where she was awarded the Grand Prix, and the Tate Gallery in 1968. Her most prestigious commission was Single Form (unveiled 1964) for the UN building in New York. She was appointed CBE in 1958 and DBE in 1965. She received honorary degrees from several British universities and, in 1973, honorary membership of the American Academy of Arts and Letters. She died in a fire in her studio at St Ives 20 May 1975. Trewyn studio, as it is called, was presented to the nation by her executors in 1980 together with a representative collection of her work.
Sources: Buckman, D., 1998; DNB 1971--1980; Gale, M. and Stephens, C., 1999; Nairne, S. and Serota, N. (eds), 1981; Strachan, W.J., 1984; Turner, J. (ed.), 1996.
Note [1] Date as given by Alan Bowness (DNB) and Penelope Curtis (1998, p.11). There seems to be much confusion about the date of this second marriage. G.S. Whittet, writing in Cerrito, J. (ed.), 1996, p.500, gives the date as 1932. Curtis at first agreed with Whittet (in Turner, J. [ed.] 1996, vol. 14, p.401); then, in Gaze, D. (ed.), 1997, p.670, gave the date as 1936, but most recently, as indicated above, settled on 1938, in line with Bowness. [LR 2000]

Barbara Hepworth (1903--75)
Born in Yorkshire, the daughter of a civil engineer, she entered Leeds School of Art in 1919 before moving to the Royal College of Art in 1920. In 1924 she won a scolarship for one year’s study abroad and went to Italy with John Skeaping, whom she married in 1925. They stayed in Rome until 1926. In Italy Hepworth learned to carve stone, a skill not taught at the Royal College, as it was at this time considered stonemason’s work. She had her first major exhibition in 1928 (Beaux Arts Gallery, Hampstead, with Skeaping), her work consisiting of stone carvings of figures and animals. During the early 1930s she simplified her forms to the point of complete abstraction, a process encouraged by her association with Ben Nicholson, who was to become her second husband in 1932 after the dissolution, in 1931, of her first marriage. The couple visited Paris and were in touch with the international avant-garde, notably Picasso, Brancusi, Braque and Mondrian, both becoming members of the Paris-based Abstraction-Création. They were also members of the English Seven-and-Five Society and Unit One. In 1939 they moved to St Ives, where Hepworth stayed for the rest of her life, allowing the Cornish landscape to influence her abstract forms. She had numerous retrospective exhibitions, including the Sao Paolo Bienal of 1959, where she was awarded the grand prix. Her most prestigious commission was Single Form (1963) for the UN building in New York. She was appointed CBE in 1958 and DBE in 1965. She received honorary degrees from several British universities and, in 1973, honorary membership of the American Academy of Arts and Letters.
(sources: DNB; Nairne & Serota, 1981) [L 1997]

Albert Herbert & Son
Founded by Sir Albert Herbert, this machine tool company had become known as Alfred Herbert Limited by 1984. At the time of Herbert’s death in 1957, it laid claim to being the largest machine-tool organisation in the world, employing more than 6,000 workers in four separate factories. A prominent philanthropist, Sir Alfred Herbert made many generous gifts to the City of Coventry. For example, he donated the sum of £200,000 towards the construction of the museum that was to be named after him (The Herbert Art Gallery and Museum). During the First World War, he equipped a hospital for wounded soldiers. He donated £10,000 towards the City Hospital, and gave a covenant of £25,000 towards the rebuilding of Coventry Cathedral. He also gave land in the Butts for a small park, as well as land in the City Centre for Lady Herbert’s Garden.
Source: Dictionary of National Biography, CD ROM version. [WCS2003]

Alfred Herbert, Herberts (Masonry Contractors) Ltd
Market Harborough-based firm of stonemasons owned by Alfred Herbert, grandson of Alfred Herbert of Melton Mowbray (active c.1916-- 41). The earlier Alfred’s firm was carried on by his son, A.T. Herbert, who ran it from Syston, reforming it in 1960 as a limited company, A.T. Herberts Ltd, with himself and his two sons, Alfred and Peter, as directors. In the mid-1970s the firm moved to Market Harborough and in about 1984 Alfred bought out his brother Peter, thereby becoming sole owner. The firm has carried out numerous works of restoration in and around Leicestershire (see e.g., pp.88, 118). One of its principal commissions of original work is the Statue of St Thomas More in Ancaster stone for the west front of St Thomas More Church, Knighton, Leicester.
Sources: information from Alfred Herbert; Herberts stone masons (publicity brochure); Kelly’s Directory of . . . Leicester and Rutland (edns from 1922--41). [LR 2000]

Henry Herbert and Sons (active c.1899 -- c.1969)
Leicester-based firm of builders.
Sources: Kelly’s Directory of . . . Leicester and Rutland (edns from 1899--1969). [LR 2000]

Gordon Herickx (1900--53)
Born in 1900, he trained at the Birmingham School of Art under William Bloye. From 1945 until his death in July 1953, he was Sculptor Master at the Walsall School of Art. He assisted Bloye, for example, to carve the capitals in the church of St. Francis of Assisi, Bournville. In July 1953 he held his only one person show at the Kensington Gallery, London, where he exhibited 13 pieces, all carved in either Horton or Hoptonwood Stone. He died on the night following the opening of this show. In October 1953, the Birmingham City Museum and Art Gallery held a memorial exhibition, showing twenty works which represented nearly all of his output. His sculpture consists largely of the early floral subjects made between 1932 and 1936, and figure and head studies, notably the three Dreamer pieces and his last complete works, Adam and Eve, both of 1951. Herickx worked slowly, destroying pieces that he considered to be untrue. His forms are largely biomorphic, simplified in the style of Eric Gill, whose work he admired.
1. A. Garrett, ‘The sculpture of Gordon Herickx’, The Studio, vol.CXLVII, no.730, January 1954, pp.18--19; 2. R. Melville, ‘Exhibitions’, Architectural Review, vol.114, October 1953, pp.261--2. [B1998]

Gertrude Hermes (1901--83)
Born in Kent of German parents, she studied at the Beckenham School of Art (1919--20) and the Leon Underwood School of Painting and Sculpture (1921--5). She began wood engraving in 1922 and took up carving in 1924. In 1926, she married the artist Blair Hughes-Stanton and collaborated with him in producing the wood engravings for The Pilgrim’s Progress for the Cresset Press. Her other wood engravings include six for The Natural History of Selborne for the Gregynog Press (1931) and others for the first volumes of the Penguin Illustrated Classics (1939). She exhibited her work for the first time at the 13th Annual Exhibition of the Society of Wood Engravers at the Redfern Gallery, London, in 1932 -- the same year that she designed the mosaic floor and fountain for the Shakespeare Memorial Theatre at Stratford-upon-Avon. She exhibited at the Royal Academy for the first time in 1934, and in 1939 was selected as one of seven engravers to represent Britain at the Venice International Exhibition. In 1939, and again from 1945--60, she taught wood engraving, lino block cutting and printing at Camberwell and St Martin’s Schools of Art, and later at the Central School of Arts and Crafts. She was elected a Fellow of the Royal Society of Painters, Etchers and Engravers (1951) and an Associate of the Royal Academy (1963).
Sources: Norwich Art Gallery, Careers of ten women artists born 1897--1906, Norwich, 1992; Stephens, L. and Lee, S. (eds), Dictionary of National Biography, London, 1990. [WCS2003]

Martin Heron (b.1965)
Heron uses various techniques to create sculptures in wood, metal or stone. He has a particular interest in exploring forms in nature and the landscape. Since qualifying with a BA (Hons) in Fine Art from Liverpool John Moores University in 1989, he has exhibited his work in Spain and Canada as well as throughout northern England and Ireland. From 1995 onwards, he has undertaken a large number of public art commissions, many of which were either for schools or for groups concerned with environmental issues. They include Head to Head -- between you and me, Rossendale, Lancashire (1995); Triangle/Circle/Square for the Tyrone Guthrie Centre, Co. Monaghan (1996); a drystone wall sculpture in Whitworth, Lancashire (1997); Forest Family, the National Forest, Moira, Leicestershire (1998); three sculptures for the Charnwood Wildlife Biodiversity Community Art Programme (2000); and a sculpture for the Forestry Commission in Cannock Chase (2001).
Sources: AXIS, The Axis Database Online, 1999, www.axisartists.org.uk/; Cavanagh, T. and Yarrington, A., Public Sculpture of Leicestershire and Rutland, Liverpool, 2000, p.371. [SBC2005]

Martin James Heron (b. 1965)
Sculptor, born 7 February 1965 at Cookstown, Northern Ireland, currently (1999) based in Derbyshire. He studied at John Moores University, Liverpool (Foundation, 1985--6; BA [Hons] Fine Art, 1986--9) and has had solo exhibitions at the Groundwork Trust, Blackburn (1995), the Tyrone Guthrie Centre, Newliss, Co. Monaghan, Republic of Ireland (1996) and the Lawrence Batley Theatre, Huddersfield (1998). His public commissions include Head to Head -- between you and me, carved wood, 1995, Rossendale Borough Council; Triangle / Circle / Square, mixed media, 1996, Tyrone Guthrie Centre; and Totem, carved wood, 1998, Blackmoor Special School, Blackburn.
Source: information from the sculptor. [LR 2000]

Mark Hessey (active c.1870--85)
Sculptor based in York.
Source: Steven’s Directory of York, 1885. [LR 2000]

Nicola Hicks (b. 1960)
Born in London, she trained at Chelsea School of Art (1978--82), and the Royal College (1982--5). While still a student, she began to make her characteristic animal sculptures from a mixture of straw and plaster. At the 1984 Liverpool International Garden Festival, she showed a group of Polar Bears scrapping (fibreglass), with the Glenn Baxteresque title, ‘But you had the explorer whined Claud’. In 1985 she had her first solo exhibition at the Angela Flowers Gallery, recommended by Elisabeth Frink. She has travelled widely, particularly in India, the Far East and Australia. After the birth of her son in 1992 she began to model human figures. These at first reflected her feelings about motherhood, but her group Sorry, Sorry Sarajevo (1993/4) was a response to the brutality of the Balkan War. More recent works, combining animal and human features, suggest the beast lurking in human nature. In the early 1990s Hicks began to have work cast in bronze. Her two public sculpture commissions have been the Brown Dog Memorial (1985) for Battersea Park, and the Millennium Monument (2000) for the Inner Temple. Hicks draws even more prolifically than she sculpts.
Source: Nicola Hicks (with essays by B. Read, A. Elliott, W. Self, and A. Denselow, and an introduction by James Dellingpole), London, 1999. [CL2003]

Peter Hide (b. 1944)
Sculptor and teacher born at Carshalton, Surrey. He studied at Croydon College of Art, 1961--4, and St Martin’s School of Art, 1964--7, later teaching at Norwich School of Art, 1968--74, and St Martin’s School of Art, 1971--8. In 1977 he was appointed Professor of Sculpture at the University of Alberta, Canada. Hide exhibited at the Stockwell Depot from 1968 and his work was included in the group’s travelling exhibition to Oslo and Gothenburg in 1970. Other group and mixed exhibitions include ‘Prospect 68’, Düsseldorf, Germany, 1968; ‘The Conditions of Sculpture’, Hayward Gallery, 1972; and the ‘Silver Jubilee Contemporary British Sculpture’ exhibition, Battersea Park, 1977. In 1986 he had a ten-year retrospective exhibition at Edmonton Art Gallery, Canada, and in 1990 a solo exhibition at the André Emmerich Gallery, New York. Hide is an abstract sculptor, concerned principally with structure and working mostly in steel, either solely or in combinations calculated to emphasise the physical properties of the material. Examples of his work are in the collection of the Arts Council of Great Britain, the Tate Gallery, the City of Barcelona Museum of Modern Art, and in various North American collections.
Sources: Buckman, D., 1998; Hayward Gallery, 1972. [LR 2000]

Anthony Hill (b. 1930)
Constructionist artist born 23 April 1930 in London. He studied at St Martin’s School of Art, 1947--9, and Central School of Art and Design, 1949--51. At the latter school he met firstly Victor Pasmore and Robert Adams and then in 1950 Kenneth and Mary Martin and Adrian Heath; Hill joined these artists in a group primarily devoted to constructed abstract art. In the same year he made the first of many visits to Paris, contact with Picabia, Kupka and Vantongerloo exerting a great influence on his adoption of complete abstraction. He showed his first work in public at ‘Aspects of British Art’, ICA, 1950--1. In 1955--6 he made his last paintings and thenceforward committed himself full-time to constructed reliefs. He showed his first constructed relief (in plastic) in the ‘Nine Abstract Artists’ exhibition, Redfern Gallery, 1955, and had his first solo exhibition of reliefs in 1958 at the Institute of Contemporary Arts. He took part in ‘This is Tomorrow’, Whitechapel Art Gallery, 1956, and ‘Construction: England 1950--1960’, Drian Gallery, 1961. In 1960 Max Bill invited him to participate in ‘Konkrete Kunst’ at Zurich and from this time onwards he exhibited internationally. He taught part-time at the Polytechnic of Central London and Chelsea School of Art and, from 1971--3, had a Leverhulme Fellowship in the mathematics department, University College, London. From 1973 he began producing a different kind of work, comprising collages and later on reliefs, which he signed at first Rem Doxford and then REDO (examples shown at the Angela Flowers Gallery, 1983). His chief public commission was a large mural-relief for the headquarters of the International Union of Architects’ Congress, South Bank, 1961. A major retrospective was held at the Hayward Gallery, 1983.
Sources: Arts Council of Great Britain, 1983; Buckman, D., 1998; Nairne, S. and Serota, N. (eds), 1981. [LR 2000]

Christine Hill
Sculptor in bronze, wood, concrete and plaster, specialising in community-based projects, trained at Sunderland University to 1991. Her gallery work includes Indian Temple Elephant and Pegasus mosaic (both 1995). She undertook a residency at Gateshead’s Bill Quay city farm in 1993.
[1] AXIS, Artists Register, 1999. [NE 2000]

Henry Gustave Hiller (1865--1946)
A Liverpool artist, he was principally a designer of painted gesso reliefs and stained-glass. He studied at Manchester School of Art and exhibited at the WAG, 1903--25.
(source: Johnson & Greutzner, 1976) [L1997]

James Hilton
Stonemason. Hilton was a sculptor and marble mason in Manchester between c.1869--1910. The business was described as ‘sculptor and marble mason, monumental tombs, mural tablets and headstones in granite, marble and stone, and slate merchant’ in the Manchester Directory, 1881. Around this time the firm moved away from the city centre to premises near Southern Cemetery.
Source: Manchester Directories. [Man2004]

Julia Hilton (b. 1962)
Sculptor. Educated at University of Durham (1980--3) and Edinburgh College of Art (1988--92). She has held teaching appointments at Worcester College of Higher Education, Gray’s School of Art, Aberdeen. Commissions include Entrances (Paxton House, Berwick-upon-Tweed, 1994) and sculptures (Worcester College of Higher Education, 1996). Group exhibitions include New Designers, Business Design Centre, London, 1991, 1993; Ceramic Contemporaries, Victoria and Albert Museum, 1993; Garden of Earthly Delights, Hannah Peschar Gallery, Ockley, Surrey, 1996.
Source: artist. [Man2004]

William Loynds Hindle
Stonemason. Hindle was a monumental mason in Stalybridge during the final decades of the nineteenth century. He had premises in the High Street. He carved the Thompson Cross to a design provided by Ashton’s leading architectural firm, Eaton and Sons.
Sources: Ashton Reporter, 3 June 1893; Kelly’s Cheshire Directory, 1896. [Man2004]

Nathaniel Hitch (d. 1938)
Hitch was an exceptionally prolific craftsman-sculptor, providing altarpieces, church furniture and other decorative features for a number of late Victorian and Edwardian architects. He worked with H.P. Burke Downing, H. Fuller Clark, W.D. Caroë, Paul Waterhouse and T.H. Lyon. His most productive partnerships however, were with John and Frank Loughborough Pearson, with whom he worked on Truro Cathedral, the Astor Estate Office on the Thames Embankment, and elsewhere. Hitch carved the tympanum sculpture for J.L. Pearson’s controversial ‘restoration’ of the North Transept of Westminster Abbey, completed in 1892. It is not known where Hitch trained. He exhibited only once at the Royal Academy, showing a bust of F. Weekes Esq. there in 1884. He contributed a figure of The Buff to Canterbury’s Boer War Memorial. This was inaugurated in 1904 in Dane John Gardens. It was designed by W.D. Caroë, and the lettering on it was one of Eric Gill’s earliest efforts. In his later years, Hitch produced two monumental effigies of Bishops for Washington Cathedral, and one of Bishop Owen for St David’s Cathedral. His short obituary notice in the Builder described him as ‘an expert in Gothic’. Hitch’s son, Frederick Brook Hitch was also a sculptor.
Sources: Obituary in Builder, 4 February 1938, p.263; N. Hitch, ‘Work Album’, with photographs and cuttings -- Archive of the Henry Moore Centre, Leeds; A. Quiney, John Loughborough Pearson, New Haven and London, 1979. [CL2003]

Frederick Brook Hitch (1897--1957)
Born in London, son of the sculptor Nathaniel Hitch, he studied at the Royal Academy Schools and exhibited at the Royal Academy from 1906 to 1947. His exhibits up to 1914 are of imaginary and classical subjects. In 1917 he showed a medal commemorating the Victory of Jutland Bank. Thereafter, almost all of his exhibits were portraits, with the exception of a work entitled Grief, shown in 1924, and the ‘premiated competition sketch model for the Canadian National War Memorial for Ottawa’ (RA 1926). He produced two public monuments for Adelaide, Australia, one to Captain Matthew Flinders, and the other of Sir Ross Smith (model exhibited at the RA in 1927). In 1939, Hitch’s statue of the hymn-writer, Charles Wesley, was unveiled at Wesley’s New Room, in Horse Fair, Bristol, where it joined A.G. Walker’s equestrian figure of John Wesley (1932). Hitch’s statue of Nelson (1951), in Pembroke Gardens, Portsmouth, is supposed, according to its inscription, to be correct ‘to the smallest detail’, including the coat in which Nelson received his fatal wound. Hitch was a Fellow of the Royal Society of British Sculptors. He lived in Hertford.
Sources: J. Darke, The Monument Guide to England and Wales, London, 1991; D. Buckman, The Dictionary of British Artists since 1945, Bristol, 1998. [CL2003]

Stephen Robert Hitchin (b.1953)
After having studied at Liverpool Polytechnic from 1972--6, Hitchin went on to gain a Master’s degree at Manchester Polytechnic (1976--7). A sculptor in stone and a draughtsman, he also taught, becoming Head of Art and Design at Glenburn School, Skelmersdale. His work derives from the human form, and includes Girl’s Head, exhibited at the Walker Art Gallery, Liverpool, during the touring show of Merseyside Artists 3, 1986--7. In 1978, he won a Merseyside Arts Association award. A member of the Liverpool Academy, he exhibited with them in 1980, at the MAFA in 1982, at the Royal Academy and at Liverpool University Senate House in 1986, and with a solo exhibition at Atkinson Art Gallery, Southport, 1981.
Source: information from the sculptor. [WCS2003]

Stephen Robert Hitchin (b. 1953)
Born in Liverpool, he trained at St Helens Art College, 1971--72; Liverpool Polytechnic, 1972--76 (B.A. Fine Art First Class Hons.); Manchester Polytechnic, 1976--77 (M.A. Fine Art); and Liverpool Polytechnic, 1977--78 (Art Teacher’s Diploma). At the time of writing (1994) he teaches at Clwyd College of Art. He has exhibited at the RA since 1988. In 1978 he had his first one-man exhibition, at the Atkinson Gallery, Southport, and, in 1989, his first one-man show in London, at the Chapman Gallery. He exhibits regularly in Bridewell Studios Artists Group Shows.
(source: Hitchin) [L1997]

Nigel Hobbins (b.1956)
Since graduating from Canterbury College of Art in 1979, Nigel Hobbins has exhibited at a number of group exhibitions, mainly in Kent and London. His work is strongly influenced by his childhood experience of rural Kent, with most of his sculptures featuring local flora or fauna. He uses timber for most of his environmental and public art commissions, preferably English oak or recycled hardwoods. His first major commission was Fish Bench (1989) for Whitstable in Kent. More recent commissions include Treasure Chest, a seafront sculpture for Herne Bay (1993); Island Site Sculpture, Parkwood Housing Estate, Maidstone (1993); Heron Bench, The Washlands, Burton upon Trent (1995); and Bee Orchid Bench for the North Downs Way, Farnham, Surrey (1998).
Source: AXIS, The Axis Database Online, 1999, www.axisartists.org.uk/ [SBC2005]

Albert Hemstock Hodge (1875--1918) [d. 1917?]
Born on Islay, he trained initially with the Glasgow architect, William Leiper. He then studied at the Glasgow School of Art, and achieved recognition as an architectural sculptor with his temporary work on James Miller’s Industrial Hall for the Kelvingrove International Exhibition of 1901. Hodge worked for the Glasgow architectural firm of Salmon, Son and Gillespie, before moving, after the turn of the century, to London. In his London years he contributed much sculpture in a distinctively decorative classical style to buildings by the architects J.J. Burnet, Ernest George and Yeates, Edwin Cooper, and Vincent Harris and Moodie. Between 1916 and 1919, Hodge made pediment groups for the Parliament Buildings in Winnipeg. His public monuments are to Robert Burns in Sterling (1914), and to Captain Scott, at Mountwise, Devonport, New Zealand (1914--25). His early death was lamented by the Builder, which extolled the ‘architectonic quality’ of his work. His models for sculpture on Edwin Cooper’s Port of London Authority building were realised after his death by his assistant, C.L.J. Doman. Hodge was a Fellow of the Royal Society of British Sculptors.
Sources: Builder, 19 January 1918, p.57; S. Beattie, The New Sculpture, New Haven and London, 1983; R. Mackenzie, Public Sculpture of Glasgow, Liverpool, 2002. [CL2003]

Albert Hemstock Hodge (1875--1917)
Born on Islay, he originally trained as an architect in the office of William Leiper and at GSA, where he regularly won local and national prizes for modelling and architectural design. His skill in modelling architectural details at Leiper’s office persuaded him to turn to sculpture. He worked with the architects James Salmon and J. Gaff Gillespie (see Salmon, Son & Gillespie) and the sculptor Johan Keller (q.v.) on wood-carving at 22 Park Circus (1897--1900), but came to prominence with his temporary work on the Industrial Hall, designed by James Miller (q.v.) for the International Exhibition in Kelvingrove Park in 1901 (see Kelvingrove Park, Appendix A, Lost Works). He went on to produce colossal groups for Beaux-Arts buildings by Miller and J.J. Burnet (q.v.) in Glasgow and many major buildings in England, Wales and Canada. Moving to London in 1900, he was commissioned to make The Daughters of Neptune for the Guildhall, Hull (1907), Navigation and Mining for Mid-Glamorgan County Hall, Cardiff (1910) and pediment groups for the Parliament Buildings, Winnipeg (1916--19). Other commissions in Scotland include sculptures on Clydebank Municipal Buildings (1902). He also produced genre pieces and portraits, which he exhibited regularly at the RSA, 1897--1913, as well as public sculptures, such as the Monument to Robert Burns in Stirling (1914) and the Monument to Captain Scott, Mount Wise, Devonport (1914--25). He was a Fellow of the RBS.
Sources: A, 11 January 1918, p.16 (obit.); Beattie, p.245; Gray; Baker, pp.82--4. [G2002]

Charles Clement Hodges (1852--1932)
The son of a clergyman in Derbyshire, Hodges went to school in Oxford and Manchester. Through a family connection he secured a position on the drawing staff at Consett Ironworks in 1869 which he kept until 1876. He then, rather abruptly, turned to antiquarian studies, focusing particularly on the Roman and Anglo-Saxon remains in the Hexham area; the Roman standard bearer which now stands in Hexham Abbey is one of his finds. Among his many scholarly books are The Abbey of St. Andrew Hexham (1888), An Historical Guide to Hexham and its Abbey (1889), All Works connected with Hexham Abbey (1907) and Hexham and its Abbey (1919). Later in life he designed several memorial crosses (at Whitby, Durham, Roker, Hexham and Rothbury) all of which show the influence of his knowledge of Anglo-Saxon art.
[1] Oxberry, J., ‘Memoir of Charles Clement Hodges’, Archaeologia Aeliana, 4th series, vol.ix, pp.238--48. [NE 2000]

Walter Frederick Clarke Holden (1882--1953)
Architect. After completing his articles in Cambridge, he joined Burgess and Myers of Beaconsfield in 1906, for whom he designed many domestic buildings. During the First World War, he joined the Royal Engineers, gaining the Military Cross for work he undertook as one of the first camouflage officers. In 1920 he became Assistant Architect to the National Provincial Bank under Frederick Charles Palmer, upon whose death in 1934 he was appointed Chief Architect -- a post he held until his retirement in 1947. He was mainly responsible for the large building programme carried out by the Bank between 1921 and 1939. During the war, he was a member of the Royal Academy Committee that made proposals for the rebuilding of London. Although his work was primarily architectural, he exhibited at the Royal Academy in 1920 as a landscape painter.
Sources: RIBA Journal, vol.60, May 1953; Johnson, J. and Greutzner, A., Dictionary of British Artists 1880--1940, Suffolk, 1976. [WCS2003]

Antony Hollaway (b. 1928)
Sculptor, stained-glass designer, painter, writer, and teacher born 8 March 1928 at Kinson, Dorset. He studied art at Bournemouth College of Art, 1948--53, took an art teacher’s diploma at Southampton University, 1953, and was at the Royal College of Art, 1953--7. Throughout the 1960s he was a visiting lecturer at Central School of Art and Design, Hornsey College of Art, Guildford School of Art, and Kingston College of Art. He taught full-time at Kingston Polytechnic, 1970--3 (lecturer, Foundation Studies); at Epsom School of Art and Design, 1973--9 (senior lecturer, Foundation Studies, 1973--6; Head of Three-Dimensional Design, 1976--9); and Trent Polytechnic, Nottingham, 1979--89 (Head of Three-Dimensional Design, 1979--88; Head of Design, 1988--9). Hollaway took early retirement in 1989 to concentrate on stained-glass design. His commissioned work outside Leicestershire includes a concrete relief sculpture for the University of Manchester, 1963--5; a mural for City University, London, 1970; a mosaic for Lloyds Bank Head Office, Cornhill, London, 1970; and stained glass windows for numerous churches and most notably Manchester Cathedral, 1971--2, 1976, 1980, 1991 and 1995. He was elected: a member of the Architectural Association in 1959; a member of the National Society for Art Education and a fellow of the Society of Designer Craftsmen in 1968; a fellow of the British Society of Master Glass Painters in 1974; a fellow of the Royal Society of Arts and of the Society of Industrial Artists and Designers in 1983; and chairman of the Eastern Region Royal Society of Arts in 1989. From 1993--5 he was a member of the council of the Royal Society of Arts. His work has been included in numerous group exhibitions in Britain and overseas.
Source: information from the sculptor. [LR 2000]

Peter Hollins (1800--86)
Eldest son of William Hollins, in whose studios he trained until he went to London in about 1822, where he worked under Francis Chantrey. Having come to some notice after showing his two group sculptures The Murder of the Innocents (also shown at the Great Exhibition of 1851) and Cupid and Psyche in 1830 at the Royal Academy, he won the Robert Lawley prize at the Royal Birmingham Society of Artists (RBSA) for his Conrad and Medora in 1831. Considered the leading local sculptor for most of his life, Hollins was a well-known social figure in Birmingham, with acquaintances in local commerce, industry and the arts and on the town council, from which he obtained most of his public commissions, including the statue Robert Peel (1855). He closely followed the style of Chantrey, showing both classical and romantic qualities: dramatic poses sculpted sensitively with keen features. Always competently handled, his sculpture can be seen at its best in the monuments Lady Bradford, Weston, Staffordshire (1842) and Mrs Thompson, Malvern Priory (1838). He exhibited regularly at the Royal Academy from 1822 until 1871 as well as at the RBSA, of which he was vice-president until 1879.
Sources: Birmingham Daily Post, Obituary, 18 August 1886; Gunnis, R., Dictionary of British Sculptors 1660--1851, London, 1964, pp.205--6; Lucas, A., The Life and Works of Peter Hollins 1800--1886, unpublished MA dissertation, University of Central England, Birmingham, 1995; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.195; Noszlopy, George T., Public Sculpture of Warwickshire, Coventry and Solihull, Liverpool, 2003, p.258; Read, B., Victorian Sculpture, New Haven and London, 1982, p.86; Penny, N., Church Monuments in Romantic England, London, 1977, pp.89--92. [SBC2005]

Peter Hollins (1800--86)
Born in Great Hampton Street, Birmingham, Hollins died in the same house on 16 August 1886. He was the eldest son of William Hollins, in whose studios he trained until he went to London c.1822, where he worked under Francis Chantrey. Having come to some notice in 1830 after showing his two group sculptures, The Murder of the Innocents (also shown at the Great Exhibition of 1851) and Cupid and Psyche at the Royal Academy, he won the Robert Lawley prize at the RBSA for his Conrad and Medora in 1831. He visited Italy in 1835 or 1836. Throughout his life he collaborated with his father’s studios, and assisted his father in the restoration of St Mary’s Church, Handsworth, and with ornamental sculpture at Alton Towers, Staffordshire, both in the early 1820s. He also designed memorial sculptures, of which he produced many throughout the Midlands, even whilst living in London. Considered the leading local sculptor for most of his life, Hollins was a well-known social figure in Birmingham, with acquaintances in local commerce, industry, the arts and on the town council, from which he obtained most of his public commissions. He closely followed the style of Chantrey, showing both classical and romantic qualities: dramatic poses sculpted sensitively with keen features. Always competently handled, his sculpture can be seen at its best in the monuments to Lady Bradford, Weston, Staffordshire (1842) and Mrs Thompson, Malvern Priory (1838). He exhibited regularly at the RA 1822--71 and at the RBSA, of which he was Vice-President until 1879. He retired in 1874 due to rheumatism.
Sources: Obituary, Birmingham Daily Post, 18 August 1886; Gunnis, R., Dictionary of British Sculptors 1660--1851, London, 1964; Penny, N., Church monuments in romantic England, New York and London, 1977; Lucas, A., The Life and Works of Peter Hollins 1800--1886, MA dissertation, unpublished. [WCS2003]

Peter Hollins (1800--1886)
Born 1st May 1800 in Great Hampton Street, Birmingham, he died in the same house, 16th August 1886. He was the eldest son of William Hollins, in whose studios he trained until he went to London c.1822, where he worked under Francis Chantrey. Having come to some notice after showing his two group sculptures in 1830 at the Royal Academy, The Murder of the Innocents (also shown at the Great Exhibition of 1851) and Cupid and Psyche, and winning the Robert Lawley prize at the RBSA for his Conrad and Medora in 1831, he visited Italy in 1835 or 1836. Throughout his life he collaborated with his father’s studios. He had assisted his father in the restoration of St. Mary’s church, Handsworth, and with ornamental sculpture at Alton Towers, Staffs., both in the early 1820s. He also designed memorial sculpture, of which he produced many pieces throughout the Midlands, even whilst living in London. Considered the leading local sculptor for most of his life, Hollins was a well-known social figure in Birmingham, with acquaintances in local commerce, industry, the arts and on the town council, from which he obtained most of his public commissions. He closely followed the style of Chantrey, showing both classical and romantic qualities: dramatic poses sculpted sensitively with keen features. Always competently handled, his sculpture can be seen at its best in the monuments to Lady Bradford, Weston, Staffs., 1842 and Mrs Thompson, Malvern Priory 1838. He exhibited regularly at the RA 1822--71 and at the RBSA, of which he was Vice-President until 1879. He retired in 1874 due to rheumatism.
1. Obituary, Birmingham Daily Post, 18th August 1886; 2. Gunnis, 1964, pp.205--6; 3. N. Penny, Church monuments in romantic England, London, 1977, pp.89--92. [B1998]

William Hollins (1763--1843)
A self-taught artist, largely through studying Vitruvius, Hollins practised mainly as an architect and architectural sculptor, chiefly in Birmingham. He designed the Old Library in Union Street (1799); the new public offices and prison in Moor Street (1805--7); and the Retreat Almshouses, Warner Street, Bordesley (1831). Together with his son Peter, he carried out the Gothic restoration of St Mary’s, Handsworth, in 1820, preparing the chapel for Chantrey’s statue of James Watt, and planned the garden buildings and ornamental stone carvings for Lord Shrewsbury’s house at Alton Towers. Hollins also designed the Royal Mint at St Petersburg, but refused an offer to go there as architect to Catherine the Great. As a sculptor, he signed several monuments in churches throughout the Midlands between 1808 and 1823, including Thomas Cooper (1818) and Edmund Outram (1821), both in Birmingham Cathedral. He exhibited at the Royal Birmingham Society of Artists from 1827 until 1840, and at the Royal Academy from 1821 to 1825. After several years’ study, devising a code of systematic rules for the formation of letters, he produced a work entitled The British Standard of the Capital Letters contained in the Roman Alphabet. After his death his son, Peter Hollins, continued the family stonemasonry business.
Sources: Graves, A., Royal Academy Exhibitors 1769--1904, vol.IV, London, 1905, p.134; Greenacre, F.W., William Hollins and the Gun Barrel Proof House 1813, Victorian Society, West Midlands Group, 25 May 1968; Gunnis, R., Dictionary of British Sculptors 1660--1851, London, 1964, p.205; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.195f.; Stephens, L. and Lee, S., (eds), Dictionary of National Biography, vol.27, London, 1891, p.174. [SBC2005]

William Hollins (1763--1843)
Born at Shifnal, Shropshire, 18th March 1763, he died in Birmingham, 12th January 1843 and is buried in St. Paul’s churchyard. A self-taught artist, largely through studying Vitruvius, he practised mainly as an architect and architectural sculptor. He designed the Old Library in Union Street (1799); new public offices and prison, Moor Street (1805--7); and the Retreat Almshouses, Warner Street, Bordesley (1831). It is also suggested that he was responsible for the design of the Gun Barrel Proof House in 1813. With his son, Peter, he carried out the Gothic restoration of St. Mary, Handsworth parish church in 1820, preparing the chapel for Chantrey’s statue of James Watt; and planning garden buildings and carving stone for Lord Shrewsbury’s house at Alton Towers. Hollins also designed the Royal Mint at St. Petersburg, but refused an offer to go as architect to Catherine the Great. As a sculptor, he signed several monuments in churches throughout the Midlands between 1808 and 1823, including those to: John Wainwright, Dudley 1810; Alexander Forrester, All Saints, Leicester 1817; James Goddington, 1821 and Benjamin Spencer, 1823, both at Aston, Birmingham. Those to Thomas Cooper, 1818 and Edmund Outram, 1821 in Birmingham Cathedral are also by him. After several years study, devising a code of systematic rules for the formation of letters, he produced a work entitled The British Standard of the Capital Letters contained in the Roman Alphabet. After his death the family stonemasonry business was continued by Peter Hollins. Exhibited RBSA 1827--40; RA 1821--5.
1. L. Stephen, and S. Lee (eds.), Dictionary of national biography, vol.27, London, 1891, p.174; 2. Graves, vol.IV, London, 1906, p.134; 3. Gunnis, 1964, p.205; 4. F.W. Greenacre, William Hollins and the Gun Barrel Proof House 1813, Victorian Society, West Midlands Group, 25th May 1968. [B1998]

Holmes & Jackson Ltd (fl.1892--1963)
Firm of sculptors, modellers and plasterers in partnership from 1892, becoming a limited company in 1929, and outlasting their rivals until 1963. They were very prolific at the turn of the century, winning many tenders for carver work on buildings by Honeyman & Keppie, including, Mackintosh’s Queen’s Cross Church (1899), a chimney-piece at Broughton House, Kirkcudbright, for the artist E.A. Hornel (1908), the Robert M. Mann Memorial, Busby (1910), and the gateposts and sundial at Dineiddwg, Milngavie (1912). After the First World World War they executed the War Memorial for Lenzie UF Church (1920), and the carver work on Bank of Scotland, Glasgow Cross (1925). Both John Holmes and Mathew Jackson trained at GSA, and exhibited portraits and genre works concurrently with their commercial activities. Operating from premises at 61 Jane Street, 1892--1930, and 373 West Regent Street, 1930--62, they undertook commissions for decorative work on buildings throughout the city, but with the decline of architectural carving in the 1950s, they relied on contracts such as the plaster and roughcast work at Greenfield Primary School (1951). Jackson’s son operated his own firm of carvers as Mathew Jackson & Co., 44 Jane Street, 1924--40.
Sources: HAG, Honeyman & Keppie Job Books, 1899--1963; POD, 1892--1963; Billcliffe. [G2002]

Andrew Holmes (b.1955)
After training at Derby College of Art and Technology (1972--4) and North Staffordshire Polytechnic (1974--7), Andrew Holmes moved to Stoke-on-Trent, where he gathered used materials, mostly in wood, from the demolition sites of Victorian and Edwardian buildings in the city in order to turn them into three-dimensional collages. After about 1983, he concentrated more upon functional objects that bridge the fine art/applied art divide. In the mid 1980s he held residencies at a number of schools in the Midlands, as well as placements with Stoke-on-Trent Parks Department (during preparations for the National Garden Festival in 1985) and with the Staffordshire Probation Service at Tamworth (1988). By 1990, most of his pieces were commissioned, and ranged in size from small wooden clock cases to large municipal landscaped works. One of the latter was Mining Disaster Memorial at Halmerend, near Newcastle under Lyme (1988). He also produced the exterior paving and balustrading for the New Victoria Theatre in Stoke-on-Trent (1986), a garden seat for the Wedgwood Memorial College in Barlaston (1992) and paving and a sunken seating area for Haywood High School in Burslem (1995). He has exhibited regularly throughout the UK as well as in Paris and Brussels, and has work in collections in the USA and Europe.
Sources: Information provided by the artist, 2002; Staffordshire Probation Sevice, Pictures of Health publicity leaflet, 1988; Vines, I., Andrew Holmes: Fifteen Years’ Work, Stoke-on-Trent City Art Gallery, 1990. [SBC2005]

Graeme Hopper (b.1961)
Blacksmith artist specialising in site-specific ironwork. His figurative sculptures, which usually take the form of over-life-size plants and animals, are sited at a number of outdoor locations across the North East.
[1] Information provided by the artist, 1998. [NE 2000]

Ian Horner (active 1970s-- )
Ian Horner Studios of Harborne, specialists in fibrous plaster mouldings, produce busts and plaques, cornices, columns and arches as well as exhibition displays and night-club scenarios. The firm is still in operation.
1. Letter from the artist, 30th March 1985. [B1998]

Jesse Horsfall (1859--1910)
Architect. Educated privately at Todmorden and Blackpool, articled with G.H. Goldsmith of Manchester. Horsfall began practice in 1870. His major work was Rochdale Art Gallery, and he also designed a number of chapels, schools, clubs, houses and commercial buildings. Made FRIBA in 1893.
Source: Felstead, 1993. [Man2004]

Horton and Bridgford
Architects. William Horton articled to Edward Banks of Wolverhampton 1845--53. Remained two years as office manager. In offices of John Horton of London, and William Milford Teulon (1823--1900), then Starky and A.D. Cuffley of Manchester. Started independent practice 1861 in partnership with A.D. Cuffley, joined later in 1861 by Henry Bridgford. Henry Bridgford (c.1854--94) articled to Starky and A.D. Cuffley in 1854 for five years, and remained as assistant for two years. Travelled in France and Italy. Began independent practice 1861, Manchester in partnership with Cuffley and William Horton.
Source: Felstead, 1993. [Man2004]

John Hoskin (1921--90)
Sculptor in metal, born at Cheltenham, Gloucestershire. He left school at 14 and worked as an architectural draughtsman until the Second World War when he served in the Army. After the war he returned to his previous work but by 1950 had begun painting and making sculptures, and by 1953 had committed himself to sculpture. He worked for a while as an assistant to Lynn Chadwick before being appointed Head of the Sculpture School (part-time) at Bath Academy, 1957--68. From 1954 he showed with the London Group. His first solo exhibition was at Lords Gallery in 1957, and his work was featured in a number of mixed exhibitions including Coventry Cathedral’s open-air ‘Exhibition of British Sculpture’, 1968. From 1968--71 he was sculptor-in-residence at Lancaster University and from 1978--88,¹ Professor of Fine Art at Leicester Polytechnic. His publicly-sited sculptures include Exalted Christ, 1958--9, a reredos in mild steel for St Stephen’s Church, Southmead, Bristol; a cross and reredos, 1960, for Nuffield College Chapel, Oxford; Red Strike, 1966, for the University of Kent campus; and Kendal Sculpture, 1972, for the Provincial Insurance Company, Kendal. A retrospective exhibition was held at the Storey Gallery, Lancaster, 1994, and a photographic archive of Hoskin’s work is in the The Centre for the Study of Sculpture, Leeds.
Sources: ‘Notes (possibly compiled by John Hoskin)’ in the John Hoskin archive, The Centre for the Study of Sculpture, Leeds; Buckman, D., 1998; The Guardian, 13 April 1990 (obituary); Spalding, F., 1990; Strachan, W.J., 1984.
Note: [1] Dates as given by Susan Tetby, a former colleague of Hoskin. [LR 2000]

John Hoskin (1921--1990)
Self-taught sculptor in metal. At fourteen he left school to train as an architectural draughtsman, a job he continued after his service in the army in the Second World War. In his late twenties he began to paint and construct sculptures and within several years was exhibiting. Appointed principal lecturer in sculpture at Bath Academy of Art in 1968, he was later sculptor-in-residence at Lancaster, 1968--71, and Professor of Fine Art at Leicester Polytechnic 1978--86. The Arts Council, the Tate and the Yorkshire Sculpture Park hold examples of his figurative and abstract work.
[1] Abromson, p.172. [2] Buckman, p.610. [3] Who’s Who in Art, Hants, 1988, p.231. [NE 2000]

Byron Howard (b. 1935)
Sculptor. Born and lives in Yorkshire. Self-taught as a sculptor. Principally portrait and figurative sculpture. Exhibited works at Patteson Fine Arts in 1970s and also Royal Academy Summer Exhibitions. Mainly portrait commissions but public work includes Sir John Barbirolli (Royal Festival Hall, London; Bridgewater Hall, Manchester) and war memorial (St Nicholas Church, Thorne).
Source: artist. [Man2004]

Maggie Howarth (b.1944)
Lancashire-based artist who ran Cobblestone Designs in the 1980s: ‘reviving the ancient art of cobblestone mosaic’. One of her pieces was installed at Stoke Garden Festival, 1986.
[1] Northern Arts Index, 1999. [NE 2000]

Ken Howell
Although he has worked in other media (including bronze and ceramics), Ken Howell specialises in working in glass. His first public sculpture, undertaken while he was an MA student at the University of Wolverhampton, was The Legger at Merry Hill (1999). Since 1994, he has exhibited widely throughout the Midlands, as well as in Scotland (1996), South Africa (1997), China (1999) and New Delhi (2002). His works include both site-specific pieces such as his bronze Goalcoats (Smethwick, 2002) and large-scale installations, his most recent being an architectural glass wall for Lightwoods School, Oldbury (2003).
Sources: Artist’s website, accessed 20 September 2004, www.cantillonhowell.com; Email from the artist, 17 September 2004; Invitation to unveiling of The Legger with information from Merry Hill Marketing Department, November 1999. [SBC2005]

Glyn Hughes
Patternmaker and sculptor. Educated at Hindley Grammar School. Lives in Adlington, Lancashire. Self-taught as a patternmaker and industrial sculptor. Designer of cast-iron domestic stoves; the ‘Yorkshire’ domestic woodburning stove received a Design Council Award in 1999. Hughes described the Turing statue as ‘another piece of precision pattern carving’.
Source: artist. [Man2004]

(Mrs) M. Alwen Hughes
Sculptor based at Maida Vale, London, in the late 1950s when she exhibited several ciment fondu animal sculptures at the Royal Academy (1957, 1958 and 1959). [LR 2000]

Malcolm Hughes (1920--97)
Artist. Born in Manchester. Trained at Manchester College of Art and Royal College of Art. Artist and teacher. Hughes taught at Chelsea College of Art and at Slade School of Art (1968--82). Co-founder of Systems Group, 1971. Exhibitions include Whitechapel Art Gallery, 1972, Hayward Gallery, 1975, Royal College of Art, 1988. His partner, the artist Jean Spencer, died in 1998.
Source: Barker, 1996. [Man2004]

David Hugo (b.1958)
Studied at Wolverhampton Polytechnic 1977--80, then at the Royal College of Art 1981--4. His first solo exhibition was at the Lanchester Gallery, Coventry. His work tends to contain references to the ancient and the scientific. He explores the links between science and religion, and mythology and discovery.
Sources: Spalding, F., 20th Century Painters and Sculptors, Dictionary of British Art, VI, Woodbridge, Suffolk, 1990; Arts Review: [i] vol.41, 27 January 1989 [ii] vol.40, 23 September 1988; Mead Gallery, Between Scylla and Charybdis: David Hugo, University of Warwick, 1988. [WCS2003]

Samuel Hull (active 1850s)
Leicester-based stonemason. [LR 2000]

Kenny Hunter (b.1962)
Born in Edinburgh, he studied at GSA, 1983--7, and has exhibited widely in the UK, France and Scandinavia, including the major shows Hyperboreans, Glasgow (1992) and Work 1995--1998, Bristol (1998). Winner of the Benno and Millie Schotz Award in 1991, his public work outside Glasgow includes Four Youths, Hamilton (1998) and Interalia Stevenson Trail, Sunderland (1995). His most recent commission, a full-size statue of Christ entitled Man Walks Among Us (2000), was awarded by Glasgow City Council to mark the Christian Millennium. His work is represented in the collections of the SAC, the British School in Athens, the SNPG, and GOMA.
Sources: Grant and Maver, pp.40--6; Kenny Hunter, Work: 1995--1998 (ex. cat.), Arnolfini, Bristol, 1998, p.32. [G2002]

Thomas Huson (1844--1920)
Born in Liverpool, he was principally a landscape and genre painter and engraver. He began as an analytical chemist, pursuing his career as an artist in his spare time. He exhibited frequently at the WAG (he is listed 116 times) and at many other venues, including, from 1871, nine times at the RA. In 1881, he was elected a member of the Royal Society of Painter-Etchers and Engravers and, in 1883, a member of the Royal Institute of Painters in Water Colours. In 1894 he published Round about Snowdon and in 1895 Round about Helvellyn.
(sources: Johnson & Greutzner, 1976; Waters, 1975) [L1997]

R.C. Hussey (1802--1887)
Trained as an architect, he became Thomas Rickman’s partner in 1835 and together they built or made alterations to five churches, one asylum and two houses, one of which was Castle Bromwich Hall. Rickman retired in 1838, leaving the practice entirely to Hussey.
1. H. Colvin, Biographical dictionary of British architects 1600--1840, London, 1978, pp.689--93. [B1998]

John Hutton (1906--78)
A self-taught artist, glass engraver and teacher, Hutton was born in New Zealand and attended school at Wanganui Collegiate School. He came to London and taught mural painting at Goldsmith’s College School of Art, later becoming Chairman of the Society of Mural Painters and, in 1975, joining the Art Workers’ Guild. He is primarily noted for his permanent works in public locations, which include a screen for Coventry Cathedral and doors for Guildford Cathedral. His murals and glass engravings were also installed on the Orient Line ship Orcades and the Cunard liner Caronia. Exhibitions include the Arts Council, and his work is in the collection of the Victoria and Albert Museum.
Sources: Brentnall, Margaret, John Hutton, artist and glass engraver, London, 1986; Hutton, John, Glass Engravings of John Hutton, London, 1969. [WCS2003]

John Hyatt
Painter, designer, print-maker, sculptor and writer. Exhibitions include Rochdale Art Gallery, 1984, British Art Show, 1986, Cornerhouse, Manchester, 1991 and Cleveland Art Gallery, 1999. A novel, Navigating the Terror, was published in 2000. Hyatt was Head of Department of Fine Arts, Manchester Metropolitan University, 1991--2002, and is now Head of the Manchester Institute for Research and Innovation in Art and Design (MIRIAD) at the university.
Source: artist. [Man2004]

Charles I’Anson (1924--83)
Born 28th October 1924 in Birmingham, died 20th March 1983, Ilkley, West Yorkshire. Educated at Handsworth Grammar School and then at Stafford Training College 1946--9, he was largely self-taught as a sculptor and first produced portrait heads and busts in a traditional style. In the late 1950s and early 60s he developed a welding technique which he termed ‘Direct Sculpture’, by which metal was shaped directly, rather than cast from a mould. During this period he worked with Lyn Chadwick. He also gave many lectures, particularly on children’s art, at various colleges including Birmingham and Aston Universities and the Birmingham School of Art. Head of the Art Department, King Charles I School, Kidderminster from 1963--6, he lectured at Bishop Lonsdale College of Education, Derby 1966--8 and then at Trinity and All Saints Colleges, Leeds until 1981. He received many commissions from schools, colleges, churches and other public buildings and his sculpture is represented in numerous public and private collections. His later work was based on a free and imaginative interpretation of animal and plant forms. Other work includes: Winged Symbol, Birmingham Museums and Art Gallery (early 1960s), in store; Pierced Hand, Bristol University Students’ Union Chapel, 1964; Dancing Fairies, Windmill Hill Primary School, Stourport-on-Severn 1965; Fighting Cocks, Royal Artillery Gamecock Barracks, Nuneaton 1967; Convoluted Forms, Wakefield City Art Gallery, 1970; Crucifix, Trinity and All Saints’ Colleges, chapel, Horsforth 1971; Awen, Cardiff Civic Centre 1975; Rampant Lion and Ermine, Minard Castle, Inverary, Argyll 1980. Exhibitions include: RWEA 1955--67; Paris Salon 1961; London Group, 1962; Monte Carlo 1966; Midlands Art Centre, Birmingham 1967; Tulip Festival, Birmingham 1976. FRSA 1956; RBS 1966; FRBS 1967, council member 1970--4.
1. Mail, 1st September 1967; 2. G.M. Waters, Dictionary of British artists working 1900--1950, Eastbourne, 1975, p.176; 3. International who’s who in art and antiques, 2nd edition, Cambridge, 1976, p.180; 4. WWA, Norwich, 1984, pp.237--8; 5. Letter from Mrs H. I’Anson, the artist’s widow, 11th July 1985. [B1998]

Graham Ibbeson (b.1951)
Graham Ibbeson was born in Barnsley, South Yorkshire, and trained in Fine Art at Trent Polytechnic, gaining a BA Hons (1st Class) in 1975. He went on to study sculpture at the Royal College of Art, gaining an MA in 1978. From 1978 to 1981 he worked as a part-time lecturer in the Fine Art Department of Leeds Polytechnic, and was awarded the Madame Tussauds Award for Figurative Art in 1978. Committed to portraying ‘real people’, Ibbeson explores basic human emotions in his figures. He uses humour as well as humanity to expose relationships, contrasting deception with trust, tranquillity with disorder, naïveté with sophistication. He specialises in depicting northern working-class life as he remembers it from his own childhood, often using his own family as models. His statue of Eric Morecambe attracted national attention when it was unveiled by the Queen at Morecambe in July 1999. From 1984 he has exhibited his work throughout the United Kingdom and at international venues. Solo exhibitions include Amsterdam (1993), Derby Museum and Art Gallery (1998) and Stratford-upon-Avon (1998). His work is in the collections of the British Council, the Victoria and Albert Museum, the London Toy Museum, and the Canadian Arts Council.
Sources: Superhuman Two, Nicholas Treadwell Publications, 1981; External Works, Landscape Promotions Ltd, 1998. [WCS2003]

Graham Ibbeson (b.1951)
Studied at Barnsley School of Art, Trent Polytechnic and the Royal College of Art. Since 1975 he has been represented by the Nicholas Treadwell Gallery, London, and has exhibited widely in Britain and abroad. He specialises in life-size comic genre scenes depicting everyday domestic incidents and northern working-class life as he remembers it from his childhood, often using his own family as models. Ibbeson once estimated that his wife Carol has been the model for 100 of the 300 figures he has produced in his career. His statue of Eric Morecambe attracted national attention when it was unveiled by the Queen at Morecombe Bay in July 1999.
[1] Northern Echo, 25 October 1990. [2] Buckman, p.635. [NE 2000]

Walter Ingram
Sculptor in Brussels and London. His 38 exhibits at the RA 1862--94 were portrait busts or works with mythological, religious and literary subjects. He also exhibited at the Grosvenor Gallery, the New Gallery and Suffolk Street.
[1] Graves, London Exhibitions, p.149. [2] Bénézit, vol.5, p.717. [NE 2000]

John Jackson (b. 1938)
Sculptor and teacher born in London. He studied at Walthamstow School of Art, Hornsey College of Art and Central School of Art and Design. He was head of sculpture at Batley School of Art and also taught at Maidstone College of Art, West Ham College, Loughton College of Further Education, Homerton College, Cambridge, and Cambridge School of Art. He was visiting artist at the University of Wisconsin, 1969--70 and 1976, and subsequently at Maidstone College of Art, the Universities of North Michigan, Mississippi, and South Dakota, USA, and Chesterfield School of Art. He has shown with the London Group and his work has been included in various mixed exhibitions such as the Leeds and Essex University Arts Festivals, 1966; ‘East Anglian Artists Today’, Royal Institute Galleries, 1969; and East Anglian Sculptors Exhibition, Ipswich Civic Centre, 1976. He has had solo exhibitions at Kettle’s Yard, Cambridge, and The Minories, Colchester. His publicly-sited sculptures include The Entrance, 1977, Wardown Park Recreation Centre, Luton, and Bedford, 1982, Sandy Upper School, Bedford.
Sources: Buckman, D., 1998; Strachan, W.J., 1984. [LR 2000]

John George Jackson (1799--1851)
Architect. Jackson was a pupil of P.F. Robinson, and was admitted to the Royal Academy Schools in 1817. He exhibited at the Academy from 1817 onwards and at the Society of British Artists in 1824 and 1831, when he set up in business in Leamington, where he designed the Jephson Gardens (1834), St Mary’s Church (1839--40) and the Victoria Bridge (1839--40). He also designed Gaveston’s Cross on Blacklow Hill (1832), a new chancel for Leek Wootton church (1843) and the north aisle of Lillington church (1847), all in Warwickshire.
Source: Colvin, Howard, Dictionary of British Architects 1600--1840, London, 1993. [WCS2003]

Philip Jackson (b. 1944)
Sculptor. Born Scotland. Educated at Farnham School of Art and worked for Henry Moore. Awarded Sir Otto Beit Medal in 1991, 1992 and 1993. In 1991 Jackson won the Mozart Bicentenary Sculpture Competition to provide a statue of the composer in Belgravia, London. Other public commissions include The Yomper (Eastney, Hampshire, 1992), Jersey Liberation Sculpture (St Helier, 1995), Wallenberg Monument (London, 1997; Buenos Aires, 1998), The Gurkha Monument (Horse Guards’ Avenue, London, 1997), Minerva (Chichester, 1997), Constantine the Great (York Minster, 1998), St Richard (Chichester Cathedral, 2000), The In-Pensioner (Royal Hospital, Chelsea, 2000) and George VI (Britannia Royal Naval College, 2002). An equestrian statue of Elizabeth II, commissioned by the Crown Estate for the Golden Jubilee, will stand in Windsor Great Park. Jackson is Fellow and Vice-President of the RSBS. He lives and works in Midhurst, West Sussex.
Source: Jackson, 2002. [Man2004]

Sir Thomas Graham Jackson (1835--1924)
Architect. Educated at Brighton College, Wadham College, Oxford. Articled to Sir George Gilbert Scott (1811--78) from 1858. Started independent practice 1861. Awarded Royal Gold Medal 1910. Fellow of Wadham College 1865--80, ARA 1892, Treasurer RA 1901--12. Bt. 1913. One of the principal Victorian proponents of the English Renaissance or Jacobean style, particularly in his Oxford Examination Schools. Published Small Gothic Architecture in 1873 which decried the influence of the Gothic Revival, despite his use of its motifs in the Ellesmere Memorial only four years previously.
Source: Felstead, 1993. [Man2004]

David Jacobson (b.1951)
Born in Windhoek, Namibia, David Jacobson studied at the Camberwell School of Arts and Crafts (1973--7). Since 1977, he has held one-man exhibitions in South Africa, Italy, New Orleans, Bath and London, as well as exhibiting in a large number of group exhibitions. He was the winner of the Barcham Green Printmaking competition (1978) as well as receiving the R.K. Burt Outstanding Printmaker award (1994) and the Wessex Watermark Award (1996). He has taught at several art colleges, including Camberwell School of Arts and Crafts, Chelsea School of Art and Birmingham Polytechnic. He is a past editor of Sculpture 108, the journal of the Royal Society of British Sculptors, of which he was elected a Fellow in 1995.
Source: information from the artist. [WCS2003]

Charles Sargeant Jagger (1885--1934)
Sculptor. Born in Sheffield. Jagger was apprenticed at the age of 14 to a metal engraver. After his apprenticeship he became a teacher of metal engraving at night school, passing the days studying sculpture. In 1907 the West Riding of Yorkshire awarded him a scholarship to the Royal College of Art, where he won a travel scholarship. On graduating he earned his living by becoming studio assistant to his former professor and by teaching at Lambeth Art School. In 1914 he was awarded the Prix de Rome for sculpture, but instead of travelling to Italy to further his studies he joined the Artists’ Rifles. He was wounded at Gallipoli and in France. He was awarded the Military Cross. He drew on these experiences to produce a series of stylised bronze pieces which led to commissions for war memorials. These include Portsmouth (1921), West Kirby (1922), St Michael and All Angels, Birmingham, the Anglo-Belgian Memorial, National War Memorial in Brussels, Royal Artillery Memorial, Hyde Park Corner, Tank Memorial, Cambridge and Great Western Railway Memorial, Paddington Station. Jagger could equally turn his skills to other sculpture, producing the relief Scandal, the triptych The Holy Roof made for the priory chapel of the Society for the Sacred Mission, Newark, and the statue of Sir Ernest Shackleton (Royal Geographical Society, South Kensington). He died of a heart attack in 1934.
Source: Compton, 1985. [Man2004]

Matthew Jarratt (b.1966)
Sculptor and designer of seats, lighting and landscapes. Trained at Sunderland University and at the University of Northumbria. Has held residencies in Durham prison, Tyne Dock Ship Repair Yard and Easington Colliery, and lectured at Newcastle College and University of Northumbria. In 1996 he became Sunderland’s Public Art Officer and two years later was seconded to Northern Arts as Visual Arts Officer. In 1999 he became Commissions Officer responsible for the new Commissions North agency, providing advocacy for the visual arts in the private and public sectors.
[1] Information provided by the artist, 1999. [NE 2000]

Alain John (1920--43)
John was a pupil at Blundell’s School in Devon. He joined the RAF as a navigator, and was killed during the Second World War.
Source: Herbert Art Gallery and Museum/City of Coventry Libraries, Arts and Museums Department, A Survey of Public Art in Coventry, Coventry, 1980. [WCS2003]

William Goscombe John (1860--1952)
Sculptor. Born in Cardiff, son of a wood-carver. Trained in London for an architectural carver, Thomas Nicholl, 1881--6 before studying at the South London Technical Art School. Entered the RA Schools where he won the gold medal and travelling studentship in 1889. He set up a studio in Paris for a year where he came under the influence of Rodin. Throughout the 1890s he exhibited ideal bronzes and in 1900 won a gold medal at the Paris International Exhibition for The Elf, Study of a Head and Boy at Play. As well as ideal and poetic works he received many commissions for public monuments, portrait busts and church memorials. John’s works include the King’s Liverpool Regiment Memorial (St John’s Gardens, Liverpool, 1905) and Engine Room Heroes Memorial (Pier Head, Liverpool, 1916). John was also responsible for many First World War memorials including Port Sunlight (1921) and The Response 1914 (Barras Bridge, Newcastle, 1923). Among his Welsh commissions were statues of Thomas Ellis (Bala, 1902), Charles Rolls (Monmouth, 1911), David Lloyd George (Caernarvon, 1921) and Archdeacon James Buckley (Llandaff, 1927). John was a member of the Art Workers’ Guild from 1891. He was elected ARA in 1899, RA in 1909 and knighted in 1911. He exhibited annually at the RA until 1948.
Sources: Beattie, 1983; Cavanagh, 1997; Usherwood, 2000. [Man2004]

Sir William Goscombe John (1860--1952)
Born in Cardiff, son of a wood-carver employed by the Third Marquess of Bute at Cardiff Castle. He worked for the architectural carver Thomas Nicholl, before training at the South London Technical Art School and at the Royal Academy. In 1889 he won the Academy’s Gold Medal and Travelling Scholarship. He travelled in Greece, Turkey and Egypt, before taking a studio in Paris. He returned to London in 1891. The influence of Rodin is particularly conspicuous in his statue of Morpheus (bronze, National Museum of Wales, Cardiff), but elsewhere, as in The Elf (bronze, 1898, Royal Academy of Arts, London) and Merlin and Arthur (bronze, 1902, Glynn Vivian Art Gallery, Swansea) John explores what became known as the ‘Celtic twilight’. He was immensely prolific in portrait busts, commemorative statuary, church monuments and, after the First World War, in war memorials. For Cardiff City Hall he executed the marble figure of St David (1916), and although his commemorative statuary is to be found in many locations, a high proportion of it in South Wales. A rare example of John’s architectural work can be found on the façade of Electra House, Moorgate, in the City of London (1902). He also carved the statues of Edward VII and Queen Alexandra (1906) for the Cromwell Road front of the Victoria and Albert Museum. He was knighted in 1911, the year in which he designed the regalia for the investiture of the Prince of Wales. He joined the Art Workers’ Guild in 1891, and was elected RA in 1909.
Sources: S. Beattie, The New Sculpture, New Haven and London, 1983; F. Pearson, Goscombe John at the National Museum of Wales, Cardiff, 1979. [CL2003]

Sir William Goscombe John (1860--1952)
The son of a Cardiff stone carver and sculptor to the Marquess of Bute, he trained with his father and at Cardiff School of Art before moving to London in 1882. Here he became an assistant to the architectural sculptor William Nicholls, and studied at Lambeth School of Art under W.S. Frith (q.v.) and the RA Schools. After winning a gold medal and a travelling scholarship in 1889, he completed his studies in the Paris studio of Antonin Mercié, 1890--1. He produced ideal bronzes and portrait busts, and received many public commissions, particularly in his native Wales, including David Lloyd George, Caernarvon (1921) and at least fourteen other commemorative bronzes. In 1905, he executed memorials to the King’s Liverpool Regiment, Liverpool, the Royal Army Medical Corps, Aldershot, and the Coldstream Guards, St Paul’s Cathedral. Also for Liverpool, he executed an equestrian Monument to King Edward VII (1916), the Engine Room Heroes Memorial (1916) and statues of King George V and Queen Mary on the Mersey Tunnel (1939). A member of the Art Workers’ Guild, he was elected ARA in 1899 and RA in 1909. He was knighted in 1911 and was awarded the RBS Gold Medal in 1924.
Sources: Spielmann, pp129--32; Gray; Fiona Pearson, Goscombe John at the National Museum of Wales, (ex. cat.), Cardiff, 1979; Beattie, p.245; Cavanagh, p.330--1; Stevenson (n.d.). [G2002]

Sir William Goscombe John (1860--1952)
Born in Cardiff, the son of a woodcarver. After his move to London he worked, from 1881--86, for an architectural carver and, from 1886--87, for C.B. Birch. Meanwhile he studied at the South London Technical Art School and then, from 1883, the RA Schools. In 1889 he won the RA gold medal and travelling studentship, visiting Sicily, North Africa, and Spain, before setting up a studio in Paris for a year, where he was influenced by his contact with Rodin. Throughout the 1890s he exhibited ideal bronzes and, in 1900, won a gold medal at the Paris International Exhibition for The Elf, Study of a Head, and Boy at Play. He received many commissions for public statues and portrait busts and also designed the regalia for the investiture of the Prince of Wales in 1911, the year in which he was knighted. He was a member of the Art Workers Guild from 1891 and was elected ARA in 1899 and RA in 1909. In 1942 he was awarded the gold medal of the RBS and continued to exhibit annually at the RA until 1948.
(sources: Beattie, 1983; DNB) [L 1997]

James Johnson (1699--1777)
Johnson was a member of a family of stonemasons at Stamfordham, Northumberland, as a gravestone in the churchyard there indicates. His most important works are the replacement apotropaic figures on the battlements at Alnwick Castle for the 1st Duke of Northumberland. These are said to have ‘engaged him upward of twenty years’. On stylistic grounds it seems likely that the statue at Lady’s Well and the summer house designed by Robert Adam for the Duke of Northumberland at Hulne Priory are also by him.
[1] Sykes, p.197. [NE 2000]

Kevin Johnson
Artist and sculptor. Kevin Johnson (Dalton-Johnson) is an artist and teacher. Member of Black Arts Alliance. The Moss Side commission was his first public sculpture. Group exhibitions at Manchester Metropolitan University, Lowry Centre, Salford and Zion Centre, Hulme, Manchester.
Source: artist. [Man2004]

Allen Jones (b.1937)
Painter and sculptor. Born in Southampton, he studied at Hornsey College of Art from 1955--59 and afterwards at the Royal College of Art. He has taught in Germany, Canada, the UK, and the USA. Jones first came to prominence in the 1960s as a Pop artist, producing work notable for its erotic content. His first international exhibition was at the 1961 Paris Biennale where he gained the Prix des Jeunes Artists. The first retrospective of his painting was in 1979, starting at the WAG and then touring England and Germany. He was elected RA in 1986.
(sources: Chelsea Harbour Sculpture 93; Who’s Who 1993) [L 1997]

Colin Edward Lawley Jones (b. 1934)
Constructivist sculptor and designer born in Worcester. He studied at Malvern School of Art, 1955--7, and Goldsmiths’ School of Art, 1957--60 (where he was taught by Kenneth Martin). At Stafford College of Art, he was a lecturer, 1961--4, and, at Leicester Polytechnic, he was senior lecturer in the School of Fine Art, 1964--83, and Head of the Drawing Centre, 1983--9. In later years he was visiting lecturer at Cranfield Institute of Technology, Gwent College of Higher Education, Peterborough Regional College, the University of East London, De Montfort University, the University of Leicester, and Ulster University. His work has been shown in a number of exhibitions including, ‘The Geometric Environment’, AIA Gallery, 1962; ‘Construction England’ (Arts Council touring exhibition), 1963; ‘Relief Structures’, Institute of Contemporary Art, 1966; ‘Systems’ (Arts Council touring exhibition), 1972; Düsseldorf International Art Fair, 1974 and 1975; ‘Sequences’ (tour), West Germany, 1976; ‘Constructivism Today’, Gardner Centre, Sussex University, 1978; ‘Diverse Approaches to a Structured Art’, Saarbrucken (and German tour), 1986; and ‘Creativity and Cognition’ (exhibition and conference), Loughborough University, 1993. In 1964 Jones won a prize in the Leeds Sculpture Competition at the Merrion Centre. His commissions include Neon Light Sculpture, Phoenix Arts Centre, Leicester (with Arts Council grant), 1980--1, and Neon Sculpture, Sharespace Shopping Arcade, Nottingham, 1984--5.
Sources: information from the sculptor; Buckman, D., 1998; L. Mercury, 11 November 1983; Spalding, F., 1990; Strachan, W.J., 1984. [LR 2000]

Francis (sometimes Franklin) William Doyle Jones (1873--1938)
A London-based sculptor, he trained with Édouard Lantèri and specialised in war memorials and portrait busts. His South African War memorials include those for Middlesbrough (1904), West Hartlepool (1905) and Penrith (1906). Other public works include several monuments: Captain Webb at Dover (1910), Robert Burns at Galashiels (1914), T.P. O’Connor, Fleet Street (1934) and Edgar Wallace, Ludgate Circus (1934). He exhibited at the RA 1903--36.
Source: Usherwood et al. [G2002]

Francis William Doyle Jones (1873--1938)
Francis (sometimes given as Franklin) Doyle Jones lived in London and trained with Édouard Lantèri. He specialised in war memorials and portrait busts. His South African War memorials include those for Middlesbrough (1904), West Hartlepool (1905) and Penrith (1906). His public works include monuments to Captain Webb at Dover (1910), Burns at Galashiels 1914, T.P. O’Connor, Fleet Street 1934 and Edgar Wallace, Ludgate Circus 1934. He exhibited at the RA 1903--36.
[1] The Times, 11 May 1938. [2] PSoB, p.190. [NE 2000]

Jonah Jones (1919--c.1980)
Born in Durham in 1919, he trained as a sculptor and letter-carver with Eric Gill and later taught for a brief period as Director of the National College of Art and Design in Dublin. In the 1950s his work was often figurative and simplified ‘in order to express a clear idea of its form and stress the solidity of the material’. Later sculptures demonstrated a concern with architecturally derived shapes and the investigation of contrast and balance in their arrangement. His public commissions in Wales include: The Princess, Aberffraw, Anglesey 1968; Mercy and Justice, Law Courts, Mold; A Oes Heddwch, a peace sculpture at Emrys ap Iwan School, Abergale. Carved busts include: Sir Clough Williams Ellis; Bertrand Russell; Sir O.M. Edwards; Sir Huw Wheldon. Major inscriptions in slate include: Dylan Thomas and David Lloyd George in Westminster Abbey. Author of A Tree May Fall, 1980 and The Lakes of North Wales, 1983.
1. Welsh Sculpture Trust, Sculpture in a country park, Margam, Wales, exh.cat., 1983, pp.48--51. [B1998]

Karin Jonzen (1914--98)
Born Karin Löwenadler, to Swedish parents living in London. She showed an early propensity for cartooning, and was sent by her father to the Slade. Here she was won over to sculpture, her interest fostered by the professor of sculpture at the school, Alfred Gerrard. She went on to the City and Guilds School of Art, where she learned to carve. A first attempt at the Slade’s Prix de Rome in 1937 was unsuccessful, but after a year spent at the Royal Academy in Stockholm, she returned to London and, in 1939, won the prize with a Pietà. This enabled her to spend two years in Rome. Towards the end of the Second World War, she married an Anglo-Swedish painter Basil Jonzen. By this time she had discovered her preferred style of work, naturalistic, but simplified nudes and portraits, usually modelled in clay, showing a sensitivity to the way light plays over form, and with features, as she put it, ‘expressive of an inner life’. The youthful female figure in terracotta, which she showed at the Festival of Britain in 1951, was representative of these ambitions. Other commissions came in the 1950s from the Arts Council and from the Corporation of the City of London. Her portraits included a number of famous people of the time, such as Ivor Novello, Ninette de Valois, Sir Hugh Casson, and Malcolm Muggeridge. Interest in Jonzen’s work, which had faded somewhat in the mid-sixties, revived when the Messum Gallery put on a retrospective exhibition in 1994.
Sources: Karen Jonzen -- Sculptor, with introduction by Carel Weight, London, 1976; Obituaries in The Times, 31 January 1998, Daily Telegraph, 6 February 1998. [CL2003]

Karin Jonzen (1914--98)
Sculptor and teacher, born Karin Löwenadler of Swedish parents on 22 December 1914 in London. In 1944 she married artist and dealer Basil Jonzen (died 1969) and then in 1972 the Swedish poet Ake Sucksdorff. As a child her comic drawings impressed her father sufficiently for him to send her to the Slade School of Fine Art (1933--6), hoping she might become a Punch cartoonist. She aspired to a more serious line of work, however, and spent much time studying in the British Museum and National Gallery; furthermore she won both the painting and sculpture prizes and in 1936 was awarded a scholarship for a fourth year which she spent at the City and Guilds School, Kennington. In 1939 she was at the Royal Academy, Stockholm, and in the same year won the Prix de Rome, although the Second World War -- in which she served as an ambulance driver -- prevented her from going to Italy. She was invalided out with rheumatic fever and during her recuperation became convinced that modernism -- which she believed ‘did violence to the human form’ -- was not the correct way forward; from this time she was to adopt a more classical style. Jonzen was elected a fellow of the Royal Society of British Artists in 1948. She had a solo exhibition at the Fieldbourne Galleries, 1974, exhibited at the Royal Academy from 1944, and also showed in various group and mixed exhibitions. She died 29 January 1998. Examples of her work are in the National Portrait Gallery; the Victoria and Albert Museum; and the Bradford, Brighton, Glasgow and Southend art galleries. Her public commissions include The Gardener, 1971, Brewer’s Hall garden, by London Wall; Beyond Tomorrow, 1972, Guildhall Piazza; and Bust of Samuel Pepys, 1983, Seething Lane Gardens, all bronze and in London.
Sources: Buckman, D., 1998; The Independent, 2 February 1998, p.16 (obituary); Spalding, F., 1990; The Times, 31 January 1998, p.25 (obituary); Waters, G.M., 1975; Who’s Who 1998. [LR 2000]

Samuel Joseph (1791--1850)
He was a pupil of Peter Rouw, and entered the Royal Academy Schools in 1811, where he won two Silver Medals, followed by a Gold Medal in 1814, for a group entitled Eve Supplicating Forgiveness. In 1823 he went to Edinburgh, where, in 1826, he became a founding member of the Royal Scottish Academy. In 1825 he returned to London. Despite the quality of his portraiture, he received little critical attention. He suffered bankruptcy in 1848, and was forced to sell all his belongings. He died leaving seven children and very little money, though the Royal Academy granted a pension to his widow. Joseph’s most celebrated work is the portrait statue commemorating William Wilberforce (1838) in Westminster Abbey, an astonishingly naturalistic representation of its subject in old age. A less familiar image is the statue of the painter David Wilkie, now held in the reserves of the National Gallery.
Source: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1951. [CL2003]

Albert Bruce Joy [see Bruce-Joy]

Theodor Kalide (1801--63)
German sculptor trained at the Königliche Eisengiesserei in Gleiwitz and under Coué in Berlin. In 1821 he joined Christian Daniel Rauch’s studio where, under his influence, he produced several large animal sculptures such as Sleeping Lion. From 1826 until 1830, Kalide worked on equestrian statuettes, such as Frederick William II (after the model by Emanuel Bardou) and Frederick William III (both at the Schloss Charlottenburg in Berlin). His most popular works include the life-size bronze group Boy with a Swan (1836), which was installed on the Pfaueninsel in Berlin as a fountain. Although he achieved widespread recognition with his almost life-size marble figure Bacchante on the Panther (1848, Berlin, Schinkelmuseum), the work was perceived as shocking on account of the figure’s provocative pose and, as a result, Kalide received few new commissions after this date.
Source: Jutta von Simson, ‘Theodor Kalide’, Grove Dictionary of Art Online, Oxford University Press, accessed 24 March 2004, www.groveart.com [SBC2005]

Amerjit Kaur Kalwan
Loughborough-based sculptor. She spent her foundation year (1993) at Stourbridge College of Art and Design before going on to Loughborough College of Art and Design where she achieved a BA (Hons) in sculpture (1997). [LR 2000]

William Keay -- see Everard and Pick. [LR 2000]

Johan Keller (1863--1944)
Born in The Hague, he was able, through the success of his father’s novels, to study there and in Rotterdam, and to travel widely before settling in Glasgow as Professor of Sculpture at GSA, 1898. A key exponent of the Glasgow Style, he produced portraits and architectural sculpture, often in collaboration with Albert Hodge (q.v.) and the architects James Salmon Junior and J. Gaff Gillespie (see Salmon, Son & Gillespie). His statue of Dr John Gorman, Rutherglen (1901) represents a return to a more conventional style. He lived at Albany Chambers, Sauchiehall Street, 1898, and The Glen, Helensburgh, 1915, before returning to Holland where he spent the latter part of his life. He exhibited at the RGIFA, 1898--1915, and the RSA, 1899--1911.
Sources: GSA Reports, 1898--1911; AA 1905^I, p.120; Eyre-Todd (1909), pp.104--5; Mackay; Billcliffe. [G2002]

Brian Kelly (b.1958)
Born in Paisley, he studied painting at GSA, 1976--80, and was awarded a postgraduate diploma in 1981. He has been involved with public art projects since 1979, and produced several gable end murals in and near Glasgow in the early 1980s, as well as interior and exterior work for a variety of commercial and community organisations. He was one of six Glasgow artists collaborating on the Easterhouse Mosaic (1982--4), a serpentine wall decoration commissioned by the Easterhouse Festival Society and measuring 3.5m x 61m. More recent murals include a series of six panels in Antonine Park, Dalmuir (1992) and a commission for Clydebank, 1994--5, combining three mosaic panels with six bronze sculptures. In addition to his public work, he has also contributed regularly to group exhibitions at various galleries in Scotland, including Transmission, Glasgow (1985 and 1987), and the Smith Museum, Stirling (1978, 1985 and 1986). He has worked as a part-time tutor at GSA, Duncan of Jordanstone College of Art, Dundee and Chelsea School of Art, and since 1990 has been a full-time lecturer at GSA.
Sources: Carrell, p.11; Ray McKenzie, The Eye of the Storm, Stirling, 1986 (ex. cat.), p.16; Guest and Smith, p.18; information provided by the artist. [G2002]

Charles Samuel Kelsey (1820--after 1882)
Son and assistant to the architectural sculptor James Kelsey, he had already been exhibiting at the Royal Academy for two years when he entered the Royal Academy Schools, on the recommendation of the painter William Etty. His Royal Academy exhibit of 1840 was a figure of St Michael ‘forming part of a monument’. As well as church monuments and architectural sculpture, Kelsey produced historical and ‘ideal’ works. At the Westminster Hall Exhibition of 1844 he showed a statue of the Earl of Shrewsbury in armour, and one of the Venerable Bede, and at the Royal Academy in 1846, he exhibited a Greek Youth Examining his Sword. From 1848, his and his father’s work seems to have been carried on both in Liverpool and London. C.S. Kelsey worked on the now demolished Royal Insurance Building, and contributed decorative sculpture to St George’s Hall. In London he carved the rather stiff allegories of Cities over the central avenue of Horace Jones’s new meat market at Smithfield (1868). In 1870 he provided one of the bronze reliefs for the same architect’s Temple Bar Memorial. He submitted estimates, without success, to the City engineer, William Haywood, for work on the Holborn Viaduct in 1867, and was one of the unsuccessful competitors for the relief panels on the outside of St George’s Hall, Liverpool in 1882. In a letter of 3 September 1853, to the City Architect J.B. Bunning, Kelsey described himself as a freeman of the City and a member of the Clothworkers’ Company.
Sources: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968; T. Cavanagh, Public Sculpture of Liverpool, Liverpool, 1997; CLRO Holborn Valley Improvement Papers and Papers of the Committee Relating to the Late Duke of Wellington, Misc.Mss-208-1. [CL2003]

Charles Samuel Kelsey (1820--after 1882)
He entered the RA Schools on the advice of the painter, William Etty, in 1843, winning a Silver Medal in 1845. He exhibited at the RA from 1840 to 1877. In 1846 the Society of Arts awarded him a Silver Medal for a design for an admission ticket to the Society’s rooms. His first known commission in Liverpool was in 1848 for the sculpture above the doorway of the Royal Insurance Building, North John Street (demolished). His publicly-sited work outside Liverpool includes two large stone figures of women outside Smithfield Market, London (1868), and a relief, Queen Victoria and the Prince of Wales attending a thanksgiving service in St Paul’s following the latter’s recovery from typhoid, Temple Bar Memorial, Strand (1880). He is last heard of in 1882 when, as an unsuccessful entrant in the St George’s Hall relief panels competition, he writes to the Builder (22 July 1882: 126) and recalls the work that he executed as assistant to his father, James Kelsey, who had been employed by Elmes: together, he states, they made ‘the full-size models in London for the Corinthian capitals and other portions of architectural sculpture’. Subsequently, in 1849, after a brief hiatus following Elmes’ death, he was re-employed in his own right and was given studio space in the Hall, completing his work in 1856 under Cockerell’s superintendence.
(sources: Builder, 22 July 1882; Gunnis, 1951) [L 1997]

David Kemp (b. 1945)
Sculptor. Born in Walthamstow, spent early childhood in Canada. Educated at Farnham and then Wimbledon School of Art, 1967--72. Painter and sculptor who uses found objects and recycled scrap metal in his public sculptures. Works include Deerhunter (Grizedale Forest, 1982), Iron Horse (Newcastle upon Tyne Civic Centre, 1982), Lower Orders (Yorkshire Sculpture Park, 1982), The Old Transformers: The Miner (Co. Durham, 1990), King Coal (Pelton Fell, Co. Durham, 1992), Navigators (London Bridge, London) and Tropic Trader and Industrial Flame Plants (Eden Project, Cornwall). Kemp has lived in Cornwall since 1972. A book on his sculpture, Things Reconstructed (Penzance: Alison Hodge) was published in 2002.
Sources: artist; Cavanagh, 1997. [Man2004]

David Kemp (b.1945)
Sculptor, born in Walthamstow. Served in the Merchant Navy 1963--7 and then attended Farnham and Wimbledon art schools 1967--72. He had his first one-man exhibition in 1970 at the Newlyn Orion Gallery, Penzance, moving to west Cornwall in 1973. Resident sculptor at Grizedale Forest in 1981--2 and at Yorkshire Sculpture Park in 1983. His public sculptures, usually assembled from found objects, recycled scrap metal, etc., include Lower Orders, Yorkshire Sculpture Park (1983) and The Navigators, Hays Galleria, London Bridge. His studio was destroyed by vandals in 1995 but he has since gone on to show in ‘A Quality of Light’, Tate St Ives, 1997.
[1] PSoL, p.351. [2] Buckman, p.687. [NE 2000]

David Kemp (b. 1945)
Sculptor, born in Walthamstow. He was in the Merchant Navy, 1963--67, after which, from 1967--72, he attended Farnham and then Wimbledon schools of art where he was awarded a Diploma in Fine Art. He had his first one-man exhibition in 1970 at the Newlyn Orion Gallery, Penzance, and in 1973, moved to west Cornwall. He was resident sculptor at Grizedale Forest in 1981--82 and at Yorkshire Sculpture Park, Bretton Hall, in 1983. His public sculptures, usually assembled from found objects, recycled scrap metal etc, include Deerhunter (1982, Grizedale Forest), Iron Horse (1982, Newcastle upon Tyne Civic Centre) and Lower Orders (1983, Yorkshire Sculpture Park).
(sources: Festival Sculpture, 1984; Strachan, 1984) [L 1997]

Jake Kempsell (b.1940)
Scottish sculptor and teacher, born in Dumfries and educated at Edinburgh College of Art, where he graduated with a postgraduate diploma in 1965. He had his first solo show at the Richard Demarco Gallery, Edinburgh, in 1970, and was represented at the British Art Show in 1979--80. Since then he has exhibited widely in Scotland, England and Wales and undertaken numerous public commissions. He was a founder member of the Scottish Sculpture Trust and a director of Workshops and Artists’ Studio Provision Scotland (Wasps) until 1983. In 1982 he was invited to join the Faculty of Sculpture at the British School in Rome, and was Faculty Visitor there in 1985. He was Director of Sculpture at Duncan of Jordanstone College of Art, Dundee, from 1975 to 2000.
Sources: Jake Kempsell,Voids and Constellations, Dundee, 1997 (ex. cat.); information provided by the artist. [G2002]

Thomas Henry Kendall
He assisted James Willcox to produce the colossal buffet at Charlecote Park in the mid-nineteenth century. Willcox, wood-carver and gilder, worked in Chapel Street, Warwick, in the 1840s and 1850s, but it seems likely that Kendall had taken over the business by the early 1860s. In 1864, he was described as a wood-carver, designer and furniture manufacturer, having been awarded two prize medals in the International Exhibition of 1862. Kendall was probably a member of the Kendall family of wood- and stone-carvers from Exeter.
Sources: Kelly’s Directory of Warwickshire 1845, 1850, 1864; Slater’s Directory of Warwickshire, 1854. [WCS2003]

Eric Kennington (1888--1960)
Kennington, the son of the painter Thomas Kennington, trained at Lambeth School of Art and the City and Guilds School. In 1908 he exhibited at the RA, and also showed at the Leicester Galleries, the Fine Art Society, the Goupil Gallery, ROI and RP, and was elected RA in 1959. On the outbreak of the First World War, Kennington enlisted with the 13th London Regiment. He fought on the Western Front but was badly wounded, sent home in June 1915, and invalided out of the Army. In August 1917, he was employed by the War Propaganda Bureau as a war artist. After the war, he designed many war memorials and depictions of soldiers in action. In 1922 Eric Kennington went with T.E. Lawrence to Arabia, where he illustrated The Seven Pillars of Wisdom. In subsequent years he was to draw many studies of Lawrence. Kennington was also an official artist during the Second World War. During this war he confined himself chiefly to pastel portraits of sailors and airmen, his book of portraits Drawing the RAF being published in 1942. His commissions include the British Memorial at Soissons, France, following the First World War, and the memorial at Battersea Park to the 24th Division. Other major works include the head of T.E. Lawrence (St Paul’s Cathedral, London) and carvings on the Royal Shakespeare Memorial, Stratford-upon-Avon inspired by the calendar carvings on Chartres Cathedral.
Source: Kennington, Eric, Eric Kennington R.A.: Official War Artist 1914--18 and 1939--45, London 1985. [WCS2003]

Eric Henri Kennington (1888--1960)
Born in Chelsea, London, son of the painter T.B. Kennington, he studied at Lambeth School of Art and at the City and Guilds School of Art, London, becoming a painter and sculptor of portraits and ideal work. He served in the First World War, 1914--15, and became an Official War Artist, 1916--19, and again in 1940--3. A friend and travelling companion of T.E. Lawrence, he executed his effigy at Wareham Church, Hants, and exhibited a bust of Lawrence at the Empire Exhibition, Glasgow, 1938 (no.224a). He also executed sculpture at the Shakespeare Memorial Theatre, Stratford-upon-Avon (1928) and the Monument to Thomas Hardy at Dorchester, Dorset (1931). He exhibited at the RA from 1908, and the RSA from 1948. Elected ARA in 1951, and RA in 1959.
Sources: Darke, pp.96--7, 160; Mackay; Nairne and Serota, p.255. [G2002]

Eric Henri Kennington (1888--1960)
Born in Chelsea, he was the son of a painter. Following a mediocre academic record at school, he was encouraged to go to Lambeth School of Art and then to the City and Guilds School, Kennington. His early success was as a painter of portraits, cockney types, and London scenes. He enlisted for service in the First World War, but was invalided out in 1915, later returning to the front as an official war artist. He continued to paint after the war, taking up sculpture only when his old regiment (the 24th East Surrey Division) needed a war memorial; the result, a stone carving of three infantrymen, was erected in Battersea Park in 1924. He also executed the British Memorial at Soissons in 1927--28. Other sculptures by him include the carvings in the School of Hygiene and Tropical Medicine in Gower Street, London; a bronze memorial head of Thomas Hardy at Dorchester; and the recumbent effigy of his friend T.E. Lawrence for St Martin’s, Wareham. He was again an official war artist during the Second World War. He was elected ARA in 1951 and RA in 1959.
(sources: DNB; Gleichen, 1928) [L 1997]

Jonathan Kenworthy (b. 1943)
Born in Westmorland, Kenworthy showed early promise as a sculptor. He entered the Royal Academy Schools in 1961. He combined the study of art with attendance at courses in animal anatomy at the Royal Veterinary College. Stone carvings by him were shown at the RA in 1964. Using the RA’s Gold Medal Travelling Scholarship, he made his first visit to Africa. These safaris, repeated every year, provided him with the inspiration for his animal sculpture. He had his first one-man show in London in 1965. In 1977 he visited Nepal and Afghanistan. In Afghanistan, he made sketches of horsemen participating in the game of Buskashi, from which he developed a series of bronzes. Since then he has produced a further series, representing the desert nomads of East Africa. Kenworthy sculpted a memorial to Ernest Hemingway for Ketchum (Idaho), the author’s burial place.
Source: Wates’ Sculpture and the Built Environment, undated, London. [CL2003]

William Day Keyworth (1843--1902)
The son of a sculptor of the same name, he trained at the Mechanics’ Institute, Hull and at South Kensington before being elected RA in 1863. Based in his home town for much of his life (and always referred to as ‘of Hull’), he executed a number of portrait statues in marble and bronze of Hull worthies including Andrew Marvell (1867), William de la Pole (1868) and William Wilberforce (1883). Several examples of his architectural statuary can be found in the city (Britannia, Exchange Buildings; Minerva, Science and Art, Royal Institution and others). He executed numerous privately commissioned portrait busts, ideal figures and monumental effigies, but perhaps his best-known work is in Westminster Abbey, the National Memorial bust of Sir Rowland Hill, originator of the Penny Post (1881).
[1] Tindall Wildridge, Hull Sculptors: A Brief Note upon Loft, Earle, the Two Keyworths, and Mason with a Comprehensive Biography of William Day Keyworth, Hull, 1889. [2] Hull News, 16 August 1902, p.9. [NE 2000]

Richard Kindersley (b. 1939)
The son of the letter-carver, David Kindersley, he trained at Cambridge School of Art, and in his father’s studio. In 1966, he set up his own studio in London. Since then he has had major lettering and graphics commissions for many public and private bodies, and has carved inscriptions for churches throughout Britain. Since 1980, when he created his sculpture The Seven Ages of Man for Baynard House on Queen Victoria Street, Kindersley has figured prominently in the City of London’s public spaces. A work which lies outside the scope of this volume is the Gallipoli Memorial, designed by Kindersley, inaugurated in St Paul’s Cathedral in 1995. Outside London, Kindersley has produced a number of wall reliefs, which allude to the historical associations of their sites. A series of reliefs in Cross Street, Basingstoke, which he executed in red Lazenby stone in 1992, illustrates the town’s European connections. In Market Harborough, a brick relief, inaugurated in 1993 on the exterior wall of the Sainsbury’s store, built on the site of the old cattle market, alludes to the agricultural activities of the surrounding countryside.
Sources: Richard Kindersley’s Website on the Internet; T. Cavanagh and A. Yarrington, Public Sculpture of Leicestershire and Rutland, Liverpool, 2000. [CL2003]

Richard James Kindersley (b.1939)
Kindersley trained at Cambridge School of Art, and in his father, David Kindersley’s studio. In 1966 he set up his own studio in London producing sculptural works and lettering. He has made sculptural pieces for British Telecom and Sainsbury’s as well as a number of ecclesiastical pieces. He has also created lettering or graphic works for St Paul’s Cathedral, Westminster Abbey and London Bridge, as well as works for major shopping centres, universities and court buildings.
Source: Archive, Crafts Council curriculum vitae. [WCS2003]

Richard Kindersley (b. 1939)
Sculptor and letterer born 14 May 1939 in London. He studied at Cambridge School of Art and in the studio of his father, David Kindersley. He set up his own studio in London in 1966. His commissions include sculptural work for Exeter University, British Telecom, Lloyds Register of Shipping, and Christies’ Fine Art, as well as numerous lettering schemes, including an inscription on permanent display at the Gallery of the 20th Century, Victoria and Albert Museum, intended to serve as a demonstration of modern craft skills. In 1998 he was commissioned to produce a major piece of public art for London’s Jubilee Line extension. Kindersley has had exhibitions at the Mall Gallery, London; Winchester Art Gallery; Bath City Art Gallery; and the Scottish Gallery, Edinburgh.
Source: information from the sculptor. [LR 2000]

A.E. King (active c.1899 -- c.1928)
Loughborough-based architect, operating alone from c.1899 and then from c.1912 -- c.1928 as A.E. King & Co.
Sources: Kelly’s Directory of . . . Leicester and Rutland (edns from 1899--1928). [LR 2000]

Phillip King (b. 1934)
Sculptor born 1 May 1934 in Kheredine, Tunisia; he moved to England with his family in 1946. After studying modern languages at Cambridge University, 1954--7, he entered St Martin’s School of Art, training as a sculptor under Anthony Caro, 1957--8. In 1959--60 he worked as an assistant to Henry Moore, and briefly to Eduardo Paolozzi. He taught at St Martin’s, 1959--80, during which time he was also visiting lecturer at Bennington College, Vermont, 1964, Slade School of Fine Art, London, 1967--70, and Hochschule der Künste, Berlin, 1979--80. From 1980--92 he was Professor of Sculpture at the Royal College of Art. Having worked initially in clay and plaster, from 1960 King began producing work in fibreglass and metal, and then, from the late 1960s, in metal, wood and slate. His first solo exhibition was in 1957 at Heffer’s Gallery, Cambridge, his first London solo exhibition at the Rowan Gallery, 1964, and his work was included in the influential ‘New Generation’ exhibition, Whitechapel Art Gallery, 1965. He has had retrospectives at the Whitechapel Art Gallery, 1968; Hayward Gallery, 1981; the Yorkshire Sculpture Park, 1992; and the Forte di Belvedere, Florence, 1997. His commissions include Diamond Sculpture and Steps Sculpture, both 1974--5, for C. & J. Clarke, Street, Somerset; Cross-bend, 1978--80, for the European Patent Office, Munich; and Clarion, 1981, for Romulus Construction Ltd, London. He was awarded the CBE in 1974 and was elected ARA in 1977, RA in 1991, and PRA in 1999.
Sources: Buckman, D., 1998; Cerrito, J. (ed.), 1996; Hilton, T., 1992; Nairne, S. and Serota, N. (eds), 1981; Royal Academy of Arts, 1972; Spalding, F., 1990; Strachan, W.J., 1984; Whitechapel Art Gallery, 1965; Who’s Who 1999. [LR 2000]

Phillip King (b. 1934)
Born in Tunisia, he came to England in 1946. After studying modern languages at university, he entered St Martin’s School of Art, training as a sculptor under Anthony Caro, 1957--58. In 1959--60 he worked as an assistant to Henry Moore, and briefly to Eduardo Paolozzi. He taught at St Martin’s, 1959--78, during which time he was also visiting teacher at Bennington College, Vermont (1964), and Hochschule der Künste, Berlin (1979--80). In 1980--92 he was Professor of Sculpture at the Royal College of Art. Having worked initially in clay and plaster, from 1960 King began producing work in fibreglass and metal, and then, from the late 1960s, in metal, wood and slate. His first one-man exhibition was in 1964 at the Rowan Gallery, London, and he was one of the ‘New Generation’ sculptors who exhibited at the Whitechapel Gallery in 1965. His commissions include sculptures for C & J Clarke, Street, Somerset, 1972; the European Patent Office, Munich, 1978; and Romulus Construction Ltd, London, 1979. He was awarded the CBE in 1974 and was elected ARA in 1977 and RA in 1991.
(sources: Chelsea Harbour Sculpture 93; Nairne & Serota, 1981; Spalding, 1990) [L 1997]

William Charles Holland King (1884--1973)
Born in Cheltenham, King attended the Royal Academy Schools, where he won the Landseer scholarship. From 1910 onwards, he exhibited regularly at the Royal Academy. King, who worked in the classical tradition, lived in Ventnor on the Isle of Wight. He was a specialist in portrait sculpture, and won the Royal Society of British Sculptors’ gold medal in 1954. He was president of the Society from 1949 until 1954.
Sources: Buckman, D., Dictionary of Artists in Britain since 1945, Bristol, 1998, p.699; MacKay, J., Dictionary of Western Sculptors in Bronze, Woodbridge, 1977, p.209. [SBC2005]

Raymond Forbes Kings (1924--81)
Born in Birmingham, 17th September 1924, he died in Bromsgrove, 5th November 1981. Studied at Moseley School of Arts and Crafts until 1940 when he became apprenticed to William Bloye until 1942. After a period of war service, he moved to Castle Bromwich and continued to work with Bloye until 1960, collaborating on many architectural sculpture projects in Birmingham, London, Dublin and Baghdad. Kings started his own practice in Gravelly Hill, Erdington in 1960, beginning a period of greater creativity when his work became quite widely known. He taught part-time at Birmingham School of Art until 1967 when he moved to bigger studios in Bromsgrove. In 1979 he moved to Fernhill Heath, Worcestershire and here he designed and produced figurines and smaller pieces of sculpture and also developed his interest in architecture and local history. Kings’ freelance work from 1960 includes one of his most ambitious pieces, a 20--foot figure of Christ at St. Martin’s church, Sutton Road, Walsall 1960; stone carvings at St. Agnes of Monte Pulciano church, Walsall; Our Lady of the Angel church, Aldridge; St. Peter’s church, Bromsgrove; coat of arms, St. Winifred’s R.C. primary school, Castle Bromwich 1961--2; coat of arms, Marsh Hill Technical School. Inn signs include those at The Acorn, Coventry Road, Elmdon and The Arden Oak, Elmdon, c.1966. Other work includes Lions and Tablets, Synagogue, Pershore Road; stone restoration at the Guild Hall, Worcester 1978--80 and the Cardinal’s throne and coat of arms, Westminster Cathedral, London. Exhibited at the 18th International Galerie Exhibition, New York 1974. Member of the Guild of Catholic Artists, 1962; ARBS 1963.
1. Mail, 29th November 1960; 2. Letter from the artist’s son, John Kings, 13th November 1985. [B1998]

Shona Kinloch (b.1962)
Born in Glasgow, she studied sculpture at GSA, 1980--5, and now specialises in animal and figure sculptures. The winner of the Benno and Millie Schotz Award in 1985, and a Saltire Society Award in 1992, her work is represented in numerous public collections, including GAGM and the Lillie Art Gallery, Milngavie. In addition to her public works in Glasgow, she has work in Edinburgh, Kilmarnock, Loughborough and East Kilbride, where she lives. Among her most recent commissions is The Square Stars, Hamilton (1998). She has exhibited regularly throughout the UK since 1984, and her Seven Glasgow Dogs was a popular feature at the Glasgow Garden Festival in 1988.
Sources: Murray, pp.62--3; information provided by the artist. [G2002]

Shona Kinloch (b. 1962)
Figurative sculptor, born in Glasgow. She studied sculpture at Glasgow School of Art, gaining a BA (Hons) in Fine Art (Sculpture), 1980--4, going on to take postgraduate studies, 1984--5. As a postgraduate student ‘she became interested in the formal implications of anatomical exaggeration.’¹ She cites as her influences Maillol, Frank Dobson and Marino Marini. Public commissions include Seven Glasgow Dogs, Glasgow Garden Festival, 1988 (subsequently sold as individual pieces, three of them to the Kelvingrove Museum, Glasgow); As the Crow Flies for the ‘Milestones for Scotland’ programme, Woodlands, Glasgow, 1990; ‘Chookie Burdies’, Garenthill Lighting Project, Glasgow, 1993; Fission, Scottish Nuclear headquarters, East Kilbride, 1993; sculptures for Kilmarnock town centre regeneration programme (Four Twins, Foregate Square, 1994, Kilmarnock Swimmers and The Binmen, both King Street, 1994, and Twa Dogs, The Cross, 1995); and The Square Stars, Hamilton Town Square, 1998. In 1992 Kinloch was awarded the Saltire Society Art in Architecture Award.
Sources: information from the sculptor; Buckman, D., 1998; Shona Kinloch (Charnwood Borough Council leaflet), 1998.
Note: [1] Shona Kinloch (Charnwood Borough Council leaflet), 1998. [LR 2000]

John Lockwood Kipling (1837--1911)
Kipling practised as a modeller and later became the art director of the Burslem pottery firm Pinder, Bournbe and Hope. He won a National Scholarship, and attended the Department of Science and Art at South Kensington, where he was involved in modelling some of the terracotta decoration for the South Kensington Museum (now the Victoria and Albert). Soon after he and Robert Edgar jointly won a competition to alter the existing design by George B. Nichols for the Wedgwood Memorial Institute in 1863, Kipling took up a position at the Bombay School of Art, India. His son was the well-known author Rudyard Kipling (1865--1936).
Sources: Dawson, J., The Wedgwood Memorial Institute, Burslem, 1894; Pevsner, N., The Buildings of England: Staffordshire, Harmondsworth, 1974, p.254; Swale, A., ‘The Terracotta of the Wedgwood Institute, Burslem’, Journal of the Tiles and Architectural Ceramics Society, vol.2, 1987, p.22. [SBC2005]

Rick Kirby (b.1952)
Born in Gillingham, Kent, Kirby is a London-based figurative sculptor working mainly in metal. His commissions include the large-scale work Cross the Divide (2000), on the south bank, London.
Source: Castlemilk Environment Trust. [G2002]

Kirkpatrick Brothers
Stonemasons. James and William Kirkpatrick established themselves as stone- and marble masons in Manchester, around 1888. The firm developed into one of the major general stonemasons and carvers in the city. They were initially located in Ardwick but later removed to Trafford Park. They were still operating under their original name in the 1960s.
Source: Manchester directories. [Man2004]

Thomas Rogers Kitsell (1864--1917)
Architect. Educated at George Watson’s College and Edinburgh University (Fine Art Classes). Articled to Sir Robert Rowand Anderson (1834--1921), 1878--83, and assistant in his office until 1888. Chief assistant to Francis Grinham Howell, assistant to John Alfred Gotch of Kettering and chief assistant to Charles Edward Ponting. Won the Tite Prize 1892, passed Qualifying Exam 1891. Began independent practice in Plymouth in 1901. He designed St Mary the Virgin, Laira, Plymouth.
Source: Felstead, 1993. [Man2004]

Roy Kitchin (1926--1997)
Apprenticed as a joiner in 1940, Kitchin saw wartime service in a coalmine and in REME workshops. He was an assistant to William Bloye whilst studying sculpture at Birmingham College of Art 1948--51 and then worked as an architectural sculptor 1954--62. For the next ten years he taught at Wolverhampton College of Art before moving in 1972 to the University of Newcastle. His early work was normally in bronze, but in the early 1960s he turned to materials such as steel and cast concrete to depict industrial themes.
[1] Buckman, p.75. [NE 2000]

Ivan Klape˘z (b. 1961)
Klape˘z comes from Kosute, a village in Croatia. He trained as a sculptor at the Academy of Arts in Zagreb under Stipe Sikirica and Kruno Bosnjak. During his third year at the Academy he travelled extensively, looking at sculpture in Italy. In 1987 he came to London to continue his studies at the City and Guilds College in Kennington. He suffered extreme privations on his first arrival. In 1989, a collection of his works with religious themes was exhibited, first in the Crypt of St George’s Bloomsbury, and then in Portsmouth Cathedral. In 1991 he was commissioned to produce a trophy statuette for the Margaret Thatcher Aims of Industry Award. This statuette, entitled Liberty, takes the form of a nude male figure on tiptoe, with arms outstretched in the form of a cross. The following year, Klape˘z completed a series of small figures of down-and-outs, some of whom are metamorphosing into pigeons. He has received two public sculpture commissions, one for the group, Unity, for Alban Gate, London Wall, in the City of London, the other for a pair of bronze figures representing Trust and Daring (1996), for the Trustee Savings Bank’s headquarters in Birmingham. More recently, Klape˘z has produced a series of imaginary portraits of Samuel Beckett, and, after a recent visit to New York, has been working on the theme of the anthropomorphic skyscraper.
Source: D. Fallowell, ‘Brilliant Croatian Sculptor Found in Derelict London Office Block: A Profile of Ivan Klape˘z’, Modern Painters, Spring 1985, vol.8, no.1, pp.56--60. [CL2003]

(Robert) Bryan (Charles) Kneale (b. 1930)
Sculptor, painter and teacher born 19 June 1930 in Douglas, Isle of Man. He studied at Douglas School of Art, 1947, and then at the Royal Academy Schools, 1948--52, winning the Rome Prize in painting. He was in Italy, 1949--51, where he was greatly influenced by the Futurists and the metaphysical painters. In c.1959 his increasing preoccupation with form engendered his move from painting to sculpture, at first using solely welded steel but later incorporating other materials. His work is abstract but is largely based on organic forms, both anthropomorphic and vegetal. Kneale’s first of many solo shows was in 1954 (paintings only) at the Redfern Gallery (where he first exhibited sculptures in 1960) and he had retrospectives at the Whitechapel Art Gallery, 1966, and at the Royal West of England Academy, 1995. Among the mixed exhibitions he took part in were the John Moores Exhibition, Liverpool, 1961; ‘Battersea Park Sculpture’, 1963 and 1966; and ‘British Sculpture in the Sixties’, Tate Gallery, 1965. He also helped organise the exhibitions, ‘Sculpture 72’, Royal Academy, 1972, and the ‘Silver Jubilee Contemporary British Sculpture’ exhibition, Battersea Park, 1977 (in both of which he also showed). He taught at the Royal Academy Schools from 1964 (Master of Sculpture, 1982--5; Professor of Sculpture, 1985--90; Trustee from 1995) and at the Royal College of Art (Senior Tutor, 1980--5; Head of Sculpture Dept, 1985--90; Professor of Drawing, 1990 until his retirement in 1995). He was elected ARA in 1970 and RA in 1974 (having shown at the RA since 1953). His work is in collections worldwide including the Arts Council, the Contemporary Art Society, the Tate Gallery, London, and the Museum of Modern Art, New York.
Sources: Buckman, D., 1998; Nairne, S. and Serota, N. (eds), 1981; Royal Academy of Arts, 1972; Spalding, F., 1990; Strachan, W.J., 1984; Who’s Who 1999. [LR 2000]

William Henry Knowles (1857--1943)
Newcastle architect. Knowles was articled to W.L. Newcombe and then in practice from 1884 to 1922, for some time as Armstrong and Knowles, and later as Knowles, Oliver and Leeson. His principal buildings are part of what is now the University of Newcastle: the west front of Jubilee Tower (1904--6), the King Edward VII School of Art (1911), and the School of Bacteriology (1922). He was also an archaeologist and authority on Hadrian’s Wall, directing and reporting on the excavations at Corstopitum, 1907--14.
[1] Pevsner, Northumberland, pp.451--2. [2] Grey, A., Edwardian Architecture. A Biographical Dictionary, Iowa, 1986, p.231. [3] DBArch, p.535. [NE 2000]

Robert Koenig (b.1951)
Born in Manchester of Polish parents, Robert Koenig trained at Brighton Polytechnic and the Slade School of Art in the late 1970s. Since 1977, he has exhibited widely in both Britain and Poland. His work has consistently reflected his interest in the natural world. In his early career, he was one of the first artists to be invited to participate in the Grizedale Forest Sculpture Project in the Lake District. In 1982--3, he spent seven months living and working in a forest environment, creating six sculptures in wood. Since then, he has continued to make works in wood for sculpture trails, parks and woods throughout Britain. Carved and painted wooden relief panels have been a consistent theme in his work, with the earliest examples including Rustic Umbrellas and 104 Seated Figures, both exhibited at the Whitechapel Gallery in 1981. In his more recent work, he has explored issues of ancestry, belonging, heritage and tradition, reflecting on these in Tall Men, a group of 23 large wooden figures carved from lime trees in his mother’s home village of Dominikowice, Poland (1997--2001) and a series of large bog oak panels with applied photographic images of the same village, At The Edge of Centuries (1997). Other major commissions include his Steel Columns for the Black Country Route in Bilston (1996), his carvings for Dairsie Castle in Fife (1997--9), Miners (1999, Brierley Forest Park, Nottinghamshire) and Hovercraft Celebration (1999, Hythe).
Sources: AXIS, The Axis Database Online, 1999, www.axisartists.org.uk/; Buckman, D., Dictionary of Artists in Britain since 1945, Bristol, 1998, p.712; Koenig, R., ‘Robert Koenig -- Sculpture’, accessed 7 April 2003, www.robertkoenig-sculptor.com [SBC2005]

Michael Konu (b.1971)
Michael Konu trained at Bilston College of Art and Design (1990--1) and the University of Wolverhampton, where he obtained a BA (Hons) in Fine Art (1991--4). His first exhibition was in 1992, when he created a site-specific sculpture for Dudley Castle. Since then, he has exhibited widely throughout the UK as well as in France, Romania and Poland. His work can be found in public collections in Dudley, at the Museum of Contemporary Art in Romania and at the Bretagne Eurosculpture Association, Carhaix, France.
Source: Curriculum vitae from the artist. [SBC2005]

Frederick J. Kormis (1894--1986)
Born in Frankfurt, Kormis studied at the local high school, and served in the Austrian Army during the First World War. He was captured, imprisoned in Siberia, but escaped, and returned to Frankfurt. He worked mainly as a portrait sculptor, but when Hitler came to power he moved first to the Netherlands and then to London in 1934. He exhibited at the Royal Academy, the Beaux Arts Gallery, Fieldborne Galleries, and abroad. His work is in the collections of the British Museum, the Imperial War Museum, the Fitzwilliam Museum, Cambridge, and the Royal Air Force Museum, Hendon. He is noted as one of the most distinguished medallists of his era, producing effigies of distinguished figures which include Sir Winston Churchill, Charlie Chaplin, J.B. Priestley, and Golda Meir. He is also known for his figures and portraits in stone, wood, bronze, and terracotta, and his public commissions include the Shield Bearer in the Corn Exchange, Stratford-upon-Avon, the Prisoner of War Memorial, Gladstone Park, Willesden, and The Ever-lamenting Harp, Kiryat Gat, Israel.
Source: MacKay, James, Dictionary of Western Sculptors in Bronze, Suffolk, 1977. [WCS2003]

Tania Kovats
Sculptor, installation artist and photographer. Trained at Newcastle Polytechnic 1985--8 and the Royal College of Art. Part-time lecturer from 1995 at Bath Royal College of Art and the City Literary Institute. Kovats won the Barclays Young Artist Award in 1991, the RSA Art and Architecture Award in 1995, and the Prix de Rome in 1997. Her residencies include the Institute of Education, London, 1995; and Public Art Development Trust Art in Hospitals, 1995.
[1] Kielder Partnership Press Release, July, 1998. [2] AXIS, Artists Register, 1999. [NE 2000]

Joseph C. Kremer
Born in Tromborn (Germany), he trained in Paris with A. Poitevin, and showed portrait busts at the Salons of 1864, 1867, 1870 and 1879. In 1872, he showed a portrait medallion at the Royal Academy, and in 1883 won a medal at the Munich Crystal Palace.
Source: U. Thieme and F. Becker, Allgemeines Lexikon der Bildenden Künstler, Leipzig, 1907--1962. [CL2003]

Paul Kummer (1882--1913)
Born in Germany, Kummer was based in London and exhibited between 1882 and 1913, including twice at the Walker Art Gallery, Liverpool, and five times at the Royal Academy.
Source: Johnson, J. and Greutzner, A., Dictionary of British Artists 1880--1940, Suffolk, 1976. [WCS2003]

Gerald Laing (b. 1936)
Born in Newcastle-upon-Tyne, he trained for the army at Sandhurst, and, while serving with the Royal Northumberland Fusiliers, took classes in painting. He left the army in 1960 and attended St Martin’s School of Art. In 1964 he went to live and teach in the United States. Laing was associated with the Pop Art movement, and mimicked the enlarged screened dots of half-tone photopress images. In 1969 he returned to the UK, and purchased and restored Kinkell Castle in Scotland. He began at this time to produce large-scale, abstract sculptures for landscape sites. In 1973, inspired by C.S. Jagger’s Royal Artillery Memorial at Hyde Park Corner, he took up figurative sculpture. He learned bronze-casting from the founder George Mancini, and set up his own foundry at Kinkell in 1977. Laing’s public sculptures include a bronze statue of Arthur Conan Doyle (1991) for Picardy Place, Edinburgh, and four bronze Football Players (1996) for Twickenham Stadium. From 1978 to 1980 he served on the art committee of the Scottish Arts Council, and in 1987 on the Royal Commission for Fine Arts for Scotland.
Source: D. Buckman, The Dictionary of British Artists Since 1945, Bristol, 1998. [CL2003]

Gerald Ogilvie Laing (b.1936)
Born in Newcastle, he trained as an officer at Sandhurst, 1953--5, then as a sculptor at St Martin’s School of Art, 1960--4. He lived in New York until 1969, later moving to Kinkell Castle, Dingwall (receiving the 1971 Civic Trust Award for its restoration). In 1971 he produced a number of large abstract ‘monoliths’ for outdoor sites in the north of Scotland, including Division in the Highland Sculpture Park, Carrbridge, and in 1979 he was commissioned by Standard Life Assurance, George Street, Edinburgh, to execute a bronze relief of The Wise and Foolish Virgins, a modern re-interpretation of the building’s pediment group by Sir John Steell, of 1839 (see also Standard Buildings, 82--92 Gordon Street). Recent commissions include The Fountain of Sabrina, Bristol (1981), a bronze Cricketer, for Sir Paul Getty (1998), Stone Dragon, for Bluewater Shopping Centre, Dartford (1999), and In Memory (2000), for Creag Bunuillidh, Helmsdale, to commemorate victims of the Highland Clearances.
Sources: Strachan, pp.220, 224, 263; H, 30 April 1998, p.11; Scotsman, 24 February 1999, p.8, 3 June 2000, p.12. [G2002]

Adrian Russell Lamb (b.1964)
Born in Sedgefield, Co. Durham, he trained at Middlesex Polytechnic, 1982--3, Chelsea School of Art, 1983--6, and the RCA, 1986--8. He later studied landscape and architecture in France and Italy on a Travel Bursary from Northumberland Council. A freelance artist since 1988, he taught at the École D’Arts Plastiques, Monaco, before settling in Glasgow. He is now based at Glasgow Sculpture Studios, where he has acted as technical assistant to Iain McColl and Kenny Hunter (q.v.), in addition to working on independent projects such as a commission for work at an architectural development in Newmacher, Aberdeen.
Source: information provided by the artist. [G2002]

Juginder Lamba
Born in Nairobi, Kenya, currently living in Shropshire. After an education in philosophy and education 1966--78, Lamba received a Henry Moore Fellowship in Sculpture at John Moore’s University in 1995. His work concentrates on breaking down cultural boundaries, using motifs derived from tribal and oceanic art, and he aims to ‘make work accessible to a consciousness which is independent of the purely historical aspects of our lives’. Solo shows include: Icarus, Wolverhampton Museum and Art Gallery 1993; retrospective, Bond Gallery, Birmingham 1993; From the Wood, Bluecoat Gallery, Liverpool 1995. Public commissions include: sculpture in Telford shopping centre, 1991; sculpture/installation, Bluecoat Gallery, Liverpool 1992; relief carving, Angel Centre, Worcester 1993.
1. Axis Visual Arts Information Service record, February 1996. [B1998]

Édouard Lantèri (1848--1917)
Lantèri trained in Paris under Aimé Millet and François-Joseph Duret and at the École des Beaux-Arts under Pierre-Jules Cavalier and Eugène Guillaume. From 1872 to 1890 he was an assistant to the London sculptor, Joseph Edgar Boehm. From 1880 he taught modelling at the National Art Training School, South Kensington, and later was the first Professor of Modelling at the Royal College of Art (1900--10). His Modelling: A Guide for Teachers and Students (1902--11) became a standard manual. Lantèri’s special qualities lay in the vigour, animation and naturalistic romanticism of his work, which was characterised by dexterity in manipulation and rapidity of execution. The product of his training in France, Lantèri’s style was influential on the exponents of the New Sculpture, particularly Alfred Gilbert.
[1] Turner (ed.), p.751. [2] Spielmann, p.128. [3] Staley, E., ‘Edouard Lantèri, Artist and Teacher’, Art Journal, 1903, p.244. [NE 2000]

William Larson
Believed to be the second of a line of three artists of Dutch origin, all of the same name, working in the seventeenth century. He won a royal appointment under Charles II probably through the Duchess of Cleveland. There is a record in the archives of the Duke of Northumberland at Alnwick of William Larson being paid £12 for repairing statues at Northumberland House, Charing Cross, in 1655.
[1] Gunnis papers, Conway Library, Courtauld Institute. [2] Information provided by Kathleen Gibson, 1999. [NE 2000]

George Anderson Lawson (1832--1904)
Sculptor born in Edinburgh who trained under A.H. Ritchie and in the schools of the Royal Scottish Academy. He spent some time in Rome, where he admired John Gibson’s work, and returned to England, making his home firstly in Liverpool where, in 1861, he was commissioned by Liverpool Corporation to execute a Statue of the Duke of Wellington to surmount a 110--foot-high Doric column designed by his architect brother, Andrew Lawson. In 1866 he moved to London and in 1868 had his first popular success at the Royal Academy with his statuette, Dominie Sampson (he showed at the RA from 1862--93). In c.1888 he executed architectural sculpture for the City Chambers, Glasgow. He also executed a bronze panel, Painting, Sculpture and Architecture, to go over the entrance to Aberdeen Art Gallery and a Statue of Joseph Pease, 1875, for Darlington, County Durham. He died at Richmond, Surrey.
Sources: Cavanagh, T., 1997; DNB. Second Supplement, vol 2, 1912; Gosse, E., 1883; McEwan, P.J.M., 1994. [LR 2000]

George Anderson Lawson (1832--1904)
Edinburgh-born sculptor of imaginative figures and groups illustrative of literary subjects. He trained under A.H. Ritchie (q.v.) and Robert Scott Lauder at the Trustees’ School of Design before setting up a studio at 36 St George’s Place, Glasgow, in 1860. After visiting Rome he settled in Liverpool, where he won the Wellington Monument competition with his architect brother Andrew Lawson (1864). From 1866 he lived in London but maintained contact with artists and patrons in Scotland. He executed figures of Robert The Bruce, Baillie Nicol Jarvie and Diana Vernon on the Scott Monument, Edinburgh (1874), the statues of Lord Cochrane, Valparaiso (1874), Joseph Pease, Darlington (1875), and monuments to Robert Burns in Ayr (1891), Belfast (1893), Halifax, Nova Scotia, and Melbourne, Australia (1904). Among his portrait busts and narrative works are George MacDonald (1887), Jeanie Deans (n.d.) and Motherless (1901). His architectural sculpture, which is rare, includes a bronze relief representing The Arts on Aberdeen Art Gallery (1905). Elected HRSA in 1884, he exhibited at the RA, 1862--93, the RSA, 1860--92 and the RGIFA, 1870--92. He died in Richmond, Surrey.
Sources: BN, 9 May 1890. p.672; Spielmann, pp.20--1; Woodward, pp.114--16; Cavanagh, p. 332. [G2002]

George Anderson Lawson (1832--1904)
Trained in Edinburgh under A.H. Ritchie and R.S. Lauder before moving to Glasgow. He spent some time in Rome, where he admired Gibson’s work, and returned to England, initially making his home in Liverpool. His winning entry in a competition to design the city’s Wellington statue was inaugurated in 1863. Lawson lived in London from 1866, but was commissioned for many pieces in Scotland, chiefly architectural sculpture for Glasgow’s Municipal Buildings (1883--8), as well as Robert Burns (bronze), Ayr, 1891 and Motherless (plaster), Glasgow International Exhibition 1901 (purchased for Glasgow Art Gallery). He exhibited regularly at the RA and RSA 1860--93.
[1] DNB, 2nd supp, vol.2, pp.427--8. [2] Kelvingrove Museum Sculpture File, p.13. [3] Woodward, R.L., ‘19th Century Scottish Sculptors’, thesis (unpub.), Edinburgh, 1977, pp.114--15. [4] Spielmann, pp.20--1. [NE 2000]

Andrew (?--?) and George Anderson (1832--1904) Lawson
Andrew Lawson won the commission for the Wellington Monument with his design for a 110 ft high Doric column. The commission for the statue to surmount it was given to his brother, George. George had trained under the sculptor A.H. Ritchie and in the schools of the Royal Scottish Academy. He spent some time in Rome, where he admired Gibson’s work, and returned to England, making his home firstly in Liverpool and then, from 1866, in London. In 1871 he executed a Statue of Mayor John Biggs (cast in bronze in 1930 by J.H. Morcom) for Leicester and in c.1888 architectural sculpture for the City Chambers, Glasgow.
(sources: DNB; Pevsner & Williamson, 1984) [L1997]

Neil Lawson-Baker and Auriol Pace
London-based sculptors. [LR 2000]

Lloyd Le Blanc, Le Blanc Fine Arts
American-born sculptor and bronze founder based in Saxby, Leicestershire. After completion of his studies at Yale University in 1967, he worked in his own studios in New England, moving to England briefly to take up the post of lecturer in sculpture at Falmouth College of Art in 1969. From 1970--3 he had a studio and foundry in California and then in 1973 moved to Leicestershire on a permanent basis. His work is naturalistic and comprises mostly animals, birds and water features. He has exhibited in London, Hong Kong, Dubai and Australia. His commissions include a sculpture for the Valley Life Insurance Building, Arizona, USA, 1987, and sculptures for the Donnarneade and Port Leach shopping centres, Ireland, 1994, along with numerous private commissions. He runs the Le Blanc Fine Arts foundry at Saxby in collaboration with his sculptor wife Judith Holmes Drewry, casting not just their own work but also that of other sculptors.
Sources: information from the sculptor / founder; L. Mercury, 22 April 1994, p.18. [LR 2000]

Hubert le Sueur (1595--1658)
By tradition, Hubert le Sueur is supposed to have been the pupil of Giovanni Bologna in Florence. After working on a series of projects for Henri IV in Paris, le Sueur came to England in 1625 as Court Sculptor to Charles I. Among his projects for the king were the modelling of statues to decorate the catafalque of James I in Westminster Abbey (designed by Inigo Jones), a copy of the famous Borghese Gladiator for St James’s Park (now in the private garden at Windsor Castle), and the Diana Fountain in the gardens of Somerset House (1636). In 1630 he was employed by Sir Richard Weston (later Earl of Portland) to make a bronze statue of Charles I on horseback. This group, which was cast for Covent Garden in 1633 (apparently at Weston’s expense), remained unplaced when the King was executed, but was subsequently erected in Charing Cross following the Restoration in 1660 (now in Whitehall). In the same year, Archbishop Laud commissioned le Sueur to execute two bronze statues of King Charles I and Queen Henrietta Maria for St John’s College, Oxford. His other works include the Earl of Portland’s monument in Winchester Cathedral (later destroyed by the Puritans), the statue of William Herbert, third earl of Pembroke, in the Bodleian Library, Oxford, and two statues of James I and Charles I for the screen of Winchester Cathedral (1638--9). Le Sueur returned to Paris in 1641, where in 1643 he was commissioned to make four casts of a bust of Cardinal Richelieu. The last record of a commission awarded to him is in 1648, when he produced four casts after the Antique, two of Diana and two of Commodus, for the gardens of two prominent courtiers of the young Louis XIV.
Sources: Avery, C., Studies in European Sculpture, 2 vols, London, 1988, i, pp.189--204; ii, pp.145--235; Avery, C., ‘Hubert Le Sueur’, Grove Dictionary of Art Online, Oxford University Press, accessed 12 January 2004, www.groveart.com; Lee, S., (ed.), Dictionary of National Biography, London, vol.xxxiii, 1891, p.129f.; Whinney, M. and Millar, O., English Art, 1625--1714, Oxford, 1957, pp.115--21; Whinney, M., Sculpture in Britain, 1530--1830, London, 1964 (revised 1988), pp.86--8. [SBC2005]

Gilbert Ledward (1888--1960)
Sculptor. Born Chelsea, London, son of Richard Arthur Ledward, sculptor. Studied at Chelsea Polytechnic, Goldsmiths’ College, RCA under Professor Lanteri, and at the RA Schools. Awarded the first British School of Rome Scholarship in Sculpture 1913 and the RA gold medal and travelling studentship in the same year. Served as lieutenant in Royal Garrison Artillery during the First World War. Figurative sculpture, chiefly using stone. Works include war memorials in Blackpool (1923), Harrogate and Guards’ Division Memorial, Horse Guards’ Parade (1925). He also provided sculpture for Imperial War Graves Commission at Ploegsteert, Belgium (1929). Marble altar relief, Stonyhurst College, Lancashire (1920). His last major work was Vision and Imagination which was installed in Barclays Bank, Goodenough House, Broad Street, London (1960, later removed). Ledward was Professor of Sculpture at the RCA, 1926--9. Elected ARA 1932 and RA 1937. He served as PRBS in 1954--6. Awarded OBE in 1956.
Sources: Ledward, 1988; Moriaty, 2003; Ward-Jackson, 2003. [Man2004]

Gilbert Ledward (1888--1960)
Born and died in London. He studied at the Arts and Crafts School in Langham Place, the Karlsruhe Academy, the Royal College of Art and the Royal Academy. He became in 1913 the first sculptor to win the Academy’s Rome Prize. After the First World War, Ledward received several commissions for war memorials, the most important of which was the Guards Division Memorial facing Horseguards Parade. This was executed between 1922 and 1926 in collaboration with the architect H. Chalton Bradshaw. At the same period, Ledward exhibited a more lyrical tendency in his langorous female nude, Awakening (bronze 1922--3). He was Professor of Sculpture at the Royal College of Art from 1927 to 1929, and was assisted in this function by the young Henry Moore. In 1934, he set up the organisation Sculptured Memorials and Headstones, with a number of other craft-orientated sculptors. During the Second World War the organisation moved to Eric Gill’s Berkshire workshop. Between 1936 and 1938 Ledward worked on Inspiration, one of the massive nude male corner figures on Collcutt and Hamp’s Adelphi Building, overlooking the Victoria Embankment. His Sloane Square Fountain, unveiled in 1953 showed his deco-inflected classicism still flourishing. His last major work was the colossal stone relief, entitled Vision and Imagination, completed in 1961 after his death, for Goodenough House in Old Broad Street, in the City of London (since removed to St George’s Hospital, Tooting).
Source: D. Buckman, The Dictionary of British Artists Since 1945, Bristol, 1998. [CL2003]

Christine Lee
Christine Lee is one of Britain’s outstanding figurative sculptors. She lives in a period farmhouse in the heart of Shakespeare country, where she has her studio. Her best known work is the extraordinary 5¹⁄₂ metre high fountain that stands in front of the Royal Shakespeare Theatre in the centre of Stratford-upon-Avon. This work was inaugurated by the Queen and Prince Philip on 8 November 1996. Following her degree at St Martin’s School of Art, Christine Lee studied painting and drawing with Cecil Collins. Thus her training brings together the classical discipline of a renowned school of sculpture with the philosophical vision of a great English master. These formative influences combined with a very wide range of other elements in her background. For example, while she has been an experienced and sophisticated international traveller since her childhood, her vision is definitively rooted in English surroundings and atmosphere, and has been especially enriched with her constant contact with the landscapes and quotidian patterns of life of Oxfordshire, Warwickshire, Buckinghamshire and the Cotswolds.
Source: information from the sculptor. [WCS2003]

Thomas Stirling Lee (1857--1916)
Born in London, he was apprenticed to J. Birnie Philip, who was at the time working on the Albert Memorial. Lee studied at the Royal Academy 1876--80, winning a gold medal in 1877 and a travelling scholarship in 1879. He went first to Paris, studying at the École des Beaux Arts 1880--1, and then to Rome for further tuition 1881--3. Back in England he assisted Alfred Gilbert with his experiments in the lost-wax casting process. He produced portraiture, ideal work and architectural sculpture. Other works include: Bust of Alderman Edward Samuelson, Walker Art Gallery, Liverpool. In 1887 he became a member of the Art-Workers’ Guild, becoming a Master in 1898. Founder member of RBS.
1. J. Johnson, and A. Greutzner, Dictionary of British artists 1880--1940, Woodbridge, Suffolk, 1976; 2. Obituary, The Studio, August 1916; 3. Beattie, 1983; 4. G.M. Waters, Dictionary of British artists working 1900--1950, Eastbourne, 1975. [B1998]

Thomas Stirling Lee (1857--1916)
Born in London, he was apprenticed to J. Birnie Philip, who was at the time working on the Albert Memorial. Lee studied at the RA Schools, 1876--80, winning a gold medal in 1877 and a travelling scholarship in 1879. He went first to Paris, studying at the École des Beaux-Arts, 1880--81, and then to Rome for further tuition, 1881--83. Back in England he assisted Alfred Gilbert with his experiments in the lost-wax casting process. Architectural sculpture outside Liverpool includes stone reliefs for Edgar Wood’s Lindley Clock Tower, Huddersfield (1902). In addition to his architectural sculpture, he produced ideal work (The Music of the Wind, silver, 1907, Leeds City Art Gallery) and portraiture (Bust of Alderman Edward Samuelson, marble, 1885, WAG). In 1887 he became a member of the New English Art Club. From 1889 he was a member of the Art Workers Guild, becoming a Master in 1898. He was a founder member of the RBS and, in 1910, was elected a member of the National Portrait Society.
(sources: Beattie, 1983; Johnson & Greutzner, 1976; Studio [obit.], August, 1916; Waters, 1975) [L 1997]

F.A. Legé (1779--1837)
Legé worked for the Liverpool stonemasons, Messrs Franceys, bringing to their attention the work of the young John Gibson, who subsequently served an apprenticeship with them. In about 1805 Legé carved the Royal Coat-of-Arms on the Liverpool Union News Room, Duke Street. He later moved to London, where he was employed as a carver by Chantrey, working on the famous Monument to the Robinson Children (1817) in Lichfield Cathedral. He exhibited at the RA from 1814 to 1825.
(source: Gunnis, 1951) [L1997]

Henry Stormouth Leifchild (1823--84)
Sculptor. Entered RA Schools in 1844 on recommendation of F.S. Cary and then studied in Rome from 1848 to 1851. Exhibited at RA from 1844 to 1882. His Rispah Watching Over the Dead Bodies of Her Sons was shown at the Great Exhibition of 1851. Major works included Athene Repressing the Fury of Achilles. His Manchester commissions included busts of George Wilson and A.J. Scott. The majority of Leifchild’s works were presented by his widow to Nottingham Museum but were subsequently destroyed.
Source: Gunnis, 1968. [Man2004]

John Lennon (1940--80)
Lennon, a founder member of the Beatles, was born in Liverpool. Rhythm guitarist, keyboard player and vocalist, he collaborated with fellow Beatle, Paul McCartney, as a songwriter. After his marriage to Yoko Ono, his second wife, in 1969, he became active in the Peace Movement, recording Give Peace a Chance in 1969 under the name of The Plastic Ono Band, following which he released five more chart singles between 1971--4. He was assassinated outside his New York home in 1980. [WCS2003]

Francis Leslie (1833--94)
Born in Glasgow, he trained at GSA, where he won a prize for figure modelling, 1850, and taught modelling, 1885--8. He also worked in London with J.H. Foley and G.A. Lawson (qq.v.), 1870--5, before returning to Glasgow to assist G.E. Ewing (q.v.) and John Mossman on many Glasgow monuments, as well as architectural commissions such as Greenock Municipal Buildings (1879--86). An active member of the Glasgow Art Club, he executed portrait busts and exhibited at RGIFA, 1863--92, and at the International Exhibition, Kelvingrove Park, 1888. He occupied addresses at 87 Abercromby Street, 1861, 7 Park Place, 1871, and 79 Grove Street, 1881, before moving to Edinburgh, c.1890.
Sources: GSA Reports, 1885--8; Billcliffe; McEwan. [G2002]

John Barry Letts (b.1930)
Son of the designer, Joseph Letts, John was born in Birmingham and studied at the Birmingham School of Art, 1945--9, under William Bloye, Head of Sculpture. His sculpted work has been exhibited both in London and the Midlands. Residing in Astley, near Nuneaton, he is noted for his statue of George Eliot (born Mary Anne Evans) located in the centre of Nuneaton, close to where she had lived. The public gallery in Stratford-upon-Avon holds examples of his work.
Source: Spalding, F., 20th Century Painters and Sculptors, Dictionary of British Art, VI, Suffolk, 1990. [WCS2003]

Rosie Leventon (b. 1946)
Sculptor. Trained at Croydon College of Art 1976--9 and St Martin’s School of Art, 1979--80. Works in stone and other materials to make permanent and semi-permanent sculpture installations. Solo and group exhibitions include South London Gallery, 1981, Yorkshire Sculpture Park, 1983, Glasgow Garden Festival, 1988, Frankfurt Art Fair, 1992, Bonnington Gallery, Nottingham, 1996, Dean Clough Galleries, Halifax, 1997, Dostoyevsky Museum, St Petersburg, 1999, Atrium Gallery, London 2001. Her work, A Long Way From the Bathroom, toured Holland and the UK in 1996--7. Public commissions in Sunderland and Hull.
Sources: artist; Usherwood, 2000. [Man2004]

Rosie Leventon
Sculptor in stone and other materials, often including found objects. Trained at Croydon College of Art 1976--9 and St Martin’s School of Art, 1980, followed by spells as a part-time lecturer at various universities in the 1990s. Leventon has taken part in group shows in Barcelona, 1996, and the UK, 1992--7. Her work A Long Way From the Bathroom toured Holland and the UK in 1996--7.
[1] AXIS, Artists Register, 1999. [NE 2000]

Paul Frank Lewthwaite (b. 1969)
Sculptor. Born in Douglas, Isle of Man. BA Fine Art and Postgraduate Certificate in Arts Practice, University of Sunderland. Commissions include Echoes of the Opened Earth (Moreton Morrell Campus, Warwickshire College, 1998) and The Generation of Possibilities (UMIST, Manchester, 1999).
Source: artist. [Man2004]

Paul Liénard (1849--1900)
French sculptor, born in Paris, a pupil of Duret. His work includes portrait busts and statues, ideal groups and animal subjects. He exhibited at the Salons of 1864, 1866 and 1890. His public sculpture in France includes a marble Bust of Fragonard (1877) for a public garden at Grasse and a marble Statue of Lord Brougham (1879) for Cannes.
(sources: Bénézit, 1976; Kjellberg, 1987) [L 1997]

Liliane Lijn (b.1939)
Born in New York, Lijn studied the History of Art at the École du Louvre, Paris, and Archaeology at the Sorbonne in Paris in 1958. She has lived in London since 1966, and began designing and making large-scale public sculpture in 1971. Much of her work is kinetic, and is inspired by industry and industrial processes, but her figures also engage in ‘ritual dramas’ -- they engage with the darknesses of empty space, silence, death, and the unconscious mind. In all her works to date, she has used light (neon, laser or reflected light) in conjunction with materials which are transformed by light reflecting from their surfaces. Materials include water, mild and stainless steel, perforated stainless steel, aluminium, enamelled copper wire, neon, slate, and patinated cast bronze. During the 1980s and 1990s, she has had solo exhibitions in New Zealand, Paris, Cologne, Aberdeen, and London, and her work is to be found in the Tate Gallery, the Victoria and Albert Museum, the Museum of Modern Art, New York, the Fonds Nationale d’Art Contemporain, Paris, and many other international collections. She has received many critical reviews.¹
Sources: Edward Lucie-Smith, Movements in Art since 1945, London, 1969; Frank Popper, Le Declin de l’Object, Paris, 1975; Tate Gallery, Art of the Sixties, London, 1976; Musee d’Art, Electra (catalogue), Paris, 1983; Francis Spalding, British Art since 1900, London, 1986; Edward Lucie-Smith, Sculpture since 1945, London, 1987; Eugene Roseberg, Architects’ Choice: Art and Architecture in Great Britain since 1945, London, 1992; Frank Popper, Art in the Electronic Age, London, 1993.
Note [1] Barrett, Cyril, ‘Art as Research: the Experiments of Liliane Lijn’, Studio International, June 1967; Petherbridge, Deanna, ‘Interfences en Plein Air’, The Architectural Review, April, 1982; Bailey, Colette, ‘Interview with Liliane Lijn’, Sculpture, issue V, June 1997; Turner, Flora, ‘Liliane Lijn’, Kontura, July 1997. [WCS2003]

Arthur Ling (1913--95)
Architect and town planner. Educated at University College, London, he worked in the office of E. Maxwell Fry and Walter Gropius (1937--9) before becoming a structural engineer with the Corporation of the City of London (1939--41). He was a member of the town planning team responsible for preparing the County of London plan (1941--5) and later became Chief Planning Officer for London County Council (1945--55). He taught town planning at University College, London, between 1947 and 1955. From 1955 until 1964, he was Coventry City Architect. Later he became Professor and Head of Architecture and Civic Planning at Nottingham University (1964--9). He was President of the Royal Town Planning Institute (1968--9).
Source: Who’s Who 1897--1996, CD ROM version. [WCS2003]

Jacques Lipchitz (1891--1973) Born and raised in Druskieniki, Lithuania, son of a Jewish building contractor. He went to Paris in 1909, where he studied at the École des Beaux Arts and the Académie Julien. In contact with Picasso and Juan Gris, Lipchitz’s sculpture evolved, after 1913, from an ornamental and playful style anticipating art déco, towards cubism. In 1916 he experimented with figures constructed from flat boards, and arrived at an extreme of architectonic abstraction in such works as Standing Personage (limestone, Solomon R. Guggenheim Museum, New York). From this point on his cubism became more representational and pictorial. In 1925, Lipchitz worked on the series of open-work metal sculptures, which he described as his Transparents, and which influenced Picasso and Gonzales. From the late 1920s he became increasingly preoccupied with biblical and mythological themes, and stylistically his work took on a baroque and expressionistic character. A massive group of Prometheus and the Vulture, for the Science Pavilion of the 1937 Paris International Exhibition, frankly expressed his opposition to totalitarianism. Lipchitz fled to Toulouse when Paris was occupied by the Germans, and in 1941 he emigrated to America. In the post-war period he continued to experiment on a small scale, with mixed-media assemblages and with spontaneous modelling in wax. At the same time, he was increasingly busy with such large public commissions as the figure of The Virgin for the church of Notre Dame de Liesse at Assy (1947--55), and The Spirit of Enterprise (1951--4) for Fairmount Park, Philadelphia. From 1963, he began to spend his summers in Pietrasanta in Italy, where his bronzes were cast by the Tommasi foundry. Lipchitz came to look on Israel as his spiritual home, and was buried there.
Sources: J. Lipchitz with H.H. Arnason, My Life in Sculpture, London, 1972; The Grove Dictionary of Art, Macmillan, London, 1996 (A.G. Wilkinson); A.G. Wilkinson, The Sculpture of Jacques Lipchitz, London, 2000. [CL2003]

Nick Lloyd (b.1951)
Nick Lloyd works mainly in stone and wood, usually from small clay models. He trained in Fine Art at Newcastle University (BA, 1973; MA 1975), and was awarded the Rome Scholarship in Sculpture (1975--6). His works are abstract in tendency, but reflect his concern with our experience of landscape and the idea of a ‘sense of place’. They include Etruscan Landscape (1986, Stoke Garden Festival), a stone seat for Cumbria Groundwork Trust (1993), two stone sculptures for Victoria Square, Wolverhampton (2000) and a marble carving for the International Sculpture Park in Beijing, China (2002). Lloyd, who is Head of Sculpture at the University of Wolverhampton’s School of Art and Design, toured Australia with the Newcastle Group in 1997--8 as well as showing at the Harlech Biennale in 1996 and 1999. His solo shows include those at the Hatton Gallery, Newcastle (1978), the Bede Gallery, Jarrow (1988), and Lichfield International Arts Festival (1997).
Sources: AXIS, The Axis Database Online, 1999, www.axisartists.org.uk/; Buckman, D., Dictionary of Artists in Britain since 1945, Bristol, 1998, p.759; Letter from the artist, 5 October 1999; Usherwood, P., Beach, J. and Morris, C., Public Sculpture of North-East England, Liverpool, 2000, p.328. [SBC2005]

Nick Lloyd
Sculptor in stone and wood. Trained at Newcastle University 1970--5, he was awarded a Rome Scholarship 1975--6. From 1984--92 a part-time lecturer in Cumbria and Leicester. Since then he has been subject leader in sculpture at the University of Wolverhampton School of Art and Design. His solo shows include Lichfield International Arts Festival, 1997, and he has toured with the Newcastle Group in 1997--8. Works in public include two carvings for Wolverhampton 1997--8.
[1] AXIS, Artists Register, 1999. [2] Buckman, p.759. [NE 2000]

Andrew Logan (b.1945)
Versatile designer and sculptor whose work has been influenced by both Gaudi’s architecture and Surrealism. Logan is noted for carrying out projects with ‘showbiz’ flair, producing camp sculptures, costumes and jewellery out of mirror and lurid plastic which aim to debunk the pretensions of the art world by focusing on the aspirations, dreams and artefacts of popular cultures, both East and West. In the course of his multifaceted career, he has made giant flowers for Biba’s roof garden (1974), produced a sound and light spectacle, Egypt Revisited, on Clapham Common (1978), made the decorations for Zandra Rhodes’ fashion show (1980), exhibited at the Holographic Show at York Arts Festival (1984), and designed the sets for Wolfi, a Ballet Rambert production in Battersea based on the life of Mozart (1987). His first Pegasus (1980), inspired by the San Marco horses and seen as a monument to hope, led the parade for the 4th Alternative Miss World. He has exhibited at a wide range of venues, including the Museum of Modern Art, Oxford (1991), the Jewels Fantasy Exhibition at the Victoria and Albert Museum (1992), the Moscow Art Fair (1996) and the Museo del Vidrio, Monterrey, Mexico (1997). In 1991 he opened a museum of his own work at Berriew, Powys.
Sources: Boston, V., ‘A Glass Act’, Artists and Illustrators, issue 154, July 1999, pp.22--4; Buckman, D., Dictionary of Artists in Britain since 1945, Bristol, 1998, p.762; Reichardt, J., Andrew Logan: an Artistic Adventure, Oxford, 1991. [SBC2005]

Tom Lomax (b.1945)
Lomax trained in fine art at the Central School of Art (1971--4) and the Slade (1974--6), during which time he was studio assistant to William Pye. His work shows an interest in archaic Greek, Egyptian and African art and sculpture, combined with baroque influences and twentieth-century primitivism. He has worked both solo and collaboratively on public commissions, including The Spirit of Enterprise, Centenary Square, Birmingham (1991); a series of guardian angels for Leeds Hospital Trust, with Tess Jaray (1993); and the ceremonial mace for University College, London (1993). Since 1987, he has exhibited throughout the UK as well as at the Tokyo International Art Fair (1993).
Sources: Buckman, D., Dictionary of Artists in Britain since 1945, Bristol, 1998, p.763; Letter and curriculum vitae from the artist, 21 January 1996; Lomax, T., ‘Artists account’, in ‘Building study: Urban Learning Foundation, Tower Hamlets, London’, Architect’s Journal, 21 April 1993, p.44; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.197. [SBC2005]

Tom Lomax (b.1945)
Born 12th May 1945 in Warrington, Lomax was first apprenticed as an engineer in 1961 then worked in engineering until 1970. He trained in fine art at Central School of Art from 1971--4, then at the Slade School of Art 1974--6, during which time he was studio assistant to William Pye. His work shows an interest in early Greek, Egyptian and African art and sculpture, combined with baroque influences as well as 20th-century primitivism. He is a visiting lecturer at several colleges, and has been a part-time lecturer at the Slade School of Art since 1982. He has worked both solo and collaboratively on public commissions: Urban Learning Foundation, with Paul Hyett Architects 1991--2; Cardiff Bay Development, with Tess Jaray 1992--3; Leeds Hospital Trust, with Tess Jaray 1993; Ceremonial Mace for University College, London 1993; Wakefield District Council, with Tess Jaray 1994. Solo exhibitions include: Slade School Gallery, 1993; Angela Flowers, London 1994; Coopers Lybrand, Atrium Gallery, 1994. Group Exhibitions include: Kettle’s Yard, Cambridge 1987; St. George’s Crypt 1988; Pomeroy Purdie Gallery, 1988; New Images for City Sites, Birmingham Museums and Art Gallery 1991; Tokyo International Art Fair 1993; International Art Fair, Andrew Lloyd Gallery, London 1993; Daniel Arnaud Contemporary Arts, London 1995; Hamerson plc, London 1995.
1. Public Art Commissions Agency records; 2. Letter and CV from the artist, 21st January 1996; 3. T. Lomax, ‘Artists account’, in ‘Building study: Urban Learning Foundation, Tower Hamlets, London’, Architect’s Journal, 21st April 1993, p.44. [B1998]

Giovita Lombardi (1837--76)
An animal sculptor, born at Rezzato near Brescia, he died at Rome. Examples of his work in marble are to be found in the National Gallery of Melbourne.
(source: Bénézit, 1976) [L 1997]

Henry Lord (1843--1926)
Architect. Born in Chester. Educated at Manchester Grammar School and Making Place Hall, Ripponden, near Halifax. Articled to Charles Sacre, engineer at the Manchester Railway Works, Gorton. Lord gave up engineering because of illness but was shortly afterwards articled to the architect Ernest Bates of Manchester. Began practice in 1871, and elected FRIBA in 1888. He was also active in Conservative politics, being Vice-Chairman of the South Salford Conservative Association. He was also a Salford councillor and a senior magistrate. His principal work was the Royal Technical School at Salford, along with the Central Board School in Deansgate and other school buildings in Manchester.
Source: Tracy, 1899. [Man2004]

John Graham Lough (1798--1876)
Lough was first apprenticed to a local stonemason in Consett and then moved to Newcastle where he helped to carve decorations on the new premises of the Literary and Philosophical Society (1822--5). In 1825 he went to London and there studied the Elgin Marbles, which were to have a profound influence on his later, neo-classical work, as the figures at the base of the Stephenson Monument, Newcastle (1862) demonstrate. In 1826 he joined the Royal Academy, and made such rapid progress that in the same year he received a commission for a bust of the Duchess of Buckingham. The following year, 1827, he exhibited his Milo and a group Samson and the Philistines in the Great Rooms at Maddox Street, London.¹ From 1834 to 1838, Sir Matthew Ridley of Northumberland supported his studies in Rome. On his return to London, Lough settled into a prolific career, with Sir Matthew Ridley as his most steadfast patron. He carved ten marble statues representing characters from Shakespeare for Ridley’s London house (1843--7) as well as a marble frieze for the staircase, with Shakespeare seated at the top of the stairs, and scenes from The Tempest and Macbeth running downwards to the right and left (1863). For Blagdon in Northumberland, he carved a colossal figure Milo (exhibited 1827) and four statues -- Deer Slayer, Boar Hunter, Shepherd and Eagle Slayer -- for the bridge on the main approach drive (1869--71). Lough’s public sculptures include the statues Queen Victoria (1845) and Prince Consort (1846) for the Royal Exchange; Comus for the Egyptian Hall in the Mansion House, London (1853--6); Sir Henry Lawrence (1862) for St Paul’s Cathedral; and the figures for the George Stephenson Monument (also 1862) for Westgate Street, Newcastle.
Note: [1] Literary Gazette, 1827, p.229.
Sources: Gunnis, R., Dictionary of British Sculptors 1660--1851, London, 1964, pp.242--3; Usherwood, P., Beach, J. and Morris, C., Public Sculpture of North-East England, Liverpool, 2000, p.328; Read, B., Victorian Sculpture, New Haven and London, 1982, pp.33, 139--40; Ward-Jackson, P., Public Sculpture of the City of London, Liverpool, 2003, pp.247, 467f. [SBC2005]

John Graham Lough (1798--1876)
Born in the hamlet of Greenhead in Northumberland, son of a blacksmith and smallholder. Lough trained with a local stonemason, and carved some architectural decorations in Newcastle-upon-Tyne, before travelling to London in 1826, where he joined the Royal Academy Schools. In the following year, he exhibited his Milo and a group of Samson and the Philistines in the Great Rooms in Maddox Street. Lough was acclaimed by the Literary Gazette an ‘extraordinary genius’, and the exhibition became a social event, attended by the Duke of Wellington and the aged Sarah Siddons. Lough was befriended at this time by the painter Benjamin Robert Haydon, and found supporters amongst the aristocracy and landed gentry. He spent three years from 1834 to 1836 in Rome, on an allowance from the Duke of Northumberland. On his return he devoted himself to the illustration of English literature. A series of Shakespearean statues, commissioned by Sir Matthew White Ridley, was executed between 1843 and 1855. At the Westminster Hall exhibition of 1844, and again at the Crystal Palace in 1851, Lough exhibited a group entitled The Mourners, in which a dead knight was shown, lamented by his beloved and by his trusty steed. This proved widely popular, though condemned by the Art Journal for its ‘maudlin sentimentality’.Whilst it is widely agreed that Lough was at his best in imaginary subjects, he also received several important commissions for portrait statues, including Lord Collingwood for Tynemouth (1842), Queen Victoria (1844--5) and Prince Albert (1845--7) for the Royal Exchange, and George Stephenson for Newcastle-upon-Tyne (1842). Lough produced many portrait busts and church monuments. Although he exhibited there from 1826 to 1863, he was never elected to the Royal Academy.
Sources: J. Lough and E. Merson, John Graham Lough 1798--1876, a Northern Sculptor, Woodbridge, 1987. [CL2003]

John Graham Lough (1798--1876)
The son of a farmer at Greenhead, near Consett, Lough was first apprenticed to a local stonemason and then moved to Newcastle where he helped carve decorations on the new premises of the Literary and Philosophical Society, 1822--5. About 1825 he went to London and there studied the Elgin Marbles which were to have a profound influence on his later, neo-classical work, as the figures at the base of the Stephenson Monument (1862) demonstrate.
In 1827 he suddenly shot to fame with his colossal, Michelangelesque figure of Milo (a later bronze version of which is at Blagdon Hall) which his friend and mentor, the painter B.R. Haydon, described as ‘the most extraordinary effort since the Greeks -- with no exception -- not of Michel Angelo, Bernini, or Canova’ and for a brief period the artist found himself fêted as a newly discovered, untutored genius.
Patronage by the Northumberland family which began with the third baronet in 1836 and continued with the fourth supported his studies in Rome from 1834 to 1838. On his return he settled into a prolific career, exhibiting ideal groups at the RA (until 1863) and the Great Exhibition in 1851, and executing numerous portrait busts and statues. The Blagdon home of Sir Matthew White Ridley, his most steadfast patron, still has many examples of his work.
Lough’s models were offered to the City of Newcastle by the sculptor’s widow in July 1876 and put on display permanently in Elswick Hall the following year. By 1928 there was pressure to close the Hall and get rid of the models (which had been supplemented in 1877 by those of the sculptor Matthew Noble). In 1932 the Council considered having the models transferred to the Industrial Museum in Exhibition Park, but before this could happen, probably at the time Elswick Hall became an ARP station in 1938, the y were either smashed or deposited elsewhere.
[1] Boase, T., ‘John Graham Lough: A Transitional Sculptor’, Journal of the Warburg and Courtauld Institutes, xxiii, 1960, pp.227--90. [2] Literary Gazette, 1827, p.229. [3] Lough, J. and Merson, E., John Graham Lough 1798--1876 A Northumbrian Sculptor, Woodbridge, 1987. [NE 2000]

Princess Louise, Duchess of Argyll (1848--1939)
Sculptor. Princess Louise Caroline Alberta, fourth daughter of Queen Victoria, born in Buckingham Palace. She displayed artistic talents in drawing and sculpture from an early age. Mary Thornycroft was her art tutor. In 1868 attended National Art Training School, coming under the influence of Joseph Edgar Boehm. She married John Douglas Sutherland Campbell, Marquess of Lorne, in 1871, becoming the Duchess of Argyll in 1900. Her husband pursued a political career as an MP (for a time he represented South Manchester) and Governor General of Canada. She sculpted many busts of her family and exhibited at the RA. Her statue of Queen Victoria in Kensington Palace was completed in 1893. She also produced a memorial in St Paul’s Cathedral to Canadian soldiers who fought and died in the South African War .
Source: Wake, 1988. [Man2004]

Margaret Lovell (b.1939)
Born in Bristol, Margaret Lovell studied at the West of England College of Art (1956--60) and the Slade School of Fine Art (1960--2), where she won the Slade School prize for sculpture and etching in 1962. She was awarded both Italian and Greek Government scholarships (in 1962--3 and 1965--6 respectively). In 1966 she was elected an Associate of the Royal Society of British Sculptors. She works in a number of different media, including bronze, alabaster, copper, marble, plaster, slate, stone and wax, and has exhibited widely throughout Britain as well as in France and Greece. Her public commissions include sculpture for Barclays Bank, the Great Ouse Water Authority, Plymouth City Art Gallery and Rendcomb College, Cheltenham.
Source: information from the artist. [WCS2003]

W.E. Loxley (1911--73)
Born in Birmingham, 28th March 1911, he died in Bournemouth, 1st December 1973. Studied at Moseley Road School of Art 1924--9, registering for a modelling course in the sculpture department in 1926--7. He then became an ornamental stonemason, taking over his father’s firm and traded under the name of Ernest Loxley at his studios in Bristol Road South until 1955, after which time he worked for Mr. Protheroe, a Handsworth stonemason. Loxley moved to Bournemouth in 1971.
1. Birmingham School of Art, Student Registers; 2. Information provided in conversation, the artist’s widow, 24th February 1986. [B1998]

Richard Cockle Lucas (1800--83)
Lucas was apprenticed to his uncle, a Winchester-based cutler. During his apprenticeship he learnt to carve knife handles in wood, bone and ivory, and consequently turned his skills to sculpture. He joined the Royal Academy in 1828, winning silver medals in 1828 and 1829, and exhibited continuously between 1829 and 1859. In 1845 Lucas made a model of the Parthenon in its original state, with the sculptures moulded in wax. This was purchased by the Trustees of the British Museum and proved so successful that they ordered the sculptor to make a second model showing the building immediately after the explosion of 1687. Lucas exhibited ivory and imitation bronzes at the Great Exhibition of 1851. His work included statues, busts and a large number of wax portraits, but he was at his best in his smaller works. He designed his own house in Chilworth, writing an account of the building titled An Artist’s Dream Realized: being a Residence designed and built by R.C. Lucas, Sculptor, 1854.
Sources: Gunnis, R., Dictionary of British Sculptors 1660--1851, London, 1964, pp.244--5; MacKay, J., Dictionary of Western Sculptors in Bronze, Woodbridge, 1977, p.240. [SBC2005]

Vincenzo Luccardi (1811--76)
Sculptor and history painter, born at Gemona. He trained in Venice before moving to Rome where he became a professor at the Academy of Saint Luke. He was a knight of the Legion of Honour and of the Order of St Gregory the Great.
(source: Bénézit, 1976) [L 1997]

Andrea Carlo Lucchesi (1860--1925)
Sculptor born 19 October 1860 in the City of London, the son of an Italian sculptor’s moulder and an English woman. He attended West London School of Art and then, in c.1886, the Royal Academy Schools.¹ He also worked as assistant to sculptors H.H. Armstead and Edward Onslow Ford and for two commercial silversmiths, Garrard’s and Elkington’s. In 1895 his Destiny won a gold medal at Dresden and in 1900 a life-size plaster model of Destiny and another entitled A Vanishing Dream, won gold medals at the Paris International Exhibition. He was best known for portrait busts, e.g., Sir John Franklin, 1898, bronze, National Portrait Gallery, and mildly erotic female nudes, e.g., The Myrtle’s Altar, bronze, RA 1899 (reductions at Birmingham and Preston). In 1903 his Memorial to Edward Onslow Ford (designed in collaboration with architect John W. Simpson) was unveiled in Abbey Road, London. Lucchesi also did a bronze tablet to John Wareing Bardsley, Bishop of Carlisle, 1906, for Carlisle Cathedral. He was a member of the Art Workers’ Guild and exhibited at the Royal Academy from 1881--1925.
Sources: Beattie, S., 1983; Gray, A.S., 1985; Nairne, S. and Serota, N. (eds), 1981; Who Was Who 1916--1928.
Note [1] Sources differ: Nairne and Serota (1981, p.257) gives 1881--6 for Lucchesi’s entire period at the West London School of Art and Royal Academy Schools; while Beattie (1983, p.246) and Gray (1985, p.237) give 1886 and 1887 respectively for his entry to the Royal Academy Schools. [LR 2000]

Sir Edwin Lutyens (1869--1944)
Architect. Lutyens was educated at the Royal College of Art (1885--7). His early career was marked by a series of commissions for country houses, many of them obtained through Gertrude Jekyll, for whom he built Munstead Wood (1896). Later on, classicism came to play a more important role in his work. His most important work of this period was the New Delhi planning commission that he accepted in 1912, and he designed the Viceroy’s House, probably the most important example of European Renaissance architecture in India. However, the characteristic style of the middle period of his career was a simplified version of Queen Anne, relying on fine proportions and mouldings, such as Middlefield, Cambridgeshire (1908). During the 1920s, he designed the Cenotaph and more than 50 other war memorials. From 1926 onwards, he collaborated on many large blocks of flats, including his Westminster housing scheme (1928--30). Other works from this period include the British Embassy in Washington (1926--9) and Campion Hall, Oxford (1934). His most ambitious work of the 1930s was his design for Liverpool’s Roman Catholic Cathedral, which was never realised. Lutyens was elected ARA (1913), RA (1920), and President of the Royal Academy in 1938. He received a gold medal for architecture from the RIBA in 1921, becoming the organisation’s Vice-President in 1924.
Source: DNB. [Man2004]

Sir Edwin Lutyens (1869--1944)
Lutyens was an architect educated at the Royal College of Art (1885--7). His early career was marked by a series of commissions for country houses, many of them obtained through Gertrude Jekyll, for whom he built Munstead Wood (1896). At this time, he was chiefly inspired by the ideals of Phillip Webb and William Morris. Later on, classicism came to play a more important role in his work. His most important work of this period was the New Delhi planning commission that he accepted in 1912, and he designed the Viceroy’s House, probably the most important example of European Renaissance architecture in India. However, the characteristic style of the middle period of his career is a simplified version of Queen Anne, relying on fine proportions and mouldings, such as Middlefield, Cambridgeshire (1908). During the 1920s, he designed the Cenotaph and more than 50 other war memorials. From 1926 onwards, he collaborated on many large blocks of flats, including his Westminster housing scheme (1928--30). Other works from this period include the British Embassy in Washington (1926--9) and Campion Hall, Oxford (1934). His most ambitious work of the 1930s was his design for Liverpool’s Roman Catholic Cathedral, which was never built. The domed cruciform church would have been second in size only to St Peter’s in Rome. Lutyens was elected ARA (1913), RA (1920), and President of the Royal Academy in 1938. He received a gold medal for architecture from the RIBA in 1921, becoming the organisation’s vice-president in 1924.
Sources: Dictionary of National Biography, CD ROM version; Brown, Jane, Lutyens and the Edwardians: an English architect and his clients, London and New York, 1996. [WCS2003]

Samuel Ferris Lynn (1834--1876)
Born at Fethard, Co. Tipperary, Ireland, 29th October 1834, he died in Belfast, 5th April 1876. Studied at the Royal Academy from 1856, gaining a Gold Medal in 1859. Worked as an ornamental sculptor in Dublin and Manchester, also working for his brother the architect W.H. Lynn, carving decorations for banks. Exhibited idealised figures from 1856 such as Grief, 1858 and Psyche, 1859, until 1868 when he turned to portraiture. Patronised entirely by the nobility and gentry of north Ireland, his portraits include memorial busts of J. Clarke, Belfast 1868; Alexander Mitchell, Belfast 1869; Rev. P. Shuldham Henry, Queen’s College, Belfast 1869; John Thompson, High Sheriff of Co. Antrim, 1871; Lord Cairns, Attorney General, 1872; and a marble bust of John Lytte, Mayor of Belfast, 1874. He executed a marble statue of Lord Farnham, Cavan 1872; and a bronze one of The Marquis of Downshire, Hillborough, Co. Down 1873. He entered Foley’s studio in London, assisting in the modelling of the statue of the Prince Consort 1868--74 for the Albert Memorial, Kensington Gardens, having already made a statue of Prince Albert for the Albert Memorial Clock, Belfast 1865.
1. Graves, vol.IV, London, 1906, p.120; 2. W.G. Strickland, Dictionary of Irish artists, vol.II, Dublin and London, 1913, pp.33--5; 3. U. Thieme and F. Becker, Allgemeines Lexikon der bildenen Künstler, vol.XXIII, Leipzig, 1938, p.494. [B1998]

Michael Lyons (b.1943)
Michael Lyons, who trained at Wolverhampton College of Art, Hornsey College of Art and the University of Newcastle upon Tyne, has exhibited widely in Britain, Europe, North America and the Far East. Lyons has a considerable reputation as a sculptor of large-scale abstract works in steel and bronze that are inspired by the overwhelming forces of nature. He was Head of Sculpture in the Department of Fine Arts at Manchester Metropolitan University for a number of years before leaving in 1994. His work has been strongly influenced by the residencies he held at Lethbridge University, Alberta (1987) and Zheziang Academy, China (1993). His Canada Sky series, for example, alludes to the powerful visual impact of cloud formations sweeping across the Canadian prairies. His major commissions in Britain include Doves of Peace (1986, Manchester), Pinnacle (1990, Sheffield), Argonaut (also 1990, Plymouth), Spring Tide (1993, Bradford), and Dawn of Time, (Dudley, 2001). Recently, he has worked extensively in China, producing his Dragon Light Series (1998--9), Resurgence (Tianjin, 2000), The Lake Afire (Hangzhou, 2000) and Greeting the Sun (Yanqing, 2001). In late 1977 he helped to set up Wakefield’s Yorkshire Sculpture Park, the largest outdoor exhibition space for sculpture in the UK. He was elected vice-president of the Royal Society of British Sculptors (1994--7) and has also been a director of the Ironbridge Museum of Steel Sculpture. There was a major retrospective of his work at the Yorkshire Sculpture Park in 1998--9.
Sources: Information provided by the artist, autumn 2001; Sheeran, J., Michael Lyons, North Yorkshire, 1998; Yorkshire Sculpture Park, Michael Lyons, exhib. cat., Wakefield, 1998. [SBC2005]

Michael Lyons (b. 1943)
Sculptor. Born in Bilston, Staffordshire. Educated at Wolverhampton College of Art (1959--63), Hornsey College of Art (1963--4) and University of Newcastle (1964--7). Taught in art colleges throughout his career, in particular at Manchester Polytechnic, later Manchester Metropolitan University, from 1974 to 1993, becoming head of sculpture in 1989. He was a founder member of the Yorkshire Sculpture Park, and has acted as an adviser on exhibitions there. In 1984 he had a residency at Grizedale Forest and in 1987 was Artist-in-Residence at Lethbridge University in Alberta, Canada. He has exhibited in Britain and Europe since 1966, including Whitworth Gallery, Manchester, 1978 and retrospective at Yorkshire Sculpture Park, 1998. Lyons was instrumental in introducing steel sculpture techniques into China following his visit as artist-in-residence at the National Academy of Art, Hangzhou, Zheziang Province in 1993. Sculptures in China include The Lake Afire (Hangzhou) and Greeting the Sun (Yanqing). Lyons has works displayed in Museum of Steel Sculpture, Ironbridge, Broomhill Sculpture Garden, Barnstaple and Millennium Sculpture Trail, Dudley. Lives and works near Selby, Yorkshire. Elected Vice-President of the RSBS.
Sources: Lilley and Glossop, 1998; artist. [Man2004]

Charles H. Mabey
Mabey started exhibiting portraits at the Academy in 1863, when his address is given as 103 Lisson Grove. He is also recorded at this address, under the heading ‘sculptors’, in the Engineer and Building Trades Directory of 1868. However, the Royal Academy in 1863 provides an alternative address for him at 1a Prince’s Street, Westminster. It was from this latter address, later referred to as Storey’s Gate, that Mabey carried on a flourishing trade in ornamental and figurative architectural sculpture, church furniture and monuments. The firm remained active well into the twentieth century, managed by the sculptor’s son, with the same initials. In the 1870s Mabey seems to have enjoyed a particularly productive working relationship with John Gibson, the architect to the National Provincial Bank, providing impressive figure sculpture for at least two of the bank’s branches, at Middlesbrough and in Bishopsgate in the City of London. In the 1880s, Mabey was providing models for manufacture by the Ruabon terracotta firm of J.C. Edwards of renaissance-style architectural detail. Mabey signs three of the bronze relief panels on Horace Jones’s Temple Bar Memorial in Fleet Street (1879--80). He tendered unsuccessfully for the reconstruction of Francis Bird’s statue of Queen Anne in front of St Paul’s Cathedral in 1885. The elder Mabey exhibited for the last time at the Royal Academy in 1889. In 1903 the firm tendered for the job of producing parapet figures for the new War Office building in Whitehall, but lost this commission to Alfred Drury. The firm was however successful in procuring the contract for the architectural sculpture on this building.
Sources: S. Beattie, The New Sculpture, New Haven and London, 1983. [CL2003]

John McArthur (b.1941)
Born in Glasgow, he worked as a boilermaker and plater at the Fairfield Shipyard, becoming Training Centre Manager and assisting apprentices in producing Sunburst, Cloud and Rain for Irving New Town Shopping Centre. On retiring he joined the Govan Reminiscence Group, and was a founder member of Govan Practical and Historical Art Group, 1991, collaborating on relief panels for Fairfield’s and a model of Govan (1913--45), exhibited at Govan Library, 2000.
Source: information provided by the artist. [G2002]

John Alexander Patterson MacBride (1819--90)
He trained under William Spence of Liverpool, before moving to London in about 1841. His entry for the Westminster Hall competition of 1844 was badly received, although Samuel Joseph was sufficiently impressed to engage MacBride as a pupil without charging the usual fee. MacBride eventually became Joseph’s chief assistant before returning to Liverpool in about 1852 where he became Secretary of the Liverpool Academy. In Liverpool he competed unsuccessfully for the commission for the Wellington Column statue. Gunnis lists amongst his works a Bust of Dr Raffles for Great George Street Chapel, Liverpool, a Bust of John Laird (1863) for Birkenhead Hospital, and a Memorial Tablet to Dr Stevenson (1854) for St Mary’s Church, Birkenhead, now housed at the Oratory, St James’s Cemetery, Liverpool. The Liverpool Art Union awarded models of his Lady Godiva as prizes in 1850.
(sources: Gunnis, 1951; WAG JCS files) [L 1997]

Rita McBride (b. 1960)
Sculpture. Born Des Moines, Iowa, USA. Educated at Bard College and California Institute of the Arts. Her sculpture is influenced by architecture, exploring the legacies of the Bauhaus and Le Corbusier, as well as the use and meanings of everyday objects. Group and solo exhibitions in United States and Europe, including Artists’ Space, New York, Alexander and Bonin, New York, Santa Monica Museum of Art, California, Witte de With, Rotterdam and Mai 36 Galerie, Zurich. Works include Toyota, Parking Garages (1990), National Chain (1999), Two Towers (2000) and Machines (2001). Arena was first exhibited at Witte de With, Rotterdam in 1997. Public collections holding her work include San Diego Museum of Contemporary Art and Witte de With Centre for Contemporary Art, Rotterdam.
Sources: McBride, 2001; Irwell Sculpture Trail. [Man2004]

Keith McCarter (b. 1936)
Born in Scotland. After military service he attended Edinburgh College of Art, where he was awarded the Andrew Grant travelling scholarship. He has worked in Europe and the United States, but currently resides in Norfolk. Public sculpture by him is to be found in Washington DC and New York, and in Nigeria. Three works by him have been placed in the City of London. Apart from the two works included in the entries in this volume, a bronze entitled The Secret was commissioned by the First National Bank for the foyer of its offices at Monument, and installed there in 1984. McCarter’s public sculptures are predominantly abstract in conception, and either cast or constructed in metal.
Source: information from the internet. [CL2003]

Keith McCarter (b.1936)
Born in Scotland, he served in the Royal Artillery before entering ECA in 1956. He was the winner of the Andrew Grant Scholarship in 1960, which enabled him to travel in Europe, and after a further period of travel in the USA he joined the staff of Hornsey College of Art as a visiting lecturer. After his first solo show in Burleighfield in 1978, he began to receive commissions for large outdoor abstract sculptures, usually in bronze, including La Primavera, in Copthorne, East Sussex (1978) and Ridrich, in Aldgate, London (1980). Since 1966 he has also produced many sculptures for buildings.
Source: Strachan, pp.33, 89, 144, 265. [G2002]

John McCarthy
He exhibited statues and busts at the RA from 1954 to 1960, during which time he was based in London. For the exterior screen wall of Corporation House in Manchester, he executed an abstract stone relief.
(sources: Pevsner, 1969; Royal Academy Exhibitors) [L 1997]

John Robert Murray McCheyne (1911--1982)
Studied at Edinburgh College of Art 1930--5 with Alexander Carrick, and later in Copenhagen. Whilst Master of Sculpture at King’s College, University of Newcastle in the 1950s and 1960s he undertook various public commissions in Newcastle and the region, often working in collaboration with the local architect, Billy Williamson. His early work was in the mode of Aristide Maillol and the Danish sculptor Gerhard Henning. In the mid-1950s, however, he came under the influence of Henry Moore as is apparent from his Family Group in Shieldfield, Newcastle (1959, original now lost; small version in the Laing Art Gallery).
[1] Information provided by Derwent Wise, sometime assistant to McCheyne, 1999. [2] Information provided by David Foster, sometime neighbour, 1999. [NE 2000]

Joseph Crosland McClure (exhibited 1900--14)
Sculptor and teacher. He taught modelling, firstly at Liverpool School of Art, moving to Leicester by 1905 and taking up a similar post at Leicester School of Art. He is recorded as living in London by 1913. His work was shown in temporary exhibitions, at the Glasgow Institute of Fine Arts (seven times), the Walker Art Gallery, Liverpool (eleven times), and the Royal Academy, London (eighteen times). Commissions not described in the present volume include stone figures of Truth and Wisdom, 1906, for H.H. Thomson’s St Alban’s church, Leicester; two sculptural groups: The Music of the Woods and the Sea and Municipal Beneficence and the Soul of Music, 1910--14, for Stockdale Harrison’s Usher Hall, Edinburgh; and a Statue of King Edward VII in coronation robes (for which the king granted McClure a sitting) for Madras. Examples of McClure’s work are also in Leicester Museum and Art Gallery (Portrait Bust of Mrs Mary Stanion) and the Walker Art Gallery (Sunrise, Morning and Evening).
Sources: Architects’ Journal, 8 September 1920, pp.261--2; Gifford, J. et al., 1984; Johnson, J. and Greutzner, A., 1976; L. Chronicle, 4 September 1920, p.2; L. Daily Post, 31 August 1920, p.3; L. Mail, 30 August 1920, p.2; The Studio: [i] vol. xxiv, no. 104, November 1901, p.137 [ii] vol. xxxiv, no. 146, May 1905, p.351; Transactions ..., 1911--12, x, p.14. [LR 2000]

Jamie McCullough (d.1998)
Although trained as a sculptor at Chelsea College of Art, McCullough combined art, science and engineering in his work. He built a number of bridges and worked on landscape projects including Meanwhile Gardens, Paddington (1978), Beginner’s Way, Exeter Forest (1980), and Willow Bridge, Harrogate (1995). In 1990 he held a four-month residency in the Department of Civil Engineering at Strathclyde University. Following the success of this project, he was awarded a grant by the Engineering and Science Research Council to work at the university for four months a year for the next three years, exploring the role of creativity in teaching civil engineering. His ecological concerns drew him to look at the possibilities of using sculpture to oxygenate slow moving and polluted rivers, and he began working with engineers from Newcastle University on a river at Quaking Houses in Co. Durham that had been polluted by mineral wastes. In 1996, following the end of his contract with Strathclyde University, he wrote up his experiences in a report called Skyhook Underneath. He died following a motorbike accident while working as the Lead Artist on the Black Country Route in Bilston.
Sources: Harding, D., Meanwhile Artist, accessed 12 January 2004, www. davidharding.org; Purdie, D., Public Art on the Black Country Route, 1997, http://wavespace.waverider.co.uk/~scotdave; Wolverhampton City Council, Black Country Route Sculptures, CD-ROM, Wolverhampton, 2001. [SBC2005]

Alexander Beith MacDonald (1847--1915)
Born in Stirling, he was City Engineer in Glasgow from 1890 to 1914, during which time he was responsible for planning and designing most of Glasgow Corporation’s public buildings and works. He was apprenticed to the Glasgow civil engineers Smith & McWharrie in 1862, and studied engineering, natural philosophy and mathematics at Glasgow University. He joined the City Architect’s office in 1870, assisting in the work of the City Improvement Trust, and in the erection of tenements, baths, washhouses, markets, police offices and fire stations. He used statuary sparingly, but most of his buildings are distinguished by splendid armorial bearings affirming the power and authority of the Corporation and revealing the adaptability of the city’s arms to imaginative sculptural treatment. He died after falling from a tram in Sauchiehall Street, and is buried in the Western Necropolis.
Sources: Bailie, 25 November 1896, 4 May 1910; GH, 2 November 1915, p.10 (obit.); BN, 10 November 1915, p.296 (obit.). [G2002]

Terence McDonald (b. 1930)
A Liverpool sculptor, he studied at Liverpool City College of Art, was an assistant to Tyson Smith at the Bluecoat studio and is a member of the Merseyside Sculptors Guild.
(source: Merseyside Sculptors Guild) [L 1997]

George Duncan Macdougald
He showed work at the Royal Academy from 1910 to 1936, his exhibits being predominantly portraits. His bust of the scientist, Sir James Dewar (bronze, 1910), is in the National Portrait Gallery, London. During the First World War he appears to have served with the Royal Engineers, and in 1920, he showed three works at the Royal Scottish Academy, with the titles Triumph, Reveille and In Memoriam. [CL2003]

Patrick Macdowell (1799--1870). Born in Belfast, but after the death of his father, his mother brought him with her to England. In 1813, Macdowell was apprenticed to a London coachmaker, who went bankrupt before the end of his term. Macdowell, who was lodging at this time in the house of the sculptor Peter Chenu, was encouraged by Chenu’s example to take up modelling. In 1822 he had a bust accepted for exhibition at the Royal Academy. Macdowell’s efforts were encouraged by other artists, and by wealthy amateurs. It was on the advice of John Constable that he entered the Royal Academy Schools in 1830, and T. Wentworth Beaumont financed an eight-month study trip to Rome. After the conclusion of his studies, Macdowell built up a reputation, based mainly on his pensive and sentimental ‘ideal’ female figures, such as A Girl Reading of 1838, commissioned in marble by the Earl of Ellesmere (a plaster version is in the collection of the Royal Dublin Society). Some of these figures were nudes, conceived in a classical idiom, such as the Lea, which Macdowell executed between 1853 and 1855 for the Egyptian Hall of the Mansion House. However, the list of Macdowell’s ‘ideal’ works also includes the highly dramatic Virginius and his Daughter, exhibited at the Great Exhibition in 1851. Macdowell executed statues of four historical figures for the Houses of Parliament. His memorial statue of the painter Turner (1851) is in St Paul’s Cathedral. Macdowell’s last work was the allegorical group of Europe for the Albert Memorial in Kensington Gardens. He was elected Royal Academician in 1846.
Source: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968. [CL2003]

Patrick MacDowell (1799--1870)
Born in Belfast, his tradesman father died whilst he was in his infancy, leaving the family impoverished. MacDowell’s interest in drawing was originally encouraged by an engraver who ran a boarding school at which he was lodged in Belfast. By 1811 the family had moved to Hampshire and by c.1817 MacDowell was lodging with the sculptor Peter Francis Chenu and had begun his first successful attempts at modelling. In 1822 he had a bust accepted at the RA. He did not immediately enter the RA Schools, but was advised to do so in 1830 by John Constable and, once there, made rapid progress. An early patron paid for a period of eight months study in Rome. He successfully entered the Westminster Hall competition in 1844 and was commissioned to execute a Statue of William Pitt the Younger. In 1846 he was elected RA, having been ARA since 1841. He exhibited at the RA from 1822--70 and was represented at the Great Exhibition of 1851. Shortly before his death he completed the marble group Europe for the Albert Memorial in London.
(sources: DNB; Gunnis, 1951) [L 1997]

David Bernard McFall (1919--88)
Born in Glasgow, he studied at the Junior School of Arts and Crafts in Birmingham (1931--4), then at the Birmingham College of Art, under Charles Thomas (1934--9). Moving to London, he went to the Royal College (1940--1), and to the City and Guilds School in Kennington (1941--5). From 1944 to 1958 he worked as an assistant to Jacob Epstein. From 1956, McFall taught at the City and Guilds School. In 1942, while he was still a student, his Bull Calf (Portland stone) was acquired with the Chantrey Fund for the Tate Gallery. Two casts of his colossal Unicorn were made by Morris Singer in 1950 for Bristol Town Hall, and in 1951 his Boy and Horse (stone) stood on the podium of the Dome of Discovery at the Festival of Britain. McFall produced portraits of many distinguished contemporaries. An over-life-size statue of Winston Churchill was commissioned from him for Woodford Green, Essex. McFall’s special penchant for the female nude was exemplified over the years in such works as the Pocahontas (bronze, 1956) for the premises of La Belle Sauvage in Red Lion Square (since removed), and the jokingly entitled Venus de la Mile End Road (bronze, exhibited RA 1988). His last work, a standing figure of Christ for Canterbury Cathedral, was installed soon after his death. McFall was elected ARA in 1955, and RA in 1963.
Sources: G. Waters, Dictionary of British Artists Working 1900--1950, Eastbourne, 1975; F. Spalding, Twentieth Century Painters and Sculptors, Woodbridge, 1990. [CL2003]

Walter MacFarlane & Co. Ltd (fl.1849--1965)
Also known as the Saracen Foundry, MacFarlane’s was the most important manufacturer of ornamental ironwork in Scotland, producing drinking fountains, bandstands, lamp standards, prefabricated buildings and architectural features for clients from countries as far afield as Australia and Brazil. Founded by Walter MacFarlane in 1849 in Saracen Lane, Glasgow, the firm moved to a purpose-built foundry on Sir Archibald Alison’s Possil Estate in 1872. The firm mass produced designs by the architects James Boucher, James Sellars, John Burnet and Alexander ‘Greek’ Thomson, employing sculptors to craft the commemorative busts and other interchangeable sculptural features incorporated into the designs as required. Though little of their free-standing work survives in Britain, many examples of their castings can be seen elsewhere, providing evidence of the firm’s importance on the global market and the elegance and durability of its products. In the inter-war years, the firm produced cast-iron panels for commercial buildings, including Selfridges, London (1928). In 1965 MacFarlane’s was taken over by Allied Founders, which was itself absorbed by Glynwed Ltd; the Possil Park works were demolished two years later. In recent years, the firm’s patterns have been revived and reproduced by Glasgow-based Heritage Engineering.
Sources: McKenzie, R., Public Sculpture of Glasgow, Liverpool, 2002, p.489f.; Scott, S., Springburn Virtual Museum, Glasgow City Archives, created May 2003, accessed 18 June 2003. [SBC2005]

Walter Macfarlane & Co. (1849--1965)
Architectural ironfounders. Founded in 1849 by Walter Macfarlane in Glasgow, the firm was one of the leading manufacturers and exporters of ornamental ironwork, especially drinking fountains, bandstands, shelters, benches, lamp standards and architectural features for public parks. The firm also manufactured glasshouses, railway stations and bridges at their famous Possilpark Saracen Foundry. George Smith’s Sun Foundry was their principal competitor. Macfarlane’s produced patterns designed by the architects James Boucher, James Sellars, John Burnet and Alexander ‘Greek’ Thomson, and employed sculptors such as James A. Ewing to craft the commemorative busts and other interchangeable sculptural features incorporated into the designs.
Source: McKenzie, 2002. [Man2004]

Walter Macfarlane & Co. (1849--1965)
Also known as the Saracen Foundry, Macfarlane’s was the most important manufacturer of ornamental ironwork in Scotland, producing drinking fountains, bandstands, lamp standards, prefabricated buildings and architectural features for a client base stretching from Australia to the Amazon. Founded by Walter Macfarlane (1817--85) in 1849, in Saracen Lane, off the Gallowgate, the firm moved to a purpose-built foundry at 73 Hawthorn Street, on Sir Archibald Alison’s former Possil Estate in 1872, creating the suburb of Possilpark to house the firm’s vast workforce. With the emphasis on artistic utility, the firm mass produced patterns designed by the architects James Boucher, James Sellars (q.v.), John Burnet and Alexander ‘Greek’ Thomson, and employed sculptors such as James A. Ewing (q.v.) to craft the commemorative busts and other interchangeable sculptural features incorporated into the designs as required. They also produced Glasgow’s earliest police phone boxes (1889). Though little of their free-standing work survives in Britain, and vast quantities of their architectural crestings and railings were removed during the Second World War, many examples of their castings survive elsewhere as evidence of the firm’s importance on the global market and the elegance and durability of their products. In the inter-war years the firm produced cast-iron panels for commercial buildings, including the former Union Bank, 110--20 St Vincent Street (1924--7) and Selfridges, London (1928). A fine example of their surviving commemorative work is the Queen Victoria Diamond Jubilee Drinking Fountain, Overnewton Park, Rutherglen (1897), which, until recently, incorporated a bust of the Queen. In 1965 Macfarlane’s was taken over by Allied Founders, which was itself absorbed by Glynwed Ltd; the Possilpark works were demolished two years later. In recent years the firm’s patterns, and those of its competitors, have been revived and reproduced by Glasgow-based Heritage Engineering.
Sources: GCA TD 299/2/2: Macfarlane’s Castings, vols 1 and 2; Stratton’s Glasgow and its Environment, pp.98--9; Slaven and Checkland, vol.1, pp.125--7; Williamson et al., p.495. [G2002]

Hector McGarva (b.1944)
Metal fabricator trading under the name of his father’s firm, Samuel McGarva & Son. A frequent collaborator with Jack Sloan (q.v.) he has also worked on commissions with the architects Page & Park (q.v.) and the engineer Jim Gilchrist.
Source: information provided by the artist. [G2002]

James Pittendrigh Macgillivray (1856--1938)
Born in Inverurie, son of the sculptor William Ewan Macgillivray, he trained in the Edinburgh studio of William Brodie (q.v.) from the age of thirteen and in Glasgow with the ornamental plasterer James Steel (q.v.), for whom he executed the interior decoration and carved elephant on the Scotia Theatre, Stockwell Street. He later assisted John Mossman (q.v.) before becoming an independent sculptor. Occupying a studio at 112 Bath Street, he produced portrait busts of Joseph Crawhall (1881) and Thomas Carlyle (1889), monuments in the Necropolis to Peter Stewart (1887), Annie Greenhill (1889) and Sir James Robertson (1889), the Margaret and Annie Brown Monument, Cathcart Cemetery (1888) and the James Sellars Monument, Lambhill Cemetery (1890). A painter, philosopher, musician and distinguished poet as well as a sculptor, he was a close associate of the group of artists known as the ‘Glasgow Boys’ and a co-founder of the Scottish Art Review. Moving to Edinburgh in 1894, he produced numerous busts and medallions for Edinburgh patrons, as well as funerary works such as the Monument to Peter Lowe, Glasgow Cathedral (1893). He also produced a report for the Scottish Education Department, which contributed to the establishment of Edinburgh College of Art, and became Sculptor Royal in 1921. His small-scale pieces are well represented in collections in Glasgow and Edinburgh, though his public works are rare. The most important of these are the Monument to Robert Burns, Irvine (1895) and a multi-figure Monument to William Ewart Gladstone, Edinburgh (1899--1917). His architectural work outside Glasgow includes sculpture on Dumfries Public Library (1904).
Sources: Spielmann, p.151; GH, 30 April 1938, p.13 (obit.); NLS, MS. Acc. 3501, nos.1--38; Melville, passim. [G2002]

Robert A. McGilvray (1849--1914) and McGilvray & Ferris See Richard Ferris
James Miller (1860--1947)
Born in Auchtergaven, Perthshire, he trained with local architect Andrew Heiton, then in various offices in Edinburgh. In 1888 he became staff architect for the Caledonian Railway Company, designing stations and hotels in the west of Scotland, the finest of which were at Botanic Gardens, Glasgow (1894, demolished 1970), and Wemyss Bay (1903--4). He established his Glasgow practice in 1893, producing churches, tenements and houses throughout the city and elsewhere in Scotland. Winning the competition for the buildings of the 1901 International Exhibition, Kelvingrove Park, he became associated with Albert Hodge (q.v.), employing him on sculpture and plasterwork for the Industrial Hall (see Kelvingrove Park, Appendix A, Lost Works). This was to make both their reputations and further collaborations followed, including Clydebank Municipal Buildings in 1902. Miller is chiefly remembered for his massive, American-style mercantile buildings in Glasgow, of which the former Union Bank, 110--20 St Vincent Street (1924--7) is a notable example. Among his buildings outside Scotland are the Prince of Wales Museum of Art, Bombay (1908) and the Institute of Civil Engineers, Westminster (1912). A little-known Glasgow work is the Monument to David Younger, Cathcart Cemetery (1904), with bronzes by William Kellock Brown (q.v.).
Sources: GH, 1 December 1947, p.4 (obit.); Gomme and Walker, p.275; Gray. [G2002]

David Mach (b.1956)
Born in Methil, Fife, he studied at Duncan of Jordanstone College of Art, Dundee, 1974--9, and at the RCA, London. He usually works on a colossal scale, using waste products, consumer durables and multiples such as newsapers, bricks, containers, toys and tyres to produce both temporary and permanent installations. His first public work, Rolls Royce, was created from thousands of old books, and his Temple at Tyre, Leith Docks, Edinburgh (1994), was built using discarded car tyres. His work has been exhibited in Britain, Europe and the USA, and is represented in major international collections. His best known recent work is Train, Darlington (1997), a simulated steam railway engine constructed from 200,000 engineering bricks.
Sources: McEwan; Guest and McKenzie, pp.24--5; Hartley, pp.86--7; Usherwood et al., p.329. [G2002]

David Mach (b.1956)
Studied at Duncan Jordanstone College of Art, Dundee, and at the Royal College of Art 1974--82; Mach has had numerous exhibitions and commissions around the world. Typically his works are temporary and entail the layering and structuring of non-art materials which are the opposite of what one would expect in the circumstances so that, for instance, a centurion tank is made out of telephone directories and a submarine out of car tyres. Many are vast in scale, for example Parthenon, Middleheim Museum, Antwerp (1985), a life-size Greek temple made out of car tyres.
[1] Turner (ed.), vol.19. p.892. [2] Livingstone, M., (ed.) David Mach, Kyoto, 1990. [3] Cassidy, D., David Mach at the Zamek Ujazdowskie, Tokyo, 1995. [4] Buckman, p.790. [NE 2000]

John McKenna (b.1964)
McKenna studied art and design at Worcester Technical College and Middlesex Polytechnic. In 1987 he was awarded a three-year bursary to study under the patronage of Elisabeth Frink at the Sir Henry Doulton School of Sculpture. In 1993 he founded Art for Architecture, an informal association of artists, designers and craftspeople who collaborate on public art commissions. Since then, he has worked primarily on public art schemes in a variety of media, including stone, terracotta, brick, bronze, welded steel and fibreglass. His commissions include a polychrome brick relief for Bilston Job Centre (1995); Glass Blower, Stourbridge town railway station (in collaboration with Steve Field, 1995); the brick relief of Boulton Paul aircraft, Pendeford, Wolverhampton (1995); the bronze relief panels at St John’s Retail Park, Wolverhampton (1995); Phantom Coach and Horses, Canley Railway Station, Coventry (1995); The Commuter, Snow Hill Railway Station, Birmingham (1996); and Droitwich Saltworkers Fountain (1998).
Sources: AXIS, The Axis Database Online, 1999, www.axisartists.org.uk/; Cavanagh, T. and Yarrington, A., Public Sculpture of Leicestershire and Rutland, Liverpool, 2000, p.376; Information given in conversation with Mark Wiles, Principal Planner, Centro, 13 June 1996; McKenna, J., Art for Architecture, accessed 7 January 2004, www.a4a.clara.net; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.199; Noszlopy, George T., Public Sculpture of Warwickshire, Coventry and Solihull, Liverpool, 2003, p.262. [SBC2005]

John McKenna (b.1964)
McKenna studied at Worcester Technical College, Middlesex Polytechnic and the Sir Henry Doulton School of Sculpture (1987). He now lives in Worcester, where he has his own studio. Has carried out public works for Centro including Glassblower, Stourbridge town railway station, in collaboration with Steve Field (1995), and Canley railway station, Coventry (1995).
Source: information given in conversation with Mark Wiles, Principal Planner, Centro, 13 June 1996. [WCS2003]

John McKenna (b. 1964)
Sculptor born in Manchester, currently (1999) based in Worcester, a member of the Royal Society of British Sculptors. He studied art and design in London and in 1987 was awarded a three-year bursary to study under the patronage of Dame Elizabeth Frink at the Sir Henry Doulton School of Sculpture, Staffordshire. In 1993 he founded Art for Architecture (a4a), an informal association of artists, designers and craftsmen in a variety of media who collaborate on public art commissions. McKenna’s a4a commissions include a polychrome brick relief for Bilston Job Centre, Staffordshire; the Droitwich Saltworkers Fountain, Droitwich, Worcestershire; Phantom Coach and Horses, stainless steel relief for Canley Railway Station, Coventry; Children at Play, 23 mild steel panels for a housing estate, Wednesfield, Staffordshire; The Commuter, 1996, Snow Hill Railway Station, Birmingham; Sculptural Steel Gates, 1998, Coombes Croft Library, Haringey, London; and The Glassblower (with Steve Field), 1995, Stourbridge Railway Station, Worcestershire.
Source: John McKenna. Art for Architecture website: a4a.clara.net/a4a.htm [LR 2000]

John McKenna
Lives in Worcester, where he has his own studio. He has carried out a number of public works for the West Midlands transport consortium, Centro, including Glassblower, Stourbridge town railway station (collaboration with Steve Field), 1995; and work at Canley railway station, Coventry, 1995. ARBS.
1. Information given in conversation with Mark Wiles, Principal Planner, Centro, 13th June 1996. [B1998]

Sir Edgar Bertram Mackennal (1863--1931)
Born in Melbourne, Australia, the son of a Scottish architectural sculptor. He studied with his father and at the Melbourne School of Art, coming to London in 1882. He briefly attended the Royal Academy Schools, before going on to Rome, and then to Paris, where he benefited from the counsels of Auguste Rodin. On his return to England in 1886 he took up an appointment as head of the modelling and design department of the Coalport Potteries in Shropshire. In 1888 he returned to Australia to execute sculptures on Parliament House, Melbourne. By 1892 he was back in Paris, where, in the following year, he exhibited his Circe at the Paris Salon. This received a mention honorable. When he entered this glamorous femme fatale at the Royal Academy in London in 1894, it was required by the hanging committee that her base, decorated with writhing nude figures, be covered with a discreet drape. From 1894, Mackennal remained in London, producing ideal works and architectural sculpture, but also increasingly involved with public monuments, starting with statues of Queen Victoria for Lahore, Blackburn and Ballarat. Mackennal also later produced several statues of Edward VII, including the equestrian National Memorial to the King in Waterloo Place, London (1921). He executed the King’s tomb in St George’s Chapel, Windsor, but by far his most impressive funerary monument is the one to Lord and Lady Curzon, in Kedleston Church, Derbyshire. London can boast several fine examples of Mackennal’s skills as an architectural sculptor, his last effort of this kind being the colossal bronze group of Phoebus Driving the Horses of the Sun (1924), crowning Australia House on the Strand at Aldwych. Mackennal produced a number of war memorials and designed the George V coinage. He was knighted in 1921, and elected RA in the following year.
Sources: N. Hutchinson, Bertram Mackennal, Melbourne, 1973; S. Beattie, The New Sculpture, New Haven and London, 1983; ‘Golden Summers -- Heidelberg and Beyond’, Exh. cat. National Gallery of Victoria, Melbourne, 1985/6; J. Christian (ed), The Last Romantics, London, 1990. [CL2003]

Andrew McKeown (b. 1970)
Sculptor. Studied Fine Arts at Coventry University, 1990--3. Lives in Middlesbrough and has worked principally in the North-East, including artist residencies in schools. Public commissions include Millennium Green Sculpture (2000, Newfield, Co. Durham), relief sculpture for public square (2001, Guisborough, Teeside), marker sculptures for 21 Groundwork Trust sites in England and Wales (1999--2001) and Riverside Park Sculptures (2002, Chester-le-Street).
Source: artist. [Man2004]

James Harrison Mackinnon (1867--1954)
Scottish sculptor of architectural decoration and small figures, born in Pollockshaws, Glasgow. After beginning his career as an ornamental mason, he later become a sculptor and a teacher of carving at GSA (1891--8). He also trained a number of younger sculptors as apprentices, including Sir William Reid Dick (q.v.). In addition to his contribution to the decorative programmes of numerous major public buildings in Glasgow, he also undertook many important restoration commissions, including ‘the delicate task of recutting about eighty figures’ in Paisley Abbey. Among his other major public works were the Mercat Cross in Perth and the city’s coat of arms.
Sources: Anon., ‘Architectural Sculptor’, GH, 8 November 1954, p.9 (obit.); Billcliffe; McEwan. [G2002]

Charles Rennie Mackintosh (1868--1928)
Born in Glasgow, the son of a police superintendent, he trained with John Hutchison in 1884, and attended architecture and modelling classes at GSA, winning a prize for modelling and the Alexander Thomson Travelling Scholarship in 1890. He joined the architectural firm of Honeyman & Keppie as a draughtsman in 1889, becoming a partner in 1904. He collaborated with his wife, Margaret Macdonald (1860--1933), on repoussé, gesso panels and the models for the sculptural details on his buildings. His designs for architectural sculpture were rarely executed, but the necessity for practical features in wrought iron, such as railings and gates, provided an outlet for his sculptural imagination, with plant forms, insects, birds and the regeneration of nature and the human spirit as recurrent symbolic themes. He also designed the Monument to A.O. Johnston, MacDuff Cemetery, East Wemyss (1905). After a disastrous attempt to pursue an independent practice in London he settled in Port Vendres, France, as a painter but returned to London after being diagnosed with cancer. He has since become recognised as Glasgow’s most important designer.
Sources: Gray; Blench, et al., pp.32--5. [G2002]

Bruce McLean (b. 1944)
McLean is a Glaswegian, who studied art at the Glasgow School of Art, and then, from 1963--6 at St Martin’s School of Art in London. He was taught by Anthony Caro amongst others, but, after leaving college created his own urban version of ‘land art’, using found materials. In 1971 he stopped producing the material art object, and became a performance artist, sending up the fetishes of the art establishment and other social conventions. In 1976 he took up painting again, but with an emphasis on line. Then, in the late 1980s, followed experiments in sculpture. His first pieces in this new phase were massive monoliths in Derbyshire gritstone, but McLean soon began to project into three dimensions his idiosyncratic drawing style, using welded metal, often brightly coloured. His collaboration with the architect David Chipperfield in 1988, on the Café/Bar for the Arnolfini Gallery in Bristol, a somewhat satirically conceived ‘artistic environment’, led to significant public commissions, such as the decoration of Tottenham Hale railway station (1992), an entirely two-dimensional project, and the two metal sculptures for Broadgate Properties in the City of London (see Broadgate and Fleet Place).
Sources: M. Gooding, Bruce McLean, Oxford and New York, 1990; D. Lee, ‘Bruce McLean in Profile’, Art Review, November 1995. [CL2003]

Thomas Eyre Macklin (1863--1943)
Son of a Newcastle landscape artist, Lieutenant John Macklin, Macklin trained at the Newcastle School of Art from the age of ten. In 1884 he went to London where he drew from the antique at the British Museum and studied at Calderon’s art school in St John’s Wood and, from 1887, the RA Schools. On his return to the North East in 1893 he worked as an illustrator and landscape artist, exhibiting at the Bewick Club, the RA and elsewhere. Subsequently he enjoyed success primarily as a portrait painter and illustrator, with studios in London and Newcastle. His public work includes the war memorials for Auckland, New Zealand, and Bangor, Co. Down.
[1] Monthly Chronicle, p.373. [2] Hall, M., Artists of Northumbria, Newcastle, 1982, pp.112--13. [3] Graves, Royal Academy Exhibitors, vol.V, p.148. [NE 2000]

James McLaughlin (b. 1938)
A Liverpool sculptor, he studied at Liverpool City College of Art, was an assistant to Tyson Smith at the Bluecoat studio and is a member of the Merseyside Sculptors Guild. He has a NDD and is a FRSA.
(source: Merseyside Sculptors Guild) [L 1997]

R. MacLeod
A Liverpool sculptor, he exhibited at the WAG in 1883 and 1887.
(source: Johnson & Greutzner, 1976) [L 1997]

William McMillan (1887--1977)
Sculptor. Born in Aberdeen. Studied at Gray’s School of Art, Aberdeen, and then at the Royal College of Art, 1908--12. He exhibited at the RA from 1917. His London portrait statues include those of Goodenough (Mecklenburgh Square, 1936), George VI (Carlton Gardens, 1955), Sir Walter Raleigh (Whitehall, 1959), Viscount Trenchard (Victoria Embankment, 1961), Thomas Coram (Brunswick Square, 1963) and Charles Rolls and Henry Royce at Rolls Royce (Buckingham Gate, re-sited 1978). There is also a statue of Turner in the Royal Academy. His memorial statue of the Manchester airmen, Alcock and Brown, was commissioned for London Airport (1954). A statue of George V is in Calcutta (1938). Among his war memorials are Aberdeen and the Naval Memorial, Plymouth. McMillan contributed to a number of fountains including the East Fountain (Trafalgar Square, 1948) and the Goetze Memorial Fountain (Regent’s Park, 1950). Elected ARA 1925 and RA 1933, ARBS 1928 and FRBS 1932. He was Master of the RA Sculpture School from 1929 to 1940.
Source: Waters, 1975. [Man2004]

William McMillan (1887--1977)
Born in Aberdeen, he trained first at Gray’s School of Art there, before going on to the Royal Academy. His career was interrupted by military service during the First World War, and his experience in the trenches is said to have marked him for life. His first Royal Academy exhibits from 1917 were of military subjects, and McMillan sculpted First World War memorials for Manchester and Aberdeen. In the later 1920s he carved much decorative garden sculpture, and experimented with unusual stones, such as green slate and verde di Prato. In 1931, his three-quarter-length figure of Venus was purchased for the Tate Gallery from the Royal Academy. His public portrait statues include Earl Haig (1932) for Clifton College, George V (1938) for Calcutta, George VI (1955) for Carlton Gardens, London, and Lord Trenchard (1961) for the Embankment Gardens, London. McMillan was a designer of medals, including the Great War Medal and the Victory Medal. Immediately before the outbreak of the Second World War, he was commissioned to produce the Beatty Memorial Fountain for Trafalgar Square, in collaboration with Sir Edwin Lutyens.This was a pendant to the Jellicoe Fountain, sculpted by Charles Wheeler. After the war, Mcmillan once again worked alongside Wheeler on Sir Edward Maufe’s extensions to the Royal Navy Memorials at Chatham, Plymouth and Portsmouth. In 1954, he executed the memorial to the pilots Alcock and Brown for London Airport. From 1942 onwards, he exhibited drawings and watercolours at the Royal Academy. He was elected ARA in 1925 and full RA in 1933.
Source: Obituary in The Times, 28 September 1977. [CL2003]

Frederick Edward McWilliam (1909--92)
Born in Banbridge, Co. Down, Northern Ireland, McWilliam studied at the Belfast College of Art and then under Professor Tonks at the Slade School of Fine Art, London, where he was awarded the Robert Ross leaving scholarship. During 1931, he worked in Paris, where he first encountered Surrealism. In 1932 he returned to Britain, taking up residence at Chartridge, Buckinghamshire, where he began to carve in wood. In 1936 he moved to Hampstead, London, near to the studios of Moore, Read, Nicholson, Hepworth, Penrose and Nash. The following year he visited Hoptonwood Quarry, Derbyshire, in the company of A.H. Gerrard and Henry Moore in order to select stone. In the same year he began his association with the newly formed British Surrealist Group, exhibiting as a sculptor. His first one-man exhibition was at the London Gallery, Cork Street, in 1939. After the war, he began teaching sculpture, firstly at the Chelsea School of Art and then, from 1947 to 1968, at the Slade School. In 1951 he was commissioned to produce several works for the Festival of Britain, including The Four Seasons for the Country Pavilion, South Bank Exhibition. Throughout the 1950s he exhibited extensively in Britain and abroad. During this period, his figures were attenuated and characterised by rough, textured surfaces. He was appointed Associate of the Royal Academy in 1959, but resigned in 1963, wishing to be free of all institutional commitments. During the early 1960s, he produced a series of mechanomorphic bronze figures, some of which recall Moore’s reclining works. He continued to exhibit regularly in Britain and abroad, and was awarded the degree of Honorary D.Litt from Queen’s University, Belfast, in 1964, a CBE in 1966, and the Oireachtas Gold Medal from Trinity College, Dublin, in 1971. During the 1980s, he turned again to carving in wood.
Sources: Stokes, Adrian, The Stones of Rimini, London, 1934; Penrose, Roland and Tiranti, Alec, McWilliam, London, 1965; Ulster Museum, F.E.McWilliam, catalogue, Belfast, 1981; Warwick Arts Trust, F.E.McWilliam: Early Sculptures 1935--48 with some recent works, Warwick, 1982. [WCS2003]

Luca Madrassi
Born in Tricesimo, Italy, in the mid-nineteenth century, Madrassi studied in Italy and Paris. He exhibited at the Salon des Artistes Français from 1881 until 1896, and at the Nationale from 1896. He specialised in busts, statuettes and allegorical groups.
Source: Mackay, James, Dictionary of Western Sculptors in Bronze, Suffolk, 1977. [WCS2003]

Ailsa Magnus (b. 1967)
Sculptor born on 3 March 1967 in Cupar, Fife. She studied at Edinburgh College of Art (1985--9, BA Hons in Sculpture) and Grays School of Art, Aberdeen (1989--90, Postgraduate Diploma). Her work has appeared in several group exhibitions, including ‘The New Generation’, Compass Gallery, Glasgow, 1990; ‘Scottish Sculpture Open 6’, Kildrummy Castle, Aberdeenshire, 1991; ‘Art Cuisine’, Milton Keynes Exhibition Gallery, 1991; Scottish Society of Artists Annual, RSA Edinburgh, 1993; European Sculpture Symposium exhibitions in 1993 and 1994 at Foundation Helen-Arts, Bornem, Belgium, and Gallery Konschthaus, Bien Engel, Luxembourg, respectively; and ‘Two Natures’ (two-person exhibition), Pier Arts Centre, Stromness, Orkney, 1994. She was artist-in-residence for Clerk Green Renewal Area, Batley, West Yorkshire, May 1995 -- March 1998, producing for the Beaumont Street Play Area, Batley, a carved brick relief of three trees. Her other commissions include carved brick wall reliefs for Chinese Ethnic Housing in Hull, 1996, and for Henshaw’s, Conyngham Hall Arts and Crafts Centre, Harrogate, 1998. Magnus is an Ordinary Member of the Scottish Society of Artists.
Sources: information from the sculptor; Axis -- Visual Arts Information Service, East Midlands Arts. [LR 2000]

John P. Main (fl.1896--1928)
A Glasgow-born sculptor and painter, resident at Pollokshields and Clarkston. He studied at GSA in the 1890s under William Kellock Brown and Francis Derwent Wood (qq.v.), winning national competitions, 1893--8, including a bronze medal for Fighting Gladiator, 1895, which received high praise from examiners W.H. Thornycroft (q.v.), Thomas Brock, E.O. Ford (q.v.) and H.H. Armstead. He executed portrait busts, decorative panels and statuettes, but was more productive as a painter of landscapes and subjects relating to the River Clyde. Among the many works he exhibited at the at RGIFA were Architectural Panel (1897), The Song (1902) and The Young Highland Chieftain (1907).
Sources: GSA Reports, 1893--8; Billcliffe; Pearson, p.149. [G2002]

John Maine (b.1942)
Sculptor of steel, wood and stone. Since the mid-1970s he has explored volumetric relationships and interlocking geometric forms in stone. Taught at Kingston Polytechnic and exhibited in a number of exhibitions in England, Australia and Japan. Work includes: Six Markers on the Foreshore, Portsmouth (1974); Monolith II, Sun Life Assurance building, Bristol (1980); Pyramid, Nene Park, Peterborough (1981); Hagi Project, Hagi city, Japan (1981); Arch Stones, British High Commission, Canberra, Australia (1982--4). His work, which is usually sited outdoors, has been shown at the Yorkshire Sculpture Park, 1978 and at the Welsh Sculpture Trust’s outdoor exhibition at Margam, 1983.
[1] PSoB, p.198. [2] Buckman, p.808. [NE 2000]

John Maine (b.1942)
Born in Bristol in 1942, he studied at the West of England College of Art, then the Royal College of Art 1964--7, winning the Walter Neurath prize in 1966 and a Fellowship to Gloucester College of Art 1967--9. Working first in galvanised steel and wood, and from the mid-1970s in stone, he has explored volumetric relationships and interlocking geometric shapes in his sculptures, which are often located in an outdoor environment. Works include: Six Markers on the Foreshore, Portsmouth 1974; Monolith II, Sun Life Assurance building, Bristol 1980; Outpost, 1980; Pyramid, Nene Park, Peterborough 1981; Hagi Project, Hagi city, Japan 1981; Arch Stones, British High Commission, Canberra, Australia 1982--4. Maine has taught at Kingston Polytechnic and has exhibited in England, Australia and Japan. One-man show at the Serpentine Gallery, 1972; Southill Park, Bracknell 1973--4; Battersea Park Silver Jubilee Exhibition, London 1977; the first solo show at the Yorkshire Sculpture Park, 1978; the Welsh Sculpture Trust’s outdoor exhibition at Margam, 1983.
1. Welsh Sculpture Trust, Sculpture in a country park, Wales, 1983, pp.100--1; 2. Strachan, 1984, pp.265--6; 3. J. Hall, ‘Landscape art -- public art or public convenience’, Apollo, no.129, March 1989, pp.157--61. [B1998]

Louis-Auguste Malempré
A French sculptor, who is supposed to have worked as an assistant to both W. Theed and Henri de Triqueti. He exhibited at the Royal Academy from 1852 to 1879. A marble statue by him of A Nymph with a Messenger Dove, signed and dated 1857, was sold at Sotheby’s (14 May 1999). He modelled a number of statuettes for production by the firm of Copeland in their ‘statuary porcelain’, some of which were commissioned as prizes for the art lotteries of the Crystal Palace Art Union. Malempré appears to have had contacts with the worlds of theatre and opera. In 1873 he showed at the RA busts of the Irish playwright, Dion Boucicault and of the opera-singer Mme Nilsson, and in the following year a statue of William Michael Balfe, ‘the Irish Bellini’, which now stands in the vestibule of the Drury Lane Theatre. Malempré also executed the memorial to Balfe in Westminster Abbey.
Source: P. Atterbury (ed.), The Parian Phenomenon, Shepton Beauchamp, 1989. [CL2003]

Alex Mann (b.1923)
Born in Ayr, Scotland, 26th February 1923, he studied at Polocshiels Academy, Glasgow and Sidcup School of Art, Kent 1938--40. In 1956 Mann moved to Stratford-on-Avon, forming ‘Alexander Fine Arts’ in 1960. This was amalgamated with the Compendium Galleries, Moseley, Birmingham, which he directed until the mid-1970s. Primarily a painter, particularly of ‘Visual-Sound’ music, he has also produced public sculptures and murals for various commercial and industrial organisations in the West Midlands and elsewhere in the country. His works aim to express the identity of the location and include: ceramic mural, West Bromwich swimming pool, c.1970; water sculpture in glass and stainless steel, Stourbridge 1973. Mann’s paintings have been regularly exhibited since 1947, for example in London (RA from 1975), Birmingham, Frankfurt and Aberdeen and are in public and private collections in Great Britain, Germany, Holland, France, USA, Australia and Japan.
1. WWA, 20th edition, Wokingham, 1982; 2. Letters from the artist, 22nd April 1985 and 12th August 1985. [B1998]

Samuel Manning the Younger (1816--65)
He was the son of Samuel Manning the Elder, pupil and collaborator of John Bacon the Younger. He trained in Bacon’s studio. In 1834 he won the Gold Medal of the Society of Arts for his statue of Prometheus Chained (illustrated in the Art Journal of 1847), which was acclaimed as a work showing great promise. The Prometheus was later exhibited at the Great Exhibition of 1851, but Manning failed to live up to its promise, his production consisting largely of portrait busts and routine church monuments. In 1849, he carried out in marble a statue modelled by his father, of John Wesley. The marble statue stands today on the upper landing of the Central Methodist Hall, Westminster.
Source: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968. [CL2003]

Sydney March (1875--1968)
Sculptor. Born in Kingston-upon-Hull in 1876. Lived and worked in Farnborough, Kent. His statues include Colonel Samuel Bourne Bevington (Tooley Street, London Bridge, 1911) and Lord Kitchener (Calcutta, 1914; Khartoum, 1921, removed to Royal School of Military Engineering, Chatham, 1958). Among his portrait busts were Cecil Rhodes and Edward VII (National Portrait Gallery, 1901). March also executed a number of war memorials including Bromley Parish Church (1921) and the United Empire Loyalists Memorial (Hamilton, Ontario, 1929). His younger brother Vernon (1891--1930) was also a sculptor and is remembered for the Canadian National War Memorial (Ottawa, 1939). Other works include the war memorial at Whitefield, near Radcliffe.
Source: Bénézit, 1976; Whyler, 1986. [Man2004]

Paul Margetts (b. 1959)
Sculptor. Born Bromsgrove, Worcestershire. In 1975 entered on a four-year blacksmithing apprenticeship. Studied metalworking in Africa. In 1988 studied art at Birmingham Polytechnic. Under the name Forging Ahead, Margetts designs and produces decorative and functional metal sculpture. Garden sculpture includes fountains, sundials, weathervanes and gates. Commissions include Water Gates (Worcester Cathedral, 1996), Flying Geese (Belper, Derbyshire), Up and Away (Wolverhampton Business Airport, entrance area) and History Post (Stirchley, Telford, 1998).
Source: artist. [Man2004]

Baron Carlo Marochetti of Vaux (1805--67)
Born in Turin, his family settled in Paris and became naturalised French citizens when Piedmont was ceded to Italy in 1814. He studied under Baron François Boscio at the École des Beaux-Arts, Paris, and exhibited work at the Salon of 1827. He worked on genre groups in marble and plaster, but became celebrated for his bronze equestrian statues; in Turin, Emanuel Filiberto (1833); in Paris, The Duke of Orleans, and in London Richard Coeur de Lion (1860). A darling of the French and Italian courts, his urbane personality and brilliant sculptural style quickly endeared him to the British cognoscenti after he fled Paris in the revolution of 1848. Executing portraits of the British establishment and middle class increased his celebrity, but his rivals criticised his public work as being flashy and theatrical, citing the Monument to the Duke of Wellington in Glasgow, as a typical example. He also executed the Crimean War Memorials at Scutari and St Paul’s Cathedral. Among the international honours bestowed upon him were a Baronetcy of the Italian Kingdom (for which he took the name of his father’s château) and the French Légion d’honneur. He was elected ARA in 1861, and RA in 1867, having exhibited at the RA from 1851.
Sources: DNB; Mackay. [G2002]

Walter Marsden (1892--1969)
Sculptor. Born in Church, Accrington, Lancashire. Apprenticed Accrington Terra Cotta Company. Studied sculpture at Accrington School of Art, Manchester School of Art and Royal School of Art, received travelling scholarships to visit Italy. In the First World War he joined the Artists’ Rifle Corps and later served as junior officer in the 1/5th Battalion Loyal Regiment. Works include war memorials at St Anne’s on Sea, Bolton, Heywood, Church and Tottington, all in Lancashire; also the Howitzer Brigade Memorial, Plumstead. Marsden also executed the panels on the memorial pulpit at the White Church, Fairhaven, Lytham St Anne’s. Married the sculptor, Hilda Beatrice Hoare. Exhibited at the RA between 1915 and 1961 and became Fellow of the Royal Society of British Sculptors.
Sources: Royal Academy, 1985; Hughes, 2002. [Man2004]

William Calder Marshall (1813--94)
Sculptor. Born in Edinburgh. Studied in London under Chantrey and Baily and at the RA Schools, winning a silver medal in 1835. He studied in Rome from 1836 to 1839. His Bacchus and Ino was awarded a gold medal in Manchester in 1841. In 1844 he sent statues of Chaucer and Eve to Westminster Hall, and was commissioned to produce statues of Clarendon and Somers for the Palace of Westminster. Ophelia, Paul and Virginia and The Broken Pitcher were among his works displayed at the Manchester Art Treasures Exhibition, 1857. In the same year he won the competition for the national Wellington Monument but in the end it was entrusted to Alfred Stevens, leaving Marshall to provide a series of bas-reliefs in the chapel of St Paul’s. His public statues include Thomas Coram (Foundling Hospital) and Edward Jenner (Trafalgar Square, 1858; removed to Hyde Park). He also contributed Agriculture to Scott’s Albert Memorial. Marshall exhibited at the RA from 1835 to 1891 and the RSA from 1836 to 1891. Elected ARA in 1844 and RA in 1852.
Sources: Gunnis, 1968; Grove Dictionary of Art; Ward-Jackson, 2003. [Man2004]

William Calder Marshall (1813--94)
Born in Edinburgh. In 1834 he came to London, where he studied under F. Chantrey and E.H. Baily, and at the Royal Academy Schools. He studied in Rome from 1836 to 1839. In 1844 he exhibited statues of Chaucer and Eve at Westminster Hall, and was commissioned to produce statues of two historical figures for the Palace of Westminster (1847--9). He received a number of commissions from the Art Union, for prize works for its art lotteries. In the competition for a monument in St Paul’s to the Duke of Wellington, he won the first prize. Though the job finally went to Alfred Sevens, Marshall was compensated with a commission for biblical reliefs for the walls of the Consistory Chapel in which the monument originally stood. These are now in the south aisle of the nave of St Paul’s. Marshall’s public monuments include Sir Robert Peel, Manchester (1853), Edward Jenner, Kensington Gardens (originally Trafalgar Square) (1858), and Samuel Crompton, Bolton (1862). He contributed the allegorical group, Agriculture, to G.G. Scott’s Albert Memorial. Marshall was chiefly celebrated for his ideal sculptures, with subjects taken from myth, literature and history. Plaster models for his First Whisper of Love (1846) and Sabrina (1847), are in the collection of the Royal Dublin Society. He exhibited at the Royal Academy (1835--91), the British Institution (1839--57), and at the Royal Scottish Academy (1836--91). He was elected Associate of the RSA in 1842, ARA in 1844, and RA in 1852.
Sources: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968; B. Read, Victorian Sculpture, New Haven and London, 1982. [CL2003]

Alfred R. Martin (d. 1938)
Raised in Liverpool, Martin studied under Augustus John at the Liverpool School of Art. After finishing the murals of the State Restaurant he travelled to South Africa, where he stayed for the rest of his life, revisiting Liverpool in the 1920s only when his murals needed restoring. He exhibited at both the WAG Liverpool Autumn Exhibition and, in 1907--14, at the RA.
(sources: Johnson & Greutzner, 1976; WAG JCS files) [L1997]

H.H. Martyn (1906--25)
Firm of sculptors, carvers and modellers producing architectural sculpture, metalwork and ornamental plasterwork, with reproductions of Grinling Gibbons’ carving a speciality. Founded in London, the company also had studios in Cheltenham, Birmingham and Glasgow.
Source: McKenzie, R., Public Sculpture of Glasgow, Liverpool, 2002, p.491. [SBC2005]

H.H. Martyn & Co. Ltd (fl.1906--25)
Firm of sculptors, carvers and modellers producing architectural sculpture, metalwork, ornamental plasterwork and joinery, with reproductions of Grinling Gibbons’ carvings a speciality. Founded in London, the company also had studios in Cheltenham and Birmingham. Their Glasgow studio opened in 1909 and operated from a variety of premises (including 30 George Square and 93 West George Street) until 1925. They provided metalwork for the former Union Bank, 110--20 St Vincent Street (1924--7).
Sources: AA, 1906; POD, 1909--25. [G2002]

Raymond Mason (b.1922)
Born in Birmingham, he attended the Birmingham School of Arts and Crafts from 1937. He won a scholarship to study painting at the Royal College of Art, but only studied there for one term. In 1943, he went to the Slade School of Art, which had been moved to Oxford, and it was during this period that he began to practise sculpture, on the advice of a lecturer, and also perhaps inspired by the sculpture in the Ashmolean Museum, Oxford, where he worked nights. Since 1946 he has lived and worked in Paris, where he has counted amongst his friends Giacometti, Balthus and Bacon. In 1960, he opened the Galerie Janine Hao. His work consists mainly of high and low reliefs, large-scale sculptures, drawings and paintings. The latter includes a series of watercolours depicting Birmingham, made on a return visit in 1958 (in various private collections). His work is realist and figurative, mainly concerning human disaster or tragedy, often of a highly emotionally charged nature, such as A Tragedy in the North: Winter, Rain and Tears, Galerie Claude Bernard, Paris 1975--7 and L’Agression au 48 de la rue Monsieur-le-Prince, le 23 juin 1975. Mason’s large sculptures exhibit a similar density of forms and sculptural compactness to the smaller reliefs, and are often a combination of relief and free-standing figures in street environments. Mason has an international reputation with monumental sculptural groups in Montreal (1985), the Tuileries, Paris (1986), Georgetown, Washington DC (1988) and Madison Avenue, New York. Exhibitions include: Serpentine Gallery, London and Museum of Modern Art, Oxford 1982; Galeries Contemporaines, Pompidou Centre, Paris and Musée Cantini, Marseilles 1985--6; Birmingham Museums and Art Gallery, Manchester City Art Gallery and Edinburgh City Art Centre, 1989 (touring exhibition); Marlborough Fine Art, London 1991; Marlborough Galleries, New York 1994, 1995. He has written extensively on art historical themes and on his own works, many of which are reprinted in the BMAG exhibition catalogue, 1989.
1. M. Brenson, ‘Urban drama in high relief’, Art in America, July/August 1979, pp.102--9; 2. R. Taplin, ‘Raymond Mason at Marlborough’, Art in America, vol.83, July 1995, p.87; 3. M. Edwards, Raymond Mason, London, 1994; 4. Raymond Mason: Coloured sculptures, bronzes and drawings 1952--1982, Arts Council of Great Britain, London, exh.cat., 1982; 5. J. Farrington, and E. Silber (eds.), Raymond Mason: sculptures and drawings, Birmingham Museums and Art Gallery, Birmingham, exh.cat., 1989; 6. H. Lessore, ‘Raymond Mason’, in A partial testament: essays on some moderns in the great tradition, The Tate Gallery, London, c.1986. [B1998]

Craig and Mary Matthews
Sculptors. Craig Matthews studied at the School of Industrial Design, Liverpool Polytechnic. Mary Matthews studied at Wallasey School of Art and Alsager College of Education. They work under the name of CAMM Design. Public commissions include Sundial (Hoylake Holy Trinity School, Wirral, 1995); Streets for the People (Cavern Quarter, Liverpool, 1996), Spire (Runcorn, 1998), Millennium Column (Llandudno, 1999), Friezes (Children’s Hospital, Stepping Hill, Stockport, 1999) and Floorscape (King Street, Wigan 2001).
Source: artists. [Man2004]

Sally Matthews (b.1964)
Sally Matthews trained at Loughborough College of Fine Art and Design (1983--6). Her work reflects her concern with the form and movement of animals. She first started creating sculptures of animals in the outdoors with Boars at Grizedale Forest in 1987. Since then she has made two further pieces for Grizedale and has become well known for her prints and her sculptures of animals, which use scrap metal and discarded wood. Other works include Four Cows, Beamish (1989); Five Dogs Chasing a Peacock, Prudential Insurance, London (1992--3); Five Bison, Aberdeen (1995); Three Ponies, Bilston, near Wolverhampton (1997); and Fallow Deer, Diss, Norfolk (1998). Matthews’ work has been shown at Gateshead Garden Festival (1990), in a touring exhibition of Carlisle, Jarrow and Cardiff in 1994, and at Smiths’ Gallery in London (1995).
Sources: AXIS, The Axis Database Online, 1999, www.axisartists.org.uk/; Usherwood, P., Beach, J. and Morris, C., Public Sculpture of North-East England, Liverpool, 2000, p.329. [SBC2005]

Sally Matthews (b.1964)
Trained at Loughborough 1983--6, Matthews started creating sculptures of animals in the outdoors with Boars at Grizedale Forest in 1987. Since then she has made two further pieces for Grizedale and has become well known for her prints and sculptures of animals which use scrap metal and discarded wood. Other works include Six Dogs and a Peacock, Prudential Insurance (1992--3); Five Bison, Aberdeen (1994--5); Three Ponies, Wolverhampton Borough Council (1996--7); and Fallow Deer, Diss, Norfolk (1998). Matthews’s work has been shown at Gateshead Garden Festival, 1990; in a solo touring exhibition, 1994; Smiths Gallery, London, 1995; and in a touring exhibition from 1999 which will include the Laing Art Gallery, Newcastle. Awarded the Prudential Art Award Trophy in 1993.
[1] Information provided by the artist, 1999. [NE 2000]

Maxwell and Tuke
Architects. Francis William Maxwell, head of the firm of Maxwell and Tuke. Educated at the Friends’ School, Kendal and Owens College. Major works include Blackpool Tower and buildings, New Brighton tower and a number of hospitals, schools and other public and commercial buildings in Lancashire. William Charles Tuke died in 1893.
Source: Pevsner, 1969. [Man2004]

William Charles May (1853--1931)
Sculptor. Born in Reading. Trained at the RA Schools and in Paris. Studied with Thomas Woolner and Signors Raffaele, Monti and Carpeau. Lived in London and exhibited at the RA between 1875 and 1894. May was known for his portraits, medallions and busts. Principal works include National Armada Memorial, Plymouth Hoe, monument to C.S. Rolls (1911) and busts of King George V, William Palmer, Noel Edward Buxton, J. Fuller Maitland and Lord Tollemache. His Vision of St Cecilia was in Reading Museum but appears to have been destroyed in 1947. A terracotta frieze on Reading Museum is also attributed to May.
Sources: Who’s Who; Reading Museum; Bénézit, 1976. [Man2004]

Charlotte Mayer (b. 1929)
Born in Prague, Mayer studied sculpture first at Goldsmiths’ College (1945--9) under Ivor Roberts-Jones and Harold Wilson Parker, and then at the Royal College of Art (1949--52) under Frank Dobson. She has produced sculpture in a variety of materials, including bronze, steel and concrete. A piece entitled Care, consisting of a ring of hands, was commissioned by Johnson and Johnson toiletries, for their offices at Slough in 1982. Sea Circle ( bronze, 1984) was commissioned by Merseyside County Council for Liverpool. The latter typifies Mayer’s abstract works, which are sinuous and fluid and imply links with the natural world. She is a fellow of the Royal Society of British Sculptors, and has lived mainly in London.
Sources: D. Buckman: The Dictionary of British Artists Since 1945, Bristol, 1998; T. Cavanagh, Public Sculpture of Liverpool, Liverpool, 1997. [CL2003]

Charlotte Mayer
Sculptor, born in Prague. She came to England in 1939 and attended the Royal College of Art and Goldsmiths College, London. In 1980 she was elected to the Royal Society of British Sculptors, winning its silver medal in 1981. Public sculptures outside Liverpool include outside Liverpool include Care, 1982, for Johnson and Johnson’s offices at Slough and Ascent for the Barbican Centre, London.
(source: Sladmore Gallery, London) [L1997]

M.B. Fine Arts Foundry
Foundry established in 1985 by Martin Bellwood at Longford, Clunderwen, Carmarthenshire, Wales. [LR 2000]

Phil Meadows (b.1961)
Sculptor in wood. Trained at Cleveland College and Sunderland University 1986--92. Involved with projects at Eston and Guisborough schools 1995--6. Artist in residence at Albert Park, Middlesbrough 1997--8 and at Stewart Park, Middlesbrough 1997.
[1] Information provided by Cleveland Arts. [NE 2000]

Frank Meisler (b.1932)
Born in Germany, Meisler came to Britain as a Jewish refugee in 1939, later emigrating to Israel and gaining a significant reputation as a sculptor there. His best-known work is an illuminated Torah and shrine in memory of the victims of the Holocaust at the synagogue in Mannheim. Other works include the fountain in the atrium of the King David Hotel, Jerusalem, and the Holocaust Memorial at Miami, Florida.
Sources: www.frank-meisler.com; www.artcnet/Frank_Meisler [WCS2003]

Colin Melbourne (b.1928)
Following a period working with Wedgwood, Colin Melbourne attended the Royal College of Art (1948--51). After graduating, he taught at both Stoke-on-Trent College of Art and North Staffordshire Polytechnic, becoming Head of the Art and Design Faculty at the latter. Although he has produced several significant figurative pieces of public sculpture in bronze and steel for the Stoke area, he sees himself primarily as a teacher rather than a sculptor. He has been deeply involved in art and design education at the national level as well as locally, having been chairman of the Three Dimensional Design Board of the National Council for Academic Awards.
Sources: Buckman, D., Dictionary of Artists in Britain since 1945, Bristol, 1998, p.837; Information provided by the artist, January 2003. [SBC2005]

Stephen Melton (b. 1964)
Sculptor and founder, did his foundation course at Barnsley College of Art (1983--4), and then took an honours degree in sculpture at Camberwell College of Art (1984--7). After completing a foundry diploma at the Royal College of Art, in 1988 he obtained the Angeloni Award for best founder at the college. In the same year he studied casting techniques with Tuareg tribes in the Sahara, and in 1990 founding techniques in Sri Lanka and kiln building in Japan. In 1989--90 he opened the Melton Bronze Foundry in Ashford, later moving it to Canterbury. In 1989, Melton worked as an assistant to Sir E. Paolozzi. He has taught at the South Kent College of Technology, and at the Kent Institute of Art and Design. Work by Melton was shown at the Yorkshire Sculpture Park in 1987 and in ‘Sculpture at Canterbury’ in 1992.
Source: D. Buckman, The Dictionary of British Artists Since 1945, Bristol, 1998. [CL2003]

Joseph Mendes da Costa (1863--1939)
Mendes da Costa was a Dutch Jewish sculptor, who was born and died in Amsterdam. His father was a stone-carver. He studied between 1882 and 1885 at the School of Decorative Arts of Amsterdam, learning sculpture in the so-called Quellinus School. Here he met Lambertus Zijl, with whom he established a firm specialising in architectural sculpture. From around 1901, he became one of the leading exponents of a distinctive, integrated architectural sculpture, whose principles derived from the rationalism of Viollet-Le-Duc, but to which the generation of Mendes da Costa brought new exotic and expressionist ingredients. He contributed sculpture to H.P. Berlage’s Amsterdam Stock Exchange, to Kropholler and Staal’s De Utrecht Insurance building in the Damrak and to many other buildings of the Amsterdam School. Between 1915 and 1922 he worked on a monument to the Boer leader, Christian de Wet, commissioned by Mrs Kröller Müller, wife of the Dutch shipping magnate, for the Hoge Veluwe National Park at Otterlo.
Source: Y. Koopmans, Muurfast & Gebeiteld/ Fixed & Chiselled, Amsterdam, 1994. [CL2003]

Moelwyn Merchant (1913--97)
Born in Port Talbot, Merchant graduated in English and History from University College in Cardiff and began teaching at Carmarthen Grammar School in 1935. Before turning to sculpture, he held a number of academic posts, including professor of English at Exeter University (1961--74). He was ordained as a clergyman in 1940, and wrote a series of books, including Wordsworth’s Guide to the Lakes (1952), a series of poems entitled Breaking the Code (1975), Fire from the Heights (1989), and Fragments of a Life (1990). He was also Chancellor of Salisbury Cathedral from 1967 to 1971. His career as a sculptor began in 1964. Influenced by Barbara Hepworth, his sculptures are looser in form, and exploit the rhythmic undulation of shapes and surfaces. He worked in a variety of media, including slate, glass, aluminium and bronze. His sculptures normally stand erect, and their subjects range from the human to plant forms and symbolic images.
Sources: Borough of East Staffordshire: Leisure Services, Public Art in Burton, 1990, no.5; Buckman, D., Dictionary of Artists in Britain since 1945, Bristol, 1998, p.841; Burton Mail, 8 September 1982; Welsh Sculpture Trust, Sculpture in a Country Park, Margam (Wales), 1983, pp.36--7. [SBC2005]

Meridian Sculpture Foundry (active c.1966--98)
London-based foundry. Work outside Leicestershire includes James Butler’s Statue of Field Marshall Alexander, 1985, Wellington Barracks, London.
Source: James, D., 1970. [LR 2000]

John Merilion (b.1930)
Born in Leicester, 22nd September 1930, he studied ceramics and textiles at Leicester College of Art 1948--53 and became a tutor at Birmingham School of Art in 1955. Based in Birmingham, he formed the John Merilion Design Group between 1969 and 1980, collaborating with Raymond Nicholls from 1969 to 1978. His freelance commissions comprise mainly decorative architectural reliefs and murals in man-made and modern materials and include: mural, Ceylon Tea Centre, Haymarket, London 1967; mural, Corah Ltd., Leicester 1968; mural, Ornithology Building, Tring, Herts. 1972. Other non-sculptural works in Birmingham include: murals and coats of arms, Birmingham Registry Office, Broad Street, 1962; mural, The Swan Hotel, Yardley (now lost); mural, Lloyds Bank (Overseas Department), Colmore Row 1968.
1. Letter from the artist, 20th June 1985. [B1998]

Felix Martin Miller (b. 1820)
He was brought up at the London Orphan School, and joined the Royal Academy in 1842, on the advice of the sculptor, Henry Weekes. At the Westminster Hall exhibition of 1844, Miller showed a Dying Briton and a group of Orphans. The latter was subsequently executed in marble for the London Orphan Asylum. Miller produced the usual range of funerary monuments, religious sculpture and ideal works. Some of his ideal pieces, illustrating subjects from literature, such as the sentimental group Emily and the White Doe of Rylestone, proved very popular, and were reproduced by Copelands in their Statuary Porcelain. His bust of Dr Livingstone was also reproduced widely in various materials. A much more successful sculptor, John Henry Foley, was an admirer and promoter of Miller’s art, but his support does not appear to have improved Miller’s lot. When Foley died, the Art Journal commented ‘the great artist was the principal patron of his struggling brother artist’. Miller exhibited at the Royal Academy for the last time in 1880.
Source: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968; P. Atterbury, ed., The Parian Phenomenon, Shepton Beauchamp 1989. [CL2003]

Ferdinand Miller (or Müller) (1813--87)
German sculptor and bronze founder. He was a pupil of his uncle, Johannes Stiglmair, and at the Munich Academy. From 1844, he was Inspector, and from 1878, owner of the Royal Foundry at Munich. Among the numerous public monuments he is responsible for casting are William Wetmore Story’s Statue of George Peabody (1869), Royal Exchange Buildings, E.C.2, and Thomas Crawford’s Equestrian Statue of George Washington (1849) at Richmond, Virginia.
(sources: Thieme-Becker, 1942; personal knowledge) [L1997]

Sanderson Miller (1716--80)
Amateur architect and landscape designer who experimented with architectural additions on his own estate, Radway Grange (Edgehill, Warwickshire) between 1739 and 1746. He designed a series of Gothic and classical works in Herefordshire and Worcestershire, including some waterworks at Honington Hall (1749) and follies for Hagley Hall (from 1748). Miller suffered from bouts of insanity in his later years and built little after 1760.
Source: Turner, J., Dictionary of Art, vol.21, London, 1996. [WCS2003]

John Mills (b. 1933)
Mills is a Londoner, who started his art training at the age of 15. Before taking up a place at the Royal College of Art, he spent two years in National Service, as a PT instructor. At the Royal College (1956--60), he studied under John Skeaping, and decided to devote himself to figure sculpture. Mills’s preferred material is bronze, and he has written seven books on sculptural techniques. Married to a dancer, and a keen diver himself, Mills has always been concerned with physical dynamics, movement and balance. He lives in the country in Hertfordshire, where he does some of his own casting. His public commissions started in 1964, with a series of relief panels of William Blake, for William Blake House, commissioned by the City of Westminster. More recent commissions include the National Firefighters Memorial (1991) in Old Change Court in the City of London, and London River Man for Docklands. In 1986 Mills was elected President of the Royal Society of British Sculptors.
Source: John W. Mills, Sculptor and Printmaker, London, 1994. [CL2003]

John Mills (b.1933)
Prolific sculptor based in Brighton. Trained at Hammersmith College of Art 1947--54 and the Royal College of Art 1956--60, went on to become sculptor-in-residence at the University of Michigan. In 1986 he was elected President of the Royal Society of British Sculptors. His many commissions around Britain include Jorrocks, Croydon; a Memorial to William Blake, Blake House, London; and works in Oxford and Cambridge universities. Mills has published a number of books on sculpture practice including The Encyclopaedia of Sculpture Techniques (1990).
[1] Tunbridge Wells and Crowborough Leader, 19 June 1998. [2] Buckman, p.853. [NE 2000]

Jon Mills
Born in Birmingham, Mills studied art at Wolverhampton Polytechnic (1979--82) before being awarded a grant by the Crafts Council to set up his own craft metal-working business. He has had solo exhibitions at Wolverhampton Art Gallery (1996), Hartlepool Art Gallery (1999) and Kings Lynn Arts Centre (1999), as well as participating in the touring group exhibition Devious Devices (1998). He specialises in working in steel in various guises and produces architectural pieces, furniture and mechanical automata as well as sculpture.
Source: information from the sculptor. [WCS2003]

John Jarvis Millson
Architectural sculptor fl. c.1870--1914. Millson was based in Manchester, initially as part of Williams and Millson, marble and stone sculptors and carvers. By the early twentieth century Millson was listed in the directories without Evan Williams. The firm was based in City Road, Hulme. By the late nineteenth century Millson was recognised as one of the most versatile and talented architectural sculptors in Manchester, executing carving for many churches, public buildings, commercial buildings and private homes. Work was also exported to the Colonies. His sculptural ornamentation, in wood and stone, at churches such as All Saints, Stockport and Lichfield Cathedral was described as ‘marked by great beauty of form, delicacy of expression, and perfection of finish’. What may have been one of his final commissions, Bolton Infirmary Nurses’ Home, is a reminder that his skills also included portrait statuary. In 1914 he was listed as ‘wood and stone carver, sculptor, modeller’, living in Portugal Road, Prestwich.
Sources: Manchester Directories; Bury Times, 12 October 1901. [Man2004]

Bill Ming (b. 1944)
Sculptor and teacher born in Bermuda, settling in England in 1971 and currently (1999) living and working at Newark, Nottinghamshire. He studied at Mansfield College of Art, 1975--6, and gained a degree in sculpture and creative writing from Maidstone College of Art, 1979. In 1992--3 he was the first Henry Moore Sculpture Fellow at John Moores University, Liverpool. He has organised sculpture workshops in England, Wales and Bermuda, has been a part-time lecturer at Leicester Polytechnic and Loughborough College of Art and Design, and in 1998 ran workshops in the ‘Soweto Schools Project’, South Africa. Ming’s solo exhibitions include the Africa Centre, Covent Garden, London, 1984; City Museum and Art Gallery, Birmingham, 1987; Mappin Gallery, Sheffield, 1989; ‘Two Rock Passage to Liverpool’, Bluecoat Gallery, Liverpool, 1993; ‘Home Comin’’, National Gallery of Bermuda, 1994; ‘Stories from da Wood’, Parts I and II, Islington Arts Factory, London, and Angel Row Gallery, Nottingham, 1996; and ‘Da Spoken Word’, Hourglass Studio Gallery, Hebden Bridge, West Yorkshire, 1999. He has also featured in various group exhibitions including ‘The Cutting Edge’, Manchester City Art Gallery, 1989; ‘The Caribbean Connection’, Islington Arts Factory, 1995; and ‘Reclaiming the Crown’, New York, USA, 1997--8. His commissions include Appletongate Mural, 1986, Newark-on-Trent; Craft Box, 1995, Angel Row Gallery, Nottingham; Bobo Birds, 1997, Belle Vue Primary School, Wordsley, Staffordshire; and Discovery Table (for the National Trust), 1999, Belton House, Lincolnshire. Ming works mainly in wood and draws his inspiration from his multi-cultural heritage (he is of African, Native American and Scottish ancestry).
Sources: information from the sculptor; Barlow, R., 1989; Buckman, D., 1998. [LR 2000]

Martin Minshall
Sculptor, designer and teacher. He studied at Stourbridge College of Art and Design, graduating with a BA (Hons) in Glass and Ceramics, and at Birmingham University School of Art Education where he gained a PGCE. He is currently (1999) Director of Art and Design at Oakham School, Rutland. [LR 2000]

Dhruva Mistry (b.1957)
Born in India, Mistry was trained at Baroda University and held his first solo exhibition in New Delhi before becoming a British Council Scholar at the Royal College of Art in London (1981--3). In 1990 he represented the UK at the third Rodin Grand Prize Exhibition in Japan. He was made a Royal Academician in 1991 (the youngest since Turner) and a fellow of the Royal Society of British Sculptors in 1993. In 1996 an exhibition of his works at the Yorkshire Sculpture Park surveyed his previous six years’ output. Mistry returned to live and work in Baroda in 1997. His work ranges from huge public commissions to maquettes and wall reliefs, related in part to Hinduism and Buddhism, but also encompassing influences from Egyptian and Cycladic art and European traditions of figurative sculpture. It has been praised for its sensitivity to the values of diverse cultures, assimilating ideas from his Indian background into modern contexts. This aspect of his work, with its references to art forms as diverse as Picasso’s minotaurmachy, Egyptian sculpture and Romanesque architecture, has led to his being regarded as thoroughly post-modern. He is often compared to Anish Kapoor, another artist who integrates Indian culture into Western art forms, but Mistry is more rooted in the figurative tradition. His works include Sitting Bull, Liverpool Garden Festival (1984); Her Head, Stoke-on-Trent (1987); and River, Youth, Guardians and Object, Birmingham (1993).
Sources: Buckman, D., Dictionary of Artists in Britain since 1945, Bristol, 1998, p.857; Cavanagh, T., Public Sculpture of Liverpool, Liverpool, 1997, p.333; Cohen, D., ‘Out of India: Hindu spirituality in recent British sculpture’, Sculpture, Washington, DC, vol.13, January/February 1994, pp.20--7; Dimitrijevic, N., ‘Haywood Annual’, Flash Art (international edition), no.123, summer 1985, p.58; Greenwood, N., ‘Dhruva Mistry’, Art News, vol.87, January 1988, p.183; ibid., vol.90, February 1991, p.158; ‘Man and beast: Dhruva Mistry, Kettle’s Yard, Cambridge’, Studio International, vol.198, December 1985, pp.40--1; McKenzie, R., Public Sculpture of Glasgow, Liverpool, 2002, p.492; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.199; Wagstaff, S., ‘The bird that cuts the airy way’, in Dhruva Mistry: Sculptures and Drawings, exhib. cat., Kettle’s Yard, Cambridge, 1985. [SBC2005]

Dhruva Mistry (b.1957)
Born in Kanjari, Gujarat, India, he studied at the University of Baroda, and at the RCA, 1981--3. He become a Fellow and Artist in Residence at Churchill College, Cambridge, in 1984 and Artist in Residence at the V&A in 1988. He held his first solo exhibitions in Delhi (1981), and at the Walker Art Gallery, Liverpool (1986), and contributed work to the garden festivals at Liverpool, 1984 (Sitting Bull), Stoke-on-Trent, 1986, and Glasgow, 1988 (Reclining Woman). He has also received commissions for public works in Japan (1987), Wales (1990), Birmingham (1992) and London (1992), and represented Britain at the third Rodin Grand Prize, 1990. He was elected RA in 1991.
Sources: Murray, pp.76--7; Cavanagh, pp.61, 333. [G2002]

Dhruva Mistry (b.1957)
Born in Kanjari, India, Mistry was trained at Baroda University before becoming a British Council Scholar at the Royal College of Art in London 1981--3. From 1984--5 he was sculptor in residence at Kettle’s Yard Gallery, Cambridge and a Fellow of Churchill College Cambridge. His work has been praised for its sensitivity to the values of diverse cultures, whilst assimilating ideas from his Indian background into modern contexts, and it is this aspect of his work which has led to him being described as ‘thoroughly postmodern’, incorporating references as diverse as Picasso’s minotaurmachy, Egyptian sculpture and Romanesque architecture. He is often compared to Anish Kapoor, another artist who integrates Indian culture into Western art forms, but Mistry is more rooted in the figurative tradition. He is known for his integrity to his overall conceptions. He was made a Royal Academician in 1991, the youngest since Turner. Works include: Sitting Bull, concrete, Liverpool Garden Festival 1984; Reguarding Guardians 1 and 2 at the Hayward Annual, 1985; City of Stoke on Trent: Her Head, Stoke 1987; Dialectical Image Series, 1990.
1. S. Wagstaff, ‘The bird that cuts the airy way’, in Dhruva Mistry: sculptures and drawings, Kettle’s Yard, Cambridge, exh.cat., 1985; 2. Birmingham Museums and Art Gallery records; 3. D. Cohen, ‘Out of India: Hindu spirituality in recent British sculpture’, Sculpture, vol.13, January/February 1994, pp.20--7; 4. ‘Man and beast’, Studio International, vol.198, December 1985, pp.40--1; 5. N. Dimitrijevic, ‘Hayward Annual’, Flash Art (international edition), no.123, Summer 1985, p.58; 6. W. Feaver, ‘Dhruva Mistry’, Art News, vol.87, January 1988 and vol.90, February 1991. [B1998]

Dhruva Mistry (b.1957)
Born in India, he graduated with an MA at the Faculty of Fine Arts, University of Baroda, 1981. In the same year he had his first solo exhibition in New Delhi. In 1981--83 he was at the Royal College of Art on a British Council scholarship. He was a Fellow of Churchill College, Cambridge, 1984--85, and was also artist-in-residence at Kettles Yard, the culmination of which was a large touring exhibition of his sculptures and drawings. The WAG staged a one-man exhibition of his works in 1986. In 1988 he was sculptor-in-residence at the V&A, London. Public commissions include works for the National Garden Festival, Stoke-on-Trent (1986), Nichiman Corporation, Japan (1987), Glasgow Garden Festival (1988), Victoria Square, Birmingham (1992) and Quaglino’s, London (1992). In 1990 he represented Britain at the 3rd Rodin Grand Prize Exhibition in Japan. In 1991 he was elected RA.
(sources: Chelsea Harbour Sculpture 93; Who’s Who 1993) [L 1997]

Denis Mitchell (1912--93)
Sculptor, painter and teacher born on 30 June 1912 at Wealdstone in Middlesex, but raised at Mumbles, near Swansea. From 1930--9 he attended evening classes at Swansea School of Art, afterwards moving to St Ives, Cornwall, where he at first worked in a number of jobs whilst pursuing painting in his spare time. He was in 1949 a founder member of the Penwith Society of Arts (Chairman, 1955--7). From 1949--59 he worked for Barbara Hepworth, eventually becoming her chief assistant. During this time he began sculpting, at first in wood, then from 1959 in bronze. In 1957 he founded Porthia Textile Prints. He taught part-time at Redruth Art School and Penzance Grammar School from 1960. In 1966 he won an Arts Council Award and in 1967 gave up teaching to concentrate on sculpture full-time. In 1968 he was awarded a Foreign Office commission, producing Zelah 1, a bronze sculpture for the University of the Andes, Bogota, Colombia. In 1969 he moved to Newlyn, Cornwall, and in 1970 went on a lecture tour of Colombia. From 1973 he was a member of the board of governors of Plymouth College of Art and Design and from 1977, of Falmouth School of Art. He had his first solo exhibition in 1957 at the AIA Galleries, London, his first overseas exhibition in 1962 at the Devorah Sherman Gallery, Chicago, and retrospectives at the Glynn Vivian Art Gallery, Swansea, 1979, Gillian Jason Gallery, London, 1990, Penwith Galleries, St Ives, 1992, and Flowers East, London, 1993. A two-man show of Mitchell and his friend Tom Early was held at the Penwith Galleries in 1996. Examples of his work are in the Tate Gallery, Walker Art Gallery, Liverpool, Fitzwilliam Museum, Cambridge, and National Gallery of New South Wales, Australia.
Sources: Buckman, D., 1998; Gillian Jason Gallery, 1990; Spalding, F., 1990; Strachan, W.J., 1984. [LR 2000]

Henry Charles Mitchell (act. 1920s)
Mitchell was a monumental mason based in Tamworth who exhibited at the Royal Academy in 1931 as a landscape painter. He produced 13 known war memorials in Derbyshire, Leicestershire, Staffordshire and Warwickshire.
Source: Noszlopy, George T., Public Sculpture of Warwickshire, Coventry and Solihull, Liverpool, 2003, p.262f. [SBC2005]

Henry Charles Mitchell (active 1920s)
Mitchell was a monumental mason based in Tamworth who also exhibited at the Royal Academy in 1931 as a landscape painter. He was then living in Burgoyne Road, London. He has thirteen known war memorials in Derbyshire, Leicestershire, Staffordshire and Warwickshire.
Sources: Johnson, J. and Greutzner, A., Dictionary of British Artists 1880--1940, Suffolk, 1976; verbal information from Jane Armer, National Inventory of War Memorials. [WCS2003]

William George Mitchell (b. 1925)
Sculptor. Born in London, trained at Southern College of Art, Portsmouth and at the Royal College of Art where he won a scholarship which enabled him to study at the British School in Rome. He established the William Mitchell Design Consultants group and produced abstract sculptures in concrete, wood, plastics, marble and brick. Mitchell has been a member of the Design Advisory Board, Hammersmith College of Art and Trent Polytechnic; member of Formwork Advisory Committee and the Concrete Society. Public sculptures include the abstract relief decoration of the porch and belfry (Metropolitan Cathedral of Christ the King, Liverpool), Ways of the Cross (Cathedral Church of St Peter and Paul, Clifton), wall reliefs for Watergardens (Harlow New Town, 1963). His Corn King and Spring Queen (Wexham Spring, South Buckinghamshire, 1964) was listed in 1998.
Sources: Strachan, 1984; Noszlopy, 1998. [Man2004]

William George Mitchell (b.1925)
Born in London, he studied art at the Southern College of Art, Portsmouth and at the Royal College of Art where he won a fourth year scholarship (The Abbey Award) which enabled him to study at the British School in Rome. He established the William Mitchell Design Consultants group and produced sculptures in plastics, concrete, wood, marble and brick. He has been a member of the Design Advisory Board, Hammersmith College of Art, and Trent Polytechnic, and is a member of Formwork Advisory Committee and the Concrete Society. He has many pieces throughout the country, including Liverpool Metropolitan Cathedral entrance; Three Tuns public house, Coventry (1966). Exhibitions include a joint show held at the Engineering and Building Centre, Broad Street, Birmingham (1967), where he showed three over-life-size figures, The Magi, which were made from Thermalite load-bearing aerated concrete building blocks, produced by Thermalite Ltd, Lea Marston.
Sources: ‘Painter’s search for peace’, Birmingham Post, 11 May 1967; Pereira, Dawn, William Mitchell, MA thesis, University of East London, 1998. [WCS2003]

William Mitchell (b.1925)
Born in London, 30th April 1925, he studied art at Southern College of Art, Portsmouth and at the Royal College of Art where he won a fourth year scholarship (The Abbey Award) which enabled him to study at the British School in Rome. He established the William Mitchell Design Consultants group and produced sculptures in plastics, concrete, wood, marble and brick. Mitchell has been a member of the Design Advisory Board, Hammersmith College of Art and Trent Polytechnic; member of Formwork Advisory Committee and the Concrete Society. He has many pieces throughout the country, including: Liverpool Metropolitan Cathedral entrance; Three Tuns public house, Coventry 1966. Exhibitions include a joint show held at the Engineering and Building Centre, Broad Street Birmingham 1967, where he showed three over-life-size figures, The Magi, which were made from Thermalite load-bearing aerated concrete building blocks, produced by Thermalite Ltd., Lea Marston.
1. ‘Painter’s search for peace’, Post, 11th May 1967. [B1998]

William Mitchell
London sculptor. His public sculptures include the abstract relief decoration of the porch and belfry of the Metropolitan Cathedral of Christ the King, Liverpool (late 1960s), and Water Feature (1975, fountain in metal, Station House Courtyard, Cherrydown, Essex).
(source: Strachan, 1984) [L 1997]

Adrian Moakes (b. 1959)
Studied at Preston Polytechnic, BA Hons Fine Art, 1977--80. Postgraduate Fellowship, North Manchester College, 1985. Group exhibitions include Aberdeen Art Gallery, The Cornerhouse, Manchester, South Hill Park Arts Centre, Brewery Arts Centre, Kendal. Research and development work with Public Arts, Wakefield, 1992, Trafford MBC/North West Arts Board, 1995--6, Darts and Doncaster Museum and Art Gallery, 1999, Groundwork Macclesfield, 2000. Public commissions include Vault (Norton Priory Museum and Gardens, Runcorn, 1994), The Broken Arcs, with Noah Rose (All Saints Park, Blackburn, 1995), The Big Fish (Birtle, 1997) Up, Up & Away (Blackpool, 2000), The Learning Curve (Watford, 2001) and Timelines (Dunstable, 2002).
Source: artist. [Man2004]

Uta Molling
Following practical training in cabinet-making in Germany, she studied for a degree in interior design and architecture at Stuttgart Polytechnic (1979--82). During this period, she worked as an assistant stage designer and film animator. She has had solo exhibitions at a number of art galleries in Germany and Britain, including the Galerie am Reissmuseum (1982--3) and the Galerie Klapsmuehle (1984), both in Mannheim, the Arts Gallery Workshop, Swansea (1990), the Galerie Bernd Heidelbauer, Stuttgart (1992) and the Dylan Thomas Theatre Gallery, Swansea (1993). Her works have also been included in group exhibitions at a number of museums, including the ICA, London (1980), the Kulturzentrum, Mannheim (1982--3), Drumcroon Art Centre, Wigan (1994) and the Arts Workshop Gallery, Swansea (1995). She is currently based in Swansea, where she is in partnership with the sculptor Robert Conybear. Many of their commissions have been from his home town, including a lighthouse sculpture for the marina (1986), a wall mosaic for the sea cadets’ headquarters (1991), a figure weather vane for Swansea Observatory (1991), and mosaics for the city centre (1992) and Swansea Mumbles (1993). More recently, they have designed a series of 24 mosaic ceramic panels for Luton town centre (1997) and site-specific sculpture in London (1998) and Coventry (1999). She has also taught part-time at Swansea and Carmarthen Art Colleges.
Source: information from the sculptor. [WCS2003]

Nicholas Monro (b. 1936)
Born in London, he studied at Chelsea School of Art (1958--61). From 1963 to 1968 he taught at Swindon School of Art. From the mid-1960s Monro made his mark with simplified, but easily readable, brightly coloured fibreglass sculptures. His first one-man exhibition was at the Robert Fraser Gallery in 1968. At the Arts Council’s 1969 Pop Art exhibition at the Hayward Gallery, he showed seven 2.5m-high Reindeer (1966) and Bags of Money (1966--7). Together with his friend, the painter Patrick Caulfield, Monro espoused the cause of perfectionist illustrative art. He also displayed overt antagonism to the hegemony of the St Martin’s group of sculptors. In 1972 he was commissioned by the Peter Stuyvesant Foundation to produce a massive figure of the gorilla King Kong for Birmingham. This was briefly placed in the city’s Bull Ring, but was then sold by the City Council and has since been destroyed. The maquette for King Kong (now in the Arnolfini Gallery, Bristol) was shown at the Hayward Annual Exhibition of 1977, along with several other ambitious works by Monro, including the multi-figure groups, Latin American Formation Team (1972) and Waiters’ Race (1975). Nicholas Monro contributed three models for figures of Chinese, Nigerian and English girls to Pentagram’s make-over of Unilever House in 1982--3.
Sources:British Sculpture in the Twentieth Century (eds S. Nairne and N. Serota), Exh. cat. Whitechapel Art Gallery; D. Buckman, Dictionary of British Artists Since 1945, Bristol, 1998. [CL2003]

Nicholas Monro (b.1936)
Monro studied at Chelsea School of Art 1958--61, and taught at Swindon School of Art 1963--8. He later returned to teach at the Chelsea School of Art. Solo exhibitions include: Robert Fraser Gallery, London 1968; Amsterdam 1969; Galerie Thealen, Essen, Germany, 1969; Waddington Galleries, London 1971. He has had work in group exhibitions in the UK, France, Germany and Italy.
1. City Sculpture, Arts Council of Great Britain, London, 1972. [B1998]

Paul Raphael Montford (1868--1938)
Son of the London sculptor Horace Montford, with whom he trained before studying at Lambeth School of Art, and the RA Schools, where he won three painter’s and seven sculptor’s prizes, including a gold medal in 1893; he was also awarded the Landseer Scholarship and a Travelling Scholarship in 1891. He taught modelling at Chelsea Polytechnic from 1898, and produced much architectural sculpture, including reliefs on Battersea Town Hall (1892), Cardiff City Hall (1901--5) and figures of Caxton and George Heriot on the V&A. His work at this time was described as: ‘Vigorous in style, excellent in drawing, and though a little academic and not strikingly original, it is decorative in character and vigorous in conception and handling’ (Spielmann). He later executed bronze busts of Sir Henry Campbell-Bannerman, Westminster Abbey (1908) and Sir William Randall Cramer, Geoffrye Museum (1908). After the First World War he moved to Melbourne, Australia, where he executed the War Memorial (1922) and other public statues.
Sources: Spielmann, pp.151--2; B, 28 January 1938, p.196 (obit.); Gray; Makay. [G2002]

Raffaelle Monti (1818--1881)
Trained at the Academy in Milan and with his father Gaetano Monti (1766--1847). Worked for a time in Vienna and Budapest producing a series of allegorical figures for the Hungarian National Museum. In 1846 he visited England to execute Veiled Vestal for the 6th duke of Devonshire. After returning to Italy to take part in the ill-fated revolution of 1848, he emigrated to London, exhibiting Eve after the Fall at the Great Exhibition in 1851 and six works at the RA 1853--60. He also produced some decorative sculpture for the Crystal Palace in 1854. It seems that this may have been his financial undoing because it is recorded that he appeared before the Court of Bankruptcy in July 1855, where he undertook to do his best to complete contracts in hand to meet the claims of creditors. In the late 1850s he formed links with the Birmingham metalwork firm Elkingtons, and experimented with electroplating copper. In later years he designed porcelain figures and busts for Coplands Statuary Porcelain and silverware for C.F. Hancock.
[1] Fodor, I. et al., The Hungarian National Museum, 1992, pp.10--12. [2] Turner (ed.), vol.22, pp.27--8. [3] Graves, Royal Academy Exhibitors, vol.V, p.276. [NE 2000]

Henry Spencer Moore (1898--1986)
Sculptor and graphic artist born 30 July 1898 at Castleford, Yorkshire, the son of a miner. He studied at Leeds School of Art, 1919--21, and the Royal College of Art, 1921--4. In 1925 he went to France and Italy on a travelling scholarship and on his return taught at the RCA, before moving to Chelsea School of Art where he remained until 1939 at which point he resigned to concentrate on sculpture full-time. He was from early on concerned with direct carving and the appropriate use of materials. Much of his work was based on the human figure and even when wholly abstract still retained a strong feeling for natural form: his ideal was not so much the creation of beauty in the traditional sense, as of energy and vitality. His earliest influences were not the sculptures of classical Greece and the Renaissance, but those of ancient Egypt, archaic Greece and particularly, of pre-Columbian America. He achieved recognition early on: in 1928 he had his first solo exhibition at the Warren Gallery, London, and his first public commission, the West Wind relief on the London Underground headquarters near St James’s Park. He then participated in a number of the most forward-looking group exhibitions such as those of the Seven and Five Society, Unit One, and the International Surrealist Exhibitions held in London in 1936 and in Paris in 1938. During the Second World War, as an official war artist, he made a celebrated series of drawings of Londoners sheltering from air raids in underground stations (published as The Shelter Sketch-Books). From early on his work had been bought by private collectors and before long by galleries throughout the world. His large-scale bronzes are to be found in public places in many cities around the world, including London, Washington, New York, Amsterdam, Vienna, Zurich, Singapore, and Hong Kong. He was made a Companion of Honour in 1955 and was appointed a Member of the Order of Merit in 1963. In 1977 he set up The Henry Moore Foundation, a charity whose aim is ‘to advance the education of the public by the promotion of their appreciation of the fine arts and in particular the works of Henry Moore’. In 1982 The Henry Moore Sculpture Gallery and Centre for the Study of Sculpture was opened in Leeds. A memorial exhibition was held at the Royal Academy in 1988.
Sources: Buckman, D., 1998; DNB 1986--1990; Who Was Who 1981--1990; The Henry Moore Foundation website: henry-moore-fdn.co.uk. [LR 2000]

James Moore (see Thames Ditton Foundry) [L 1997]

John Francis Moore (d. 1809)
Born in Hanover, he came to Britain about 1760. Six years later he exhibited at the Society of Arts a relief of Britannia reviver of Antique, promoter of Modern Art. Moore’s chief claims to fame are his monument to Lord Mayor William Beckford in the Guildhall (1772), and his portrait statue of the same man, also in marble, which once stood in Beckford’s country house Fonthill, but which was presented by his son, William Beckford, the novelist and eccentric, to the Ironmongers’ Company in 1833. It still stands in Ironmongers’ Hall in the City. Moore was chiefly active in decorative and routine sculptural activities. He carved a number of chimneypieces, including one unusually extravagant example, commissioned for Fonthill by Lord Mayor Beckford during his mayoralty. This was decorated with reliefs, illustrating death-scenes from the Iliad. It is now at Beaminster Manor, Dorset. Although he did receive one prestigious commission for a monument to Lord Ligonier for Westminster Abbey (1773), Moore’s church monuments are on the whole more remarkable for the richness of their coloured marbles than for the quality of their execution. Towards the end of his life, he went into partnership with a J. Smith, probably James Smith. The church monuments which bear the signatures of both men date from the years between 1791 and 1795.
Sources: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968; Obituary in the European Magazine, 1809, p.83. [CL2003]

Temple Lushington Moore (1856--1920)
Architect. Born in Tullamore, Ireland in 1856. Moore was articled to George Gilbert Scott, 1875, and continued to work for Scott after he opened his own practice. His reputation rested on his ecclesiastical buildings which included St Peter’s, Barnsley and St Columba’s, Middlesbrough. Giles and Adrian Gilbert Scott were his pupils. He died suddenly in 1920 and commissions such as St Wilfred’s, Harrogate were completed by his son-in-law, Leslie Moore.
Source: Felstead, 1993. [Man2004]

Joseph Herbert Morcom (1871--1942)
Sculptor born outside Minera, near Wrexham, in North Wales. His father, captain of the local lead mine, died in 1880 and, as soon as he was old enough, Morcom was sent to work for a local firm of stonemasons. He eventually secured a job in Liverpool with Norbury, Paterson & Co. Whilst with them, in the early 1890s, he enrolled at the Liverpool School of Architecture and Applied Art. Morcom was also taken on as an assistant in the private sculptural practice of C.J. Allen (see pp.153, 352), then head of the School’s sculpture department. By 1904 Morcom had been appointed assistant modelling master at the school. In the following year he was elected a member of the Liverpool Academy and was awarded a ‘National Medal for Success in Art’ by the Board of Education, South Kensington. In the 1909 Eisteddfod he won first prize in the sculpture section. In May 1910 he was appointed modelling master at Leicester School of Art. At Leicester he also worked as an architectural sculptor and in 1914 bought up Pearson and Shipley, a firm of Stonemasons and Monumental Sculptors, based in The Newarke. Morcom called his new firm The Plasmatic Company (see p.381). In addition to his work for the firm, he worked independently as a sculptor and continued at the School of Art. Morcom married in 1915 and his final home was at Kirby Muxloe, in a house designed for him by Ralph Bedingfield and decorated with carved stonework executed by The Plasmatic Company. Morcom exhibited at the Walker Art Gallery, Liverpool, the Royal Cambrian Academy, the Royal Academy, London, and, as a member of the Leicester Society of Artists, regularly at the New Walk Art Gallery, Leicester. Many of his smaller works and models are now in the collection of the Wrexham Maelor Museum Service, Wrexham, Clwyd. A Statuette of Andromeda in bronzed plaster is in Leicester Museum and Art Gallery.
Sources: L. Mercury, 4 December 1981, p.18; The Studio: [i] vol. xxxiv, no. 146, May 1905, p.351 [ii] vol. xxxvi, no. 152, November 1905, pp.169, 166, 169 [iii] vol. xxxix, no. 163, October 1906, pp.68, 67, 68 [iv] vol. xlii, no. 177, December 1907, pp.231, 228; information from Dr Alan McWhirr. [LR 2000]

Morris and Sons (active first quarter of twentieth century)
Northamptonshire-based firm of stonemasons established by Henry Morris, who is first listed working independently as a monumental mason at Rushden. By c.1906 he had set up in practice with his sons in Kettering, firstly as monumental masons and then, from c.1910, as stonemasons.
Sources: Kelly’s Directory ... of Northamptonshire (various edns from 1898--1924). [LR 2000]

Morris Singer
Foundry established by John Webb Singer (1819--1904), who began as a watchmaker and jeweller, setting up Frome Art Metalworks in 1848, specialising in church furnishings. By 1888 he had extended his premises on the outskirts of Frome, Somerset, to incorporate a foundry equipped both for lost wax and sand casting. The foundry, originally called Singer & Sons, went on to become one of the leading fine art bronze foundries in Britain.
Sources: Beattie, S., 1983; James, D., 1984. [LR 2000]

Locky Morris (b. 1960)
Sculptor. Born in Derry. Educated at the University of Ulster at Jordanstown (1979--80) and Manchester Polytechnic (BA Fine Art Sculpture, 1980--3). Exhibitions include Orchard Gallery, Derry, 1985, British Art Show (touring, 1990), Strongholds, Tate Gallery Liverpool, 1991. Awards from the Arts Council of Northern Ireland and RSA Art for Architecture. Work informed by history of Derry where he lives. Public commissions include Atlantic Drift (Derry) and Dry (Bundoran, Co. Donegal).
Source: artist. [Man2004]

Rowland Morris (1847--98)
Morris studied as a ceramic sculptor at the Hanley School of Art. He was awarded a National Scholarship in 1863, and in 1865 went to the South Kensington Museum (now the Victoria and Albert) with William Wright (act.1860s) and J.F. Marsh (act.1860s) to work on sculptures for the Wedgwood Memorial Institute, Burslem. Seven years later, Morris returned to the Potteries area to work in the employ of Robinson & Leadbeater as a modeller, and soon became chief designer. Under Morris’s direction the firm produced high-quality statuary. Between 1885 and 1890 he worked for the Moore Bros of St Mary’s Works, and for James Wilson of St Gregory’s Works. Soon after 1890 Morris became a freelance ceramics modeller, working for Shelley and Wileman.
Sources: Dawson, J., The Wedgwood Memorial Institute, Burslem, 1894; Dobraszczyc, A., A Walk Around the Wedgwood Institute, Burslem, WEA Social History Walks, undated; Elder, H., ‘The Life of Rowland Morris’, Shelley, issue 50, December, 1998; Swale, A., ‘The Terracotta of the Wedgwood Institute, Burslem’, Journal of the Tiles and Architectural Ceramics Society, vol.2, 1987, p.22; Illustrated London News, 11 October 1873; Wedgwood Institute (Burslem Library), Files. [SBC2005]

Kerry Morrison
Sculptor. Educated at Crewe and Alsager College of HE, Creative Arts BA, 1985--8; Wimbledon School of Art, MA Site-Specific Sculpture, 1990--2; Manchester Metropolitan University, MA Fine Art, 1992--3. Public commissions include works on Ribble Valley Sculpture Trail and Irwell Valley Sculpture Trail.
Source: artist. [Man2004]

Anthony Morrow (b.1954)
A Scottish sculptor and teacher, he studied Fine Art at Duncan of Jordanstone College of Art, Dundee (where he won the Mitchell Prize for the best First Year student in 1988), and Art Therapy at Hertfordshire College of Art (1991--2). In 1996 he won the Brenda Clauston Award for Sculpture. His work has been exhibited widely in Scotland, and as a partner in Gilmor Sculptures since 1993 has undertaken numerous public commissions, including a bronze Dragon in Murraygate, Dundee (1994) and the restoration of the bronze statue of Peter Pan in Kirriemuir (1994). He has been Head of Sculpture at Dundee College since 1997, and is currently producing a pair of colossal bronze statues of the cartoon characters Desperate Dan and Minnie the Minx for the City Square, Dundee.
Source: information provided by the artist. [G2002]

Mortimer, Willison & Graham (fl.1938--c.1961)
John (Jack) Mortimer (1912--61), Andrew Willison (d.1944?) and Edward Graham (b.1914) trained as carvers with James C. Young and Archibald Dawson (qq.v.) in the 1920s, while studying stone carving at GSA; Willison also taught carving at the school, 1934--8. As apprentices they worked on several buildings in Glasgow (e.g., 200 St Vincent Street, 1927, q.v., main catalogue) alongside apprentices from Italy and New Zealand. Becoming partners in 1938, they produced sculpture for the Empire Exhibition, Bellahouston Park (see Appendix A, Lost Works), and several Roman Catholic churches by Jack Coia, such as St Columbkille’s, Rutherglen (1940) and St Paul’s, Shettleston (1958), with Mortimer making the main contribution. Mortimer also executed the St Aloysius College War Memorial, (1948). The firm was wound up after Mortimer’s death in 1961.
Sources: GH, 10 October 1953, p.5; GUABRC, IP6/1/38 (unidentified newspaper cutting, n.d., dated by hand 10 October 1955); Rogerson, p.117; information provided by Edward Graham.) [G2002]

Nicola Moss (b.1960)
Trained at Canterbury College of Art & Design 1980--3 and at the International Medallic Workshop, Pennsylvannia State University, 1984. Since 1982 she has exhibited widely in Britain, USA, New Zealand and Europe, mostly as a medal maker.
[1] Information supplied by the artist, 1998. [NE 2000]

J. & G. Mossman (fl.1816--)
Firm of architectural sculptors and monumental masons founded in Leith by William Mossman Senior (q.v.), with sons John (q.v.), George and William (q.v.) as successors. They moved to Glasgow, c.1828, later taking advantage of the newly opened Necropolis to establish themselves as Glasgow’s most successful firm of monumental masons. They also produced much of Glasgow’s architectural sculpture in the second half of the nineteenth century and trained several sculptors of note. Relying on their monumental business during building slumps, they acquired a granite quarry in Creetown, Kirkcudbrightshire, and appointed former assistant Peter Smith (d.1911) as manager of their granite workshop in Glasgow. Smith later worked independently as a rival from 1875, then purchased the firm in 1890 after John Mossman’s death. Continuing to operate under the firm’s original name, he concentrated on monuments and later diversified into building shopfronts. The firm passed to his descendants, the Pollock Smiths, who later amalgamated with Robert Gray. It is still trading today, with premises at 284 High Street.
Sources: GCA, AGN 255; Morgan, p.15; Stoddart (1980). [G2002]

John Mossman (1817--90)
Born in London when his father, William Mossman Senior (q.v.), was working for Francis Chantrey (q.v.), he was the brother of George (1823--63) and William Junior (q.v.), and father of a third William Mossman (1843--77). He studied under his father and with Baron Marochetti (q.v.), and later with Sir William Allan at the RSA in 1838. He moved to Glasgow c.1828, working in his father’s firm of monumental masons, and made his name with the Peter Lawrence Memorial, Necropolis (c.1840; see Appendix A, Lost Works). A prolific society portraitist, his many busts include William Connal (1856), The Duke of Hamilton (1864) and Alexander ‘Greek’ Thomson (1877). As an architectural sculptor he worked for the most important architects of his day in Glasgow, dominating the scene until his retirement in 1886. He was the most important maker of statues of his generation in the west of Scotland, providing Paisley with monuments to Patrick Brewster (1863), Alexander Wilson (1874) and George A. Clarke (1885), but also executing work for overseas, such as the Viscount Ormiston Monument for Bombay. One of the founders of GSA in 1844, he taught modelling there, and served as visiting master and member of the Committee of Management until 1890. At his workshop he trained Walter Buchan, James Young, James Pittendrigh Macgillivray and Francis Leslie (qq.v.) amongst others, and with his brother George he ran the family firm of J. & G. Mossman (q.v.). He exhibited at the RA, 1868--79, and the RSA, 1840--86, and was elected HRSA in 1885. He died at Port Bannatyne, and is buried at Sighthill Cemetery, Springburn.
Sources: Bailie, 21 October 1874; GH, 26 September 1890 (obit.); Gildard; Stoddart (1980) passim. [G2002]

William Mossman Senior (1793--1851)
Glasgow-born carver and monumental sculptor, and founder of the firm J. & G. Mossman (q.v.) which dominated public sculpture in Glasgow for most of the nineteenth century. A descendant of James Mossman, goldsmith to Mary, Queen of Scots, he was the father of John Mossman (q.v.), George Mossman (1823--63) and William Mossman Junior (q.v.). After spending time as a pupil of Francis Chantrey (q.v.) in London, he moved to Leith, c.1821, to set up as a monumental sculptor. Towards the end of the decade he moved his family to Glasgow, and became the manager of David and James Hamilton’s marble business. As an architectural sculptor he carved details on several of Hamilton’s buildings, including St Paul’s Church, John Street (1836, demolished 1906) and Mosesfield, Springburn (1838). He also executed death-masks, chimney-pieces for steamboats, and the gothic Monument to Lord Cathcart, Paisley Abbey (1848). He attempted to establish himself as a portraitist with busts of James Cleland (1831, reputedly the first marble bust executed in Glasgow), David Hamilton, and Thomas Muir of Huntershill (1831), but failed to impress the critics. However, with the opening of the Necropolis in 1833 his success as a monumental sculptor was assured. Thereafter he concentrated on training his sons in the family business. He exhibited at the RGIFA, 1829--33.
Sources: POD, 1830--51; Gildard; GCA: TD 110; Gunnis. [G2002]

William Mossman Junior (1824--84)
Born in London, the youngest son of William Mossman Senior, and brother of John Mossman (qq.v.) and George Mossman (1823--63). He trained in the family firm and in the London studios of Marochetti (q.v.), William Behnes, and John Thomas (q.v.), for whom he produced carving work on the Houses of Parliament, London. He collaborated with his brother John on several important sculpture schemes in Glasgow, but also worked independently as an architectural sculptor. He taught modelling at GSA, 1869--71, where his pupils included William Shirreffs (q.v.), and exhibited portrait busts and wax medallions at the RGIFA, 1862--84, the latter including the architect John Honeyman and his wife (1877). He was also busy as a monumental sculptor, working with his brothers and on his own, and later formed the partnership Mossman & Wishart (1880--4) in Aberdeen. The firm continued as William Mossman & Co. until 1898.
Sources: GSA, Governors’ Minute Books, 1854--69; POD 1854--98; GH, 8 April 1884, p.4 (obit.); A, 12 April 1884, p.232 (obit.); Gildard, pp.5--6. [G2002]

Edwin Roscoe Mullins (1848--1907)
Born in London, he studied at Lambeth School of Art, the RA Schools under Birnie Philip and in Munich under Professor Wagmüller. From 1870 he shared a studio with E.O. Ford (q.v.), producing portraits and ‘fancy’ figure groups, which he exhibited at the Grosvenor and New Galleries, as well as at the RA. He also produced monuments, such as General Barrow (1882), in Lucknow, and several major architectural schemes, including the pediment group on the Harris Museum and Art Gallery, Preston, (c.1882--93). Work by him in the GAGM collection includes Isaac and Esau (1904). He also wrote a Primer of Sculpture (London, Paris and Melbourne, 1890).
Sources: Spielmann, pp.48--50; Read, pp.52--5, 351, 369; Stevenson (n.d.). [G2002]

Jonathan Mulvaney (b.1953)
After training at Lanchester Polytechnic (now Coventry University)(1975--7) and Birmingham Polytechnic (1977--9), Jonathan Mulvaney briefly worked as an art therapist for Birmingham Social Services. He has been a full-time sculptor since 1980 and has created works in a variety of media, including stone, steel, wood, plastic, glass and cast metals. He was also a visiting lecturer at Birmingham Polytechnic, Loughborough College of Art, Coventry Polytechnic and Stafford College during the 1980s. His commissions include sculptures for Priory Park, Dudley (1992), a new school in Stoke-on-Trent (1993), the Shugborough Estate (1994), Abbots Bromley (1996), the Shire Hall, Stafford (1997), and two portrait heads of Aneurin Bevan for the NHS in the West Midlands (1998).
Source: Records held at Dudley Public Art Resource Unit, Himley Hall, Dudley, 2001. [SBC2005]

Juan Muñoz (b.1953)
Spanish sculptor. Studied in London (1979--82) and New York (1982) before returning to live and work in his home country. Since his first solo exhibition at Madrid’s Galeria Fernando Vijande in 1984, he has shown widely in Europe, Canada and the United States, describing himself as a story-teller or a builder ‘of metaphors in the guise of sculptures’. His installations and outdoor sculptures often set a dramatic scene but deprive the viewer of a clear-cut narrative. In works such The Wasteland (1986), Dwarf with Parallel Lines (1989) and Conversation Piece, Dublin (1994), single or grouped figures are set in a room or upon an elaborately designed floorscape as though on stage. The figures may vary in form -- ventriloquists’ dummies, dwarves or ‘sack-men’ -- but they have certain features in common: frozen gestures, vacant looks and seemingly mute mouths. Other installation work includes playful representations of miniaturised architectural objects: staircases which lead nowhere, balconies without entrances and unreachable handrails. Muñoz’s writings have been published as Segment (1990) and his sculptures have been the subject of a collection of fictional tales (Stories after the works of Juan Muñoz, Silence Please!, 1996).
[1] Marlow, T., ‘Juan Muñoz’, Burlington Magazine, vol.CXXXII, no.1043, February 1990, p.144. [2] Tager, A., Art Magazine, 65, Summer, 1991, pp.36--9. [3] Melo, A., ‘Conversation Piece’, Berwick-upon-Tweed, 1996, in Berwick Rampart: Project Guide, pp.15--17. [NE 2000]

Alexander Munro (1825--71)
Sculptor. Munro was brought up on the Duke of Sutherland’s property in Scotland where his father worked as a stonemason. His talents came to the notice of Harriet, Duchess of Sutherland, who brought him to London and secured him a position with Charles Barry, working on the stone carvings for the new Houses of Parliament. After 1849, portrait sculpture became his main occupation and he produced many statues, busts, medallions and occasional group sculpture. Sympathetic to Pre-Raphaelite Brotherhood, teaching with Ruskin and Woolner at Working Men’s College. He shared a studio with Arthur Hughes, 1852--8. Public statues included Herbert Ingram (Boston, 1862) and a marble James Watt (Birmingham, 1866). Works such as The Sleeping Child (Great Exhibition, 1851), The Ingram Children (1853) and The Gladstone Children (1856) established him as a fine sculptor of children. He exhibited at the RA from 1849 to 1870. He suffered from a disease of the lungs and died in Cannes, France.
Sources: Gunnis, 1968; Read and Barnes, 1991; Noszlopy, 1998. [Man2004]

Alexander Munro (1825--71)
A dyer’s son from Inverness. While studying at the Royal Academy in London, Munro was drawn into the orbit of Dante Gabriel Rossetti and the newly formed Pre-Raphaelite Brotherhood. His reputation was established with Paolo and Francesca, a group inspired by an episode in Dante’s Divine Comedy. This was exhibited in plaster at the Great Exhibition in 1851, and in marble at the Royal Academy in 1852. The marble version is now in the Birmingham City Art Gallery. Munro was rather averse to public commissions, but he created five statues of historical scientists for the Oxford Museum (1855--60), and commemorative statues of Herbert Ingram, founder of the Illustrated London News, for Boston, Lincs. (1862), and of James Watt for Birmingham (1868). He preferred literary subjects, and was also successful as a portraitist. Many of his portraits are in traditional bust form, but relief medallions were also one of his specialities. Amongst his most distinctive productions are his poeticised full-length portraits of children.
Source: Pre-Raphaelite Sculpture -- Nature and Imagination in British Sculpture 1848--1914 (eds B. Read and J. Barnes), London, 1991 (essay by Katharine Macdonald). [CL2003]

Alexander Munro (1825/7--1871)
Born 1825 (or 1827, according to student registers at the Archive of the Royal Academy) in Inverness, he died 1st January 1871, Cannes, France. Chiefly remembered as a portrait sculptor, Munro was brought up on the Duke of Sutherland’s property in Scotland where his father worked as a stonemason. In 1847 he entered the RA Schools and in 1848 began working for Charles Barry on the stonecarvings for the new Houses of Parliament. After 1849, portrait sculpture became his main occupation and he produced many statues, busts, medallions and occasional group sculpture. His major statue commissions include: Francesca da Rimini, 1852 for W.E. Gladstone; The Gladstone Children, 1856; James Watt, Hippocrates, Newton, and Galileo for the Oxford Museum, 1863. In the collections of Birmingham Museum and Art Gallery there is a statue of Paulo and Francesca, 1851 and an original plaster model for A Sleeping Child. Exhibitions include: RA 1849--70; British Institution 1850--63; the Great Exhibition 1851.
1. S. Redgrave, Dictionary of artists of the English school, London, 1878; 2. Gunnis, 1964, pp.267--8. [B1998]

Lizzie Murphy (b.1959)
After studying at Lanchester Polytechnic (now Coventry University) (1984--7), Lizzie Murphy became a freelance mural painter. Her largest commission, a mural 72m long by 2.4m wide, was installed in the Museum of British Road Transport in Coventry. Another of her works, The Pattern, was for the Greenpeace Antarctic Survey ship, the Gondwana. From 1993 until 1999, she was the Project Manager for Arts Exchange, working on many community projects as well as painting mountain landscapes and portraits. Lizzie married in 1999, and is now known as Lizzie Alageswaran. She currently works as Arts Development Officer for Coventry City Council.
Source: artist’s own statement, 7 July 2000. [WCS2003]

Tom Murphy (b. 1949)
Liverpool sculptor and painter. His main sculptural commissions, apart from the Liverpool Statue of Sir John and Cecil Moores, include a Bust of Sir Hector Laing for UB Brands, a Bust of Margaret Thatcher for the BBC’s commemorative programme, ‘Ten Glorious Years’, and busts of Bill Shankly and John Lennon for David Moores. His Statue of John Lennon was shown in Liverpool’s Clayton Square Shopping Centre from November 1995 as part of the ‘Art in the Square’ exhibition. In 1996 The Littlewoods Organisation Plc commissioned him to paint an oil Portrait of John Moores Jnr to commemorate the subject’s retirement. He has shown work in both group and solo exhibitions and his awards include first prize in BBC Art ‘88 and the Channel Islands New Design Award in 1990.
(source: the artist) [L 1997]

George Myers (1804--75)
Builder, sculptor and furniture maker, working principally for A.W.N Pugin. Myers may have met Pugin as early as 1827, but the working relationship between the two men can only be dated with certainty to 1838. Myers, as head of a Lambeth-based workshop, is believed to have built 36 churches to Pugin’s designs. He also personally executed numerous pieces of furniture, decorative carving in wood and stone, and figure sculpture. His main sculptural works for Pugin include the altar and reredos, 1849, St Marie’s, Sheffield; the octagonal pulpit and Petre Chantry, including the Tomb of the Hon. Edward Robert Petre, St George’s Cathedral, Southwark, 1849; the Tomb of Bishop Thomas Walsh, 1851, St Chad’s Cathedral, Birmingham; the Tomb of John, Lord Rolle, 1852, in Holy Trinity Church, Bicton, Devon; the reredos at St Anne’s Roman Catholic Cathedral, Leeds; and the Easter Sepulchre at St Giles, Cheadle. A considerable selection of Myers’s work was included in ‘The Mediaeval Court’, Pugin’s display at the Great Exhibition of 1851, earning Myers a prize medal in Class XXVII for works in Caen stone.
Sources: Atterbury, P. and Wainwright, C. (eds), 1994; Stanton, P., 1971. [LR 2000]

Mungo Naismith (1730--70)
A master mason, builder and sculptor, his ‘Tontine Faces’ (see St Nicholas Garden, Castle Street, main catalogue) are the only recorded sculptures that can be attributed to him with any certainty. As a mason he achieved celebrity status for his repairs to the spire of Glasgow Cathedral after it was struck by lightning in 1756, and his innovative construction of the portico of St Andrew’s Parish Church (completed 1756), for which he was accorded the Freedom of the City. He occupied a studio in Parnie Street and is buried in the Merchant City at St David’s Churchyard, Ingram Street. One of his grandsons, James Naismith, was an important figure in the YMCA, and reputedly invented the game of Basketball in 1891.
Sources: ‘Senex’, vol.1, pp.128, 270, vol.2, p.241; GH, 27 July 1923, p.8; House, p.55; Fisher, pp.37, 380. [G2002]

Andrew Nash (b.1963)
Since studying for a BA in Fine Arts at the University of Central England (1990--3), Andrew Nash has worked as a lecturer in Three-Dimensional Art and Design at Tamworth and Lichfield colleges. He has had a number of public art commissions, including Offa’s Seat (Tamworth, 1995) Echoic 3 (Tamworth, 1977), Caribees Gate and Compass Mosaic (Consett, Co. Durham, 1998).
Source: Information provided by the sculptor, 18 May 2002. [SBC2005]

William James Neatby (1860--1910)
Sculptor, designer and painter. Born in Barnsley, trained as architect. When aged 23 he went to work for Burmantofts Potteries in Leeds, designing, painting and making tiles for interior decoration. In 1899 he joined Doulton’s of Lambeth, in charge of their architectural department, again designing and making ceramics. Art Nouveau-style designer, he made great use of both terracotta and Carrara Ware and introduced new processes such as polychrome stoneware and Parian Ware. In 1900 or 1901 he set up a partnership with E. Hollyer Evans manufacturing furniture, metalwork and stained glass, but he continued to design for Doulton. His major commissions included painted ceramic panels for the Winter Gardens Ballroom, Blackpool (completed 1897), City Wholesale Market, Leicester (1900, later demolished, Mermaids panel re-erected West Bridge, Leicester, 1980), glazed terracotta frontage for the Edward Everard printing works, Broad Street, Bristol (completed 1901), City Arcade, Birmingham (1901), interior decoration of the Restaurant Frascati, Masonic Hall, Oxford Street, London (1902, demolished) and interior ceramic decoration of Harrods Meat Hall, London (1902). He was a member of the Royal Society of Miniature Painters and exhibited as a painter at the RA in 1906 and 1909.
Sources: Atterbury and Irvine, 1979; Noszlopy, 1998. [Man2004]

William James Neatby (1860--1910)
Born in Barnsley in 1860, at the age of fifteen he was articled to and later employed by a Bradford architect for six years. Then for two years he practised as an architect on his own account in Whitby and elsewhere in Yorkshire. When aged twenty-three he went to work for Burmantofts Potteries in Leeds, designing, painting and making tiles for interior decoration. Six years later he joined Doulton’s of Lambeth, in charge of their architectural department, again designing and making ceramics. He made great use of both terracotta and Carrara Ware and introduced new processes such as polychrome stoneware and Parian Ware. In 1900 or 1901 he set up a partnership with E.H. Evans manufacturing furniture, metalwork and stained glass, but he continued to design for Doulton. Neatby was a proficient designer in several media: ceramics, glass, metalwork and enamels, gesso and plaster ceilings and also a little woodcarving. Works include tile decoration for the School of Art, Manchester (1897); the Royal Arcade, Norwich (1899); Orchard House, Westminster (1900); the City wholesale market, Leicester (1900, now demolished); and the Everards Building, Broad Street, Bristol (1901). Two large-scale works still exist: the interior of the Winter Gardens, Blackpool (1896); and Harrods Meat Hall, Brompton Road, Kensington (1902). The Frascati Restaurant in the Masonic Hall, Oxford Street, London (1902), with its glass ceiling and three large mural frescoes has been demolished, as has the interior of the Redfern Gallery, London and the Gaiety Theatre London (1903). In Birmingham, Neatby did the interior of the King’s Café with stained glass, metalwork, mural tiles (by Doulton) and a panel figure of a king over the fireplace, made in enamels and gold, and medallions for the Theatre Royal. Both buildings, by Newton and Cheatle, are now demolished. Primarily an artist, Neatby was a painter of miniatures, an Associate of the Royal Miniature Society in 1906 and full member in 1907. Exhibited at the RA 1906, 1909; Arts and Crafts Exhibition, Grafton Galleries, London 1906.
1. A. Vallance, ‘Mr. W.J. Neatby and his work’, The Studio, vol.29, 1903, pp.113--17; 2. J. Barnard, ‘Victorian on the tiles’, Architect and Building News, September 1971, pp.46--51; 3. RAE, vol.V, Wakefield, 1981; 4. J. Johnson, and A. Greutzner, Dictionary of British artists 1880--1940, Woodbridge, Suffolk, 1976; 5. P. Atterbury, and L. Irvine, The Doulton story, London, 1979, pp.73--97; 6. ‘Some new decorative work’, The Builder, 16th March 1901, p.256. [B1998]

William James Neatby (1860--1910)
Art Nouveau-style designer, born in Yorkshire. At about fifteen Neatby was articled to a local firm of architects, subsequently working in the profession for two years. In about 1883, however, he changed his career path and joined Burmantofts Potteries, Leeds, as designer and painter of glazed ceramic building ware. In 1889 he moved to Doultons of Lambeth as head of the architectural department, staying until 1900. Thereafter he set up with the architect E. Hollyer Evans. In addition to ceramics (the new firm, Neatby, Evans & Co, continued to undertake commissions from Doultons, as well as manufacturing Neatby’s own designs), Neatby also designed stained glass for ecclesiastical and domestic purposes, ornamental metalwork and furniture. He was at times executant as well as designer of architectural statuary and was an accomplished wood carver. His major commissions include the interior decoration of the Restaurant Frascati, Masonic Hall, Oxford Street, London (demolished), incorporating stained glass windows and painted murals; 28 painted ceramic panels for the Winter Gardens Ballroom, Blackpool (completed 1897); the glazed terracotta frontage for the Edward Everard printing works, Bristol (completed 1901); and the interior ceramic decoration of the meat hall of Harrods, Knightsbridge (commission obtained through Doultons; completed 1902). He was a member of the Royal Society of Miniature Painters and exhibited as a painter at the Royal Academy in 1906 (two pictures) and 1909 (one).
Sources: Barnard, J., 1970a; Barnard, J., 1970b; Bradford Art Galleries and Museums, 1983; Fleming, J. and Honour, H., 1989; Gray, A.S., 1985; Vallance, A.,1903. [LR 2000]

Oscar Nemon (1906--85)
Born in Osijek, in east Croatia, son of a Jewish pharmaceuticals manufacturer. After an unsuccessful application to the Vienna Academy, Nemon obtained a bursary in 1925 from his home-town to study at the Académie des Beaux Arts in Brussels. There he shared a house with the painter René Magritte. In 1928 he made a monument to the June Victims, for Osijek. On the 75th birthday of Sigmund Freud in 1930, he was, exceptionally, permitted to take the psychologist’s portrait from the life, and he produced the model for the portrait statue, which, 40 years later was cast in bronze and erected at Swiss Cottage, London. Nemon’s portraits from this time were exhibited at the Monteau Gallery in Brussels in 1934, and again in 1939. In 1939 he took refuge from Nazi persecution in England, where he settled in Oxford. Nemon, who became naturalised in 1948, was befriended by two leading lights of the British museum world, Sir John Rothenstein and Sir Karl Parker. The gravity of his portraits and the charm of his personality soon secured him important commissions for portraits of the Royal Family, politicians and commanders of the armed forces. For Westminster he executed the statues of Lord Portal (1975) and Field Marshal Montgomery (1980). In all, 12 statues by Nemon of Winston Churchill are to be found in diverse locations on either side of the Atlantic. His last major work, a Royal Canadian Air Force Memorial, was unveiled by the Queen in Toronto in 1984. A retrospective exhibition of his work was held at the Ashmolean Museum in Oxford in 1982. At the time of his death he was working on a portrait of Diana, Princess of Wales.
Sources: DNB; J. Blackwood, London’s Immortals, London, 1989. [CL2003]

William Eden Nesfield (1835--88)
Architect, born at Bath, the son of a landscape gardener. Educated at Eton, he trained firstly with William Burn and then with his uncle, Anthony Salvin. He set up his own architectural practice in 1858. In 1862 he published Specimens of Mediaeval Architecture, drawn from his travels in France and Italy. From 1866 to 1868 he was in partnership with Richard Norman Shaw. His more important works include: Kinmel Park, Denbigh (gutted); Cloverly Hall, Shropshire (partly demolished); the hall and church at Loughton, Essex; Gwernyfed Hall, Brecknockshire; Farnham Royal Church; and lodges at Kew Gardens and Hampton Court.
(sources: DNB; Dixon & Muthesius, 1985) [L 1997]

William Grinsell Nicholl (1796--1871)
After attending the RA Schools in 1822 he worked principally as an architectural sculptor. His most important commission outside Liverpool was for George Basevi’s Fitzwilliam Museum, Cambridge, where, in 1837, he carved the decorative details of the frieze and capitals to Basevi’s designs and, in 1838, the pediment figures to designs by Sir Charles Eastlake. In the following year he carved the four stone lions guarding the entrance steps. His submission to the Westminster Hall competition of 1844 was received badly and he was awarded no commissions. Nicholl never achieved wealth but did obtain regular work from the architect C.R. Cockerell from 1821 (carved doves for the Corinthian capitals supporting the dome in the Hanover Chapel, London) onwards and it was through Cockerell that he achieved a limited degree of fame with his most prestigious commissions, those for St George’s Hall and Plateau in the 1850s. Nicholl exhibited at the RA from 1822 to 1861.
(sources: Gunnis, 1951; Watkin, 1974) [L 1997]

Uli Nimptsch (1897--1977)
Born in Charlottenburg, Berlin, 22nd May 1897, he studied at the School of Applied Art, Berlin 1915--17 and at the Berlin Academy 1919--26 under Professors Gerstel and Lederer. He was in Rome at various times between 1931 and 1938, going to Paris for a year, and then settling in Great Britain. He had his first one-person show at the Redfern Gallery, London 1942, and retrospective shows at Temple Newsam in 1944 and Liverpool in 1957. Other work includes a statue of Lloyd George for the lobby of the House of Commons 1961--3; Olympia, c.1953--6 and Seated Girl, 1958 at the Tate Gallery. RBA 1948, ARA 1958, RA 1967 and Senior RA 1972. Master of the RA Sculpture School 1966--9. Exhibited at the RA from 1957.
1. Uli Nimptsch RA, sculptor, Royal Academy, London, exh.cat., 1973; 2. RAE, vol.V, Wakefield, 1981; 3. S. Nairne, and N. Serota, (eds.), British sculpture in the twentieth century, Whitechapel Art Gallery, London, 1981, p.259. [B1998]

Ludwika Nitschowa
Sculptor. Born and lived in Poland. Nitschowa’s best-known work is her heroic-size stone Syrena in Warsaw. The sculpture was erected in 1939 on the banks of the Vistula and survived the Nazi occupation. Her image of the mermaid has been incorporated into the city’s coat of arms and reproduced as a postage stamp. Nitschowa’s other works include busts of Polish heroes, including Kosciuszko, and a statue of Marie Curie.
Source: Chopin Society of Poland. [Man2004]

Samuel Nixon (1803--54)
It is not known where Samuel Nixon trained, but he began to exhibit at the Royal Academy at the age of 23. His most significant works were for the City of London. In 1840, the architect P.C. Hardwick employed him to carve the coat of arms on the front of the Goldsmiths’ Hall, and also four marble statues of the Seasons for the foot of the main staircase. In 1844, Nixon was chosen by the Corporation to carve the colossal statue of William IV in Foggin Tor granite, for London Bridge Approach. He received a further commission from the City of London School Committee for a statue of its fifteenth-century benefactor, John Carpenter. Nixon resented what he considered the insufficient payment he received for the statue of King William, and, when approached by the Corporation in 1852, for the series of statues projected for the Mansion House, he declined to be considered for a commission. Nixon modelled sculpture for production in terracotta by the Lambeth firms of Croggan, Blashfield and Doulton.
Sources: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968; Obituary, Gentleman’s Magazine, 1854, p.406. [CL2003]

Matthew Noble (1818--76)
The portrait sculptor Matthew Noble was born near Scarborough, but went as a young man to London, where he studied under John Francis (the father of Mary Thornycroft, the sculptress). He exhibited regularly at the Royal Academy from 1845 until his death, one of his first busts being that of the Bishop of York. He became recognised after winning the competition to build the Wellington Monument in Manchester in 1856. Also important are his colossal marble Statue of the Prince Consort for Thomas Worthington’s Albert Memorial, Manchester (1865) and his bronze statue Oliver Cromwell (Liverpool, 1875). Copeland’s copied some of his works in miniature for production in Parian ware. Never in robustly good health, he died rather young, and his assistant J. Edwards completed his unfinished works. Noble’s sculptures in London include Franklin in Waterloo Place (1856), Lord Derby (1874) and Sir Robert Peel (1876) in Parliament Square, and Sir James Outram on the Embankment (1871).
Sources: Cavanagh, T., Public Sculpture of Liverpool, Liverpool, 1997, p.334; Gunnis, R., Dictionary of British Sculptors 1660--1851, London, 1964, p.274f.; Read, B., Victorian Sculpture, New Haven and London, 1982, pp.112--13, 150--1, 167, 355; Speel, B., Sculpture on Bob Speel’s Website, 1999, www.speel.demon.co.uk/other/sculpt.htm [SBC2005]

Matthew Noble (1818--76)
Sculptor. Born in Hackness, near Scarborough, Yorkshire. Trained in London under the sculptor, John Francis (1780--1861). He exhibited over 100 works, chiefly portrait busts, at the RA from 1845 to 1876. His public statues numbered over 40, the Manchester Wellington monument establishing his reputation. His major Manchester and Salford public monuments began with Sir Robert Peel (Peel Park, Salford, 1852) and concluded with Oliver Cromwell (Manchester, 1875, removed to Wythenshawe Park). Other important commissions with Manchester connections included busts of Queen Victoria (1857), Joseph Brotherton (1857), Prince Albert (1858), William Fairbairn (1860), Oliver Cromwell (1861) and Sir Thomas Potter (1865). He provided statues of Peel in Tamworth (1852), Liverpool (St George’s Hall, 1854) and London (Parliament Square, 1876). Statues of Prince Albert were commissioned for Manchester, Salford, Leeds and Bombay. His studio was described as ‘a manufactory of busts’. His funeral monuments included Sir John Franklin (Westminster Abbey, 1847), Archbishop Musgrave (York Minster, 1860) and the Earl of Derby (Knowsley, 1872). His friend and assistant Joseph Edwards completed his unfinished works. His widow presented his models to the Corporation of Newcastle.
Sources: Robinson, 1886; Gunnis, 1968; Cavanagh, 1997. [Man2004]

Matthew Noble (1818--76)
Born in Hackness, Yorkshire, he trained in London under the sculptor, John Francis. His first appearance at the RA was in 1845 with two busts. He exhibited thereafter 100 works, chiefly portrait busts. His first important public commission was the Wellington Monument, Piccadilly, Manchester (1856), won in competition. Also important are the colossal marble Statue of the Prince Consort for Thomas Worthington’s Albert Memorial, Albert Square, Manchester (1865), and the bronze Statue of Oliver Cromwell, now in Wythenshawe Park (1875). Among his many other public statues are those in Parliament Square, London, of Lord Derby (1874) and Sir Robert Peel (1876). At his death, his widow presented his models to the Corporation of Newcastle.
(sources: DNB; Gunnis, 1951; Redgrave, 1878) [L 1997]

Joseph Nollekens (1737--1823)
After showing an early talent for modelling, Nollekens was apprenticed to Peter Scheemakers in 1750. Having won a number of premiums at the Society of Arts between 1759 and 1762, Nollekens went to study in Rome. He found work with Bartolomeo Cavaceppi, the most active and successful of the Roman restorers of antique sculpture, later setting up his own studio close to Cavaceppi’s. The first definite record of work by Nollekens comes in 1764, when the 2nd Viscount Palmerston ordered a copy of Cavaceppi’s Boy on a Dolphin from him. His first portrait busts, including David Garrick (1764), Laurence Sterne (1766) and Piranesi (1760s) were all carved before his return to England in 1770. Elected a Royal Academician in 1772, he exhibited there most years until 1816. Nollekens generally favoured the antique style of sculpture, although his modelling after 1800 tended to be more recognisably neo-classical in that the features in the portrait busts for which he was best known tended to be more generalised and less vigorous. His first portrait of the politician Charles James Fox (1791, now in the Hermitage Museum, St Petersburg) is said to have considerably enhanced the sculptor’s reputation. Nollekens also produced over 100 funerary monuments in the well-established academic tradition. His monument Mrs Howard (1800, Holy Trinity, Wetheral, Cumbria), in which Religion comforts the dying mother and child, was the most successful, being favourably compared by Benjamin West to works by Antonio Canova. His success in obtaining commissions ensured that by the time of his death he had amassed a personal fortune of £200,000.
Sources: Gunnis, R., Dictionary of British Sculptors 1660--1851, London, 1964, pp.277--9; Kenworthy-Browne, J., ‘Joseph Nollekens’, The Grove Dictionary of Art Online, ed. L. Macy (accessed 22 July 2003), http://www.groveart.com; Kenworthy-Browne, J., ‘Joseph Nollekens: The Years in Rome -- I’, Country Life, 7 June 1979, pp.1844--8; Whinney, M., Sculpture in Britain 1530--1830, London, 1964 (revised edition, 1988), pp.287--302. [SBC2005]

Van Nong (b.1971)
Born in Vietnam, Van Nong studied film and sculpture in Coventry, where he sculpted the Phoenix outside the University and opposite the Cathedral. Whilst working with Free Form Arts Trust he designed the Rye Lane lamp columns in Peckham, London, that were displayed in the Design Museum. He is now living and working in Australia.
Source: information supplied by Andrew Dwyer. [WCS2003]

Northern Freeform
A collaborative artists’ group which promotes art in an urban context, with offices at Fish Quay, North Tyneside. Originally a northern branch of the London-based Freeform Arts Trust, the group was given separate funding by the Arts Council and has established itself as a successful instigator of community-based arts projects in the area. Work is undertaken by particular artists according to the skills required, but the responsibility for creation is taken by the entire organisation. Northern Freeform mostly works in co-operation with community groups, schools and redevelopment agencies. The group has been responsible for organising North Shield’s Fish Quay Festival from 1987 and for a number of playground projects in the area. Members past and present include: Richard Broderick, Graham Robinson, Maggie Howarth, Maureen Black, Jyl Friggens and Angus Watt. [NE 2000]

Ondre Nowakowski (b.1954)
Nowakowski studied fine art at Staffordshire Polytechnic (1980--3) and completed his Masters in Fine Art at Manchester Polytechnic (1983--4). Since then, he has worked as a public artist, completing a large number of commissions for cities throughout the UK. His commissions include large wooden figures in states of motion for the National Garden Festival (Stoke-on-Trent, 1986), A Man Can’t Fly (Stoke-on-Trent, 1987); Sun Dial (Gwynedd, 1990), and work for several hospitals, including the Royal Oldham Hospital (1996), the Salford Royal Hospital (1997--8) and the Countess of Chester Hospital (2002). He is currently a senior lecturer in Visual Arts at Manchester Metropolitan University. Since 1994, he has exhibited widely throughout the UK as well as in Poland, Estonia and France. His most recent exhibitions were at the Estonian Academy of Arts (1998), the Laznia Centre for Contemporary Arts in Gdansk (1999) and the Potteries Museum and Art Gallery in Stoke-on-Trent (2000).
Sources: AXIS, The Axis Database Online, 1999, www.axisartists.org.uk/; Letter from the artist, 29 January 1996; Manchester Metropolitan University and Stoke-on-Trent City Museum and Gallery, Ondre Nowakowski: Recent Works, Manchester, 1995; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.201; Noszlopy, George T., Public Sculpture of Warwickshire, Coventry and Solihull, Liverpool, 2003, p.263; Records held at Dudley Public Art Resource Unit, Himley Hall, Dudley, 2001. [SBC2005]

Ondre Nowakowski (b.1954)
The son of a Polish refugee who arrived in South Wales at the end of the Second World War, Nowakowski studied fine art at Staffordshire Polytechnic 1980--3 and completed his Masters in fine art at Manchester Polytechnic 1983--4. He works from his studios in Sandbach, Cheshire. He produced large wooden figures in states of motion for the National Garden Festival, Stoke-on-Trent (1986). His commissions include one for Butterley Brick PLC, Derbyshire (1987), A Man Can’t Fly, Stoke-on-Trent City Council (1987), Sun Dial, Richard Wilson Art Centre, Gwynedd (1990), and work for the Royal Oldham Hospital (1996). He is currently a senior lecturer in Visual Arts at Manchester Metropolitan University.
Sources: Manchester Metropolitan University and Stoke-on-Trent City Museum and Gallery, Ondre Nowakowski: Recent Works, 1995; letter from the artist, 29 January 1996. [WCS2003]

Ondré Nowakowski (b.1954)
Born 11th February 1954 in Pontypridd, South Wales, Nowakowski studied fine art at Staffordshire Polytechnic 1980--3 and did his Masters in fine art at Manchester Polytechnic 1983--4. He works from his studios in Sandbach, Cheshire. He produced large wooden figures in states of motion for the National Garden Festival, Stoke-on-Trent 1986, and his commissions include one for Butterley Brick Plc, Derbyshire 1987; A Man Can’t Fly, Stoke-on-Trent City Council 1987; Sun Dial, Richard Wilson Art Centre, Gwynedd 1990; works in progress, Royal Oldham Hospital 1996.
1. Letter from the artist, 29th January 1996; 2. Ondré Nowakowski: recent works, Manchester Metropolitan University and Stoke-on-Trent City Museum and Gallery, 1995. [B1998]

Eilis O’Connell (b.1953)
O’Connell trained at Crawford School of Art, Cork (1970--7), with a period spent at the Massachusetts College of Art, Boston (1974--5). Two travelling fellowships followed: one awarded by the Arts Council of Northern Ireland to work at the British School in Rome (1983--4) and the Arts Council’s PS1 (New York) Fellowship (1987--8). Her first solo exhibition was at the Hendricks Gallery, Dublin, in 1981. Major prizes include the Dublin Sunday Tribune Visual Artist of the Year Award (1996) and the Royal Society of Arts Award (1998). Whilst O’Connell has exhibited her work widely since the early 1970s, she has built her career largely through public commissions, some of which are on a very large scale. The distinctive sense of place that she manifests in her work may possibly have contributed towards her success in this area. Her commissions have included Secret Station (1991) for Cardiff Bay Art Trust at the Eastern Gateway, Cardiff; The Space Between (1992), commissioned by the Milton Keynes Development Corporation; and Pero’s Footbridge, Bristol (1999). She works in a variety of materials, including stone, rubber, sheet metals, glass, plaster and bronze. In addition, she hoards found objects such as discarded agricultural tools and dairy vessels, which may eventually find their way into her sculpture.
Sources: British Contemporary Sculpture -- The Archive, biographical entry for Eilis O’Connell, accessed 8 January 2002, www.sculpture.org.uk; Buckman, D., Dictionary of Artists in Britain since 1945, Bristol, 1998, p.919; Elliott, A., Sculpture at Goodwood, Goodwood, 1999, p.118; Purdie, D., Public Art on the Black Country Route, 1997, http://wavespace.waverider.co.uk/~scotdave; Spalding, F., 20th Century Painters and Sculptors, Dictionary of British Art, vol.6, Woodbridge, Suffolk, 1990, p.343; Ward-Jackson, P., Public Sculpture of the City of London, Liverpool, 2003, p.472. [SBC2005]

Eilis O’Connell (b. 1953)
Born in Londonderry, she trained at Crawford School of Art in Cork between 1970 and 1977, with a period spent at the Massachusetts College of Art in Boston (1974--5). She was awarded two travelling fellowships, one by the Arts Council of Northern Ireland, to work at the British School in Rome (1983--4), and the Arts Council’s PSI (New York) Fellowship (1987--8). O’Connell has worked with many different materials. Her sculpture is non-figurative, though she employs forms that are recognisably related to the natural world, and to conventional artefacts and utensils. Although she has worked on a small, domestic scale and has had one-man shows at the Riverrun Gallery in Limerick (1988--9) and at the Artsite Gallery in Bath (1990), she is preoccupied with a ‘sense of place’ and is especially responsive to site-specific commissions. In 1991 she received a commission from the Cardiff Bay Arts Trust, which resulted in Secret Station for East Gateway, Cardiff. The following year, the Milton Keynes Development Trust commissioned The Space Between. In 1994--5, O’Connell collaborated with the engineers Ove Arup on the design of a footbridge for Narrow Quay in Bristol.
Source: D. Buckman, The Dictionary of British Artists Since 1945, Bristol, 1998. [CL2003]

Maurice O’Connell (b.1966)
Sculptor trained at the National College of Art and Design in Dublin, 1986--92, with projects subsequently in Dublin. From 1994 he expanded his horizons, working in Britain, Poland and the USA as well as Ireland.
[1] Gateshead, Four Seasons, p.25. [NE 2000]

Andrew O’Connor (1874--1941)
Born at Worcester, Mass., son of a sculptor of Irish extraction. He studied under his father, and had already worked in Chicago, Boston and New York, before leaving for Europe in 1894, intending to train as a painter. In London he met John Singer Sargent, and became his sculptor-pupil, assisting him with the relief elements of the Boston Library mural. Back in America in 1897, he became the pupil of the sculptor, Daniel Chester French. French procured him the commission for the Vanderbilt Memorial bronze doors for St Bartholomew’s church in New York. This commission was followed by one for the typanum and frieze above the doors (1902). By 1905 O’Connor was resident in Paris, where he was befriended by Rodin and became a regular Salon exhibitor. He also created for the United States a number of significant public monuments, including the 1898 Spanish American War Memorial (1917) for Worcester (Mass.), and the equestrian statue of General Lafayette (1924), for Baltimore. In 1918, his statue of a youthful Abraham Lincoln was inaugurated in Springfield (Illinois). Other portraits of Lincoln by O’Connor are in the American ambassador’s residence in Dublin and in the Royal Exchange, London. Commissions for public monuments took him to Ireland in 1931. In that year discussions started on a project for a Triple Cross, also known as the Monument to Christ the King, for Dun Laoghaire. An appeal was launched in 1932, and the monument was cast by 1949, but clerical intransigence prevented its erection until 1978, long after the sculptor’s death. O’Connor died in Dublin. In his last ten years he had worked in studios at Leixlip Castle (Co. Kildare) and in London.
Source: T. Snoddy, Dictionary of Irish Artists, Dublin, 1996. [CL2003]

Denis O’Connor (b.1959)
O’Connor studied at Limerick School of Art and then Birmingham Polytechnic (now the University of Central England). Since 1983, he has shown in exhibitions throughout the Midlands as well as in Ireland and Germany. He has taught at St Martin’s School of Art (1986--8) and Derby School of Art and Design (1988--90). His public art commissions include works for the Peartree Library in Derby (1998) and the Derwent Housing Association (2001). He uses a wide range of materials to create his works, which are sometimes enigmatic and have a strong humorous streak. Despite this, they are serious in intent. In his most recent sculptures, he deals with the contrast between spiritual aspirations and the wear and tear of material existence. Ladders and houses are recurring motifs, the former symbolising escape from the day-to-day existence represented by the houses that threaten to fall at any minute.
Sources: Buckman, D., Dictionary of Artists in Britain since 1945, Bristol, 1998, p.920; Cavanagh, T. and Yarrington, A., Public Sculpture of Leicestershire and Rutland, Liverpool, 2000, p.378; O’Connor, D., Denis O’Connor: Biography, Derby, 2002, vertigo.derby.ac.uk/research [SBC2005]

Denis O’Connor (b. 1959)
Sculptor and teacher born in Dublin. He studied at Limerick School of Art and then Birmingham Polytechnic. He has held many residencies particularly in the Midlands. He has received awards from West Midlands Arts and East Midlands Arts, both 1986; the Arts Council of Ireland, 1987; and Nottinghamshire County Council, 1988. He has shown in mixed exhibitions at the Ikon Gallery, 1983 (and onwards); Castle Museum, Nottingham, 1985; National Garden Festival, Stoke-on-Trent, 1986; and Loseby Gallery, Leicester, 1987. His solo exhibitions include the Herbert Art Gallery, Coventry, and Castle Museum, Nottingham, both 1985, and Derby Museum and Art Gallery (with a residency), 1991. His teaching includes St Martin’s School of Art, 1986--8 (visiting tutor) and Derby School of Art and Design, 1988--90 (part-time).
Source: Buckman, D., 1998. [LR 2000]

James and John O’Shea
Architectural sculptors. The brothers are recognised as among the most talented and inventive of architectural sculptors in the Victorian period. The architects, Deane and Woodward brought them from Ballhooley, Cork to work on the University of Oxford’s Natural History Museum. They contributed significantly to the building’s ornamental distinctiveness but were dismissed before the work was complete. Apart from the Manchester Assize Courts, their stone-carving can also be seen in Trinity College Museum and the Kildare Street Club, both in Dublin.
Sources: Read, 1982; Trodd et al., 1999. [Man2004]

Alfred James Oakley (1878--1959)
Born in High Wycombe, Bucks., son of an artist-craftsman in furniture. He attended the City and Guilds School (1903--8), and went on to exhibit at the RA and the Royal Society of Arts. He served during the First World War in the Royal Army Medical Corps. He taught in a number of London Art Schools. He became a fellow of the Royal Society of British Sculptors in 1938, but retired from it in 1952. He lived for a number of years at the Mall Studios in Hampstead, leaving in 1941 to become a monk. Most of his later work was done for churches. His pearwood head of a woman, entitled Mamua, inspired by Rupert Brooke’s South Sea poem Tiare Tahiti, was purchased through the Chantrey Bequest from the Royal Academy of 1926, for the Tate Gallery.
Sources: Who’s Who in Art, 3rd edn, London, 1934; Tate Gallery, Modern British Paintings, Drawings and Sculpture, London, 1964; D. Buckman, The Dictionary of British Artists Since 1945, Bristol, 1998. [CL2003]

Claes Oldenburg (b.1929)
One of America’s most celebrated living artists, probably best known for his ‘soft’ sculptures and ‘giant’ objects from the 1960s. This work was influenced by Surrealism and the artist’s own earlier practice as a performance artist, and is usually labelled Pop Art on account of its passionate, humorous engagement with modern urban life. In a much-quoted Whitmanesque statement for his exhibition, ‘Store Days’ in 1961, the artist outlined his credo: ‘I am for an art that is political-erotical-mystical, that does something other than sit on its ass in a museum. I am for an art that grows up not knowing it is art at all, an art given the chance of having a starting point of zero. I am for an art that embroils itself with the everyday crap and still comes out on top. I am for an art that imitates the human, that is comic, if necessary, or violent, or whatever is necessary. I am for an art that takes its form from the lines of life itself, that twists and extends and accumulates and spits and drips, and is heavy and coarse and blunt and sweet and stupid as life itself.’
Since 1965 he has increasingly devoted himself to projects for colossal monuments based on everyday objects set in specific sites, for example the replacement of the Statue of Liberty in New York Harbour by a giant electric fan and of Nelson’s Column by a rear view mirror. The first of these to be realised was Lipstick Ascending, on Caterpillar Tracks (Yale University, 1969).
Although Oldenburg was born in Sweden he has lived in the United States almost continuously since 1930. He studied at Yale 1946--50 and at the Art Institute of Chicago 1952--4, and began making three-dimensional objects in 1957. Since 1976 he has frequently worked in partnership with his wife, the writer Coosje van Bruggen (born 1942).
[1] Russell, J. and Gablik, S., Pop Art Redefined, London, 1969, p.97. [2] Oldenburg, C. and van Bruggen, C., Bottle of Notes, Middlesbrough, 1997. [3] Oldenburg, C., Bottle of Notes and Some Voyages (exhib. cat.), Sunderland and Leeds, 1988. [NE 2000]

Rob Olins (b.1956)
Having completed a foundation course at Barnet College (1976--7), Olins went on to gain a first class degree at Wolverhampton Polytechnic (1977--80), a certificate in adult education at the City Literary Institute (1985--6), and in 1986 undertook a course at Poplar College in metal casting. He has won a large number of awards and residencies, including Prizewinner, the Columbus Art League (1993); the Symposium in St Lamprect, Austria (1994); and an award for a wall feature in the Rutherglen Centre, Sunderland (1994). He uses a variety of materials in his work, which are held in a delicate balance by gravity, friction, magnetism, etc. Olins has produced abstract and kinetic sculptures for Mercedes Benz, Sunderland Borough Council, Colchester Leisure World, and a set of four sculptures for Unilever (1994). He has exhibited throughout Britain, Germany and the USA, and his solo exhibitions include the New Academy Gallery (1994) and Galerie Glasnost, Munich (1995).
Source: information from the artist. [WCS2003]

Robert Olley (b.1941)
After leaving school at fifteen, Olley went straight into coal mining, but left when he was twenty-eight when he decided to become an artist. He then worked at Plessy Telecom in South Shields before dedicating himself to art full-time. He is well-known locally for an inimitable cartoon style, for example the character ‘Westoe Netty’; his editions of small bronzes draw heavily on the artist’s North-East roots, and include a series of Catherine Cookson characters. He owns and lives above the Gambling Man Gallery in South Shields. Olley’s works include: Mural, Galleries shopping centre, Washington (1979); commemorative plaque, Plessy Telecom (1980); Famous Faces mural at Monument Metro entrance on Blackett Street, Newcastle (1985); glass fibre fountain shells and painted steel figures, South Shields sea-front (1985).
[1] Evening Chronicle, ‘Echoes’ section, 4 January 1991. [2] Shields Daily News / Gazette, 14 November 1979. [3] Journal, Newcastle, 19 July 1980. [4] Northern Echo, 21 March 1984. [NE 2000]

Yoko Ono (b. 1933)
Born in Tokyo, Ono moved during her teens to the USA and studied art at Sarah Lawrence College, New York. During the 1960s, she worked as a conceptual artist in New York City, marrying her third husband, John Lennon, in 1966. Ono and Lennon collaborated musically and politically until his death in 1980. Throughout the 1980s, Ono continued to work on experimental art and music. In 1995, she worked on a collaborative project with her 20--year-old son Sean and his rock band Ima. [WCS2003]

Mary Jane Opie (b.1962)
Now living in North London, Opie trained at the Chelsea School of Art, gaining a BA in Fine Art at Middlesex Polytechnic in 1985. After completing her studies she embarked on her first commission and since then has been doing a mixture of gallery pieces and commissions in her own studio in North London. Although technically the skills involved in producing this mix of work are the same, the range of materials she has used has been wide and varied, limited only by imagination. Examples of her work are a cow made of living grass, a jaguar made of car parts, and an elephant created from scaffolding. Other large works include a geometric mosaic made out of vinyl tiles and a major piece made out of clay sewage pipes illustrating the relationship between gravity and balance, which was designed to push the material to its limits before crashing to the floor. Since embarking on her career she has had a number of reviews of her work published in the Observer Magazine, and Design Week, and Homes and Gardens. In 1991 the Observer named her as one of London’s most promising young artists, and she was also invited in the same year to exhibit at the Olympia International Art Fair as part of the ‘The Times Young Artists Selection’ organised by Andrew Renton. She staged a ‘One Person Show’ at the Coopers and Lybrand Gallery in The Strand in London in 1994, which was very successful. To add to this she has also ventured into the world of publishing and written a book on sculpture for interested amateurs entitled Sculpture -- A History of International Sculpture Through the Ages, part of the Eye Witness series and published by Dorling and Kindersley in 1994. More recently her life has become quite hectic with more commissions and exhibitions, the latest being the sculpture for the Coventry Canal Public Art Trail.
Source: profile written by Groundwork Coventry, January 1997. [WCS2003]

Ezra Orion (b. 1934)
Sculptor born at Kibbutz Beit Alpha, Israel. He studied at Bezalel School of Art, Jerusalem, 1952, at St Martin’s School of Art, London, 1964, and at the Royal College of Art, London, 1965--7. His solo exhibitions include Mishkan Le-Omanut, Ein Harod, and the Museum of Modern Art, Haifa, both Israel, 1963, and the Mercury Gallery, London, 1965. In 1968 he designed and constructed the ‘Sculpture Field’ near the Sdeh Boker College in the Negev Desert, Israel. His work was included in the Museum of Modern Art’s ‘Art Israel’ exhibition at the Jewish Museum, New York. Examples of Orion’s sculpture are in the Museum of Modern Art, New York, and the Israel Museum, Jerusalem.
Source: National Art Library information file. [LR 2000]

Richard Ormerod (1896--1979)
Ormerod was in partnership with his brother George Ormerod in the Art Casting Company of Cox Street, Coventry in the 1930s. The firm made motor mascots, statuettes, lamps and similar small sculptural pieces. Both brothers showed work at the Coventry and Warwickshire Annual Art Exhibition. Richard had begun his career as a motorcycle builder and was the firm’s designer. He is best known for his motor mascots from the 1930s for such firms as Rover and Alvis.
Source: Herbert Museum and Art Gallery, A Survey of Public Art in Coventry, Coventry, 1980. [WCS2003]

Page & Park Architects (fl.1981--)
Founded by GSA graduates David Page (b.1957) and Brian Park (b.1956), and based in Glasgow’s Merchant City, the firm has been involved in numerous prestigious urban design, redevelopment and conservation projects as architects, project leaders and consultants. Commissions have included the Royal Mile Traffic Calming and Environmental Enhancement programme, Edinburgh (1995--7), St Francis Church and Friary, Glasgow (1996) and Municipal Building, Port Glasgow (1996--7). Among the major awards they have received are the Scottish Civic Award Scheme (1990) and the RIBA Award (1995). Page is a lecturer in the Department of Architecture and Building Science at the University of Strathclyde, and was responsible for the redesign of the interior of the Glasgow Centre for Contemporary Arts on Sauchiehall Street (2000--1), which links Alexander ‘Greek’ Thomson’s Grecian Building with several neighbouring structures.
Sources: Kenneth Powell, ‘The best of British’, Perspectives on Architecture, no.21, February/March 1996, p.47; Grant and Maver, p.47. [G2002]

James Paine (1717--1789)
One of the most individual and inventive exponents of the English Palladian style in the generation after Lord Burlington and William Kent. He was a leading pioneer of the Palladian villa as a country-house form and an early designer of Rococo interior decoration. In the 1750s he appears to have taken over the north-country practice of Daniel Garrett. The chapel and mausoleum at Gibside, Tyne and Wear, by him, date from 1760--6. His career epitomises the change in the role of the professional architect which took place during the mid-eighteenth century, from confinement largely to official circles and a narrow grouping of traditional patrons to the status of an independent figure in private practice. He was one of the first to take articled apprentices under the title of ‘architects’.
[1] Turner (ed.), vol. 23, pp.280--2. [2] Colvin, pp.607--12. [NE 2000]

Herbert William Palliser (1883--1963)
Born in Northallerton, Yorks. He became pupil to a Harrogate architect, before studying at the Central School in London (1906--11), and then at the Slade School (1911--14), where he was taught sculpture by James Havard Thomas. From Thomas he learned the ‘sectional system’ for the study of the human body. He exhibited with the New English Art Club, at the Royal Academy, and the Glasgow Institute of the Fine Arts. A number of his Academy exhibits were of animal subjects. In 1924 he executed the Calcutta War Memorial, and in 1932, a Cobra Fountain for New Delhi. In his architectural sculpture Palliser occasionally essayed direct carving. He taught at the Royal College of Art, and was a fellow of the Royal Society of British Sculptors. He was married to the painter Jane Moncur, and lived in London.
Sources: Kineton Parkes, ‘Modern English Carvers II. Herbert William Palliser’, in supplement of Architectural Review, May 1927, pp.196--7; Who’s Who in Art, 3rd edn, London, 1934; D. Buckman, The Dictionary of British Artists Since 1945, Bristol, 1998. [CL2003]

Zora Palova
Sculptor in glass who has lived in the Czech Republic for most of her life. Educated at the Bratislava Academy of Fine Arts she became resident sculptor in glass at the Academy 1971--5. Since 1996 she has been a Research Professor at Sunderland University. She has had group and solo shows in the UK, Luxembourg, USA and Czech Republic, and her glass work is to be found in several hotels and hospitals throughout Europe.
[1] AXIS, Artists Register, 1999. [NE 2000]

Robert Pancheri (1916--96)
Born in Bromsgrove on 22nd June 1916, died in Bromsgrove, 18th February 1996. He studied part-time at Birmingham School of Art 1934--9 under Alan Bridgwater and William Bloye, whose work he was particularly influenced by. At this time he was also working with his father, Celestino Pancheri, a wood carver in the Bromsgrove Guild. After war service, he resumed his sculptural practice, producing largely architectural sculpture for churches and public buildings in the Midlands. These include: Figures, Hammersly Road School, Kidderminster 1939; St. Peter, St. Peter’s church, Handsworth 1956 (now closed); the Lady Chapel, St. Augustine’s church, Edgbaston 1963; St. Oswald and St. Anthony, Winwick church 1971; St. Anne and St. Ursula, Malvern Priory church 1974; organ screen with sculptured gables, Bromsgrove parish church 1975; Madonna and Child, St. Luke’s church, Rednall 1976; John Plessington, Franciscan Friary, Chester 1979; Memorial tablet to Bishop Charles-Edwards, Worcester Cathedral 1984. His restoration work includes twenty-seven ionic capitals of the Feeney Art Gallery extension, Birmingham and the wood carving on the Feathers Hotel, Ludlow, for which he received the Civic Trust Award 1970. ARBS, Diploma of the Royal Association of British Sculptors 1976.
1. Letters from the artist, 27th August 1985 and 24th January 1996; 2. Letter from the artist’s son, March 1996. [B1998]

Ben Panting
Sculptor. Studied at Royal College of Art. Group exhibitions include London Institute, 1997. Works include bronze bust of Jimmy Murphy (Manchester United, Old Trafford, 1999) and Millennium Leap sculpture (Christison Hall, Dulwich College, 2002).
Source: Manchester Evening News, 3 February 1999. [Man2004]

John Panting (1940--74)
Sculptor and teacher born in New Zealand. He studied sculpture at Canterbury University School of Art, 1959--62, and in 1963 won a New Zealand Arts Council Award. He then moved to England and studied at the Royal College of Art, 1964--7, subsequently teaching both there and at Central School of Art and Design, 1967--74 (Head of Sculpture in the latter school, 1972--4). His work featured in several mixed exhibitions in Britain and overseas, including ‘Towards Art II’ (Arts Council touring exhibition of sculptors from the Royal College), 1965; ‘Art 2 ‘71’, Basel, Switzerland, 1971; and ‘British Sculpture ‘72’, Royal Academy, 1972. He had solo exhibitions in 1967 and 1968 at Galerie Swart, Amsterdam, and in 1971 at the Royal West of England Academy, Bristol. His chief commission was part of the Peter Stuyvesant Sculpture Project, 1972 (see pp.228--9). Panting was killed in a motorcycle accident in July 1974 and a memorial retrospective exhibition was held the following year at the Serpentine Gallery. His Untitled No. VI, mild steel, 1973, was purchased for permanent siting at the Highland Sculpture Park, near Carrbridge, Scotland.
Sources: Buckman, D., 1998; Nairne, S. and Serota, N. (eds), 1981; Royal Academy of Arts, 1972; Spalding, F., 1990; Strachan, W.J., 1984; Studio International, vol. 188, no. 969, September 1974 (obituary). [LR 2000]

Edgar George Papworth (1809--66)
Sculptor. Born in London, son of sculptor and stuccoist Thomas Papworth (1773--1814). Pupil to Edward Hodges Baily. Entered RA in 1826, winning gold medal in 1833 for his Ulysses Receiving the Scarf from Leacothea. Married Caroline Baily, E.H. Baily’s daughter. Studied in Rome on RA scholarship, returning to England in 1838. Known for his imaginative sculpture and portrait busts. Works include Cupid and Psyche, A Nymph of Diana and The Moabitish Maiden. His Startled Nymph was exhibited at the Manchester Art Treasures Exhibition, 1857. Busts include Rowland Hill (1833), William Murdock (1839) and Captain Speke (1865). Manchester subjects include a bust of Charles Swain (Manchester City Art Gallery). Exhibited regularly at the RA until his death in 1866. His son of the same name, born in 1832, was also a sculptor, exhibiting at the RA from 1852 to 1882. He had closer connections with Manchester, occupying premises in Cross Street in the city during the 1870s and 1880s.
Source: Gunnis, 1968. [Man2004]

Kathleen Parbury (1901--1986)
Trained at the Slade from 1920 to 1924 under Henry Tonks and Harvard Thomas. Her major works include portrait busts of Dame Sybil Thorndyke and Eisenhower; Madonna and Child, St Anne’s, London (1971); and Risen Christ, St Peter’s, Druridge Drive, Newcastle (1972). She became interested in Anglo-Saxon sculpture as a student and visited Lindisfarne regularly before going to live there in 1966. In 1973 she gave up sculpture to concentrate on writing about the history of the North East and the lives of the saints.
[1] Northumberland and Alnwick Gazette, 5 Feb, 23 April 1971. [2] Journal, Newcastle, 27 November 1973. [3] Buckman, p.941. [NE 2000]

Patric Park (1811--55)
Sculptor. Born in Glasgow, his father and grandfather were statuaries and masons. Following his schooling, he was apprenticed as a stone-cutter. Park was next employed as an architectural carver at Murthley Castle. When he went to Rome in 1831, he studied under Thorvaldsen. On his return to Britain in 1833, he set about establishing himself as a sculptor. Exhibited at the RA and RSA from 1836 to 1855. He competed unsuccessfully in competitions, including the Scott Monument in Edinburgh and the Nelson Monument in London. Moved from Edinburgh to Manchester in 1852. Portrait busts were to provide his main work and included Charles Dickens (1842), Adam Smith (1845), Sir Charles Napier (1853). Manchester subjects included Sir William Fairbairn (Reform Club, undated). Elected an Associate of the Royal Scottish Academy in 1849 and a full member in 1851. Park died at Warrington railway station from a burst blood vessel sustained in trying to help a porter lift a heavy trunk.
Sources: Gunnis, 1968; McKenzie, 2002. [Man2004]

Patric Park (1811--55)
The son and grandson of masons and sculptors in Glasgow, he served his apprenticeship on the building of Hamilton Palace (1822--6), carving the coat of arms above the north entrance. He studied with Thorvaldsen in Rome, 1831--3, returning to Scotland as a sculptor, and was employed on carving work at Murthly House (built 1831--8). Despite criticism of his models for the Nelson Monument, London (1839), the scandal caused by Modesty Unveiled (1846) and indifference to his William Wallace, for Edinburgh (1850), he became a successful and prolific portraitist in marble, producing busts of artists, literary figures and politicians, among whom were Charles Dickens (1842), Horatio McCulloch (1849), and Napoleon III (1854). He was also commissioned to carve twenty figures for the Scott Monument, Edinburgh (built 1840--6), but these were never carried out. He moved to Manchester in 1852, and died after bursting a blood vessel while helping a porter at Warrington station. He exhibited at the RA from 1836, the British Institution from 1837 and the RSA from 1839. He was elected ARSA in 1849, and RSA in 1851.
Sources: Gunnis; Gifford et al., p.316; Johnstone.
George G. Parsonage See Glasgow Green, Introduction, main catalogue [G2002]

Patric Park (1811--55)
Born in Glasgow, his father and grandfather were statuaries and masons. Following his schooling, in which he distinguished himself in classics, he was apprenticed as a stone-cutter to a builder engaged in the erection of Hamilton Palace. Park was next employed for two years as an architectural carver at Murthley Castle. When he went to Rome in 1831, the Duke of Hamilton, who had been impressed with his work, furnished him with a letter of introduction to the sculptor Thorvaldsen. Park stayed with Thorvaldsen for two years, returning to Britain in 1833, executing classical subjects and, specifically to earn a living, portrait busts and statues. He competed unsuccessfully for the Scott Monument in Edinburgh and for the Nelson Monument in London. Although he had ambitions to create monumental public works, his real area of ability may be inferred from the many portrait commissions he received. Napoleon III was both patron and sitter: in 1853 he commissioned from Park a Bust of Sir Charles Napier and in 1854 the Duke Of Hamilton commissioned from Park a Bust of Napoleon III. Park was elected an Associate of the Royal Scottish Academy in 1849 and a full member in 1851. According to DNB he died at Warrington railway station from a burst blood vessel sustained in trying to help a porter lift a heavy trunk.
(sources: DNB; Gunnis, 1951) [L 1997]

Jean Parker (b.1936)
After teaching religious education in schools for some years, Jean Parker studied for a degree in Fine Art at Lanchester Polytechnic (now Coventry University) from 1982--6. She later took a Diploma in Printmaking at the Mid-Warwickshire College of Art, Leamington (1988--90) and a master’s degree in art (completed 1988). Since the 1980s, she has worked in the marble yards at Pietrasanta, Italy, the stone yards of Canterbury and Liverpool cathedrals, and the Isle of Portland quarry. She regularly holds sculpture workshops in which she seeks to emphasise the spiritual strand in her own work. Her major works include The Enfolding (1985), In the Stillness (1995), the Memorial Cross at the Blue Coat School in Coventry (1996), and The Eye of the Needle at St Augustine’s School, Kenilworth (2000). She plans to hold an exhibition of her work in Nuneaton during 2001.
Source: information from the sculptor. [WCS2003]

Dennis Parsons (b.1934)
Parsons served a seven-year apprenticeship with the ecclesiastical sculptors Robert Bridgeman & Sons of Lichfield, and studied part time at Birmingham College of Art. At Bridgeman’s he worked on pieces for local churches as well as several works for Westminster Abbey. Since leaving Bridgeman’s, he has undertaken a number of both public and private commissions, including Madonna and Child for St Mary’s Hospital in London, a statue of Sir William Dugdale in Atherstone, and life-size heraldic lions in Banbury.
Sources: Letter from Dennis Parsons, 25 July 1999; Lichfield Post, 23 September 1999. [SBC2005]

Partnership Art
Public and environmental art company established in 1984 by Terry Eaton, Jem Waygood and David Howie as the trading arm of the Environmental Art Organisation. Originally based in Manchester before moving to Hyde and then Stockport. Public art commissions include Southport seafront (1990--8), Plymouth Barbican (1994--) and Watford High Street (1999). Partnership Art Ltd was dissolved in 2000.
Source: Terry Eaton. [Man2004]

David Partridge (b. 1919)
Sculptor, painter, printmaker and teacher born in Akron, Ohio, USA. He lived in England until he was 16 at which time he moved to Canada and, in 1944, became a Canadian citizen. He studied at the University of Toronto, 1938--41, then served in the Royal Canadian Air Force for four years before going to Queen’s University, Kingston, Ontario. He studied painting, firstly in Canada, then at the Art Students’ League of New York, before being awarded a British Council Scholarship to the Slade School of Fine Art, London, 1950--1, after which he went on to Atelier 17, Paris. From 1958--61 he was back in Canada teaching. In 1958, he began producing the works for which he is best known, his nail sculptures (or ‘nailies’ as he calls them), inspired as the sculptor readily admits by the works of Zoltan Kemeny. In 1962 one of Partridge’s nail sculptures won for him the Montreal Spring Show Purchase Prize. From 1962--74 he lived in London, during which period he had numerous exhibitions and, in 1965, was commissioned to produce a ceiling sculpture for the roof restaurant at the Royal Garden Hotel. He then returned to Canada and exhibited widely there too, his commissions including murals for Toronto City Hall. Examples of his work are in the Tate Gallery, the Victoria and Albert Museum, and in the National Gallery in Ottawa. His nail reliefs were evidently influenced by fossil formations, the natural structure of plants and rocks, and his experience as an aircraft pilot.
Sources: Buckman, D., 1998; Hamilton Galleries, 1967; Spencer, C.S., 1965. [LR 2000]

Jim Partridge
Based in Oswestry , he works predominantly in wood which he turns, carves and chars. He has worked in Grizedale Forest, Cumbria and on the Chiltern Sculpture Trail.
Sources: Crafts: [i] no.140, May/June 1996 [ii] no.74 May/June 1985; Turner, Ralph, Jim Partridge, Clwyd, 1993; Cripps, David, Jim Partridge: wood worker, London, 1989; http://wavespace.waverider.co.uk/ ~scotdave [WCS2003]

Victor Pasmore (1908--1998)
Educated at Harrow, Pasmore worked as a clerk in local government for ten years in London before the patronage of Sir Kenneth Clark allowed him to engage in full-time art practice and teaching. In 1937--8 he formed the Euston Road School with William Coldstream and Claude Rogers. The influences of Sickert and the French Impressionists are evident in the style and subject matter of his work around this time. In 1948, having experimented with post-impressionist techniques in work such as Quiet River: The Thames at Chiswick (1943--4) and The Park (1947), Pasmore ‘went abstract’. His conversion, independent of Parisian and American abstract movements, has been claimed to be one of the most dramatic events in post-war British art.
Much influenced by the work of the American Constructivist Charles Biederman, Pasmore’s 1950s and 60s work concentrated on the production of ‘projective relief constructions’ and murals. Examples of both can be viewed in Newcastle upon Tyne: two relief Mural Constructions, White, Black and Indian Red, in the entrance of the Stephenson Building at Newcastle University (1956), and two wall-size glass murals hanging in the Rates Hall of Newcastle Civic Centre (1961--3).
Pasmore’s engagement with art education and practice in the North East began in 1954 with his appointment as head of Painting at the University of Durham at Newcastle. It was here, with Richard Hamilton, that he developed the ‘basic design’ course for first-year students which was subsequently to have a huge influence on art education nationally. A year later he became Consulting Director of Urban and Architectural Design for the South-West Area of Peterlee new town in County Durham. Exhibiting widely at galleries in Britain and abroad, the artist represented England in the 1960 Venice Biennale and a retrospective of his work was staged at the Tate Gallery, London in 1965. Pasmore moved to Malta in 1966 and continued to work into his eighties.
[1] Alley, R., Victor Pasmore: Retrospective Exhibition 1925--65, Tate Gallery, London, 1965, pp.3--5. [2] Lynton, N., Victor Pasmore: Paintings and Graphics 1980--92, London, 1992, pp.103--15. [3] Guardian, obit., 24 January 1998. [4] Buckman, p.947. [NE 2000]

Anuradha Patel (b.1961)
Since graduating in Fine Art from Lanchester Polytechnic (now Coventry University) in 1983, Anuradha Patel has exhibited throughout England and Wales, although predominantly in the Midlands. She specialises in brightly coloured images of the human figure cut out from sheets of metal that reflect local community concerns. Her commissions have included decorative gates and railings for St Thomas’s Peace Garden, Birmingham (1992), Vahana (1993), a decorative screen for Mcdonald’s, Erdington, Birmingham (1995), gates and railings for Stockingford School in Nuneaton (1995), decorative metal plaques for Waddensbrook Lane, Wednesfield (1995), and design features within the car park at The Hawthorns railway station, West Bromwich (1995).
Sources: AXIS, The Axis Database Online, 1999, www.axisartists.org.uk/; Information provided by the artist, 2001. [SBC2005]

David Paton (b.1970)
Sculptor in stone, wood and metal, trained at Sunderland University 1989--93. Paton worked at Grizedale Forest and with schoolchildren in Sunderland and Hartlepool before co-founding Central East Studios in Sunderland. In 1997 he was appointed artist-in-residence at Herrington Stone Quarry. Has shown in Newcastle and London and undertaken commissions for various private clients.
[1] Information provided by City of Sunderland Library and Arts, 1999. [NE 2000]

David Patten (b.1954)
Born in Wolverhampton, Patten studied at Birmingham Polytechnic (1972--5) and the Royal College of Art (1975--8). Between 1989 and 1995, he was Deputy Director of Art and Design at North Warwickshire College of Technology and Art in Nuneaton. He is mainly involved in collaborative projects with architects and engineers developing public spaces. His commissions include Baskerville Monument (1990, Birmingham), Attwood Scrolls (1990, Halesowen), and Amphitheatre, University Square, Sheffield (in collaboration with Jane Kelly, 1994). He helped to develop the public art strategy for the Coventry Canal Corridor (with Maurice Maguire, 1994--5), and has also been involved with public art schemes in Sheffield and Cardiff. From 1996 until 2000, he worked on the design of the c/PLEX development in the centre of West Bromwich.
Sources: AXIS, The Axis Database Online, 1999, www.axisartists.org.uk/; Birmingham Museums and Art Gallery, Public Art in Birmingham information sheet, no.20, Birmingham, 1994; Letter and curriculum vitae from the artist, 29 January 1996. [SBC2005]

David Patten (b.1954)
Born in Wolverhampton, Patten studied fine art at Birmingham Polytechnic (now University of Central England) 1972--5 and painting at the Royal College of Art 1975--8. He is mainly involved in collaborative projects with architects and engineers developing public spaces. He teaches art at North Warwickshire College of Technology and Art, Nuneaton. His commissions include one for Bradwell Hospital, 1988; Monument to Attwood, Halesowen 1990; Sheffield Hallam University, various collaborations with Jane Kelly, 1992--3; Amphitheatre, University Square, Sheffield, with Jane Kelly, 1994; Coventry Canal Corridor Public Art Strategy, with Maurice Maguire, 1994--5. Recent exhibitions include: Cader Idris and the City of a Thousand Trades, Ikon Gallery, Birmingham 1989; Approaches to Public Art, Ikon Gallery (touring exhibition) 1990; New Meanings for City Sites, Birmingham Museums and Art Gallery, 1991; Graves Art Gallery, Sheffield, with Jane Kelly, 1992--3; Design on Sheffield, Mappin Art Gallery, Sheffield 1994; International Design Workshop, Cardiff 1994. He has been involved with public art schemes in Sheffield and Cardiff. He is a member of the Public Art Fund, New York and the Public Art Forum, UK.
1. Public Art Commissions Agency records; 2. Birmingham Museums and Art Gallery, Public art in Birmingham information sheet, no.20, Birmingham, 1994; 3. Letter and CV from the artist, 29th January 1996. [B1998]

James Patteson
Stonemasons. Manchester-based firm of stone- and marble masons operating from the early nineteenth century until the late 1970s. The founder of the business appears to have been James Patteson who is recorded as a stonemason in Portland Street in the Manchester and Salford Directory (1804). By the late 1820s the firm was occupying premises in Oxford Road and described as builders and providing statuary. Samuel Patteson joined his father in the business. James died in 1840 and Samuel in 1842, but the firm continued under their names, managed by Henry Gore, Samuel’s father-in-law. The premises were now identified as being in Oxford Street. By the mid-1850s the firm was in the hands of Samuel’s sons, James and Henry. Pattesons offered a broad range of stone-cutting and carving services, work on prestigious projects such as the Albert Memorial and local churches being carried out alongside more prosaic stone-cutting and carving jobs, as well as the sale and fitting of marble chimney pieces in suburban homes. Henry Patteson (1839--87) is the best-known family member of this generation because of his political career. He was elected as a Manchester city councillor in 1861, eventually serving as mayor in 1879--80. The firm continued after his death, run by two of his sons, James and Henry. In Slater’s Manchester Directory for 1900 Pattesons’ were described as ‘general contractors and merchants in stone, marble manufacturers of chimney pieces, monuments, marble, mosaic adamant and ceramic floors, dealers in grates, fenders, ranges, encaustic and geometrical tiles, marble and slate slabs, adamant cement &c’. In 1910 the proprietors are named as J.H. Burgess and J.E. Mills who continued to trade under the name of Patteson. The firm was still located in Oxford Street. After the war the firm was responsible for many war memorials in the Manchester region as well as in other parts of the country. Premises had also been opened on Barlow Moor Road, close to Southern Cemetery. The firm continued in business until the late 1970s.
Sources: Manchester Directories; Momus, 13 November 1879; Manchester Guardian, 12 September 1887; information from Evelyn Vigeon. [Man2004]

George Henry Paulin (1888--1962)
Born in Muckhart, Clackmannanshire, the son of the minister of Muckhart Parish Church. He was educated at Dollar Academy, and later studied sculpture under Percy Portsmouth at ECA, winning a travelling scholarship which enabled him to study in Paris, Rome, Naples and Florence, where he set up a studio, 1912--16. During the First World War he served with the Lothian and Borders Light Horse, and later with the Royal Flying Corps in Italy. He worked in Glasgow, 1917--25, producing portrait busts, genre pieces and the war memorials at Kirkcudbright (1920), Dollar Academy (1920), Denny (1921), Rutherglen (1924), Milngavie (1924) and Beaumont Hamel (1924). In 1925 he moved to London where he executed the statue of Anna Pavlova in the London Garden of Remembrance (c.1932). An active member of the Glasgow Art Club, he exhibited at the RSA, 1909--63, and the RGIFA, 1915--59. He died in Watchfield, Swindon.
Sources: Bailie, 3 October, 1923; GH, 12 July 1962, p.10 (obit.); Laperriere. [G2002]

Arthur E. Pearce (fl.1873--1934)
A modeller and designer of ceramics and terracotta with Doulton & Co.’s Lambeth studios, he studied at South Kensington Art School and at Julien’s studio in Paris. As well as being a gifted painter and printmaker, he also designed large-scale works in terracotta, including the firm’s pavilion for the Chicago Exhibition of 1891. He is credited with introducing the firm’s Morrisian ware.
Sources: Eyles, pp.30, 42; Bergesen, p.105. [G2002]

Edward Pearce (c.1635--95)
He was the son of Edward Pearce the Elder, a history and landscape painter and designer of ornament, who was a member of the Painter-Stainers’ Company. The younger Pearce was admitted to the freedom of the Company by patrimony in 1656. He was to be Master of the Company in 1693--4. Nothing is known of his training. Pearce is remarkable for the diversity of his skills -- as sculptor, carver, mason-contractor and designer. Most of these were put to good use by Sir Christopher Wren in the building of the City after the Great Fire. He was one of the mason-contractors in the work on St Paul’s. He contributed fittings to at least four City churches. In 1680 he carved the wooden model for the dragon weathervane for St Mary-le-Bow, which is still on the tower, whilst the pulpit for St Andrew Holborn, and vestry wainscot for St Lawrence Jewry have entirely gone. Pearce carved the City Dragons on The Monument, and probably also the festoons at the foot of the column. Pearce’s other undertakings in the City included £662 worth of work on Guildhall (1671--3) and a doorway for Fishmongers’ Hall, the armorial panel from which is preserved at the back of the present building. Other architects with whom Pearce worked were Roger Pratt, William Winde, and William Talman. A fine extant example of his distinctive wood-carving style is the great staircase at Sudbury Hall, Derbys. (1676). An idiosyncratic example of Pearce’s design work is the pillar for Seven Dials, in London (1694), which was removed in 1773, and now stands in Weybridge, Surrey. The original drawing for this is in the Prints and Drawings Department of the British Museum. Pearce excelled as a portrait sculptor. He carved the animated wooden figure of the medieval Lord Mayor, Sir William Walworth, clutching his dagger, in Fishmongers’ Hall, London (1684) and statues of three monarchs for the Royal Exchange. Some of his surviving busts, in particular that of Sir Christopher Wren (marble, 1673, Ashmolean Museum, Oxford), show him entirely conversant with continental baroque idiom. Four church monuments are known to be by Pearce, and it is probable that he was responsible for many more.
Sources: H. Colvin, The Biographical Dictionary of British Architects 1600--1840, London, 1995; M. Whinney, Sculpture in Britain 1530--1830, revised by J. Physick, London, 1988; G. Beard and C.A. Knott, ‘Edward Pearce’ s Work at Sudbury’, Apollo, April 2000. [CL2003]

Edward Pearce (Pierce) (c.1635--95)
The son of Edward Pearce, a decorative painter, he became a Freeman of the Painter-Stainers’ Company by patrimony in 1656. He may have been apprenticed to Edward Bird, an artist who worked for Wren in the painted decoration of his City churches. He may also have been employed by Bushnell to assist him in the statue of Sir Thomas Gresham, one of the three Royal Exchange figures (now in the Old Bailey), finished in 1671. Pearce was, at this time, carrying out carving on the exterior of the Guildhall. He was responsible for the wood-carving in the dining room of Sir Charles Wolseley at Wolseley, Staffordshire, and for much of the wood-carving in the Church of St Lawrence Jewry (destroyed during the Second World War). He also carved the woodwork in St Matthew, Friday Street, where he also made the font (1685). In 1683, he carved the coat of arms and pediment for Lord Craven’s seat of Coombe Abbey, and in 1690 he made four chimney pieces for Castle Bromwich Hall, Warwick. For Sir Christopher Wren, he either built or worked on the churches of St Swithun, Cannon Street, St Benet Fink, and St Andrew, Holborn. He worked at St Paul’s Cathedral and, together with his partner, Shorthose, built the church of St Clement Dane (1680--1). In 1685 he executed a statue of Queen Elizabeth for the Royal Exchange, paid for by the Fishmongers’ Company, one of Edward III for the Skinners’ Company and one of Henry V for the Goldsmith’s Company. However, his only remaining full-length figure is a wooden statue of Sir William Walworth (1684), a fourteenth-century Lord Mayor, on the staircase of Fishmongers’ Hall. He is also noted for his fine busts -- he executed two signed busts of Oliver Cromwell (one in marble (1672), in the Ashmolean Museum, Oxford, and the second, a bronze (1672), in the Museum of London). His bust of Sir Christopher Wren (1673) is also in the Ashmolean Museum (a gift from Wren’s son), that of Dr John Hamey (1675) is in the Royal College of Physicians, London, and his bust of Thomas Evans (1680) is in the possession of the Painter-Stainers’ Company, London. He made several fine marble urns, one with a relief of Amphitrite and the Nereids, for Hampton Court, the bronze dragons on the Monument and a fountain for the Privy Garden at Whitehall (1689--95). In 1651 he married a widow, Anne Smith, and resided in Arundel Street. He is buried in his church of St Clement Dane.
Source: Gunnis, R., Dictionary of British Sculptors 1660--1851, London, 1964. [WCS2003]

Barbara Pearson (1919--92)
Sculptor. Born in Manchester. Pearson moved with her husband, Dr Alex Pearson, to Holsworthy, Devon in 1949. She took pottery classes at Beaford Centre, Torrington. She later studied at the University of Exeter. The first exhibition of her sculpture was due to the encouragement of Sir John Rotherstein. A number of her large bronze sculptures are on public display in Holsworthy, including Friday’s Child (Holsworthy Hospital), Doves of Peace (Holsworthy Surgery) and Shelter (Holsworthy Museum). The latter is a copy of a work in Mexico City, made as tribute to the victims of the 1985 earthquake. Other sculptures include Flowers for my Beloved, Pancho and Madonna and Child; reliefs include Tree of Life, The Bird that Sang for Christ and I Light a Candle for my Beloved. Some of her major works are in Mexico where her daughters live. Barbara Pearson died in 1992.
Source: Holsworthy Museum; Heather Herrera. [Man2004]

Alec Peever
Stone-carver, special interest in letter carving. Educated City and Guilds Art School. Left art school in 1976. Works include churchyard monuments, commemorative plaques, garden features and public sculpture. Commissions include heraldic shields in Chapter House, Manchester Cathedral, D-Day monument, Southampton, stone features, Mowbray Park, Sunderland and boundary markers, Stony Stratford. Peever has also executed commemorative plaques in St Paul’s, Westminster Abbey (Matthew Arnold) and in Birmingham, Canterbury, Chichester and Truro cathedrals.
Source: artist. [Man2004]

Henry Alfred Pegram (1862--1937)
Born in London, he attended the West London School of Art, before going on to the Royal Academy Schools in 1881. He worked as an assistant to W.H. Thornycroft from 1887 to c.1891. His early Royal Academy exhibits include Ignis Fatuus (bronze relief, National Museum of Wales, Cardiff) shown in 1889, and Sybilla Fatidica (marble, Tate Britain), shown in plaster in 1891, both of which deploy the symbolist vocabulary of the ‘New Sculpture’, to convey a poetic message about life and destiny. Pegram produced much architectural work. His reliefs at the entrance to T.E. Collcutt’s Imperial College in South Kensington (1891--2), unfortunately no longer exist. Pegram also collaborated with the architects R. Blomfield, T.G. Jackson, G. Horsley, and G. Cuthbert. He executed two elaborate bronze candlesticks with biblical imagery, for St Paul’s Cathedral (1897--8). To Aston Webb’s Victoria Memorial complex in front of Buckingham Palace, Pegram contributed infants representing Canada, for the gates to Green Park. He became a member of the Art Workers’ Guild in 1890 and a full RA in 1922.
Source: S. Beattie, The New Sculpture, New Haven and London, 1983. [CL2003]

Henry Alfred Pegram (1862--1937)
Born in London, 27th July 1862, where he died 25th March 1937. Studied at West London School of Art, taking book prizes in 1881 and 1883, and attended the Royal Academy 1881--7, where he won prizes in 1882, 1884 and 1886. Assistant to Hamo Thornycroft 1887--91. Created some decorative and ideal work, such as Ignis Fatuus (RA 1889) in the symbolist style but largely made figurative, portrait and memorial work: busts of Rt. Hon. Edward Fry, 1893; Rt. Hon. Cecil Rhodes, 1903; Sir Robert Hart, Shanghai 1914. His architectural work includes Industry and Britannia reliefs, Imperial Institute, London 1892; bronze candelabra, St. Paul’s Cathedral 1898; relief for Lloyd’s Registry of Shipping, London 1901; decorative panels for St. Paul’s School for Girls, Hammersmith 1909; and a frieze for the United Universities Club, Suffolk Street c.1906. He exhibited at the RA 1884--1936. ARA 1904; RA 1922; bronze medal at the Paris International Exhibition, 1889; silver in 1900; gold medal at Dresden, 1897.
1. Graves, vol.VI, London, 1906, pp.97--8; 2. RAE, vol.V, Wakefield, 1981, pp.294--6; 3. Beattie, 1983, p.248; 4. A.S. Gray, Edwardian architecture, a biographical dictionary, London, 1985. [B1998]

Henry Alfred Pegram (1862--1937)
Born in London, he attended West London School of Art, winning book prizes in the National Art Competitions in 1881 and 1883. Sponsored by Thomas Heatherley (Principal of Heatherley’s Academy, Newman Street, London), Pegram entered the RA Schools in 1881, winning prizes in 1882, 1884, and 1886. From 1887--c.1891 he worked as an assistant to Hamo Thornycroft (e.g. on the Memorial to Charles Turner and son, see above, pp.44--5). Pegram first achieved recognition with the Gilbert-influenced bronze relief, Ignis Fatuus (RA 1889; selected for purchase by the Chantrey Bequest, now Tate Gallery). His public commissions include the pair of bronze candelabra in the nave of St Paul’s Cathedral (1897--98), the Suffolk Street frieze (c.1906) on the United Universities Club, London, W1, for the architect Reginald Blomfield, and the Monument to Edith Cavell at Norwich. Pegram was elected a Member of the Art Worker’s Guild in 1890, ARA in 1904, and RA in 1922.
(sources: Gray, 1985; Beattie, 1983; Who Was Who 1929--1940) [L 1997]

O.P. Pennacchini
Exhibited once at the RA in 1885. Otherwise nothing is known of him except that in 1908, at the time that he completed the Jerningham statue for Berwick, he was living in Ealing, West London. It is possible that, despite the slightly different spelling of the name, he is a relative of R. Pennachini who is listed as an exhibitor at the Academy in 1863.
[1] Graves, Royal Academy Exhibitors, vol.VI, p.101. [2] Journal, Berwick, 5 November 1908. [NE 2000]

Pennington and Bridgen
Architects. Thomas Edward Bridgen (1832--95) born in Wolverhampton. Articled to Nockalls Johnson Cottingham from 1851 and in partnership with him until 1854. In partnership with Nathan Glossop Pennington from 1859. Designed a number of hospitals in the Manchester area, as well as two in London including the North Western Hospital at Hampstead. Bridgen died in Fallowfield, Manchester.
Source: Felstead, 1993. [Man2004]

Peter Peri (1899--1967)
Born Lazlo Peri in Hungary, he first trained as a stone carver in Budapest. Around 1919, he became a member of the artists’ group MA with Moholy-Nagy and worked on Expressionist drawings. However, his work had moved towards Constructivism by the time he fled to Germany in 1920. During the early 1920s, he joined the German Communist Party. He was active in an art congress in Düsseldorf, moved on to Russia and Paris, and then to Berlin. Peri studied architecture there from 1924--8 but moved back to sculpture soon after completing his training. At the Sturm Gallery he exhibited abstract linocuts, but during the mid-1920s, when working for the Berlin City Architects’ Department, he returned to realism. Peri fled to England in 1933, set up his studio in Camden and joined the Artists International Association. He became a British citizen in 1939, changing his name to Peter, and joining the British Communist Party. For the remaining 30 years of his life Peri worked on his figure sculptures and etchings. In 1936, he exhibited in From Constructivism to Realism at Foyles Gallery. From the late 1930s he became very active as an etcher, but from 1948 he developed a method of making figures in polyester resin, receiving many commissions from churches, colleges and schools. He pioneered the use of modelled concrete in sculpture. Although Peri produced a considerable number of figure sculptures, it is his early work, the drawings and lithographs produced in the period 1918--24 with the other members of the MA group and the Constructivists, that has the greatest significance. His decision to work primarily on figurative sculpture and possibly his move to England had a radical effect and channelled his work away from the direction of its early development. Peri had hoped that his work would be commissioned for the post-war rebuilding of Coventry. An active AIA member, his work is held at the Tate Gallery and the British Museum. Exhibitions include St George’s Gallery (1958), Herbert Art Gallery, Coventry (1960), The Minories, Colchester (1970), Gill Drey Gallery (1989), Retrospective, Leicestershire Museum and Art Gallery (1991).
Sources: Leicestershire Museums and Art Gallery, Peter Peri: a retrospective exhibition of sculptures, prints and drawings: 3 August -- 29 September 1991, Leicester, 1991; Watkinson, Rayond, Fighting Spirits: Peter Peri and Clifford Rowe, London, 1987; Spalding, F., 20th Century Painters and Sculptors, Dictionary of British Art, VI, Woodbridge, Suffolk, 1990; Herbert Art Gallery and Museum/City of Coventry Libraries, Arts and Museums Department, A Survey of Public Art in Coventry, 1980; Buckman, David, Dictionary of Artists in Britain since 1945, Bristol, 1998. [WCS2003]

Peter (Laszlo) Peri (1899--1967)
Sculptor, draughtsman and printmaker born Laszlo Weisz on 13 June 1899 at Budapest, Hungary. The family, which was Jewish, changed its name to Peri, a Hungarian name, when the sculptor was in his teens. Peri first worked as a stonemason, studying art in the evenings. In the years after the First World War he produced drawings in an Expressionist style and was associated with the left-wing avant-garde journal, ‘MA’. His political activities precipitated his departure from Hungary and he stayed briefly in Vienna and Paris before settling in Berlin in 1920. He became associated with a group of exiled left-wing Hungarian artists, one of whom was Moholy-Nagy with whom he had an exhibition in 1922 (at this time Peri’s sculpture was constructivist, influenced by Kandinsky). Whilst in Berlin Peri also studied architecture. By 1927 his political convictions -- he wanted to reflect life around him in a way that could be understood by ordinary people -- drew him back to realism. About this time he started making small figures in bronze. By the early 1930s he and his second wife (whom he had married in 1932 following his separation from his first whom he had married in c.1919) were deeply involved in anti-Nazi activities. When the Nazis came to power in 1933 the Peris fled to England, virtually penniless. Peri now joined the anti-fascist Artists International Association (AIA). No longer able to afford bronze he resorted to the cheapest viable alternative he could find, concrete. In 1938 he had an exhibition sponsored by the Cement and Concrete Association, ‘London Life in Concrete’ which although critically well-received achieved few sales. In 1939 Peri was granted British citizenship. Any possibility of immediate progress in England, however, was delayed by the Second World War in which Peri served in the Air-Raid Rescue Service. About this time he took up etching, producing two series, Gulliver’s Travels and Pilgrim’s Progress. After the war Peri pioneered the use of polyester resin for sculpture. Thenceforward he was to earn a living from commissions for public sculptures in this new material as well as concrete. Increasing knowledge of developments within Russia led to his disenchantment with communism and, discerning that the Society of Friends was closest to his ideals, he became a Quaker. Following his arrival in England, Peri had taken part in numerous group exhibitions and had had many of his own, the first being at Foyles Art Gallery in 1936. A retrospective was held at Leicester Museum and Art Gallery in 1991. Peri died on 19 January 1967. Examples of his work are at the Tate Gallery (sculpture and drawings), British Museum (etchings), Derby Museum and Art Gallery (sculpture) and in several collections overseas.
Sources: Buckman, D., 1998; L. Mercury, 16 August 1991, p.48; Leicestershire Museum and Art Gallery, 1991; Spalding, F., 1990; The Times, 25 January 1967, p.12. [LR 2000]

David Petersen (b. 1944)
Born in Cardiff. Worked in GKN steelworks before studying fine art at Newport College of Art, 1961--5. Sculptor in metal, studio in St Clears, Carmarthenshire. Exhibitions include ‘Wrought’ (2000, touring). Principal public commissions include Welsh Division War Memorial (Mametz Wood, Albert, France, 1987), Coal, Steel and Water (mural, County Council Headquarters, Cardiff, 1989), Millennium Beacon (Cardiff, 2000) and statue of Howard Winstone (Merthyr Tydfil, 2001). Petersen is particularly known for his sculptures of dragons. He has served as the chairman of the British Artist Blacksmiths’ Association.
Source: artist. [Man2004]

Richard Perry (b. 1960)
He was born in Nottingham and studied at Leeds Polytechnic (1978--81). Perry lives at Mapperley outside Nottingham. He has received a number of important municipal sculpture commissions. His group, Quartet (1986) was commissioned for Old Market Square by Nottingham City and County Councils. In 1991--2, he carved Tree in Portland stone for the New Guildhall Extension in Northampton. Perry’s bronzes have been cast by the Morris Singer Foundry. He has worked also in wood. In 1988 he carved oak doors for Newark Library, and in 1992 produced a limewood relief, based on tree-forms, entitled Convention, for Birmingham’s International Convention Centre.
Source: G.T. Noszlopy and J. Beach, Public Sculpture of Birmingham, Liverpool, 1998. [CL2003]

Richard Perry (b.1960)
Educated at Leeds Polytechnic, he has works in the public collections of a number of county councils. Works include Quartet, life-size bronze figures, the Old Market Square, Nottingham (1990--1); Thomas Boulsover, bronze figure, Tudor Square, Sheffield.
Source: information from the artist. [WCS2003]

Richard Perry (b.1960)
Educated at Leeds Polytechnic, he has works in the public collections of a number of county councils. Works include: Quartet, life-size bronze figures, the Old Market Square, Nottingham 1990--1; Thomas Boulsover, bronze figure, Tudor Square, Sheffield. [B1998]

Eric Harry Peskett (b. 1914)
Born in Guildford, he studied at Brighton College of Art, 1929--35, and at the Royal College of Art, 1935--39. He exhibited at the RA in 1944. He was elected ARBS in 1948 and FRBS in 1961.
(source: Waters, 1975) [L 1997]

John Birnie Philip (1824--75)
Philip entered the Government School of Design at Somerset House at the age of 17, and was first employed as an ornamental sculptor in Pugin’s wood-carving department at the Houses of Parliament. He went on to become one of the most prolific of Victorian architectural sculptors, with one particularly fertile collaboration being that with Sir George Gilbert Scott. It included contributions to Scott’s church restorations, as for example at St Michael’s, Cornhill, London (1857--8) and Lichfield Cathedral (from 1857), and to Scott’s own buildings, such as the Government Offices in Whitehall (1873). Philip also provided sculpture for Scott’s public monuments, such as the royal figures and St George for the Westminster Scholars Crimean War Memorial at Broad Sanctuary, London (1859--61). He was the largest single sculptural contributor to Scott’s Albert Memorial (1863--72), producing the bronze figures Geometry, Geology, Physiology and Philosophy on the canopy over the central figure as well as the eight angels around the base of the cross crowning the summit. Besides architectural work, Philip created a number of commemorative portrait statues, including Robert Oastler at Bradford (1866), Lord Elgin (1869) and Colonel Baird (1870), both at Calcutta, and Colonel Akroyd, Halifax (1875). Among his many medievalising funerary monuments, perhaps the most impressive is his tomb of Katherine Parr at Sudeley Castle, Gloucestershire (1859).
Sources: Cavanagh, T. and Yarrington, A., Public Sculpture of Leicestershire and Rutland, Liverpool, 2000, p.380; Gunnis, R., Dictionary of British Sculptors 1660--1851, London, 1964; Read, B., Victorian Sculpture, New Haven and London, 1982, pp.76--8, 266; Ward-Jackson, P., Public Sculpture of the City of London, Liverpool, 2003, p.473f. [SBC2005]

John Birnie Philip (1824--75)
Sculptor. Born in London. At 17 he entered the Government School of Design at Somerset House. His first employment was as ornamental sculptor under A.W.N. Pugin at the Houses of Parliament. His longest working relationship, however, was with Sir G.G. Scott, much of his work being for churches the architect was either building or restoring. These included Tamworth Parish Church, 1853, Ely Cathedral, 1857, St George’s Chapel, Windsor, 1863, St Michael’s, Cornhill, London, 1858 and Lichfield Cathedral, 1864. His best-known work for Scott is on the Albert Memorial, 1863--76, notably the marble podium friezes representing 87 great architects and sculptors (1864--72), and the bronze figures of Geometry, Geology, Physiology and Philosophy on the canopy. Philip also ran a successful studio executing funerary monuments, including those to Queen Katherine Parr (Sudeley Castle chapel, Gloucestershire, 1859), the Revd W.H. Mill (Ely Cathedral, 1860) and Lord and Lady Herbert of Lea (Wilton Church, Wiltshire, 1864). His public statues include Richard Oastler (Bradford, 1866), Lord Elgin (Calcutta, 1869) and Colonel Baird (Calcutta, 1870) and Colonel Edward Akroyd (Halifax, 1875). He also carved eight statues of British monarchs for the Royal Gallery, Houses of Parliament. Exhibited at the RA from 1858 to 1875.
Sources: Gunnis, 1968; Read, 1982; Cavanagh 2000. [Man2004]

John Birnie Philip (1824--75)
He entered the Government School of Design at Somerset House at the age of 17, and was first employed as an ornamental sculptor in Pugin’s Wood Carving Department at the Houses of Parliament. He went on to become one of the most prolific of Victorian architectural sculptors. One particularly fertile collaboration was with George Gilbert Scott. It included contributions to Scott’s church restorations, as for example at St Michael Cornhill (1857--8) and Lichfield Cathedral (from 1857), and to Scott’s own buildings, such as the Government Offices in Whitehall (1873). Philip also provided sculpture for Scott’s public monuments, such as the Westminster Scholars Crimean War Memorial in Broad Sanctuary, Westminster (1859--61), and he was the largest single sculptural contributor to the Albert Memorial (1863--72), where he executed half of the frieze of architects and sculptors, four allegorical figures in bronze, and eight bronze angels at the foot of the cross on the summit of the memorial. Immediately after the completion of work on the Albert Memorial, Philip modelled the figure of Peace, to be cast in bronze for Francis Butler’s fountain in West Smithfield Gardens in the City (1871--3). His output was vast and he employed numbers of assistants. In carving the Albert Memorial frieze, he was aided by Robert Glassby, and for many years his Chief Assistant Modeller was Ceccardo E. Fucigna. Besides architectural work, Philip created a number of commemorative portrait statues, including those of Robert Oastler at Bradford (1866) and Colonel Akroyd at Akroydon, outside Halifax (1875). Amongst his many medievalising funerary monuments, perhaps the most impressive are the retrospective tomb of Katherine Parr at Sudeley Castle, Gloucs. (1859), and the memorial to Lord Elgin in Calcutta Cathedral (1868). One of Philip’s daughters married the painter James McNeill Whistler.
Sources: R. Gunnis, Dictionary of British Sculptors 1660--1851, London, 1968; B. Read, Victorian Sculpture, New Haven and London, 1982; A. Trumble, ‘Gilbert Scott’s “bold and beautiful experiment”’, Burlington Magazine, December 1999 and January 2000. [CL2003]

John Birnie Philip (1824--75)
Sculptor, born in London on 23 November 1824. At 17 he entered the Government School of Design at Somerset House. His first employment was as ornamental sculptor under A.W.N. Pugin at the Houses of Parliament. His longest working relationship, however, was with Sir G.G. Scott, much of his work being for churches the architect was either building or restoring. For Scott, Philip executed reredoses for Tamworth Parish Church, 1853, Ely Cathedral, 1857, and St George’s Chapel, Windsor, 1863; the tympanum relief of St Michael and Satan and the colossal statues of the Four Evangelists, 1858, at St Michael’s, Cornhill, London; the royal figures and St George (the latter to the design of J.R. Clayton) on the Westminster Scholars’ Crimea Memorial, 1859--61, at Broad Sanctuary, London; the reredos and choirscreen at Lichfield Cathedral, 1864; and some of the spandrel reliefs on the exterior of Scott’s Government Offices, Whitehall, 1862--73. His best known work for Scott is on the Albert Memorial, 1863--76, notably the marble podium friezes representing 87 great architects and sculptors (1864--72), but also the bronze figures of Geometry, Geology, Physiology, and Philosophy on the canopy over the central figure, and the eight angels around the base of the cross crowning the summit. Philip also ran a successful studio executing funerary monuments, including those to Queen Katherine Parr, 1859, Sudeley Castle chapel, Gloucestershire, the Revd W.H. Mill, 1860, Ely Cathedral, and Lord and Lady Herbert of Lea, 1864, Wilton Church, Wiltshire. In 1869 he returned to the Houses of Parliament to execute for architect E.M. Barry, a series of eight statues of British monarchs for the Royal Gallery. Philip’s statues as an independent sculptor include Richard Oastler, 1866, Bradford; Lord Elgin, 1869, and Colonel Baird, 1870, both Calcutta; and Colonel Edward Akroyd, 1875, Halifax. Philip exhibited at the Royal Academy from 1858 to 1875, dying of bronchitis in the latter year at his studio, Merton Villa, Chelsea, on 2 March.
Sources: Art Journal, 1875; DNB; Graves, A., 1905--6; Gunnis, R., [1964]; MEB; Read, B., 1982. [LR 2000]

Joseph Phillips
A Liverpool sculptor, working from St George’s Studio, 1--5 Back Canning Street. He exhibited in 1910 at the RA Summer Exhibition, and in 1911 at the WAG Liverpool Autumn Exhibition, and in those same years attended evening classes at Liverpool College of Art. He executed some work for Liverpool’s Anglican Cathedral.
(sources: Johnson & Greutzner, 1976; RA Exhibitors; WAG LAE catalogue, 1911) [L 1997]

Charles James Pibworth (1878--1958)
Born in Bristol, he studied at the Bristol School of Art, then at the Royal College of Art and the Royal Academy Schools. In 1902, he entered a relief of Boadicea Urging the Britons to Avenge her Outraged Daughter in one of the RA’s student competitions. After completing his education, Pibworth collaborated with the architect Charles Holden, first on the Law Society extension in Chancery Lane (1904), and then more ambitiously, with reliefs of figures from English literature, on Bristol Central Library (1907). In 1907 he was elected a Fellow of the Royal Society of British Sculptors, and in 1910 became a member of the Art Workers’ Guild. He exhibited at the Paris Salon, and at the RA, where his subjects are either mythological or portraits. Sitters for his portraits included the actor Johnston Forbes-Robertson, the sculptor, E. Lanteri, the painter Glyn Philpot and Herbert C. Hoover. Pibworth was also an accomplished watercolourist.
Source: S. Beattie, The New Sculpture, New Haven and London, 1983. [CL2003]

Pick Everard and Keay -- see Everard and Pick [LR 2000]

S. Perkins Pick -- see Everard and Pick [LR 2000]

George Pickard (1929--93)
Sculptor, architect, painter and teacher born at Syston, Leicestershire, living from 1980 at nearby Rearsby. He studied at Leicester School of Architecture, 1945--52, becoming an Associate of the Royal Institute of British Architects in 1953. In 1952--4 he did his National Service in the Royal Artillery as regimental artist designing camouflage. He practised as an architect from 1957--66, developing an interest in interior design and sculptural components in building, having by 1964 already built a metal sculpture workshop for himself. In 1966 he was appointed Senior Lecturer in Interior Design at Leicester Polytechnic and was granted a year’s sabbatical in 1986 to study advanced design and methods in flat-glass with specific application to sculpture, travelling extensively in Britain and Germany to gain a thorough knowledge of glass and glass bonding. He resigned from teaching in 1988 to concentrate on sculpture, developing his skills in bronze and aluminium casting at the Charles Keene Foundry in 1991 and thereafter producing some 20 pieces in these metals. He had been a founder member of the Architect Sculptors Group in 1972, and in the same year had had exhibitions at the RIBA Headquarters and the Yehudi Menuhin School. In the years that followed he exhibited in Leicester, Northampton, Birmingham and London. His sculptures have been bought by numerous private patrons and, in addition to the commissions detailed in the present catalogue, he also designed a mosaic roundel, 1978, by the entrance to the Leicester Royal Infirmary; stained glass windows for the United Reformed Church, Groby, Leicestershire; and Abstract, 1990, a coloured steel sculpture for Walker’s Crisps, Beaumont Leys, Leicestershire.
Sources: Buckman, D., 1998; Pitches, G., 1994. [LR 2000]

Michael Piper (b. 1921)
Sculptor born in Nottingham. He studied under Frank Dobson at the Royal College of Art, 1949--52. His commissions include a large Horse and Rider in stone for Clarendon School, Oxhey (Hertfordshire County Council). [LR 2000]

Arthur Beresford Pite (1861--1934)
Architect. Son of the architect, Alfred Robert Pite. He trained with his father and at the South Kensington School. Joined architectural practice of John Belcher in 1881. In the following year he was awarded the RIBA Soane Medallion for his drawing of a ‘West End Club House’. He was a founder member with Belcher of the Art Workers’ Guild in 1884. Belcher and Pite designed the influential Institute of Chartered Accountants in London, completed in 1893. Pite engaged Frederick E.E. Schenk to carve the architectural ornamentation on 37 Harley Street (1899). In his later years Pite became well known as a teacher. His publications included The London Series of Architectural Examples for Students (1926) (with A.R.H. Jackson).
Source: Hanson, 1993. [Man2004]

William Pitts (1790--1840)
Sculptor and silver-chaser born in Leicester and apprenticed to his father, also a silver-chaser. In 1812 he won the Isis Gold Medal of the Society of Arts for modelling two warriors. He first came to notice for chasing most of Thomas Stothard’s Wellington Shield and then the whole of John Flaxman’s Shield of Achilles, some years later modelling in imitation of these, shields of Hercules and of Aeneas (left incomplete at his death). In 1829 he was commissioned to carve reliefs for Buckingham Palace: Eloquence for the picture gallery, Pleasure for the blue drawing room, Harmony for the music room, Peace and War for the guard room and, in 1831, twelve relief panels of children for the white drawing room. Even though the results had been approved, the Palace delayed payment for so long it almost ruined him financially. Pitt’s other commissions included reliefs of Proserpine and The Nuptials of Pirithous and Hippodamia, 1829, for Mr Simons of Regents Park; St Martin and the Beggar, a carving dated 1831 for the pediment of the vestry room of St Martin-in-the-Fields; three bas-reliefs for Sir W.A. Cooper, of Isleworth House; and The Triumph of Innocence, Flora with the Seasons, and The Pledges of Virtue for George Harrison, of Carlton Gardens. In 1839 he was an unsuccessful entrant in the competition for the Nelson Column, Trafalgar Square. He also did portrait busts and church monuments, amongst which are those to David Ricardo (died 1823), St Nicholas Churchyard, Hardenhuish, Wiltshire, and to the 2nd Lord Boston (died 1835), St Mary’s Church, Whiston, Northamptonshire. He was, in addition, an accomplished (and ambidextrous) draughtsman, painter and designer of china. He showed at the Royal Academy, 1823--40, and the British Institution, 1824--34. Pitts suffered from depression, allegedly brought on by professional disappointments, and ended his own life on 16 April 1840 with an overdose of laudanum, leaving behind him a poverty-stricken wife and five children. His obituarist in the Gentleman’s Magazine said of him: ‘In subjects of pure classical taste, he stood unrivalled, and his talents were highly appreciated by the late celebrated Flaxman, by Sir Richard Westmacott, R.A. and by Sir Francis Chantrey, R.A.’
Sources: DNB; Gentleman’s Magazine, June 1840 (obituary); Good, M. (comp.), 1995; Gunnis, R., [1964]. [LR 2000]

The Plasmatic Co. (active c.1916 -- c.1941)
Firm of craftsmen in stone, marble, wood, cement and plaster, based at The Newarke, Leicester. The Art Director was Joseph Herbert Morcom. To manage the masonry side of the business, Morcom brought in a former fellow student from Liverpool, George Quayle. Throughout the early 1920s the firm secured much work in the region fulfilling the heavy demand for war memorials. The masonry side of the firm folded in about 1930, although Morcom continued independently as an architectural sculptor.
Sources: information from Dr Alan McWhirr; Kelly’s Directory of . . . Leicester and Rutland (edns from 1916--41). [LR 2000]

Enzo Plazzotta (1921--81)
Born in Mestre, near Venice, Plazzotta studied at the Brera Academy in Milan, where one of his tutors was Giacomo Manzu. He was active in the Partisan movement during the Second World War, and at the end of the war was commissioned to create a statuette as a token for the assistance to the movement given by British Special Forces. This work, entitled The Spirit of Rebellion, showed the young David with the head of Goliath. Plazzotta came to London in connection with this commission, and lived here for the rest of his life. Between 1947 and 1962 he relinquished sculpture, returning to it at first principally as a portraitist. However his main interest was the expression of movement and vitality in human and animal bodies. Dance, and particularly ballet, is a predominant feature of his work, and some of his dance pieces possess special interest as representations of celebrity performers. Plazzotta’s religious and mythological subjects are more sombre in character. He always retained contact with Italy, and in 1967 took a studio in Pietrasanta, from which he was able to supervise the casting of his many bronzes at the Tommasi foundry.
Source: D. Buckman, The Dictionary of British Artists Since 1945, Bristol, 1998. [CL2003]

Frederick William Pomeroy (1856--1924)
Pomeroy was apprenticed to a firm of architectural sculptors, meanwhile attending the Lambeth School of Art part time, where he learnt modelling from Jules Dalou and W.S. Frith (1876--80). He was at the Royal Academy schools from 1880 to 1885, winning both the gold medal and a travel scholarship, which enabled him to study in France and Italy. On his return to London, Pomeroy carved the marble version of Leighton’s Athlete Wrestling with a Python (1891, private collection). His ideal statues, most notably the bronze Perseus shown at the Royal Academy in 1898, reflect the ethos of the ‘New Sculpture’ movement, though he would later revert to a beaux-arts style. Although Pomeroy produced many public statues including Dean Hook, Leeds City Square (1900); W.E. Gladstone, Houses of Parliament (1900); and Monsigneur Nugent, Liverpool (1906), he was most prolific as an architectural sculptor. He worked on a number of buildings including the Central Criminal Court, Old Bailey, London (1907), where he was responsible for the famous gilt bronze Justice surmounting the dome. Pomeroy exhibited at the Royal Academy from 1885 until 1925, and was elected a Royal Academician in 1917. A member of the Art Workers’ Guild from 1887 (Master in 1908), he was a medallist at the Paris International and Chicago exhibitions of 1900 and, in 1911, a founding member of the Society of Portrait Sculptors.
Sources: Cavanagh, T., Public Sculpture of Liverpool, Liverpool, 1997, p.335; Cavanagh, T. and Yarrington, A., Public Sculpture of Leicestershire and Rutland, Liverpool, 2000, p.381; Read, B., Victorian Sculpture, New Haven and London, 1982, pp.302, 306; Ward-Jackson, P., Public Sculpture of the City of London, Liverpool, 2003, p.474. [SBC2005]

Frederick William Pomeroy (1856--1924)
Sculptor. Born in London, he was first apprenticed to a firm of architectural carvers, attending the South London Technical Art School part-time where he learnt modelling from Jules Dalou and W.S. Frith. Attended the RA Schools, 1880--5, winning the gold medal and travelling studentship in 1885. He travelled to France and Italy, studying in Paris under Antonin Merci. In 1887 he collaborated with Frith on the Victoria Fountain in Glasgow. He exhibited with the Arts and Crafts Society from 1888 and was a medallist at the Paris International Exhibition of 1900. He worked on a number of buildings by architect E.W. Mountford, including Paisley Town Hall (1890), Sheffield Town Hall (1890--4) and the Central Criminal Court, Old Bailey, London (Pomeroy is responsible for the gilt bronze figure of Justice surmounting the dome). His ideal sculpture includes Perseus which was shown at the Royal Academy in 1898. Pomeroy’s portrait statues include Dean Hook (Leeds City Square, 1900) and W.E. Gladstone (Houses of Parliament, 1900). He was a Member of the Art Workers’ Guild from 1887 (Master from 1908) and was elected ARA in 1906 and RA in 1917. He was also, in 1911, a founding member of the Society of Portrait Sculptors.
Sources: Beattie, 1983; Cavanagh, 1993. [Man2004]

Frederick William Pomeroy (1856--1924)
The descendant of a family of artist-craftsmen, he was born in London, and trained there as an architectural carver, possibly with Farmer & Brindley (q.v.); he later attended the SLTAS and RA Schools before studying with Dalou in Paris. He executed much important architectural sculpture but is best known for Justice on the Old Bailey, London (1900--7). Prolific in ideal work and portraiture, he also executed public monuments, including the Monument to Robert Burns, Paisley (1893). He was elected ARA in 1906, and RA in 1917.
Sources: Spielmann, pp.114--18; Beattie, p.248; Gray. [G2002]

Frederick William Pomeroy (1856--1924)
Born in London. Apprenticed to a firm of architectural carvers, he then spent four years at the South London Technical Art School, studying under Jules Dalou and W.S. Frith. In 1880, he was admitted to the Royal Academy Schools, where in 1885 he won the Travelling Scholarship. He studied under Antonin Mercié in Paris, and also visited Italy. On his return to London, he carved the marble version of F. Leighton’s Athlete Wrestling with a Python (Ny Carlsberg Glyptothek, Copenhagen). In 1887 he contributed a group representing Australia to Doulton’s terracotta Victoria Fountain for the Glasgow International Exhibition of 1888 (now at Glasgow Green). Pomeroy exhibited both at the Royal Academy and with the Arts and Crafts Exhibition Society. His ‘ideal’ statues, such as the bronze Perseus of 1895 (National Museum of Wales, Cardiff), reflect the ethos of the ‘New Sculpture’ movement, though Pomeroy would later revert to a beaux-arts style. He produced many public statues, including a Robert Burns for Paisley (1894), and the group commemorating Mgr James Nugent for St John’s Gardens, Liverpool (1903--5). Pomeroy was most prolific as an architectural sculptor. He worked with J.D. Sedding, Henry Wilson and John Belcher, but his most extensive collaboration was with E.W. Mountford. The many buildings by Mountford on which Pomeroy worked include Sheffield Town Hall (1895), and the Central Criminal Court, Old Bailey (1905--6). The most prominent feature of the latter was the colossal bronze figure of Justice on the dome. At much the same time, in 1905, Pomeroy also produced four colossal allegorical figures in bronze, for the west side of Vauxhall Bridge. Pomeroy was a member of the Art Workers’ Guild from 1908, and became a full RA in 1917.
Source: S. Beattie, The New Sculpture, New Haven and London, 1983. [CL2003]

Frederick William Pomeroy (1856--1924)
Sculptor born 9 October 1856 in London. He was first apprenticed to a firm of architectural carvers, meanwhile attending the South London Technical Art School part-time where he learnt modelling from Jules Dalou and W.S. Frith. He was at the Royal Academy Schools, 1881--5, winning the gold medal and travelling studentship in 1885. He travelled to France and Italy, studying in Paris under Emmanuel Frémiet and Antonin Mercié. In 1887 he collaborated with Frith on the Victoria Fountain in Glasgow. He exhibited at the RA 1885--1925, with the Arts and Crafts Society from 1888, and was a medallist at the Paris International and Chicago exhibitions of 1900. He worked on a number of buildings, notably those by architect E.W. Mountford, including Paisley Town Hall, 1890; Sheffield Town Hall, 1890--4; Liverpool College of Technology (and Museum extension), completed 1902; and the Central Criminal Court, Old Bailey, London, completed 1907 (Pomeroy is responsible for the famous gilt bronze Justice surmounting the dome). Pomeroy’s portrait statues include Dean Hook, 1900, Leeds City Square; W.E. Gladstone, 1900, Houses of Parliament; and Monsignor Nugent, 1906, Liverpool. His most famous ideal sculpture is probably Perseus (shown at the Royal Academy in 1898; life-size bronze in the National Museum of Wales, Cardiff; numerous reductions). He was a Member of the Art Workers’ Guild from 1887 (Master in 1908) and was elected ARA in 1906 and RA in 1917. He was also, in 1911, a founding member of the Society of Portrait Sculptors. He died 26 May 1924.
Sources: Beattie, S., 1983; Cavanagh, T., 1997; Gray, A.S., 1985; Nairne, S. and Serota, N. (eds), 1981; Popp, G. and Valentine, H. (comps), 1996; Who Was Who 1916--1928. [LR 2000]

Frederick William Pomeroy (1856--1924)
Born in London, he was first apprenticed to a firm of architectural carvers, attending the South London Technical Art School part-time where he learnt modelling from Jules Dalou and W.S. Frith. He was at the RA Schools, 1880--85, winning the gold medal and travelling studentship in 1885. He travelled to France and Italy, studying in Paris under Antonin Mercié. In 1887 he collaborated with Frith on the Victoria Fountain in Glasgow. He exhibited with the Arts and Crafts Society from 1888 and was a medallist at the Paris International Exhibition of 1900. In addition to his work for the architect Mountford in Liverpool, he also worked for him at the Paisley, Sheffield, and Lancaster Town Halls, and at the Central Criminal Court, Old Bailey, London (to Pomeroy is due the famous gilt bronze figure of Justice surmounting the diome). Pomeroy’s portrait statues include Dean Hook, Leeds City Square, and W.E. Gladstone, Houses of Parliament, both 1900. He was a Member of the Art Workers Guild from 1887 (Master from 1908) and was elected ARA in 1906 and RA in 1917. He was also, in 1911, a founding member of the Society of Portrait Sculptors.
(sources: Beattie, 1983; Nairne & Serota, 1981; Who Was Who, 1916--1928) [L 1997]

Tim Pomeroy (b.1957)
Sculptor, painter and poet, he was born in Hamilton, and studied at Gray’s School of Art, Aberdeen, from 1976 to 1981. Since then he has held solo shows and participated in group exhibitions throughout the UK. His public commissions include Of Arms and the Man, Cadzow Arcade, Hamilton (1985) and A Tree of People, Cadzow Glen, Hamilton (1996). A recent private commission was for a gravestone for Lady Jane Fford, on the island of Arran (1999). Winner of the Benno Schotz Prize in 1983, he has exhibited paintings and sculpture at the Fine Art Society, the RGI, Royal Society of Watercolourists and the Scottish Society of Artists. His work is represented in collections in the UK, USA, Italy, Holland and New Zealand. He published his first anthology of poetry, Caught in the Shrapnel, in 1982, and has contributed poetry and illustrations to the New Edinburgh Review and the New Arcadian Journal. He lives on Arran.
Sources: Sunday Mail, 18 April 1999, p.15; information provided by the artist. [G2002]

John Poole (b.1926)
Born in Birmingham, Poole studied Industrial Design at Birmingham School of Art (1938--9). For two years during the war he worked in William Bloye’s studio, where he learnt the art of letter-carving in the tradition of Eric Gill. He later completed his National Design Diploma at Birmingham School of Art (1949--51) and went on to teach sculpture part time at the Mid-Warwickshire College of Art and Walsall School of Art (1952--61). Poole, who set up his own studio in 1949, was mainly an architectural sculptor and letter-carver, but also worked in stone, wood, concrete and metal. His commissions include The Sower, Cannock Central Library (1959); Life and Times of Liverpool, St John’s Precinct, Liverpool (1965); and the memorials Sir Basil Spence and John Hutton, Coventry Cathedral (1978). His work from the later 1960s onwards is more experimental, combining cast and welded elements. Poole’s architectural restoration work includes the Council House annexe, Edmund Street, Birmingham (1958) and the entrance front, Aston Hall, Birmingham (1972). He was elected a fellow of the Royal Society of British Sculptors in 1969. He is a one-time chairman of the Society of Church Craftsmen, and a member of the Arts League of Great Britain.
Sources: Letter from the artist, 13 April 1984; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.202; Noszlopy, George T., Public Sculpture of Warwickshire, Coventry and Solihull, Liverpool, 2003, p.266; Ward-Jackson, P., Public Sculpture of the City of London, Liverpool, 2003, p.475; West Midlands Arts, Artists, Craftsmen, Photographers in the West Midlands, Stoke-on-Trent, 1977. [SBC2005]

A. John Poole (b.1926)
Born in Birmingham, he studied Industrial Design at Birmingham School of Art. For two years during the war he worked in William Bloye’s studio, where he learnt the art of letter-carving in the tradition of Eric Gill. He later completed his National Design Diploma at Birmingham School of Art (1949--51), and went on to teach sculpture part-time at Mid-Warwickshire College of Art and Walsall School of Art (1952--61). Poole set up his own studio in 1949 and moved to Bishampton, Worcestershire in 1961. Mainly an architectural sculptor and letter-carver, Poole has also worked in stone, wood, concrete and metal. His commissions include Commemorative Stone, Tree Lovers’ League, Lee Bank, Birmingham (1960), Figure, Cannock Central Library (1959), Abstract, East Walk, Basildon, Essex (1960), figures of St Catherine and St Mary, Solihull School Chapel (1961), Life and Times of Liverpool, relief, St John’s Precinct, Liverpool (1965), gates and doors, Park Tower Hotel, Knightsbridge, London (1973), high altar and ambo, St Helen’s Cathedral, Brentwood, Essex, for which he received the Otto Beit Award in 1974, Sir Basil Spence and John Hutton memorials, Coventry Cathedral (1978), Field Marshall Wavell and Field Marshall Auchinleck memorials, Wellington Chambers, St Paul’s Cathedral, London (1979), and Madonna and Child, All Saints Church, Gogowan, Shropshire (1982). Poole’s architectural restoration work includes Council House annexe, Edmund Street, Birmingham (1958), and entrance front, Aston Hall, Birmingham (1972). Exhibitions include group shows at the Pershore Millennium (1972), and West Midlands Arts Exhibition, Lichfield Cathedral (1975). ARBS (1958), FRBS (1969). Chairman of the Society of Church Craftsmen, Member of the Arts League of Great Britain.
Sources: West Midlands Arts, Artists, craftsmen, photographers in the West Midlands, Stoke-on-Trent, 1977; letter from the artist, 13 April 1984. [WCS2003]

A. John Poole (b.1926)
Born in Birmingham, he went to Birmingham School of Art and then studied Industrial Design at Birmingham School of Art 1938--9. For two years during the war he worked in William Bloye’s studio, where he learnt the art of letter-carving in the tradition of Eric Gill. He later completed his National Design Diploma at Birmingham School of Art 1949--51 and went on to teach sculpture part-time at Mid-Warwickshire College of Art and Walsall School of Art 1952--61. Poole set up his own studio in 1949 and moved to Bishampton, Worcs. in 1961. Mainly an architectural sculptor and letter-carver, Poole has also worked in stone, wood, concrete and metal. Commissions include: Commemorative Stone, Tree Lovers League, Lee Bank, Birmingham 1960; Figure, Cannock Central Library 1959; Abstract, East Walk, Basildon, Essex 1960; figures of St. Catherine and St. Mary, Solihull School chapel 1961; Life and Times of Liverpool, relief, St. John’s Precinct, Liverpool 1965; gates and doors, Park Tower Hotel, Knightsbridge, London 1973; high altar and ambo, St. Helen’s Cathedral, Brentwood, Essex, for which he received the Otto Beit Award in 1974; Sir Basil Spence and John Hutton memorials, Coventry Cathedral 1978; Field Marshal Wavel and Field Marshal Auchinleck memorials, Wellington Chambers, St. Paul’s Cathedral, London 1979; Madonna and Child, All Saints church, Gogowan, Shropshire 1982. Poole’s architectural restoration work includes: Council house annexe, Edmund Street, Birmingham 1958; entrance front, Aston Hall, Birmingham 1972. Exhibitions include group shows at the Pershore Millennium 1972 and West Midlands Arts Exhibition, Lichfield Cathedral 1975. ARBS 1958; FRBS 1969. Chairman of the Society of Church Craftsmen; Member of the Arts League of Great Britain.
1. Artists, craftsmen, photographers in the West Midlands, West Midlands Arts, Stoke-on-Trent, 1977; 2. Letter from the artist, 13th April 1984. [B1998]

Henry Poole (1873--1928)
Born in London, son of an architectural carver, he trained first at the South London Technical Art School and then at the Royal Academy. While attending the Academy Schools, he was also working for the sculptor Harry Bates and assisting G.F. Watts with his sculptural projects. He exhibited at the Royal Academy from 1894, but his work in the early years of the twentieth-century was predominantly architectural. He established a particularly close working relationship with the architectural partners, Lanchester and Rickards. Poole was associated with the neo-baroque school of architecture. He was involved with restoration and other work at St Paul’s, including, after the First World War, wood-carving in the Chapel of St Michael and St George. Henry Poole’s public monuments are a King Edward VII in Bristol (1912), and Captain Ball VC in Nottingham (1921). He also modelled the sculptural features of Sir Robert Lorimer’s Royal Navy Memorials for Chatham, Plymouth and Portsmouth. In 1923--4 Poole contributed humorous sculptures to the Small Saloon Bar of H. Fuller Clark’s Black Friar Public House in Queen Victoria Street, London. Elected RA, in 1927, his diploma work, Young Pan, combines classicism of form with non finito effects in marble carving.
Sources: S. Beattie, The New Sculpture, New Haven and London, 1983; H.V. Lanchester, ‘Henry Poole R.A. 1873--1928’, Journal of the Royal Institute of British Architects, 1928, vol.36, pp.18--23. [CL2003]

Henry Poole (1873--1928)
Born in Westminster, London, he was the son and grandson of masons and sculptors working on churches by William Butterfield and on the restoration of Westminster Abbey. He trained at Lambeth School of Art, 1888, and at the RA Schools, 1892--7, before serving apprenticeships with Harry Bates (q.v.) and G.F. Watts. He became a prolific architectural sculptor, producing work for town halls at West Ham, Deptford, Rotherhithe and Cardiff, and restoring the statuary on St Paul’s Cathedral. His public work includes Physical Energy, Kensington Gardens (after G.F. Watts), and the Monument to Captain Albert Ball, Nottingham (1919). A member of the Art Workers’ Guild, he was a Trustee of the NPG and Master of Sculpture at RA Schools, exhibiting ideal work and portraits at the RA in 1912 and 1927. He was elected ARA in 1920, and RA in 1927.
Sources: Beattie; Gray; Spalding; Mackay. [G2002]

John Poole (b. 1926)
Born in Birmingham, he studied industrial design at the Birmingham School of Art (1938--9 and 1949--51). Between his two phases of study at the school, during the Second World War, he worked in the studio of the Birmingham sculptor, William Bloye. After completing his training, he taught at the Mid-Warwickshire College of Art and the Walsall School of Art. Poole moved from Birmingham to Bishampton, Worcs. in 1961. He worked mainly as an architectural sculptor and letter-carver. His wooden lunette relief of St Francis’s Canticle to the Sun, for the church of St Francis, in Linden Road, Bournville (1964) continues the arts and crafts tradition of William Bloye, who had carved a similar lunette relief for the church in 1933. Poole’s work from the later 1960s is more experimental, combining cast and welded elements, sometimes with the impresses of machine parts, such as springs, nuts and square-ended tubes. Poole became an Associate of the Royal Society of British Sculptors in 1958, and a Fellow of the Society in 1969. He served as Chairman of the Society of Church Craftsmen, and is a member of the Arts League of Great Britain.
Source: G.T. Noszlopy and J. Beach, Public Sculpture of Birmingham, Liverpool 1998. [CL2003]

Nicholas Pope (b. 1949)
Born in Sydney, Australia, he came to England and studied sculpture at Bath Academy of Art, 1970--73. In 1974 he was awarded the Southern Arts Association Bursary, in 1974--75 the Romanian Government Exchange Scholarship and, in 1976, the Calouste Gulbenkian Foundation Award. His first solo exhibition was in 1976 at the Garage Gallery Limited. He has public sculpture at Peter Symonds College, Winchester (Four Odd Words), Southampton University (Three Wilderness Stones) and the Sun Life Assurance building, Bristol (Five Amorphous Shapes).
(sources: Spalding, 1990; Strachan, 1984) [L 1997]

Ronald Pope (1920--97)
Sculptor, painter and teacher born in Westbury-on-Severn, Gloucestershire. He took an engineering course at Derby College of Technology, gaining his degree in 1941 and going on to work for a time in the tool design office at Rolls-Royce. He then studied at Derby College of Art, 1943--5, and at the Slade School of Fine Art, 1945--8 (transferring from painting to sculpture in his second year), where he was taught by A.H. Gerrard, Randolph Schwabe, and F.E. McWilliam and won a prize for carving in stone. In 1946--8 he was also studying ceramics at Woolwich Polytechnic under Heber Mathews. Pope took part-time posts teaching sculpture and ceramics at Lonsdale College of Higher Education, Derby, and the University of Nottingham, allowing himself sufficient time to pursue his own work. Amongst his more notable public commissions are a wall relief, Family of Man, for the entrance to Derby Museum and Art Gallery, and Walking Figures, a wall relief in welded aluminium for Spondon County Secondary School, Derbyshire, both 1964; a figure of St Catherine, 1965, on St Catherine’s Church, Sheffield (for architect Sir Basil Spence); and Five Bishops, 1974, a wall sculpture in welded phosphor bronze for Hertford Civic Centre. He had an exhibition at the Alwin Gallery, 1984, and others at the Yew Tree Gallery, Ingleby, and the Ninety-Three Gallery, Derby. The Derby Museum and Art Gallery mounted a retrospective in 1998 and has a selection of his work in its permanent collection.
Sources: Buckman, D., 1998; Derby Museum and Art Gallery (typed hand-out for 1998 solo exh.); Strachan, W.J., 1984. [LR 2000]

Constantin Popovici (1938--95)
Popovici studied sculpture at the Nicolae Grigorescu Institute of Fine Arts in Bucharest (1958--64), becoming a member of the Union of Fine Arts in 1966. His awards include the Union of Fine Arts First Prize for Sculpture (1971), first prize, Academy of Romania (1983), European Medal, Rome (1986), and the Grand Prix of the Union of Fine Arts, Romania (1992). From 1967 onwards, he exhibited widely throughout Europe. Popovici was Romania’s leading public sculptor, and his commissions include Prometheus (1971, Vidrau HEP station); a statue of the Romanian poet George Bacovia (1971, Bacau); Victory (1975, Vaslui); Independence (1982, Oradea); and La Grande Lacustrine (1988, Parc Olympique, Seoul, Korea). His style is eclectic, varying with the subject matter of his works.
Source: Dudley Museum and Art Gallery, Drawings by Constantin Popovici, exhibition flyer, Dudley, 1994. [SBC2005]

Guy Portelli (b. 1957)
Sculptor and painter. Born in South Africa. Studied Interior Design and 3D Design at Medway College of Art, 1974--8. Group exhibitions include Mall Galleries, London, 1985, Havelet Court, Guernsey, 1996, Royal Society of British Sculptors, 2000 and Manchester Art House, 2000, 2001. Public commissions include Greek Goddesses (London Pavilion, Piccadilly Circus, 1987) and Group Captain Peter Townsend memorial (West Malling Airfield, Kent, 2002). Elected RBS, 1998.
Source: artist. [Man2004]

Edward Potts (1839--1909)
Architect. Born in Bury. Articled to George Woodhouse in Manchester, 1854 and then John Prichard and J.P. Seddon in London. Established practice in Oldham, later Manchester. He was head of Potts, Son and Hennings, Victoria Buildings, Manchester. Potts designed many public buildings, especially Board Schools. The Corn Exchange is his best-known Manchester building (1903). Potts was a member of Eccles Council and a JP.
Sources: Tracy, 1899; Felstead, 1993. [Man2004]

Jane Poulton (b. 1957)
Artist and sculptor. Studied at Manchester Metropolitan University, BA (Hons) Textiles, 1982--5, and MA Textiles, 1985--6. Trained in textiles but works in several media and formats including paintings and photography as well as public art. Commissions include logo and letter forms for Winterburn Park housing development (Liverpool, 1997) and children’s playground (Rochdale, 1997). Exhibitions include Dixon Bate Gallery, Manchester, 1996 and Primavera, Cambridge, 1999. Worked as Town Centre Artist for Stockport Metropolitan Borough Council from 1998--2002.
Source: artist. [Man2004]

Albert Pountney (1915--92)
Sculptor and teacher born 19 August 1915 at Wolverhampton, Staffordshire. He studied at Wolverhampton School of Art, 1931--5, under R.J. Emerson, and the Royal College of Art, 1935--8, winning the Prix de Rome to study at the British School in Rome, 1938--9. After the Second World War he was appointed Head of Sculpture firstly at Hull College of Art, 1945--7, then at Leicester School of Art, a post he retained until 1963 when he was appointed Head of the Faculty of Fine Art in the newly-created Leicester Polytechnic, eventually retiring in 1979. Pountney was a fellow of the Royal Society of British Sculptors and a member of the Society of Rome Scholars. He showed at the Royal Academy, 1943--8. Although he did a number of commissioned portrait busts, most of his work was for public buildings: in addition to those sculptures included in the catalogue, he was also responsible for a stylised coat of arms for the Council Chamber, Leicestershire County Hall.
Sources: Buckman, D., 1998; The Guardian (obituary) [undated press cutting]; Leicester City Council, 1993; L. Mercury, 19 September 1992, p.15; Waters, G.M., 1975. [LR 2000]

Powderhall Bronze (1989--)
Foundry established in Edinburgh by husband and wife team Brian and Kerry Caster, after studying together at ECA, as a studio for producing their own bronze sculptures. They were immediately inundated with commissions to cast other sculptors’ work, and by 1997 had to move to larger premises in Leith to cope with increased production and to accommodate a gallery for their own work. Employing several assistants, the firm currently provides a service for around forty Scottish sculptors, including Kathy Chambers, Kenny Hunter, Shona Kinloch and Alexander Stoddart (qq.v.).
Source: Harry Conroy, ‘Sculptors are fired up’, H, 6 January 1997. [G2002]

Powderhall Bronze Foundry
Fine Art bronze foundry established in Edinburgh in 1989. At the time of writing (1999), it is the only fine art casting service in Scotland. It specialises in lost wax casting techniques combined with modern materials such as silicon rubber moulds. The foundry also provides a maintenance programme for sculpture cast in the foundry. In this latter capacity, one of the foundry’s leading clients is the Scottish National Gallery of Modern Art. Public sculptures cast by the foundry include Shona Kinloch’s Fission, East Kilbride; David Annand’s Royal Stag, for Baxters of Speyside Ltd; and Alexander Stoddart’s Bust of Henry Moore, for the Scottish National Gallery of Modern Art.
Source: Powderhall Bronze Foundry. [LR 2000]

Terry Powell (b. 1944)
Born in Birmingham, Powell studied at Auckland University in New Zealand (1962--5) and went on to teach fine art there. From 1970 to 1973 he studied sculpture at the Royal College of Art in London, under Bernard Meadows. He taught at a number of art colleges, and lectured, between 1975 and 1979, at the Royal College. In 1976 he was visiting lecturer at Auckland University. He has produced abstract sculpture in a variety of materials.
Source: D. Buckman, The Dictionary of British Artists Since 1945, Bristol, 1998. [CL2003]

Gary Power (b.1958)
Regionally-based sculptor specialising in abstract works. Trained at Reading University, Chelsea School of Art and Newcastle Polytechnic 1976--88. Since 1986 has taught at various art schools. His exhibitions and commissions have mostly been in London and the North East. He has also published a number of articles and organised conferences on aspects of public art.
[1] Information provided by the artist, 1998. [NE 2000]

Edward Carter Preston (1885--1965)
Born in Liverpool, he was, until the First World War, principally a painter. He studied at the School of Applied Art, Liverpool University, until its amalgamation with Liverpool School of Art in 1905, whereupon he joined the rival Sandon Terrace Studios. After the war he devoted himself to sculpture, making his name as a medallist when he won first and second prizes in the government competition for a plaque for the next of kin of those who had died in the war. His most prestigious commission was his sculptural work for the Anglican Cathedral (1931--55). He was brother-in-law to Herbert Tyson Smith.
(source: Spalding, 1990) [L 1997]

James Caldwell Prestwich (1852--1940)
Architect. Prestwich was born in Atherton, 1852. He was articled to Rowland Plumbe in London. He established his architectural practice in Leigh in 1875 and was responsible for many of the public buildings in the town in the late Victorian and Edwardian years, including the Town Hall. Outside of Leigh, the firm designed Atherton Council Offices (1898--1900) and Stockport Public Baths. Ernest Prestwich worked alongside his father until the latter’s retirement in 1930. Ernest designed Leigh’s cenotapth and was one of the architects of Swinton municipal buildings (1937). The firm continued after the Second World War, designing, among other local buildings, the Turnpike.
Sources: Leigh Library biographical cuttings; Tracy, 1899. [Man2004]

Peter Price (b.1959)
A self-taught stonemason from Cheadle in Staffordshire, Peter Price gave up his former career as a pot-bank manager to set up Churchwall Gargoyles in 1991. The firm specialises in producing garden sculptures, including green men, giant leaves and images based on medieval gargoyles. All the pieces are carved in York stone or the local Hollington sandstone. His best-known works are probably his carvings around the entrance of the Alton Towers Hotel, but he has also produced public art for Stoke City Council and the village of High Leigh in Cheshire.
Source: Information provided by the artist, 2003. [SBC2005]

John Pritchard (active 1860s--1900s)
One of two architects in charge of the work at Llandaff Cathedral during the 1860s, the other being John Pollard Seddon. He also worked with Seddon at Ettington Park, Warwickshire.
Source: Read, B., Victorian Sculpture, New Haven and London, 1982. [WCS2003]

Walter Pritchard (1905--77)
Scottish stained glass artist, mural painter and sculptor. He was Head of the Department of Murals and Stained Glass at GSA, and exhibited Summer at the RSA in 1941, and the aluminium and copper Annunciation at the RGIFA in 1961. He designed a lamp for St Charles Church, Kelvinside and painted the ceiling of the Sacred Heart Chapel in St Columbkille’s RC Church, Rutherglen, for Gillespie Kidd & Coia (1934--40).
Sources: Rogerson, p.117; Schotz, p.168; Laperriere; Billcliffe. [G2002]

Alexander Proudfoot (1879--1957)
Liverpool-born sculptor, associated with Archibald Dawson and Benno Schotz (qq.v.) throughout the inter-war years as the most important sculptors of their generation in the west of Scotland. He studied modelling and stone carving at GSA, winning the Haldane Travelling Scholarship in 1908, and becoming Head of Sculpture in 1912. He was busy throughout 1914, working on carving for the Dunfermline Carnegie Library, gavels for the Trades House and Old Deacons Club, as well as exhibiting various portrait busts and reliefs. His output was interrupted, however, by the First World War, in which he served as a sergeant in the Artists Rifles, during which time he invented a protractor for the Vickers machine gun. Even so he managed to exhibit Charon at RGIFA in 1915. After the war he continued as an independent sculptor, with a prodigious output of portrait busts and ideal work, and remained Head of Sculpture at GSA until 1928. He also secured commissions for war memorials at Bearsden (1924), and Greenock (1924). He was elected ARSA in 1921, RSA in 1932, and FRSBS in 1938, and was President of Glasgow Art Club three times between 1924 and 1939. Two years before his death he married his assistant, Ivy Gardner.
Sources: GSA Reports, 1911--28; GH, 11 July 1957, p.9 (obit.); McEwan. [G2002]

Augustus Welby Northmore Pugin (1812--52)
Gothic Revival architect who was also the designer of many decorative elements in architecture, furniture, stained glass, church vestments, etc., and a controversial and influential writer on architectural and religious matters. Pugin converted to Catholicism at an early age, and began independent practice as an architect in 1836. For him, architecture became entwined with the reawakening of feeling for the Roman Catholic Church in England. He published many books, the most famous of which are the two early polemical discourses Contrasts... Shewing the Present Decay of Taste (1836) and The True Principles of Pointed or Christian Architecture (1841). His books expanded his theories that Gothic architecture could be built with modern materials and methods whilst being both beautiful and Christian. In 1836 he collaborated with Charles Barry in the preparation of the competition design for the new Houses of Parliament and then assisted with many aspects of its detailed ornamentation and interior design until his early death at the age of 40. His many churches include St Mary’s, Derby (1837--9); St Giles’, Cheadle, Staffordshire (1840--6); and St Augustine’s, Ramsgate (1845--7). He also designed the Convent of the Sisters of Mercy in Handsworth, Birmingham (1840).
Sources: Atterbury, P. and Wainwright, C., (eds), Pugin: A Gothic Passion, exhib. cat., New Haven and London, 1994; Harries, J., Pugin: An Illustrated Life of Augustus Welby Northmore Pugin 1812--1852, Aylesbury, 1973; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.202; Richards, J.M., Who’s Who in Architecture from 1400 to the Present Day, London, 1977, pp.260--2. [SBC2005]

Augustus Welby Northmore Pugin (1812--1852)
Gothic Revival architect who was also the designer of many decorative elements in architecture, furniture, stained glass, church vestments, etc., and was a controversial and influential writer on architectural and religious matters. Pugin converted to Catholicism at an early age, and began independent practice as an architect in 1836. For him, architecture became entwined with the re-awakening of feeling for the Roman Catholic church in England. He published many books, the most famous of which are the two early polemical discourses: Contrasts ... Shewing the Present Decay of Taste (1836) and The True Principles of Pointed or Christian Architecture (1841). His books expanded his theories that Gothic architecture could be built with modern materials and methods whilst being both beautiful and Christian. In 1836 he collaborated with Charles Barry in the preparation for the competition design for the new Houses of Parliament and then assisted with many aspects of its detailed ornamentation and interior design until his early death at the age of forty. His many churches include: St. Mary’s, Derby 1837--9; St. Giles’, Cheadle, Staffs. 1840--6; and St. Augustine’s, Ramsgate 1845--7. He designed the Convent of the Sisters of Mercy in Handsworth, Birmingham 1840.
1. Macmillan encyclopedia of architecture, vol.3, London, 1982, pp.484--97; 2. P. Atterbury, and C. Wainwright (eds.), Pugin: A gothic passion, Victoria and Albert Museum, New Haven and London, exh.cat., 1994; 3. J. Harries, Pugin: An illustrated life of Augustus Welby Northmore Pugin 1812--1852, Aylesbury, 1973. [B1998]

Edward Welby Pugin (1834--1875)
The son of A.W.N. Pugin, he began independent practice at eighteen on the death of his father, and had more than 100 churches listed at his death. [B1998]

Tessa Pullan (b.1953)
Between 1971 and 1974, Tessa Pullan studied in France under John Skeaping (known as a portrayer of horses). She then undertook a Diploma course at the City and Guilds School of Art (1974--7), followed by postgraduate studies at the Royal Academy Schools (1977--80). Her work is mainly figurative, and she has two styles of working: as a traditional animal sculptor, producing naturalistic bronze portraits of horses and dogs; and as a more innovative sculptor of animals, creating large-scale, highly stylised animal sculptures, predominantly of horses. She has carried out a number of major commissions, including a bronze statue of a horse for Lloyds Bank, Cambridge (1977); a portrait of Troy, the 200th Derby winner for Willie Carson (1980); and several items for Paul Mellon, including a bronze portrait of Sea Hero, the 1993 Kentucky Derby winner (1994). Her most recent commissions include American Civil War Horse outside the Virginia Historical Institute in Richmond, USA, and her only work in steel, Horse and Rider, for the Black Country Route in Wolverhampton (both 1997). She has exhibited at the Royal Academy since 1978, and is a member of the Society of Equestrian Artists and an associate of RBS (the Royal British Society of Sculptors).
Sources: Buckman, D., Dictionary of Artists in Britain since 1945, Bristol, 1998, p.996; Information provided by the artist, 25 March 2002; Purdie, D., Public Art on the Black Country Route, 1997, http://wavespace.waverider.co.uk/~scotdave; Royal British Society of Sculptors website, accessed 8 March 2002, www.rbs.org.uk; Society of Equestrian Artists website, accessed 8 March 2002, entry for Tessa Pullan SEA, www.equestrianartists.co.uk; Wykes-Joyce, M., ‘Tessa Pullan: Animal Sculpture’, review of exhibition at Quinton Green Fine Arts, 2 October--2 November 1985, Art and Artists, no.229, October 1985, pp.36--7. [SBC2005]

William Pye (b.1938)
Born in London, he studied at Wimbledon School of Art 1958--61 where he was taught by Freda Skinner, and at the RCA 1961--5. Taught at the Central School of Art and Design 1965--70 and Goldsmith’s College 1970--7, becoming a visiting professor at California State University 1975--6. His major works are primarily explorations in the qualities of water, and he has worked extensively in collaboration with architects. In 1990, he formed the William Pye Partnership which is a sculptural and architectural practice. Making abstract metal sculptures that are often kinetic and have highly reflective surfaces, he has said that ‘sculpture isn’t naturally seductive but the addition of water gives it a sort of mesmeric quality to which people respond sympathetically’. His commissions include the award-winning Balla Frois, Glasgow Garden Festival (1988), Slipstream and Jetstream, passenger terminals, Gatwick Airport (1988) for which he also won an award, Water Wall on the British Pavilion designed by Nicholas Grimshaw and Partnership, Seville Expo (1992), suspended water sculpture, British Embassy, Muskat, Oman (1994), Confluence, water sculpture, Hertford town centre (1994), Cascade, Market Square, Derby (1995), and Water Pyramid, Le Colisée, Paris (1995). He has public works in the USA and Japan, and has worked on light features for Lambeth Palace, London and West India Quay feature for the London Docklands Development Corporation. Pye’s films include Reflections (1971) and Scrap to Sculpture (1975). Awarded the ‘Structure 66’ prize, Welsh Arts Council (1966), and Royal UENO Award, Japan (1989). Exhibited throughout Great Britain including the Redfern Gallery (1966) and subsequently the Ikon Gallery, Birmingham (1975), British sculpture in the twentieth century, Whitechapel Art Gallery (1981), Welsh Sculpture Trust Inaugural Exhibition, Margam Park, Port Talbot (1983). FRBS (1992), FRIBA (1993).
Sources: Farr, D., ‘The patronage and support of sculptors’ in Nairne, S. and Serota, N., British sculpture in the twentieth century, Whitechapel Art Gallery, London, 1991; Strachan, W.J., Open Air Sculpture in Britain, London, 1984; curriculum vitae provided by the artist for the WMCC Peace Sculpture Commission, 1984; Redhead, C., ‘Waterworks’, Crafts, London, vol.104, July/August 1989; ‘Zen and the art of water’, Crafts, London, vol.105, July/August 1990; Amery, C., ‘Water: an art form to be tapped’, Financial Times, 18 September 1995; Watt, J., ‘Making waves’, Perspectives, February/March 1996; letter from the artist, 19 February 1996. [WCS2003]

William Pye (b.1938)
Born in London, 16th July 1938, he studied at Wimbledon School of Art 1958--61 where he was taught by Freda Skinner, and at the RCA 1961--5. Taught at the Central School of Art and Design 1965--70 and Goldsmith’s College of Art 1970--7, becoming a visiting professor at California State University 1975--6. His major works are primarily explorations in the qualities of water, and he has worked extensively in collaboration with architects. In 1990, he formed the William Pye Partnership which is both a sculptural and an architectural practice. Making abstract metal sculptures which are often kinetic and have highly reflective surfaces, he has said that ‘sculpture isn’t naturally seductive but the addition of water gives it a sort of mesmeric quality to which people respond sympathetically’. His commissions include: Balla Frois, Glasgow Garden Festival 1988 (award winner); Slipstream and Jetstream, passenger terminals, Gatwick Airport 1988 (award winner); Water Wall on the British Pavilion designed by Nicholas Grimshaw and Partnership, Seville Expo 1992; Suspended water sculpture, British Embassy, Muskat, Oman 1994; Confluence, water sculpture, Hertford town centre 1994; Cascade, Market Square, Derby 1995; Water Pyramid, Le Colisée, Paris 1995. He also has public works in the USA and Japan. Work in progress (1995) includes: light features for Lambeth Palace, London and West India Quay feature for the London Docklands Development Corporation. Pye’s films include: Reflections, 1971 and Scrap to Sculpture, 1975. Awarded the ‘Structure 66’ prize, Welsh Arts Council 1966; Royal UENO Award, Japan 1989. Exhibited throughout Great Britain including the Redfern Gallery, 1966 and subsequently; Ikon Gallery, Birmingham 1975; British sculpture in the twentieth century, Whitechapel Art Gallery 1981; Welsh Sculpture Trust Inaugural Exhibition, Margam Park, Port Talbot 1983. FRBS 1992; FRIBA 1993.
1. D. Farr, ‘The patronage and support of sculptors’ in British sculpture in the twentieth century, Whitechapel Art Gallery, London, exh.cat., pp.34--7 and 260; 2. Strachan, 1984, p.270; 3. CV provided by the artist for the WMCC Peace Sculpture Commission, 1984; 4. D. Redhead, ‘Waterworks’, Crafts, July/August 1989, pp.24--9; 5. ‘Zen and the art of water’, Crafts, London, no.105, July/August 1990, p.12; 6. C. Amery, ‘Water: an art form to be tapped’, Financial Times, 18th September 1995; 7. J. Watt, ‘Making waves’, Perspectives, February/March 1996, p.71; 8. Letter from the artist, 19th February 1996. [B1998]

William Pye (b. 1938)
Sculptor and teacher born William Burns Pye on 16 July 1938 in London. He studied at Wimbledon School of Art, 1958--61, and the Royal College of Art, 1961--5. He then taught at Central School of Art and Design, 1965--70, and Goldsmiths’ School of Art, 1970--7, and was visiting professor at California State University, 1975--6. His first solo exhibition was at the Redfern Gallery, London, in 1966, and his first in the USA was at the Bertha Schaefer Gallery, New York, in 1970. His work was included in Coventry Cathedral’s open-air ‘Exhibition of British Sculpture’, 1968; in the Middelheim Biennale, 1969; in ‘British Sculptors ‘72’ at the Royal Academy; and the Open Air Sculpture Exhibition at Holland Park, London, both 1972; and in the ‘Silver Jubilee Contemporary British Sculpture’ exhibition, Battersea Park, London, 1977. A retrospective of his work was held in Hong Kong in 1987. In 1990 he formed the William Pye Partnership. His public sculptures include Zemran, 1971, South Bank, London; Peace Sculpture, 1985, University of Aston, Birmingham; Slipstream and Jetstream, 1987--8, Gatwick Airport passenger terminals (ABSA Award for best commission of new art and the Art and Work Award for best commission in 1988); Downpour (water sculpture), 1995, British Embassy, Muskat, Oman; Derby Cascade, 1995, Market Square, Derby; and Water Pyramid, 1995, Le Colisée, Paris. In 1971 he made the films Reflections and From Scrap to Sculpture (the latter documenting the making of Zemran). His awards include the ‘Structure 66’ prize, Welsh Arts Council, 1966; Prix de Sculpture, Budapest International Sculpture Exhibition, 1981; and the Royal UENO Award, Japan, 1989. He was made a Fellow of the Royal Society of British Sculptors in 1992 and an Honorary Fellow of the Royal Institute of British Architects in 1993.
Sources: Buckman, D., 1998; Nairne, S. and Serota, N. (eds), 1981; Noszlopy, G. and Beach, J., 1998; Royal Academy of Arts, 1972; Spalding, F., 1990; Strachan, W.J., 1984; Who’s Who 1999. [LR 2000]

William Pym (b. 1965)
Sculptor. Born in Wiltshire. Studied sculpture at University of Newcastle, 1984--8. Sculpture and functional metalwork, especially in steel. Permanently sited sculptures include Aurum Lily (Longbenton Community High School, North Tyneside, 1992), Benwell Bird (Colston Street, Benwell, Newcastle upon Tyne, 1997), Swarm (Monkton Business Park, Hebburn, South Tyneside, 2000) and Flow (Witton Country Park, Blackburn, 2000).
Source: Irwell Sculpture Trail. [Man2004]

William Pym (b.1965)
Trained at Newcastle University as an undergraduate, Pym specialises in wrought iron and forged steel sculptures. He has been artist-in-residence at a number of schools and in the west end of Newcastle, and his work has been shown at the Gateshead Garden Festival and in touring exhibitions including ‘Playing A Part’ (1991). Member of the British Association of Blacksmith Artists and a director of Northern Freeform. Other works in the region include decorative gateways, railings and benches at Hebburn, Newton Aycliffe and Benwell; and an electric chandelier and two signs at Rothbury Northumberland National Park centre.
[1] Stephenson, p.60. [2] Information supplied by the artist, 1999. [NE 2000]

Walenty Pytel (b.1941)
Born in Sarny, Poland, Pytel studied graphic design at Hereford College of Art (1956--61). Working first as an illustrator for a book publisher in London, he moved to Hereford in 1962 and opened two commercial art studios there, turning to sculpture in 1965. He first made models in metal and subsequently taught himself welding. Pytel’s welded metal sculptures consist mainly of birds, animals and heraldic beasts. His most important commissions include Woodpecker, H.P. Bulmer’s, Hereford (1969); the Silver Jubilee Monument, Parliament Square, London (1977); The Fossor, JCB Factory, Rocester, Staffordshire (1979); the Planet Walk Sculptures, Tamworth (2000); the Hawkesbury Gateway feature, Coventry Canal (2000); and Dragonfly and Butterfly, Bristol (2000). His exhibitions include the RSPB Centenary Exhibition, Walsall Museum and Art Gallery (1989); and those of the Society of Wildlife Artists, Mall Galleries, London (1989--93). He is a member of the Royal Society of British Sculptors, and has works in private collections in Britain, Europe, the USA, Australia and Canada.
Sources: Birmingham Post, ‘Banking on sculpure in soft steel’, 13 February 1978; Bridge End Gallery leaflet, n.d.; Information provided by the artist, 6 March 1986; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.203; Noszlopy, George T., Public Sculpture of Warwickshire, Coventry and Solihull, Liverpool, 2003, p.139; Pytel, W., The Man who Brings Steel to Life, publicity leaflet provided by the artist, Hereford, 1983. [SBC2005]

Walenty Pytel (b.1941)
Born in Sarny, Poland, 10th February 1941, he came to England aged five and studied graphic design at Hereford College of Art 1956--61. Working first as an illustrator for a book publisher in London, he also made paper models for window displays. He moved to Hereford in 1962 and opened two commercial art studios there, eventually turning to sculpture in 1965, first making models in metal and subsequently teaching himself welding. Pytel had studios in Woolhope from 1965--7 and then established the Bridge End Gallery and workshops at Letton, Herefordshire in 1979. He has works in private collections in Britain, Europe, United States, Australia and Canada. His commercial commissions in Birmingham were obtained through his agent, Henry Joseph of Allied Artists, Birmingham. Pytel’s welded metal sculptures consist mainly of birds, animals and heraldic beasts and include: Scott Arms inn sign, Great Barr, Birmingham; mural, Chelmsley Wood shopping development. Main commissions include: Silver Jubilee Monument, Parliament Square, London, 1977; The Fosser, JCB Excavator Factory, Uttoxeter, Staffs. 1979; Woodpecker, H.P. Bulmer, Hereford and commissions for companies including Chanel, Paris and Cadbury’s, Dublin. Exhibitions include: RSPB Centenary Exhibition, Walsall Museum and Art Gallery 1989; Alte Wasserturm, Essen, Germany 1989; Society of Wildlife Artists, Mall Galleries, London 1988 (award winner), 1989--93. He has also had recent exhibitions in the Middle East. His first main exhibition in the Midlands was held at the Midland Bank, New Street, Birmingham 1978. Membership: ARBS.
1. ‘Banking on sculpure in soft steel’, Post, 13th February 1978; 2. The man who brings steel to life, publicity leaflet provided by the artist, Hereford, 1983; 3. The Bridge End Gallery leaflet, undated; 4. Information provided by the artist, 6th March 1986; 5. Letter sent by artist, February 1996. [B1998]

Charles Quick (b.1957)
Charles Quick trained at Gloucestershire College of Art and Design (1976--7), then studied Fine Art at Leeds Polytechnic where he obtained a first class degree. He claims that his ‘aesthetic roots lie with Modernism’ and that his work is influenced by Christo, William Furlong and Buster Simpson. He is interested in electricity which he describes ‘as not just a physical power but also an economic, industrial and cultural power’. Influenced by pylons and industrial design, particularly by street furniture, he constructs objects that interact with the viewer, usually using a combination of sensors and light bulbs.
Sources: public lecture by Charles Quick, 18 March 1999; curriculum vitae from the artist. [WCS2003]

Samuel Rabinovitch (later known as Sam Rabin) (b. 1903)
Born in Manchester into a poor Russian Jewish family. In 1914 he won a scholarship to the Manchester School of Art. Rabin moved to the Slade School in 1921. Draughtsmanly skills were instilled in him, in Manchester by Adolphe Valette, and at the Slade by Henry Tonks. After the Slade, Rabinovitch studied in Paris, where he came under the influence of the sculptor, Charles Despiau. Back in London, in 1928, he secured his first big commission, for a relief of the West Wind, for Charles Holden’s London Underground Headquarters in Broadway, Westminster. This was a commission on which he worked alongside J. Epstein, E. Gill, and H. Moore, so that he became aligned with the forefront of the direct carving movement. Another small commission for masks of Past and Future, for the Daily Telegraph building, followed in 1929. After this, Rabinovitch felt obliged to relinquish sculpture. He changed his name to Sam Rabin, and embarked on a mixed career as a professional wrestler and film-actor. He performed as the Champion Wrestler alongside Charles Laughton in Alexander Korda’s The Private Life of Henry VIII (1933). During the Second World War, Rabin sang with the Army Classical Music Group, and in 1947--8 he performed frequently on radio music programmes. In 1949, he was appointed teacher of drawing at Goldsmiths’ College. In his second career as a visual artist, Rabin concentrated on depictions of the boxing ring, principally in coloured crayon. In 1965 he transferred from Goldsmiths’ to the Bournemouth and Poole College of Art, where he taught until 1985.
Source: J. Sheeran, Introducing Sam Rabin, Exh. cat. Dulwich Picture Gallery, November 1985 -- February 1986. [CL2003]

Ronald Rae (b.1946)
Working mainly in granite, Rae trained at Glasgow School of Art (1964--6) and Edinburgh College of Art (1968--9). His first major work, The Deposition, was begun during his period at Edinburgh, and is now in Rozelle Park, Ayr. Other major commissions include Abraham (1982, Royal Edinburgh Hospital); Return of the Prodigal (1982, General Accident World Headquarters, Perth); Famine, (1985, St John’s Church, Edinburgh); The Good Samaritan (1988, Glenrothes Development Corporation); Sheep and The Shepherd (1988, Glasgow Garden Festival); and Young Bull (1994, Glenlivet Property Company). Ronald Rae has inherited the tradition of carving to reveal ‘the spirit in the mass’ from Brancusi, Epstein and Henry Moore. Rae feels deeply for the tragedies of the human condition, as is apparent in his Gethsemane and Hiroshima Departed. By the end of the 1980s, the strain of making this tragic sculpture was becoming difficult to deal with, and he turned from the agonised postures of his religious and memorial pieces towards animal sculpture. His figures became less anguished and contorted. He has not abandoned the human figure by any means, but there is a new tenderness about his Mother and Child (1991), and less primitive stylisation.
Source: MacDonald, P. and Beaumont, M.R., Ronald Rae, exhib. cat., Edinburgh, 1994. [SBC2005]

Alma Ramsey (b.1907)
Born in Tunbridge Wells, Ramsey studied at Bournemouth School of Art, and at the Royal College of Art, London 1927--30 under Gilbert Ledward and Henry Moore. She was influenced by their ideas of direct carving in wood and stone. She also studied ceramics with William Staite Murray. A carver in alabaster and other stones, and a draughtsman in chalk, she married the artist Hugh Richard Hosking. Amongst her commissions was the first crib for Coventry Cathedral, and Christ in Glory for St Francis of Assisi, Elmdon Heath, Warwickshire. She exhibited widely in mixed shows, and enjoyed a long series of solo exhibitions, beginning with the Peter Dingle Gallery, Stratford-upon-Avon (1966), the Herbert Art Gallery, Coventry (1969), Southwell Minster (1972), Stoke-on-Trent City Art Gallery (1980), and Warwick Museum (1989). Her work is included in the collections of the Herbert Art Gallery and Museum, Coventry, Oxford City and County Museum; Leamington Art Gallery, and Worcester Education Department.
Source: Spalding, F., 20th Century Painters and Sculptors, Dictionary of British Art, VI, Woodbridge, Suffolk, 1990. [WCS2003]

Amanda Randall (b.1963)
Trained as a painter and woven textile designer at West Surrey College of Art and Design. Her paintings have been shown at various galleries in the North East.
[1] Northern Arts Index, 1999. [NE 2000]

Jill Randall
Sculptor. Born in Kirkby in Ashfield, Nottinghamshire. Studied at Falmouth School of Art (BA Fine Art Sculpture) and Manchester Polytechnic (MA Fine Art Sculpture, 1983). Solo exhibitions at Le Chat Noir Gallery, London, 1992, Turnpike Gallery, Leigh, 1997 and The Lowry, 2003. Residencies include Grizedale Forest Sculpture Trail and Magnesium Electron, Swinton. Public works include Screen (George Square, Oldham) and Torment of the Metals (Grizedale Forest, Cumbria).
Source: artist. [Man2004]

Peter Randall-Page (b. 1954)
Sculptor. Born in Essex. Studied at Bath Academy of Art (1973--7) before moving to London where he worked with Barry Flanagan for a year. He worked on the conservation of thirteenth-century sculpture at Wells Cathedral, Somerset. In 1980 he was awarded the Winston Churchill Memorial Trust Travelling Fellowship to study marble-carving in Italy. He was visiting lecturer in Sculpture at Brighton Polytechnic from 1982 to 1989. He has exhibited his work regularly in Britain and abroad. In 1989 he began ‘Local Distinctiveness’, a project concerned with placing sculpture in the environment with particular care for its relevance and sensitive siting. He works mainly in stone, and uses natural forms such as shells, fossils, fruits, eggs and pods, as well as expressive knots. Works include Untitled (Milton Keynes, 1980), Still Life (Basingstoke), Secret Life II (Dublin, 1994), Inner Compulsion (Ardingly, 2000) and Ebb and Flow (Newbury, 2003).
Source: Hamilton, 1992; artist. [Man2004]

Peter Randall-Page (b.1954)
Peter Randall-Page was born in Essex and studied at Bath Academy of Art (1973--7) before moving to London where he worked with Barry Flanagan for a year. He worked on the conservation of thirteenth-century sculpture at Wells Cathedral, Somerset. In 1980 he was awarded the Winston Churchill Memorial Trust Travelling Fellowship to study marble-carving in Italy. He was visiting lecturer in Sculpture at Brighton Polytechnic from 1982 to 1989. He has exhibited his work regularly in Britain and abroad. In 1989 he began ‘Local Distinctiveness’, a project concerned with placing sculpture in the environment with particular care for its relevance and sensitive siting. He works mainly in stone, and uses natural forms such as shells, fossils, fruits, eggs and pods, as well as expressive knots.
Sources: Hamilton, James and Warner, Marina, Peter Randall-Page, Sculpture and Drawing 1977--1992, Leeds, 1992; Elliott, Ann, Peter Randall-Page: New Sculpture and Drawings, London, 1998. [WCS2003]

Peter Randall-Page (b. 1954)
Sculptor, draughtsman and teacher born in Essex, but brought up in Sussex. He studied at Bath Academy of Art, 1973--7, and after graduating worked for sculptor Barry Flanagan, 1977--8, and then, in 1979, with Robert Baker on conservation work at Wells Cathedral. In 1980 he won the Winston Churchill Memorial Trust Travelling Scholarship to study marble carving at Carrara. On his return he became a visiting lecturer at Brighton Polytechnic, 1982--9, after which he moved to Drewsteignton, Devon, and set up a workshop with associates to carry out large commissions. He had his first solo exhibition at the Gardner Centre Gallery, University of Sussex, in 1980, and his first solo exhibition in London at the Anne Berthoud Gallery in 1985. His work was also included in various mixed exhibitions including ‘Summer Show 3’, Serpentine Gallery, 1982; ‘Sculptors and Modellers’, Tate Gallery, 1984; ‘Feeling through Form’, Barbican Art Centre, London, 1986; the Seventh International Small Sculpture Exhibition of Budapest, Hungary, 1987; and ‘Chelsea Harbour Sculpture 93’, 1993. In 1992 a major retrospective was held at Leeds City Art Gallery and Yorkshire Sculpture Park (and tour). His public commissions include Nocturne II, 1979, and Untitled, 1980, both for Milton Keynes; Cuilfail Spiral, 1982, on the A26 roundabout at the north end of the Cuilfail tunnel, Lewes; and ... and Wilderness is Paradise Enough, 1986, St George’s Hospital, London.
Sources: Buckman, D., 1998; Chelsea Harbour Sculpture 93, 1993; Strachan, W.J., 1984. [LR 2000]

Ian Randell (b.1966)
Since graduating from Lanchester Polytechnic (now Coventry University) with a first class honours degree in sculpture in 1988, Ian Randell has exhibited at the Cartwright Hall, Bradford (1990), the Cliffe Castle Museum, Keighley (1991), the Bradford Arts Festival (1992) and the Bradford Gallery (1994).
Source: information from the artist. [WCS2003]

Mario Raggi (1821--1907)
Sculptor. London-based sculptor, produced chiefly portrait busts and some ideal works. First exhibited at the RA in 1854. Raggi’s works include the bronze reliefs on the monuments honouring Dr Evan Pierce (Denbigh, 1872) and the naked Vulcan on Sheffield Town Hall (1897). His best-known portrait statue is of Benjamin Disraeli (Parliament Square, London, 1883). Other public statues include Howel Glynn (Victoria Gardens, Neath, Port Talbot, 1889) and Henry Hussey Vivian, 1st Baron Swansea (Victoria Park, Swansea, 1886, removed to St David’s Centre). His portrait busts include Admiral Roux (1878) and Cardinal Newman (1881), both in terracotta. His last exhibit at the Royal Academy was a marble bust of the Duchess of Rutland (1895).
Sources: Graves, 1904; Read, 1982. [Man2004]

John Ravera (b. 1915)
Born in Surrey, he was educated at Camberwell Junior Schools and Camberwell School of Art (1954--62). One of his sculpture tutors was the Czech ex-patriot artist Karel Vogel. Ravera has taught at the Woolwich Adult Education Centre and at the Sidcup Art Centre. He is a member of the Society of Portrait Sculptors and the Royal Society of British Sculptors. He has exhibited at the RA, the Woodlands Art Gallery and the Alwin Gallery. He lives at Bexleyheath, Kent. He has produced figurative sculpture in a wide variety of materials.
Source: D. Buckman, The Dictionary of British Artists Since 1945, Bristol, 1998. [CL2003]

John Ravera
Ravera trained at Camberwell School of Art between 1954 and 1962. He has worked in various materials, but predominantly makes bronzes from clay models. He produces figurative and abstract works for public and private commissions, as well as smaller scale limited edition statuettes of figures and animals. He was elected to the Royal Society of British Sculptors in 1976.
Source: information from the artist, www.jepa.co.uk/ravera/ [WCS2003]

Thomas Rawcliffe
Stonemason. Long-established firm of stonemasons in Chorley. General stone-carving business and monumental masons. Thomas Rawcliffe was responsible for the font (after Thorwaldsen, Copenhagen Cathedral) in St George’s Church, Chorley. Statuettes included The Angler, The Bubble-blower and Meditation. Bentham also sculpted a group for a fountain in Hayling Island.
Sources: Graves, 1904; Lancashire Directories; Cornish, 1959. [Man2004]

David Willingham Rawnsley
Artist and sculptor. Born in Sevenoaks. Educated at Westminster School and then studied architecture. Became painter and scenery designer, and following the Second World War he was art director at Elstree Studios. He and his wife, Mary, established Chelsea Pottery in 1952. In about 1959 he moved to the Bahamas, leaving Brian Hubbard to continue the pottery. In Nassau he painted, sculpted and set up Chelsea Pottery Bahamas.
Source: www.antonymaitland.com [Man2004]

Richard Ray (1884--1968)
Painter, sculptor and designer. Studied at Brighton School of Art and the Royal College of Art. Appointed Principal of the College of Arts and Crafts at Sunderland, he remained deeply interested in painting, and also became involved in designing war and other memorials and badges of office. He rarely exhibited his work outside Sunderland, and continued to live at Sunderland following his retirement.
[1] Hall, M., A Dictionary of Northumberland and Durham Painters, Newcastle, 1973, p.141. [NE 2000]

Vincent Rea (b.1936)
Born and educated on Tyneside, Rea was Director of the Bede Gallery, Springwell Park, Jarrow, for many years. He moved to the Viking Centre in Jarrow in 1996.
[1] Journal, Newcastle, 15 November 1996. [NE 2000]

George Reavell (1865--1947)
Educated at Alnwick Grammar School, Reavell practised as an architect in Alnwick and Morpeth, designing and restoring public and private buildings in north Northumberland, including the United Free Church, Wooler, and Howick Hall (in collaboration with Sir Herbert Baker). He was president of the Northern Architectural Association 1925--6, commander of 2/7th and 35th Northumberland Fusiliers in the First World War and a leading figure in the Alnwick Boy Scouts and Free Masons.
[1] Northumberland and Alnwick Gazette, February 1947. [2] Dictionary of Edwardian Biography -- Northumberland, Edinburgh, 1985, p.207. [3] DBArch, p.757. [NE 2000]

Arnold Frédéric Rechberg (1879--after 1976?)
Taught by Seffner and Klinger at Leipzig and active in Paris 1904--12, where he came under the influence of Rodin. He designed the war memorial for his home town and has a number of portrait busts in museums in Leipzig and Dresden.
[1] Bénézit, vol.8, p.639. [NE 2000]

James Frank Redfern (1838--76) Born at Hartington, Derbys. Redfern showed an early aptitude for carving. A group of A Warrior and a Dead Horse, carved in alabaster, attracted the attention of the politician and architectural pundit, Beresford Hope, who placed Redfern with the stained glass firm of Clayton & Bell. Redfern subsequently studied in Paris under the painter, Charles Gleyre. By 1859, he was living in London, where he was recorded in 1867 in a partnership, Bell, Redfern and Almond, Sculptors and Glass Painters. Between 1859 and 1876, Redfern exhibited, mostly religious works and portraits, at the Royal Academy. He collaborated on a number of occasions with the architect George Gilbert Scott, notably on the Albert Memorial, where he contributed four figures of Virtues for the foot of the spire. He also worked with Scott on cathedral restorations, at Gloucester, Lichfield, Ely, Salisbury, and at Westminster Abbey. Other architects with whom Redfern worked were G.E. Street, Bodley and Garner, and G. Somers Clarke. Redfern died in ‘pecuniary distress’, according to G.G. Scott, who also states that he had ‘fallen into the hands of cruel usurers, who made his life a torment to him’.
Sources: T. Ayers (ed.), Salisbury Cathedral. The West Front, Chichester, 2000 (contribution on J. Redfern by E. Hardy). [CL2003]

George Tunstall Redmayne (1840--1912)
Architect. Articled to Alfred Waterhouse and remained as his assistant. Passed Voluntary Exam. Started independent practice early 1868. Paul Waterhouse wrote of him: ‘His personal thought and personal labour entered every detail of his designs, and he was exceptionally careful in making sure that nothing should appear in his work which was meaningless or nugatory’. He built churches and other public buildings in the north of England. His work on St Andrew’s Chambers, originally built for Scottish Widows Insurance, proved, according to Waterhouse, that ‘there was real art and real sense in that medieval revival which is today so readily despised. It is virile and fresh.’
Source: Tracy, 1899; biographical cuttings, Manchester Local Studies Library. [Man2004]

Lynne Regan
Yorkshire-based sculptor in stone, brick and other materials. Trained in fine art at Sheffield City Polytechnic 1986--7 and Kent Institute of Art and Design 1989--92. Regan has taken part in group shows in London, Kent and Sheffield from the early 1990s.
[1] AXIS, Artists Register, 1999. [NE 2000]

John Reid (born c.1890)
Reid (his name is sometimes given as Reed) studied at the Royal College of Art and then became Master of Sculpture at Armstrong College, Newcastle. After service in the First World War he returned to Armstrong College and remained there until the late 1920s, exhibiting both sculpture and landscapes at the Artists of the Northern Counties exhibitions at the Laing Art Gallery in the 1920s. In 1927 he became Master of Design at the School of Art in West Ham, London.
[1] Hall, M., Artists of Northumbria, Newcastle, 1982, pp.142--3. [2] Durham University Journal, vol.xxv, no.4. [NE 2000]

William Reid-Dick (1878--1961)
Reid-Dick worked mainly in commemorative and portrait sculpture. An example is the memorial of 1939 to King George V at Westminster. His other works include a bust of Sir Edward Lutyens and a statue of Our Lady of Liverpool, both of 1933, and statues of Lord Duveen and the Countess of Jersey (1934).
Source: Granville-Fell, H., Sir William Reid Dick, London, 1945. [WCS2003]

Sir Charles Herbert Reilly (1874--1948)
London-born architect and teacher, trained in the office of his father, the architect C.T. Reilly. He was subsequently articled to John Belcher and then went into partnership with Stanley Peach. In 1902 he entered the Liverpool Cathedral competition, earning a commendation from the assessors. He was elected ARIBA in that same year, invited to join the RIBA board of architectural education in 1906, elected to the RIBA’s council in 1909 and elected fellow in 1912, finally serving as vice-president in 1931--33. From 1904 to 1933 he was Roscoe Professor of Architecture at the University of Liverpool and is generally considered to have been a pioneer of architectural education in Britain. The year after his retirement he was awarded an honorary degree of LL.D by the University and was made an emeritus professor. His most important building in Liverpool is the Students’ Union Building (1910--13; extended by Reilly, L.B. Budden and J.E. Marshall in the 1930s). A regular contributor to the Manchester Guardian and Liverpool Post and frequent reviewer of buildings and books for Architects’ Journal and Architectural Review, he was also for a time architectural editor of Country Life. His most famous book is probably Scaffolding in the Sky: a semi-architectural autobiography, 1938. Reilly was awarded the Royal Gold Medal for Architecture in 1943 and was knighted in 1944.
(sources: DNB; Wodehouse, 1978) [L 1997]

Mark Renn (b.1952)
Mark Renn trained in Birmingham during the 1980s, gaining a BA (Hons) in Fine Art and an MPhil in Mural Studies. While he was artist-in-residence in Sedgley near Wolverhampton (1988--9), he undertook an environmental sculpture commission, Garden of Hope (1989). Other environmental sculpture commissions followed, including the Tsunami Sculpture Garden, Moseley (1992). He also assembled works from a variety of recycled, non-art materials. Examples of his work in this field include Meet the Future, Cannon Hill Park, Birmingham (1989), made from used cars, bandages and powdered brass; Another Summit, Sandwell (1991), created from blankets, bread and transistor radios; and Icarus Ltd, Telford (1992), made from steel office furniture, candles and a soundtrack. Since 1994, he has worked collaboratively with Mick Thacker on a number of public art projects, including a giant padlock and a series of 16 bronze pavement inserts for the Jewellery Quarter in Birmingham (2000) and a kinetic lighting feature for Browning Street Bridge, also in Birmingham (2001). They work in a variety of media and styles, gearing their approach to the needs of specific sites rather than creating artworks that exist as discrete features. Since 1997, they have collaborated on several sculpture commissions that include fibre-optic elements. Their most recent commission is for the Darwin Gate in Shrewsbury, which is due to be unveiled towards the end of 2004.
Sources: AXIS, The Axis Database Online, 1999, www.axisartists.org.uk/; Records held at Dudley Public Art Resource Unit, Himley Hall, Dudley, 2001; The Artists Information Company, Renn and Thacker: Fibre-optic Installation, accessed 8 March 2002, www.anweb.co.uk; West Midlands Arts, Artfile, entry for Mark Renn, Birmingham, 1995. [SBC2005]

Laurent Reynes (b.1961)
Studied architecture in France 1986--95 and teaches in Strasbourg. He has had several exhibitions from 1990 onwards, including solo shows in his home town of Montpellier. He has also contributed to residencies and symposia in a variety of countries.
[1] Gateshead, Four Seasons, p.26. [2] Journal, Newcastle, 2 September 1996. [NE 2000]

Adam Reynolds (b. 1973)
Sculptor. Born Macclesfield. Studied at Wimbledon School of Art (BA Fine Art Sculpture, 1997). Commissions include Drip (Waterside Mill, Macclesfield, 2000), Moving (Bull Arts Centre, Barnet, 2001), and Butterfly bicycle racks and fountain (Birchwood Park Estate, Warrington, 2001).
Sources: artist; Axis database. [Man2004]

William Bainbridge Reynolds (1845--1935)
Decorative metalworker. He was articled to the architect J.P. Sedding, and assisted G.E. Street with work on the Law Courts. After a period spent working as a draughtsman with the Royal Engineers, Reynolds set up as a metalworker, operating from the Old Town Works, Clapham, and producing mainly church furniture and fittings. He was a member of the congregation of St Cuthbert’s Philbeach Gardens, Earls Court, a church built 1884--7 to the designs of Roumieu and Gough. Between 1887 and 1911, Reynolds provided a wide variety of fittings to this church, including an extravagant lectern (1897) in wrought iron and repoussé copper. Other architects with whom he worked were Sir Giles Gilbert Scott (Liverpool Anglican Cathedral), C.F.A. Voysey and Walter Tapper. He was a member of the Art Workers’ Guild.
Sources: Obituary, RIBA Journal, 11 May 1935; A. Stuart Gray, Edwardian Architecture. A Biographical Dictionary, London, 1985. [CL2003]

William Ernest Reynolds-Stephens (1862--1943)
Sculptor, painter and designer -- born in Detroit of English parents, who brought him back to the home-country at an early age. He trained initially as an engineer, but then went on to attend the Royal Academy from 1884 to 1887. From the mid-1890s his identification with the aims of the arts and crafts movement was evident in his exhibits at the RA, and at the Arts and Crafts Exhibition Society. Reynolds-Stephens used refined combinations of materials in his work, and was preoccupied with its decorative effect in an architectural setting. These concerns were most notably realised in the sculpture and ornament for Charles Harrison Townsend’s church of St Mary the Virgin, Great Warley in Essex (c.1903). The uses Reynolds-Stephens made of a symbolist formal vocabulary were sometimes sentimental and anecdotal. An example from the latter class is his astonishing group, The Royal Game, exhibited at the RA in 1906, and now in the collection of Tate Britain. This represents Philip II of Spain and Elizabeth I of England playing a game of chess with miniature galleons, an allusion to the Armada. In his later life, Reynolds-Stephens belonged to a number of artistic societies and was an active campaigner on matters relating to patronage and copyright. He was awarded the Royal Society of British Sculptors’ Gold Medal for services to sculpture in 1928, and knighted in 1932.
Sources: S. Beattie, The New Sculpture, New Haven and London, 1983; B. Read and J. Barnes (eds), Pre-Raphaelite Sculpture. Nature and Imagination in British Sculpture 1848--1914, London, 1991. [CL2003]

William Reynolds-Stephens (1862--1943)
Sculptor, decorative artist and painter. Born in Detroit of British parents, he began training as an engineer before attending the RA Schools 1884--7. Much influenced by the ideals of the Arts and Crafts Movement and by the style and techniques of the New Sculpture, Reynolds-Stephens experimented with a variety of materials and with polychromatic sculpture. His Lancelot and the Nestling (1899) used bronze, steel, silver and ivory. He also executed a number of portrait memorials, such as Archbishop Davidson, Lambeth Palace; William Quiller Orchardson, St Paul’s Cathedral; The Scout in War, equestrian statue for East London, South Africa, 1908. His chief work, Royal Game, 1906--11, depicts Queen Elizabeth I of England and King Philip II of Spain playing a game of chess with miniature ships in a symbolic fight to gain supremacy at sea (Tate Gallery, London).
President of the Royal Society of British Sculptors 1921--33 and knighted in 1931.
[1] Who Was Who, 1941--1950, London, 1952, p.968. [2] Turner (ed.), vol.26, p.283. [3] Beattie, p.249. [3] Spielmann, p.105. [NE 2000]

John Rhind (1828--92)
Born in Banff, the son of a master mason, he was the father of William Birnie Rhind (q.v.) and J. Massey Rhind. A pupil of Alexander Handyside Ritchie (q.v.), he carried out numerous schemes of architectural sculpture in Edinburgh, including the portrait heads on the Royal Scottish Museum (1859), and figurative work on the Bank of Scotland, Bridge Street (1864--70), Fettes Aademy (1864--70) and the SNPG (1891). He also executed the Monument to Sir William Chambers, Princes Street (1888--91), assisted by William Shirreffs (q.v.). Outside Edinburgh he executed the Biggar Memorial Fountain, Banff (1878), and the Agriculture and Shipbuilding reliefs on New County Hall, Paisley (1892). He exhibited at the RSA, 1857--92, the RA and the RGIFA, and died a few days after his election as ARSA in 1892.
Sources: BN, 24 October 1890, p.572; McEwan. [G2002]

William Birnie Rhind (1853--1933)
Born in Edinburgh, son of the sculptor John Rhind, he studied with his father, before attending Edinburgh School of Design and the Royal Scottish Academy. In 1885 he set up a studio in Glasgow with his brother, John Massey Rhind. However, after two years, he moved back to Edinburgh permanently. Birnie Rhind had a very considerable output as an architectural sculptor. In Edinburgh, his work can be seen on the Scottish National Portrait Gallery (1898) and on the Scotsman building (1900). He also did much work for locations south of the border, and even for Canada (Winnipeg Parliament Building, 1916--19). For Edinburgh he created three major war memorials: the Royal Scots Greys (1905), the Black Watch (1908), and the King’s Own Scottish Borderers (1919). Other commemorative monuments are those to William Johnston, St Anne’s (1888), Sir Peter and Thomas Coates, Paisley (1893--8), and the equestrian figure of the Marquess of Linlithgow for Melbourne, Australia (1908). He exhibited between 1878 and 1934 at the Royal Scottish Academy, and also showed at the Royal Academy in London. He was elected ARSA in 1893 and RSA in 1905.
Source: R. Mackenzie, Public Sculpture of Glasgow, Liverpool, 2002. [CL2003]

William Birnie Rhind (1853--1933)
Born in Edinburgh, and best known for his war memorials there, including Royal Scots Greys (1905), Black Watch (1908) and King’s Own Scottish Borderers (1919), but principally an architectural sculptor, with most of his important work also in Edinburgh. The eldest son of John Rhind (q.v.), with whom he trained before attending the School of Design and the RSA, he established a studio in Glasgow at 217 West George Street in 1885 with his sculptor brother, J. Massey Rhind, but settled permanently in Edinburgh two years later. He produced numerous figures for buildings such as the SNPG (1898), the Scotsman Building (1900), the Professional & Civil Service Supply Association, George Street (1903--7), and Jenner’s, Princes Street (1893--1903). Outside Scotland he executed sculpture for Wakefield County Council Offices (1897), Liverpool Cotton Exchange (1905--6) and Winnipeg Parliament Building, Canada (1916--19). His public monuments include statues to William Johnston, St Anne’s (1888), Sir Peter and Thomas Coates, Paisley (1893--8), and the equestrian Monument to the Marquis of Linlithgow, Melbourne, Australia (1908). He exhibited regularly at the RSA from 1878 to 1934, showing portrait busts and models for many of his public and architectural sculptures; his work was also often seen at the RGIFA and the RA. He was elected ARSA in 1893, and RSA in 1905.
Sources: Spielmann, pp.127--9; GH, 11 July 1933, p.11 (obit.); Gray; Laperierre; McEwan; Cavanagh, p.336. [G2002]

William Birnie Rhind (1853--1933)
Edinburgh sculptor whose most notable works were a series of statues for the Scottish National Portrait Gallery (exhibited at the RA 1891--5) which he executed with his brother John (1830--92). Exhibited at the RA 1898--1904, Royal Scottish Academy 1897--1943 and the Glasgow Institute 1883--1928.
[1] Graves, Royal Academy Exhibitors, vol.3, p.279. [2] Royal Scottish Academy Exhibitors 1826--1990, Edinburgh, 1990, vol.iv, pp.43--6. [3] Read, p.359. [4] Spielmann, p.128. [NE 2000]

William Birnie Rhind (1853--1933)
Born in Edinburgh, he was the eldest son of the sculptor, John Rhind, under whom he studied prior to attending first the School of Design, Edinburgh, and then the Life School of the Royal Scottish Academy (for five years). Subsequently he practised mainly in Edinburgh, executing principally architectural sculpture, but also many public statues and memorials. His architectural sculpture includes the reliefs and historical figures in canopied niches around the central doorway of the Scottish National Portrait Gallery, Edinburgh (1891--98), and an allegorical figure, Science, on the Glasgow Art Gallery and Museum, Kelvingrove (1898). His best known works, however, are probably his Edinburgh war memorials to the Royal Scots Greys (1905), the Black Watch (1908), and the Kings Own Scottish Borderers (1919). He also executed works for England (London and Newcastle), Canada (Winnipeg), Australia (Adelaide and Melbourne) and India, and was an unsuccessful competitor for the Liverpool Victoria Monument (with T. Duncan Rhind; design exhibited at the Royal Scottish Academy, 1902, cat. 572). He was elected Royal Scottish Academician in 1905, having been an Associate since 1893. He exhibited at the RSA from 1878 to 1929.
(sources: The Scotsman [obit.], 11 July 1933; Who Was Who 1929--1940, plus information supplied by Fiona Pearson) [L 1997]

Seán Rice (1931--97)
Born in London, he studied sculpture at Brighton College of Art, 1947--51, and the RA Schools, 1951--53. He was awarded a Prix de Rome Scholarship in Sculpture in 1953 and studied and worked in Rome for two years thereafter. He lectured at West Sussex College of Art, 1955--59, and was in Nottingham, 1959--63, where he set up his own foundry and lectured at the College of Art. He taught sculpture at Liverpool School of Art, 1963--80, before leaving to devote himself full-time to the practice of sculpture. In 1969 he established an enlarged studio and foundry at Walton. He exhibited in London (one-man shows at the Alwin Gallery), Nottingham, Manchester, Liverpool, and Rome. His major commissions include a Crucifix, 12 ft high, steel, St Margaret’s Church, Anfield (1969); Poseidon, 11 ft high, bronze, Gravesend (1976); Noah and the Four Winds, 16 ft high bronze fountain, Chester Zoo (1977); David, life-size bronze, Nebraska, USA (1978); ‘Krypton Factor’ trophies, 1984--91 (for Granada Television); and the Stations of the Cross, bronze, Metropolitan Cathedral of Christ the King, Liverpool. His wife, Janet Rice, a specialist in lost wax casting and argon arc and gas welding, was his principal assistant in the production of metal sculpture.
(sources: Rice; Independent [obit.], 15 January 1997) [L 1997]

Christopher Richardson (1709--1781)
A sculptor and chimney-piece carver, Richardson worked on decorative carving at Welbeck Abbey, Nottinghamshire for the 1st duke of Portland between 1747 and 1751. In 1756 he was working on the statue of Liberty for the top of the column at Gibside, and a year later had commissions at Alnwick and Berwick-upon-Tweed (the coat of arms on the Town Hall). From 1756 until 1762 he was working for the 2nd marquess of Rockingham at Wentworth Woodhouse in the West Riding, and two years later he was again at Welbeck, executing decorations for the cupola over the chapel clock.
[1] Gunnis, pp.319--20. [NE 2000]

Paul Richardson (b.1967)
Figurative sculptor in various materials, especially steel. Richardson studied Graphic Design (1983--5) at Loughton College of Further Education before taking a degree in Fine Art at Birmingham Polytechnic (1986--9). He lived and worked in Birmingham until September 1995, during which time he was a member of the Rhubarb Studios at the Custard Factory, Digbeth, amongst others. He now lives in Suffolk and works in a studio in Brewery Yard, Ipswich. His public artworks include Busker (archway feature) and the Canaletto murals, Windmill Estate, Smethwick (1993); Ahoy, Cannon Hill Park, Birmingham (1993); Gun Powder Plot, Snibston Discovery Park, Leicestershire (1994); Divers, Whitstable Leisure Pool, Whitstable (1995); and Blondin, Ladywood Middleway, Birmingham (1995). Since 1993, he has exhibited throughout the Midlands.
Sources: Buckman, D., Dictionary of Artists in Britain since 1945, Bristol, 1998, p.1025; Letter and curriculum vitae from the artist, 20 February 1996; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.203. [SBC2005]

Paul Richardson (b.1967)
Born 3rd July 1967 in Barking, Essex, he studied Graphic Design 1983--5 and a Foundation course 1985--6 at Loughton College of Further Education before taking a degree in fine art at Birmingham Polytechnic 1986--9. He lived and worked in Birmingham until September 1995, during which time he was a member of the Rhubarb Studios at the Custard Factory, Digbeth, amongst others. He now lives in Suffolk and works in a studio in Brewery Yard, Ipswich. Public artworks include: Busker (archway feature) and Canaletto murals, Windmill Estate, Smethwick 1993; Gun Powder Plot, Snibston Discovery Park, Leicestershire 1994; Divers, Whitstable Leisure Pool, Whitstable 1995. Solo exhibitions include Alchemy, Bond Gallery, Birmingham 1993. Other exhibitions include: 3F Studios Show, Art College, Leamington Spa 1993; Food is Art, with Ivan Smith, Café des Artistes, Custard Factory, Birmingham 1993; Undercurrents, Network Touring Exhibition 1994--5. He has works in several private collections.
1. Letter and CV from the artist, 20th February 1996. [B1998]

Edwin Alfred Rickards (1872--1920)
English architect who, with partners H.V. Lanchester and James Stewart built a number of major public buildings in an exuberant Edwardian Baroque style, often in collaboration with architectural sculptors such as Henry Poole and Albert Hodge (qq.v.). Major buildings include Cardiff City Hall (1897) and Deptford Town Hall, London (1908), both with sculpture programmes by Poole.
Sources: Beattie, p.131; Curl. [G2002]

George Rickey (b.1907)
American-born sculptor of kinetic work in metal, inspired by Clydeside machinery and engineering. He emigrated with his parents from Indiana, USA, to Craigendoran, Scotland, in 1913, and went on to study at Balliol College and the Ruskin School of Drawing, Oxford, before war service in the RAF and US Air Corps. His experience of engineering work during this period led him to take up sculpture, producing his first kinetic works while in military service in 1945. After the war he taught fine art at colleges and universities in various American cities, including Bloomington, Indiana, and New Orleans, and served on the board of Massachusetts Institute of Technology. The author of an important historical survey of early twentieth-century sculpture, Constructivism: Origins and Evolution (London, 1968), he has received honorary degrees from universities around the world, as well as the John Simon Guggenheim Memorial Fellowship (1960; renewed 1961). His work in Scotland includes Two Lines Up Eccentric VI (1977), in the grounds of the Scottish National Gallery of Modern Art, Belford Road, Edinburgh, and Three Right Angles Horizontal, Highland Sculpture Park (1982). Rickey currently lives at East Chatham, New York State.
Sources: Rosenthal, pp.201--2; Strachan, pp.225, 271; Clare Henry, ‘Scrappy way to handle great art’, H, 22 June 1995, Arts supplement, p.18. [G2002]

William Riddel (fl.1690)
A local stone mason about whom few facts have survived other than that he was responsible for the Lion and Unicorn Staircase in the quadrangle of the Old College on the High Street.
Source: Johnstone. [G2002]

Robin Riley (b. 1933)
Born in Liverpool, he studied at Liverpool College of Art. He has worked in Switzerland and Italy and lectured at Preston, Manchester, and Coventry colleges of art, and Manchester University. His commissions include work for St Kevin’s School (1961), Arndale Shopping Centre (1968) and the Manchester G.P.O. Headquarters (1968). In 1972, he won the Ministry of Environment, Manchester sculpture competition.
(source: WAG archives) [L 1997]

Joanne Risley
Sculptor. Born in Knutsford. Studied fine art at University of Dundee (BA, 1987) and University of Ulster at Belfast (MA 1989). Public sculpture includes Crocus (bronze fountain, Whiteabbey Hospital, Co. Antrim, 1996), Night and Day (Liverpool Women’s Hospital, Liverpool, 1999) and Shell Forms (Mater Hospital, Belfast, 2002). Collaborative work with Barry Calaghan includes Kinetic Bloom (Palace Demesne, Armagh, 1998) and canal boat sculptures (Monmouth and Brecon Canal, Newport, 2000).
Sources: artist; www.designbank.org.uk [Man2004]

Alexander Handyside Ritchie (1804--70)
Born in Musselburgh, he was the son of a brickmaker and ornamental plasterer, and the grandson of a fisherman and self-taught sculptor. He studied art, architecture and anatomy at Edinburgh School of Arts, under Samuel Joseph, 1823, then attended the Trustees’ School of Design before studying with Thorvaldsen in Rome, 1826--30. He returned to Musselburgh in 1830, then opened a studio at 92 Princes Street, Edinburgh, in 1842. Assisted by his brother John Ritchie (q.v.), he executed portrait busts for wealthy patrons, and statuary on the Central Public Library (1837), the Royal College of Physicians, Queen Street (1844) and Commercial Bank, George Street (1847). He worked for John Thomas on the Houses of Parliament, London, executing marble statues of Eustace de Vesci and William de Mowbray, and in 1852 produced sculpture for the Hamilton Mausoleum. For the Valley Cemetery, Stirling, he executed the Monument to Agnes and Margaret Wilson (1850), and five statues, including John Knox and Ebenezer Erskine (1858). Among his public monuments elsewhere in Scotland are Sir Walter Scott, Selkirk (1839), Sir Robert Peel, Montrose (1852), The Fisherman’s Monument, Dunbar (1856), Hugh Miller, Cromarty (1858) and Sir William Wallace, Lanark (1859). He exhibited regularly at the RSA, 1831--71, and the RA, 1830--68, and was elected ARSA in 1846. Despite considerable artistic success and aristocratic patronage he died virtually penniless, leaving an estate valued at £6 10s. 6d.
Sources: Gunnis; Johnstone. [G2002]

John Ritchie (1809--50)
Largely self-taught, he assisted his elder brother, Alexander Handyside Ritchie (q.v.), with numerous portrait busts and architectural sculpture schemes in Edinburgh. He exhibited fancy pieces and narrative works at the RSA, 1832--50, and carved The Last Minstrel on the Scott Monument, Edinburgh (1846). A commission to enlarge his earlier plaster group, The Flood (exhibited at the RA 1840) in marble, enabled him to visit Rome in 1850, where he intended to complete it, but he died of malaria two months after arriving.
Sources: Gunnis; Johnstone. [G2002]

Walter Ritchie (1919--97)
Although Ritchie’s first sculptures were modelled and cast, he soon decided that casting debased the original clay sculpture, and turned to working in stone. He learnt techniques from local stonemasons, and at the age of 18 trained under Eric Gill (1882--1940). Ritchie thought of sculpture essentially as part of a social and architectural scheme, and always wanted his work ‘in the street’ as opposed to in an art gallery. From 1947 onwards he worked primarily for local authorities, making works for schools, fire stations and other civic buildings. Due to a demand for large-scale sculptures with restricted budgets he started experimenting with unusual techniques, including working metal by repoussé, carving brick walls and flame-cut steel. In 1976 he held an exhibition of his innovative works in brick at the Building Centre in London, contrasting these with Carl André’s controversial pieces in the same medium, then showing at the Tate Gallery. Notable examples of his work include the Len Hutton Memorial at the Oval cricket ground in London (1988--93) and the panels for the Bristol Eye Hospital (1986). In 1996 he held his first gallery retrospective at Ramsgate Library, and in 2000 a major retrospective exhibition of his work was held at Leamington Spa Museum and Art Gallery.
Sources: Information provided by Sally Taylor, the artist’s surviving partner, 11 March 2000; Noszlopy, George T., Public Sculpture of Warwickshire, Coventry and Solihull, Liverpool, 1998, p.267f.; Ritchie, W., Walter Ritchie: Sculpture, Kenilworth, 1994; Ritchie, W., Sculpture in Brick and Other Materials, Kenilworth, 1978, pp.8--10. [SBC2005]

Walter Ritchie (1919--97)
Ritchie was introduced to sculpture at Coventry School of Art by Victor Candey. His first sculptures were modelled and cast, his learning supplemented by a former assistant of Rodin. Ritchie decided that casting debased the original clay sculpture, and turned to working in stone. He learnt techniques from local stonemasons, and at the age of eighteen trained under Eric Gill. Ritchie felt that art should not be seen in isolation, and under the strong influence of Mumford’s ‘Culture of Cities’, he started a career in social and town planning. One of several projects included a Survey of Worcester and a Redevelopment Plan based on the survey. After five years, Ritchie concluded that, ‘... Planning at this time was a form of national escapism... people enjoyed seeing pictures of urban utopias... there was too much theory and too little experience and humanity’, and as a consequence returned to sculpture. He never thought of sculpture in isolation but essentially as part of a social and architectural scheme. From 1947 onwards he worked primarily for local authorities, making works for schools, fire stations and other civic buildings. Due to a demand for large-scale sculptures with restricted budgets he started experimenting with unusual techniques. These included working metal by repoussé, carving brick walls and flame-cut steel. He always wanted his work ‘in the street’ as opposed to in an art gallery, believing that, ‘it is wrong to concentrate great collections of paintings and sculpture in special buildings rather than use them where they are most needed to enliven the drab and dull places of our cities’. He developed his own ideas about the way art should work, most importantly that art should be individual and diverse, growing from the region it was produced in and for. He felt that, ‘We need diversity of art not fashion... art must originate in life and develop free from the nonsense of art theorists and the secondhand influences of museums and galleries.’ He worked loosely from charcoal exploratory sketches to draw the work freehand on the material. Notable examples of his work include the Len Hutton Memorial at the Oval cricket ground in London (1988--93) and the panels for the Bristol Eye Hospital. The Church of Our Lady of the Wayside in Shirley, Birmingham, has perhaps the most representative collection of his work in all media. Built in the 1960s, it includes a teak Madonna and Child, a Portland stone, spun aluminium and ivory Font, a Portland stone and granite Altar, lettering cut into the brick of the chapel walls and a framed charcoal sketch.
Ritchie did not exhibit frequently during his lifetime. In 1976 he held an exhibition of works in brick at the Building Centre in London to contrast with the national furore over Carl André’s bricks at the Tate Gallery. In 1996 he held his first gallery retrospective ‘A Love Affair’ at Ramsgate Library. In 2000 a major retrospective exhibition was held at Leamington Spa Museum and Art Gallery. He is perhaps now best known for his innovative work in brick.
Sources: Ritchie, W., Sculpture in Brick and Other Materials, Walter Ritchie, Kenilworth, 1979; information provided by the artist’s widow, Sally Taylor, 11 March 2000; Ritchie, W., Walter Ritchie: Sculpture, Kenilworth, 1994. [WCS2003]

Michael Rizzello (b.1926)
Sculptor of heroic bronzes, portraits and medallions. After military service in the Second World War he studied at the Royal College, winning a travel scholarship which took him to France and Italy 1950--1. His major works include figures of David Lloyd George, Cardiff; Sir Thomas Beecham, Covent Garden, London; and a double-sided portrait medallion of the Queen and Pope John Paul II. Fellow of RBS in 1961 and its President from 1976--86.
[1] Buckman, p.1032. [NE 2000]

Andy Robarts (b. 1956)
Sculptor. Born in Cambridge. Studied Fine Art at Manchester Polytechnic, completed in 1983. Helped to establish SIGMA sculpture studios in Manchester. Exhibited work in Belfast (1987), Cologne (1989) and Turin (1989, 1991). Public sculpture commissions include sculpture (Barrow-in-Furness Hospital, 1990). Teaches at the University of Salford.
Source: artist. [Man2004]

John Roberts (b.1946)
Educated at Gloucestershire College of Art in Cheltenham (1964--8), and the City and Guilds of London Art School (1976--8), Roberts was employed as a stone-carver at Westminster Abbey (1979--81), and taught stone and wood-carving part time at the City and Guilds of London Art School. Recently appointed artist-in-residence with the Portland Sculpture Trust in Dorset (2000--1), he believes that art should have a social function and be capable of communicating its meaning without words. His commissions include a series of panels to replace the eroded Romanesque originals on the West Front frieze of Lincoln Cathedral (1992--6); the tympanum detail of a pediment at Woburn Abbey, awarded first prize by RIBA (1991); three life-size statues for Westminster Abbey (1999); and a marble Pieta for Coleorton Church, Leicestershire (1999). His most recent exhibitions are of two heads in the 36th exhibition of the Society of Portrait Sculptors, London (1999), the RBS Summer Exhibition (2000), and the 2001 Exhibition of the Society of Portrait Sculptors at the Gallery in Cork Street. He is a member of the Art Workers’ Guild and an Associate Member of the RBS.
Sources: AXIS, The Axis Database Online, 1999, www.axisartists.org.uk/; Biography of John Roberts, 2001, www.access4art.com; Conversations with Neal Long, Director of SANDS, 2000; Information provided by the artist, 2001; Royal British Society of Sculptors database, 2001, www.rbs.org.uk [SBC2005]

Ivor Roberts-Jones (1913--96)
Born in Oswestry, Ivor Roberts-Jones studied at Goldsmith’s College and at the Royal Academy School during the 1930s. After the Second World War, he taught sculpture at Goldsmith’s College until 1978. In 1973 he became a Fellow of the Royal Academy, and in 1974 he was awarded the Gold Medal by the Royal Society of British Sculptors. He is mainly noted for commissioned portraits of distinguished people, the best known of which is his Winston Churchill Memorial, Parliament Square, London (1973). Others include the Duke of Edinburgh, Lord Dynevor, Clement Attlee, Augustus John, Somerset Maugham, Yehudi Menuhin, and the Earl of Anglesley. He does not seek to create a close physical likeness of his subject, but instead simplifies form, exaggerating certain aspects of the body or facial features in order to create an evocative and expressive portrait. He works initially in plaster, scraping and pushing the material, which is later cast in bronze, in order to create a textured, ‘weathered’ surface. Later works include his Lazurus Gardens in which spaces are defined by hedges and other organic forms, and which are intended to suggest sculpture which grows out of the ground and out of the landscape instead of being imposed upon it. He has participated in exhibitions such as the 1977 Battersea Park Jubilee Exhibition. He is noted for his monumental equestrian sculpture at Harlech Castle (1983), which celebrates the legend of Bendigeidfran from the Mabinogion.
Source: Wolsey Art Gallery, Ivor Robert-Jones, exhibition catalogue, Ipswich, 1999. [WCS2003]

George Thomas Robinson (1828--97)
Robinson, a Leamington-based architect, was a pupil of John Hamilton and James Medland of Gloucester. He set up his own practice in 1848, and was working in partnership with Henry John Paull in Manchester around 1868. However, he mainly designed churches and additions to churches in the West Midlands counties. Latterly, he was principally a decorative artist. Pevsner regarded him as something of a rogue architect.
Sources: RIBA, Directory of British Architects 1834--1900, London and New York, 1993, p.778; Pevsner, N., The Buildings of England: Staffordshire, Harmondsworth, 1974, p.322. [SBC2005]

Jim Robison (b. 1939)
Sculptor and potter born in Independence, Missouri, USA. He first trained as a jet engine mechanic in the USAF, serving in West Germany for three years. On his return he attended Graceland College, Iowa, 1961--5, and Eastern Michigan University, 1968--70, studying liberal arts and taking up ceramics. Having taught for a while at Ann Arbor, Michigan, he moved to England in 1971 firstly establishing a studio at Leeds and then, in 1975, setting up Booth House Gallery and his own workshop at Holmfirth, Yorkshire. He was a member of the Yorkshire Arts Association’s visual arts panel and is a member of the Craftsmen Potters’ Association. Robison has executed a number of murals on public buildings in, for example, Cambridge, Chepstow, Pontefract, and Wilmslow. He has exhibited both in Britain and on the continent, including the White Rose Gallery, Bradford, 1976, Leeds City Art Gallery, 1979, and the Yorkshire Sculpture Park, 1980.
Source: Buckman, D., 1998. [LR 2000]

John Roddis (1839/40--87)
Prominent architectural sculptor with premises on Aston Road, Birmingham. Roddis did much carving for churches, including most of that for St Augustine’s, Edgbaston (c.1870); St Catherine’s of Siena (1875, now demolished); Goulbarn Cathedral, South Australia; and, incomplete at his death, Christchurch Cathedral, New Zealand. He also completed the exterior carving of Birmingham Museums and Art Gallery, except for the pediment (c.1885). He was responsible for many monuments including the Earl of Derby’s tomb, Knowsley (1872) and the Augustine Memorial erected by Lord Granville on the Isle of Thanet. He was a founder member of the Midland Arts Club (being elected its president in 1885) and a member of the Municipal School of Art Committee. He worked in partnership with Nourse from 1870 until his death, and the firm continued until 1900.
Sources: Birmingham Post, obituary, 5 August 1887; ‘Building intelligence’, Building News, vol.29, 1 October 1875, pp.378--9; Noszlopy, George T., Public Sculpture of Birmingham including Sutton Coldfield, Liverpool, 1998, p.204. [SBC2005]

John Roddis (1839/40--1887)
A prominent sculptor with premises on Aston Road where he died in August 1887. Roddis did much carving for churches, such as the reredos of Wretham Road church (demolished); most of the carving for St. Augustine’s, Edgbaston (c.1870); and also St. Catherine’s of Sienna (1875, now demolished); the carvings for Goulbarn Cathedral, South Australia; and, incomplete at his death, a commission for Christchurch Cathedral, New Zealand. He also completed all of the exterior carving of Birmingham Museums and Art Gallery, except for the pediment (c.1885). He was responsible for many monuments including the Earl of Derby’s tomb, Knowsley 1872, and the Augustine Memorial erected by Lord Granville on the Isle of Thanet. A foremost Liberal, he was on the Aston Local Board; the Aston School Board; was a founder member of the Midland Arts Club -- its president in 1885; and a member of the Municipal School of Art Committee. He worked in a partnership known as Roddis and Nourse from 1870 until his death, and the firm continued until 1900.
1. Obituary, Post, 5th August 1887; 2. ‘Building intelligence’, Building News, vol.29, 1st October 1875, pp.378--9. [B1998]

Thomas Roddis (d.1845)
Stonemason, based in Sutton Coldfield. A pupil of Francis Chantrey, he was brought to Birmingham by Joseph Hansom to work on the carving of the Town Hall (1832--4). He worked for A.W.N. Pugin on carving fittings for St Mary’s College, Oscott (1837--8), St Augustine’s, Solihull (1838) and St Giles’, Cheadle (1840--2). Roddis was also engaged in the restoration of Perry Hall, Handsworth, for John Gough (c.1830).
Source: Belcher, M., The Collected Letters of A.W.N. Pugin 1830--1842, vol.I, Oxford, 2001, p.135. [SBC2005]

Auguste Rodin (1840--1917)
Innovative and influential French sculptor with a preference for modelling. Studied under or assisted various masters in the 1850s and 1860s, but failed to gain entry to the École des Beaux-Arts, and his early work, Man with a Broken Nose (1864), was rejected by the Salon. Seeing the sculpture of Michelangelo on a visit to Italy in 1875 freed him, as he later said, from academicism and enabled him to produce his first major work, the daring, naturalistically modelled, Age of Bronze (1878). In 1880 he was commissioned to produce an elaborate doorway (Gates of Hell) for the Musée des Arts Décoratifs in Paris which, although still unfinished twenty years, later formed the basis for a number of his most famous independent sculptures such as The Thinker and The Kiss. The energy and novelty of his approach to public commissions, notably the Burghers of Calais (1884) and Balzac, ensured that even though by the turn of the century his reputation was firmly established both in France and elsewhere, he continued to be embroiled in controversy.
Rodin began to be noticed in England in the 1880s when W.E. Henley, editor of the Magazine of Art, championed his work, and John the Baptist, Icarus and the Age of Bronze were exhibited at the Grosvenor Gallery. Harry Bates, William Goscombe John, Édouard Lantèri and John Tweed were amongst the sculptors in England whom he influenced.
[1] Turner (ed.), vol.26, pp.508--14. [2] Butler, R., The Shape of Genius, New Haven, 1993. [3] Beattie, passim. [NE 2000]

Gilly Rogers
Installation artist who uses found objects and mixed media. Trained at Sunderland University, she had artworks installed at the Buddle Arts Centre, Wallsend, and Tynemouth Metro station in 1995. From 1997--8 she was artist-in-residence at Royal Quays, North Tyneside.
[1] AXIS, Artists Register, 1999. [NE 2000]

Joseph Rogerson
Sculptor. Apart from the William Simpson Fountain, his other work on Merseyside includes the sculptural decoration and figures on the Birkenhead School of Art (1870--71), now the John Laird Centre.
(source: Daily Post, 28 September 1871) [L 1997]

John Wenlock Rollins (1862--1940)
Born in 1862, he died in Chelsea, 6th June 1940. Attended the Birmingham School of Art, the South London Technical School under W.S. Frith (winning prizes in a National Art competition in 1885 and 1886), then the Royal Academy 1886--90. His first major architectural work was a marble mantlepiece for Hewell Grange, Worcs., 1890. After visiting Italy in 1891, he assisted Stirling Lee on panels for St. George’s Hall, Liverpool 1892; produced decorative carving on Croydon Municipal Buildings for Charles Henman 1894--5; made a bronze fountain for the Horniman Museum and contributed figures for the principal façade of the Victoria and Albert Museum c.1905. His chief works are the colossal statue of Queen Victoria at the Royal Victoria Hospital, Belfast; and the Boer War Memorial, Eton College Chapel. He exhibited at the Royal Academy 1897--1913, showing many busts including those of Colonel V. Milward, 1891; Bertram Priestman, 1893; the Duchess of Bresagli, 1900; and several idealised works such as Memories, 1887; Nydia, 1901; and a statuette of a sea maiden, 1902.
1. Graves, vol.III, London, 1905, p.354; 2. Beattie, 1983, p.249. [B1998]

Ted Roocroft (1918--91)
Sculptor. Born Eccleston, Lancashire, Edward (Ted, as he was known) Roocroft was educated at Edinburgh and Manchester Schools of Art, and at the Slade, where he won prizes for sculpture. In the early 1950s he joined the staff at Manchester Regional College of Art, later Manchester Polytechnic, and lectured there for almost 30 years. In 1979 he won a major award from the Arts Council. Exhibitions at Harris Museum and Gallery, Preston, and Yorkshire Sculpture Park. Roocroft worked mainly in wood, and was known for his carving of animals, especially pigs and apes. His work is displayed throughout the North-West, including Embryo (Edge Hill College, Ormskirk,) as well as in Europe and Zimbabwe. Works in Stockport Art Gallery and Harris Art Gallery, Preston. There is an unpublished memoir of Roocroft by Keith Hamlett.
Sources: Keith Hamlett; Guardian, 16 October 1991. [Man2004]

Colin Rose (b.1950)
Sculptor in steel, stone and wood. Studied at Newcastle Polytechnic and Newcastle University 1973--9. Rose has been an active member of the Newcastle Group since 1987, exhibiting in Russia, Finland and Latvia. He is a visiting lecturer at Sunderland and Newcastle Universities and has been artist-in-residence for various organisations in north-east England. Exhibitions include: Seaton Delaval Hall (1992); Yorkshire Sculpture Park (1992--3); ‘Sculpture at Goodwood’ (1996). Increasingly commissioned to make pieces abroad, Rose’s work can be found in the collections of the British Council and Sculpture at Goodwood, amongst others.
[1] Stephenson, p.66. [2] AXIS Artists Register, 1999. [3] Buckman, p.1048. [NE 2000]

Edna Rose (1899--1981)
Sculptor of animal subjects, born in Ireland. On moving to England, she trained at, and then taught sculpture at, Liverpool School of Art. She also taught pottery at the Laird School of Art, Birkenhead. She was a member of the Society of Wild Life Artists and the Liverpool Academy of Arts, an associate member of the Royal Cumbrian Academy, and President and Secretary of the Deeside Arts Group. She exhibited at the RA, Manchester City Art Gallery, and the WAG Liverpool Autumn Exhibition.
(source: WAG, 1988) [L 1997]

Noah Rose (b. 1965)
Sculptor. Born in Nahariya, Israel. Educated at Middlesex Polytechnic (1984--5) and Manchester Polytechnic (BA in Three-Dimensional Design, 1985--8). Exhibitions include ‘International Symposium for Electronic Art’ (ISEA, 1998), ‘Steel’, Oldham, Stockport, Blackpool, Birkenhead and Rotherham Art Galleries, 1992--3, GAIA 92 in Hulme, Manchester, 1992. Three-dimensional sculpture, chiefly in metal. Public art commissions include Elephant Seat (Ashburner Street, Bolton, 1995), Celestial Seats (All Saints Park, Blackburn, 1996), A Horse with no Name (Morecambe, 1997), Oscillate (Jubilee Street, Blackburn, 1998), Ribtide (Birkenhead, 2000) and Plasma-Plasmawr (Penmaenmawr, 2001).
Source: artist. [Man2004]

Christopher Rose-Innes (b. 1926)
Scientist and sculptor. Born in London. Studied physics at University of Oxford. Professor of Physics and Electrical Engineering, UMIST. On his retirement in 1989 he studied sculpture on the foundation course and then the undergraduate degree in fine arts at Manchester Polytechnic (1989--93). One of his student works, a cube, became the basis of the commission for the UMIST Cube. Rose-Innes was instrumental in establishing and chairing UMIST’s Campus Appearance Committee. His public sculptures include Insulator Family (UMIST), Sunbird (Grosvenor Place Hall of Residence, UMIST) and a terracotta sculpture, Our Lady of Compassion (St Theresa’s, Wilmslow). ARBS. He is Emeritus Professor of Physics and Electrical Engineering at UMIST.
Source: artist. [Man2004]

Louis Frederick Roslyn
Sculptor. Roslyn was born in London in 1878. Studied at City and Guilds London before entering the RA schools where his awards included the Landseer scholarship and a travelling scholarship. Roslyn executed a large number of war memorials including examples at Darwen, Buxton and Port Talbot. He also executed a war memorial in Trinidad, West Indies. The Duchess of York and Duchess of Connaught were among his portrait busts.
Source: Dolman, 1929. [Man2004]

Antonio Rossetti (fl.1819--70)
Born in Milan, he studied and later worked in Rome, where his marble statues and ‘fancy’ figure groups earned him an international reputation.
Source: Stevenson (n.d.). [G2002]

John Charles Felix Rossi (1762--1839)
Rossi studied under, and then worked for, the sculptor Locatelli. In 1781 he entered the Royal Academy Schools, winning a silver medal the same year and a gold medal in 1784. In 1785 he won the travelling scholarship and went to Rome, staying until 1788. On his return he worked at the Derby China Works and shortly afterwards for Coade’s of Lambeth. Later Rossi was to develop an artificial stone of his own composition, executing two friezes The Progress of Navigation and The Seasons in this medium for Buckingham Palace (1827--9). His practice flourished and he received a number of prestigious commissions, none more so than those for national monuments in St Paul’s Cathedral. Although he held the post of sculptor to both George IV and William IV, his career faltered in the 1810s and he even considered taking up the offer of a commission in Haiti. However, he stayed in England and in 1819 won a commission to execute the terracotta caryatids for the Church of St Pancras, London. He exhibited at the Royal Academy between 1782 and 1834 (elected Royal Academician, 1802). Despite achieving recognition, he died in fairly straitened circumstances -- his large family absorbing so much of his income that, according to his obituary in the Art-Union, he ‘bequeathed to his family nothing but his fame’.
Sources: Cavanagh, T., Public Sculpture of Liverpool, Liverpool, 1997, p.337; Cavanagh, T. and Yarrington, A., Public Sculpture of Leicestershire and Rutland, Liverpool, 2000, p.383; Gunnis, R., Dictionary of British Sculptors 1660--1851, London, 1964, pp.326--7. [SBC2005]

John Charles Felix Rossi (1762--1839)
Sculptor born at Nottingham but brought up in Mountsorrel, Leicestershire, the son of a quack-doctor from Siena. Rossi first studied under, then worked for, the sculptor Locatelli. In 1781 he entered the Royal Academy Schools, winning a silver medal the same year and a gold medal in 1784; he exhibited at the RA 1782--1834. In 1785 he won the travelling scholarship and went to Rome, staying until 1788. On his return he worked at the Derby China Works and shortly afterwards for Coade’s of Lambeth, the manufacturers of decorative sculpture in durable artificial stone. Later Rossi was to develop an artificial stone of his own composition (he executed much work in artificial stone at Buckingham Palace, 1827--9). In 1798 he was elected ARA and in 1802 RA. His practice flourished and he received a number of prestigious commissions, none more so than those for national monuments in St Paul’s Cathedral. In the 1810s his career faltered and he even considered taking up the offer of a commission in Haiti, but he stayed in England and in 1819 won a commission to execute the terracotta caryatids for the Church of St Pancras, London. Throughout his career he worked successfully as a portraitist and held the post of sculptor to both George IV and William IV. Despite achieving recognition, he died in fairly straitened circumstances -- his large family (sixteen children from two marriages) absorbing so much of his income that, according to his obituary in the Art-Union, he ‘bequeathed to his family nothing but his fame’.
Sources: Art-Union, 1839 (obituary); DNB; Gentleman’s Magazine, May 1839 (obituary); Gunnis, R., [1964]. [LR 2000]

John Charles Felix Rossi (1762--1839)
Born at Nottingham, the son of a quack-doctor from Siena. Rossi first studied under, then worked for, the sculptor Locatelli. In 1781 he entered the RA Schools, winning a silver medal the same year and a gold medal in 1784. In 1785 he won the travelling scholarship and went to Rome, staying until 1788. On his return he worked at the Derby China Works and shortly afterwards for Coade’s of Lambeth, the manufacturers of decorative sculpture in durable artificial stone. Later Rossi was to develop an artificial stone of his own composition (he executed much work in artificial stone at Buckingham Palace, 1827--29). Coade’s also gave him valuable experience in modelling with terracotta and, in 1796, in partnership with John Bingley, he produced the terracotta figures and reliefs for the Assembly Rooms at Leicester. In 1798 Rossi was elected ARA and in 1802 RA. His practice flourished and he received a number of prestigious commissions, none more so than those for national monuments in St Paul’s. In the 1810s his career faltered and he even considered taking up the offer of a commission in Haiti, but he stayed in England and in 1819 won the commission for the terracotta caryatids for the Church of St Pancras, London. Throughout his career he worked successfully as a portraitist and held the post of sculptor to both George IV and William IV. Despite achieving recognition, he died in fairly straitened circumstances -- his large family (sixteen children from two marriages) absorbing so much of his income that he ‘bequeathed to his family nothing but his fame’ (Art-Union).
(sources: Art-Union [obit.], 1839; DNB; Gunnis, 1951)

Adolphus Rost
Rost’s works include a bronze bust of Queen Victoria for the London Chest Hospital, Hackney (1900).
Source: Gleichen, Lord Edward, London’s Open Air Statuary, London, 1928 (reprinted 1973). [WCS2003]

Louis-François Roubiliac (1702--62)
In 1730, Roubiliac won second prize as a pupil at the Académie Royale de Peinture et de Sculpture in Paris for a relief of an Old Testament subject. He worked briefly in the Paris studio of Nicolas Coustou, but by 1735 had moved to London because of the persecution of Huguenots in France at that time. Henry Cheere gave him employment and helped him to obtain his first commission, a marble statue of Handel erected in Vauxhall Gardens in 1738. It attracted considerable publicity on account of its startling informality and its capturing of the sitter’s transitory mood. By 1740, Roubiliac had set up his own studio in London, where he began to build up a reputation as a maker of portrait busts that captured the character of the sitters. An early example of one of these is his bust William Hogarth (1740, National Portrait Gallery) in which the sitter is shown en négligé, in the French tradition for artists or writers. During the 1740s, Roubiliac began to obtain a small number of commissions for tombs outside London, the most important being that to Bishop Hough in Worcester Cathedral (1747). His major innovation lies in the drama and asymmetry of the design, which depicts the deceased turning his head abruptly as if he had just seen a vision. However, it was only with the Monument to the Duke of Argyll for Westminster Abbey (1745--9) that the full force of his dramatic late baroque style was revealed. Perhaps his most strikingly dramatic monuments are General William Hargrave (1757) and Lady Elizabeth Nightingale (1761), both of which are also in Westminster Abbey. His greatest strength, though, lay in the realism of his portraiture, which was less formal in approach than that of his contemporaries, and revealed an interest in the real rather than the ideal. Among those he portrayed were Jonathan Swift (1749), David Garrick (1758), Joseph Wilton (1761) and a series of distinguished members of Trinity College, Cambridge (1751--7). In Rupert Gunnis’s estimation, ‘Roubiliac was probably the greatest sculptor to work in England during the eighteenth century’.
Sources: Cavanagh, T. and Yarrington, A., Public Sculpture of Leicestershire and Rutland, Liverpool, 2000, p.383; Gunnis, R., Dictionary of British Sculptors 1660--1851, London, 1964, pp.329--31; Ward-Jackson, P., Public Sculpture of the City of London, Liverpool, 2003, p.476; Whinney, M., Sculpture in Britain 1530--1830, London, 1964 (revised 1988), pp.198--226. [SBC2005]

Louis-François Roubiliac (1702--62)
Born in Lyon, he won a second prize for sculpture at the Académie Royale in Paris in 1730, and came to England in the same year. Different accounts claim that he had worked with Balthazar Permoser in Dresden, and that he had learned his art in Liège in Belgium. In England he became linked with Freemasons and the Huguenot community, into which he married in 1735. In the 1730s he worked with established sculptors, in particular with Henry Cheere. Through contacts in the St Martin’s Lane Circle, he obtained the commission for a statue of the composer Handel, for Vauxhall Gardens, completed in 1740 (marble, Victoria and Albert Museum, London). This established his reputation as a portrait sculptor. Roubiliac’s first important funerary monument produced under his own name was that of Bishop Hough in Worcester Cathedral (1746). It was only with the Monument to the Duke of Argyll (1745--9) for Westminster Abbey that the full force of his dramatic late baroque style was revealed. Here Roubiliac was seen to have surpassed his continental rivals in the field, P. Scheemakers and J.M. Rysbrack. The Argyll was followed by other commissions for monuments in the Abbey and elsewhere. Roubiliac’s most ambitious church monuments outside London are to be found at Warkton, Northants., Wrexham, Clwyd, and Kingston-upon-Thames, Surrey. In 1752, he went with a group of artists to Rome, where he is said to have exclaimed that the sculpture of Bernini made his own look ‘meagre and starved, as if made of nothing but tobacco pipes’. He produced numerous busts of historical and contemporary subjects. His self-portrait in marble is in the National Portrait Gallery, London. His non-funerary portrait statues include the standing figure of Isaac Newton (marble, 1755, Trinity College, Cambridge), and one of Shakespeare, executed for the actor David Garrick’s villa at Hampton (marble, 1756, British Museum, London). Roubiliac’s career ended as it had begun, with a statue of Handel. His monument to the composer in Westminster Abbey shows him holding a score with the opening phrases of the aria ‘I know that my Redeemer liveth’, from The Messiah, whilst listening to music played by an angelic harpist.
Sources: M. Whinney Sculpture in Britain 1530--1830, revised by J. Physick, London, 1988; D. Bindman and M. Baker, Roubiliac and the Eighteenth-Century Monument, New Haven and London, 1995. [CL2003]

Louis François Roubiliac (1702--62)
Sculptor born 31 August 1702 to wealthy parents at Lyons and possibly apprenticed to Balthazar Permoser who was then sculptor to the Elector of Saxony at Dresden. Roubiliac was at the Académie Royale, Paris, in the late 1720s and may have been assistant to Nicholas Coustou, one of the two Recteurs; in 1730 he won the second prize for sculpture. Roubiliac moved to England most likely in 1730 and was employed first by Benjamin (or Thomas) Carter and then by Sir Henry Cheere. In 1745 he was appointed lecturer in sculpture at St Martin’s Lane Academy and in 1752 made the all-important trip to Italy. In 1759 he was elected to the committee of the Society for the Encouragement of Arts and Sciences (now the Royal Society of Arts). Roubiliac had received his first independent commission -- the Statue of G.F. Handel for Vauxhall Gardens -- in 1738 (terracotta, Fitzwilliam Museum, Cambridge; marble, Victoria and Albert Museum). With his fee, he was able to set up his own studio in St Martin’s Lane, London, where he quickly established a reputation for portrait busts, some of them, notably his Alexander Pope, being repeated many times. Other outstanding examples are William Hogarth, terracotta, c.1740 (National Portrait Gallery); Sir Andrew Fontaine, marble, 1747 (Wilton House, Wiltshire); and Roubiliac’s late self-portrait in terracotta (National Portrait Gallery). The more prestigious field of church monuments was, however, more difficult to enter, his first major commission being the Monument to Bishop Hough, 1744--7, in Worcester Cathedral, and his first London commission being the Monument to the Duke of Argyll and Greenwich, 1745--9, for Westminster Abbey. He was thereafter in constant demand, creating some of the most brilliantly carved, imaginatively-conceived and theatrically dramatic monuments ever to appear in Britain, notable amongst them being the pendant tombs of the Duke and Duchess of Montagu, 1749--54 and 1752--4 respectively, for Warkton, Northamptonshire and, again for Westminster Abbey, General William Hargrave, c.1752--1757, and Joseph and Elizabeth Nightingale, 1758--61. In Rupert Gunnis’s estimation, ‘Roubiliac was probably the greatest sculptor to work in England during the eighteenth century’.
Sources: Bindman, D. and Baker, M., 1995; Gunnis, R., [1964]. [LR 2000]

Clifford A. Rowe (1904--89)
A native of London, Rowe attended Wimbledon School of Art between 1918 and 1921, winning a scholarship to the Royal College of Art, but leaving after only a year. For two years he was employed in advertising, then becoming self-employed in order to allow more time for his own work as an artist and book illustrator. This, however, impoverished him to such an extent that he came to question the economic basis of society. He began studying Socialist literature, reading the Communist Manifesto, and then travelled to the Soviet Union, where he lived for 18 months, designing book covers and undertaking commissioned work for the Red Army. During the late 1930s, Rowe began to depart from Social Realism, finding it too limiting, both in theory and practice, searching for an art which was neither photographic nor too abstract. With Misha Black and others, he founded the Artists International Association, leaving in the 1950s when he felt that it ceased to have a political purpose. He did not exhibit his work frequently, and in 1985 gave much of it to galleries and museums (e.g., the Science Museum, the London and National Railway Museum, Leicester City Art Gallery, and the National Museum of Labour History). His work is also held in the Tate Gallery, and the Electrical Trades Union College owns his General Strike and Tolpuddle Martyrs murals. In 1983, his work was included in the AIA touring exhibition, organised by the Museum of Modern Art, Oxford. In 1987, together with Peter Peri, he exhibited in Fighting Spirits at the Camden Arts Centre, and in 1995 he was given a posthumous solo show by the National Museum of Labour History, Manchester.
Source: Herbert Art Gallery and Museum/City of Coventry Libraries, Arts and Museums Department, A Survey of Public Art in Coventry, Coventry, 1980. [WCS2003]

Herbert James Rowse (d. 1963)
Architect, educated at the University of Liverpool. He commenced practice in Liverpool in 1918. Apart from his many buildings in Liverpool, he designed the new headquarters building for the Compania de Aplicaciones Electricas S.A., Barcelona, 1930; the new headquarters building for the Pharmaceutical Society of Great Britain, Brunswick Square, London, 1935; and diplomatic buildings in Delhi and Karachi in 1951. He also won first prize in a competition to design a new library and chambers at King’s College, Cambridge, in 1924, although his design was never executed. He was a FRIBA and then, in 1944--50, a member of the RIBA council.
(source: Who Was Who 1961--1970)

Royle and Bennett
Architects. Robert Isaac Bennett (1841--1901) was articled to Nathan Glossop Pennington, 1857--9, but articles cancelled after two years. Articled to Philip Nunn, 1859--62, and remained his assistant until 1867. Succeeded to practice of Nunn on his death in 1867, in partnership with William Alfred Royle (1839?--1904). Royle and Bennett designed many schools and other buildings in and around Manchester, including the Higher Grade Schools at Cheetham and the Armenian Church, Upper Brook Street.
Sources: Tracy, 1899; Felstead, 1993. [Man2004]

Ulrich Rückriem (b. 1938)
Sculptor. Born Düsseldorf. Trained with traditional stone-masons in Duren and Cologne, 1957--9, his work has reflected this training. His rough-hewn, split and reassembled granite monoliths established Rückriem as one of Germany’s best-known sculptors. He uses stone principally from quarries in Spain, France and Finland. Over 100 exhibitions include Museum of Modern Art, Oxford, Serpentine Gallery, London, Stedelijk Museum, Amsterdam and Ace, New York. Group shows include Documentas, 5, 6, 7, 8 and 9; Paris, Venice and São Paulo Biennales, Munster Sculpture Projects 87 and 97. Rückriem’s work is represented in collections of the Tate Gallery, London, and the Stedelijk Van Abbemuseum, Eindhoven.
Sources: Rückriem, 1991; Mont Joie, 1998. [Man2004]

Edwin John Cumming Russell (b. 1939)
Born at Heathfield, Sussex, he studied at the Brighton College of Arts and Crafts (1955--9) and at the Royal Academy Schools (1959--63), where he won the Academy’s Gold Medal and the Edward Stott Travelling Scholarship. Russell has produced many sculptures for churches. For St Paul’s Cathedral he carved a limewood Crucifixion in 1964, and a statue of St Michael in oak, in 1970. In 1973 he was commissioned by the Dean and Chapter of St Paul’s to produce models for statues to replace those by Francis Bird on the cathedral’s parapet, a project which never materialised. In more recent times he has sculpted a number of thematic sundials, including one for Parliament Square, Dubai (1988) and the Tower Hill Sundial (1992). His sculpture for shopping centres includes the group of The Mad Hatter’s Tea Party for Warrington (1984). For the World Wild Life Fund’s Headquarters he sculpted a marble Panda in 1988. He was elected a fellow of the Royal Society of British Sculptors, in 1978, and won the Otto Beit Medal for Sculpture in 1991. He is married to the sculptor Lorne McKean, and lives at Hindhead, Surrey.
Sources: D. Buckman, The Dictionary of British Sculptors Since 1945, Bristol, 1998. [CL2003]

Thomas Sabin (d. 1702)
Mason-sculptor of Ashby-de-la-Zouch.
Source: Gunnis, R. [1964]. [LR 2000]

Salmon, Son & Gillespie (fl.1892--1913)
Architectural firm founded by James Salmon Senior (fl.c.1825--88). The firm passed to his son, William Forrest Salmon (1843--1911) then to grandson James Salmon Junior (1873--1924) and their former assistant James Gaff Gillespie (1870--1926) in 1898. Their Glasgow Style buildings and interiors provided early opportunities to Albert Hodge, Johan Keller and Francis Derwent Wood (qq.v.), but they often produced their own decorative work such as repoussé, stained glass and sculpture. (Gillespie modelled the sculpture for their Stirling Municipal Buildings, 1907--14.) They later pioneered the use of reinforced concrete for building frames and façades. Their successors, Gillespie Kidd & Coia, are noted for their churches throughout Scotland, several incorporating sculpture by Archibald Dawson, Alexander Proudfoot and Benno Schotz (qq.v.).
Sources: Service, pp.236--49; Blench et al., pp.45--6; Gray; Rogerson, pp.2--73. [G2002]

Edward Salomons (1828--1906)
Architect. Born in London, 1828. Son of Manchester merchant H.F. Salomons. Educated privately in Manchester, and as the pupil of J.E. Gregan, Salomons was first a draughtsman to the firm of Bowman and Crowther, illustrating much of their Churches of the Middle Ages. He began practice in 1852. Salomons’ principal works include (in Manchester), the Reform Club, the Manchester and Salford Savings Bank, Lee’s Warehouse and the Prince’s Theatre. He also designed the Alexandra Theatre in Liverpool. He was also known as a water-colourist and exhibited at the New Gallery in London and in Manchester. He was twice President of the Manchester Society of Architects, and was a member of the Committee of Manchester School of Art. The 1922 history of the Reform Club said of Salomons: ‘It is to be regretted that the Manchester press always paid more attention to the epicurean knowledge which Mr. Salomons displayed in the menus of the annual dinners of the Manchester Society of Architects than to his undoubted architectural ability’.
Sources: Feldstead, 1993; Beenstock, 1996. [Man2004]

Sadashiv Dattatray Sathe (b. 1926)
Sculptor. Born in India. Government diploma in modelling and sculpture, 1948. Portrait sculptor. Exhibitions in Delhi, Bombay, Moscow, London and The Hague. Public statues include Mahatma Gandhi (New Delhi; Oslo), Lokmanya Balangadhar Tilak (New Delhi), Chief Justice Mohammed Ali Chagla (Bombay High Court) and equestrian statue of Chatrapati Shivaji Maharaj (New Delhi). Another bust of Mahatma Gandhi is in Rome. Founder member of All India Sculptors’ Association.
Source: www.painternet.com [Man2004]

Michael Sandle (b. 1936)
Born in Weymouth, Sandle attended the School of Art and Technology in Douglas, Isle of Man, before doing his National Service with the Royal Artillery (1954--6). On demobilisation he studied print-making at the Slade from 1956 to 1959. This was followed by travels in Europe, including time spent working for the Atelier Patris in Paris, as a lithographer. Sandle was in Leicester from 1960 to 1963, working in association with the so-called Leicester group of artists. In the mid-1960s he began to make the transition from painting to sculpture, at first with a series of reliefs, but then in 1966 with his first free-standing work, Oranges and Lemons. This was followed by the Monumentum pro Gesualdo (1966--9, fibreglass, resin and brass, Neuberger Museum, State University of New York at Purchase) and A Twentieth Century Memorial (1971--8), which was acquired by the Tate Gallery. The memorial was started during the Vietnam War, and represents a skeleton with a Mickey Mouse head operating a machine-gun. Sandle has produced ironical monuments and melodramatic parodies of militaristic art. He has also produced a real war memorial, the Malta Siege Bell Memorial (1988--92) for Valetta Harbour, Malta. His most recent work is the International Memorial to Seafarers (2001), at the International Maritime Organisation Headquarters on the Albert Embankment, London. For much of the 1970s and 80s Sandle lived and taught in Germany.
Sources: Michael Sandle Sculpture and Drawings 1957--88, Exh. cat. Whitechapel Art Gallery, London, 1988; Michael Sandle; Memorials for the Twentieth Century, Tate Gallery, Liverpool, 1995; J. McEwen, The Sculpture of Michael Sandle, Much Hadham, 2002. [CL2003]

Saracen Foundry See Walter Macfarlane & Co.

Francis William Sargant (1870--1960)
Sculptor born 10 January 1870 in London, the younger brother of the painter Mary Sargant-Florence. He was educated at Rugby and New College, Oxford, and then studied art at the Slade School of Fine Art, London, 1895--6, and at Florence and Munich, 1899--1903, winning a gold medal for a work exhibited at Munich in 1904. Whilst retaining an address in London, Sargant spent most of his life in Italy, living and working in Florence from 1899--1914 and 1918--37. One of his principal commissions was a Memorial to Florence Nightingale, 1913, for the church of Santa Croce, Florence. On 1 January 1920, Sargant was awarded an OBE ‘for services in connection with the [First World] War’ in his capacity as Commandant of the British Red Cross Unit No. 2, Italy. Later the same year the Italian authorities appointed him Cavaliere Corona d’Italia. He showed at the Royal Academy, London, from 1919--59, his major work of these years undoubtedly being his series of reliefs for Oakham School War Memorial Chapel (see pp.293--6). He died at Cambridge 11 January 1960. His work was strongly influenced by the sculpture of the Italian Renaissance and though most of it was in stone or marble Sargant was dismissive of the claims of the direct carving faction, fervently believing that better results could be achieved through the traditional method in which a clay or plaster model is copied in stone or marble by means of a pointing machine. Examples of his work are in the Tate Gallery and in Leeds Sculpture Collections.
Sources: information from Central Chancery of the Orders of Knighthood; Buckman, D., 1998; The Times, 13 January 1960 (obituary); Waters, G.M., 1975. [LR 2000]

George H. Saul (exhibited 1876--87)
Sculptor. In 1876, 1879 and 1887 he exhibited at the Royal Academy of Arts (the catalogue giving his address as Florence) and in 1880 and 1883 at the Grosvenor Gallery, London. He executed the Monument to Mrs Townley, 1881, in St Peter’s Church, Burnley, Lancashire.
Sources: Graves, A., 1905--6, 1970; Johnson, J. and Greutzner, A., 1976; Newall, C., 1995; Pevsner, N., 1969. [LR 2000]

Peter Scheemakers (1691--1781)
The son of the Antwerp sculptor Peter Scheemakers the Elder (1640--1713), he trained in Copenhagen under the court sculptor Johann Adam Sturmberg (1683--1741). After briefly studying sculpture in Rome, he travelled to London where he gained employment under Francis Bird (1667--1731) and François Plumier (1688--1721). In 1728 Scheemakers went back to Rome with Laurent Delvaux (1696--1778), studying there for several years and developing a severely classical style. On returning to England he set up a studio in London. Scheemakers’ works were prolific, including many statues, portrait busts and church monuments. The most successful of these was his statue of Shakespeare in Westminster Abbey (1741). His main rival was the sculptor John Rysbrack (1694--1770), whom Scheemakers regularly undercut to gain a commission. In 1753 he announced his retirement with an auction of many of his prints and drawings, this being followed in the next four years by two more sales of his work. In fact Scheemakers continued to work in England until 1771, when he left the country and returned to Antwerp.
Sources: Gunnis, R., Dictionary of British Sculptors 1660--1851, London, 1964, pp.341--3; Noszlopy, George T., Public Sculpture of Warwickshire, Coventry and Solihull, Liverpool, 2003, p.269; Roscoe, I., Peter Scheemakers: the Famous Statuary 1691--1781, Henry Moore Institute, Leeds, 1996; Roscoe, I., ‘Peter Scheemakers catalogue’, Walpole Society Journal, vol.LXI, London, 1999; Whinney, M., Sculpture in Britain 1530--1830, London, 1964, (revised edition 1988), pp.182--90. [SBC2005]

Peter Scheemakers (1691--1781)
The son of the Antwerp sculptor Peter Scheemakers the Elder (1640--1713), Scheemakers trained in Copenhagen under the court sculptor Johann Adam Sturmberg (1683--1741). He briefly studied sculpture in Rome before travelling to London where he gained employment under Francis Bird (1667--1731) and François Plumière (also known as Pierre Denis) (1688--1721). While in London he worked in partnership with Laurent Delvaux (1696--1778). In 1728 Scheemakers, accompanied by Delvaux, returned to Rome where he studied for several years. On returning to England he set up a studio in London. Scheemakers’ style was severely classical. His works were prolific including many statues, portrait busts and church monuments. His main rival was the sculptor John Rysbrack (1694--1770), whom he regularly undercut to gain a commission. His brother, Henry (d.1748) and son, Thomas (1740--1808) also worked in England as sculptors. In 1753 Scheemakers announced his retirement with an auction of many of his prints and drawings, followed in the next four years by two more sales of his work. In fact Scheemakers continued to work in England until 1771, when he left the country and returned to Antwerp.
Sources: Gunnis, R., Dictionary of British Sculptors 1660 -- 1851, London, 1964; Roscoe, Ingrid, ‘Peter Scheemakers catalogue’, Walpole Society Journal, vol.LXI, 1999; Henry Moore Institute, Peter Scheemakers: the famous statuary 1691--1781, Leeds, 1996. [WCS2003]

Thomas Scheemakers (1740--1808)
Son of Peter Scheemakers. He worked for his father until 1771 and continued the association with James Stuart, with whom he produced a number of understated neo-classical monuments combining portrait medallions and sarcophagi after the Antique. A volume of his own designs in the Victoria and Albert Museum confirms his limited scope. His one remarkable monument is Mary Russell (1787, church of Saints Peter and Lawrence, Powick, Worcestershire), which is of a recumbent effigy lying on a sarcophagus carved with musical trophies.
Source: Roscoe, I., ‘Thomas Scheemakers’, The Grove Dictionary of Art Online, ed. L. Macy, accessed 30 June 2003, http://www.groveart.com [SBC2005]

Frederick Emil Eberhard Schenck (1849--1908)
Schenck studied sculpture at Edinburgh, winning the bronze medal in 1872. After three months gaining working experience with Wedgwood, he spent two years at the National Art Training School, South Kensington (now the Royal College of Art). He returned to Edinburgh in 1875, where he trained for three years in the Life Class of the Royal Scottish Academy. During his time there, he exhibited a number of busts and also began free-lance designing and modelling for the George Jones Pottery in Stoke-on-Trent, mainly specialising in low-relief work. In 1878 or 1879 he took up an appointment as Modelling Master at Hanley School of Art. While in the Potteries he produced designs and models for Wedgwood and other pottery firms. In 1888 he moved to London and became prominent as an architectural sculptor. His first work of major importance was the Council Chamber for the Municipal Buildings in Bath, completed in 1895. He formed a particularly close working relationship with the architect Henry Hare, and their first project together was the County Buildings, Stafford, for which he produced relief panels of classical figures for several rooms, including the Council Chamber. Subsequently, in 1896, replicas of four of these were exhibited at the Royal Academy. His other works with Henry Hare included sculptured panels for the interior of Oxford Town Hall (1897); exterior sculptures on the Municipal Buildings and Public Baths at Shoreditch (1899) and Crewe (1903); and the Central Libraries at Hammersmith (1904--5) and Islington (1905). His last major work, again with Henry Hare, was Ingram House, the building of the United Provident Institution at 196, Strand (1906, demolished in 1961). He played an important part in the movement to encourage closer co-operation between architect and sculptor.
Sources: Information provided by David Schenck, grandson of Frederick Schenck; Staffordshire County Council, A Guide to County Buildings Stafford, Stafford, 1995, p.15. [SBC2005]

Michael Scheuermann (b.1967)
From 1988 until 1991, Michael Scheuermann undertook a three-year apprenticeship in stone-carving with Hugo Krautter Steinmetzmeister. He spent two years working as a stonemason in Germany and Austria before becoming an assistant to the German sculptor Rudolph Kurz in Ellwangen. He came to Britain in 1995, studying for a BA Honours degree in Art and Design (Sculpture with Ceramics) at the University of Wolverhampton. While still a student, he assisted in the carving of the Lone Rider sculpture there for Steve Field (1996) and won a competition held by Sterling Tubes Ltd of Walsall to design a sculpture for the firm. The resulting piece, Icarus (1997), was his first major work. He also carved the Lunar Society Monument designed by Steve Field in Great Barr, Birmingham (1998). More recently, he has undertaken several commissions for the Sandy Lane Hotel, Barbados, carving relief panels, furniture and free-standing sculptures out of coral stone.
Source: Information provided by Steve Field, Dudley Borough Public Artist, and by the artist, 2002. [SBC2005]

Bernard Schottlander (1924--99)
Born in Mainz, Germany, Schottlander came to Britain in 1939. He worked as a welder and plater, attending evening classes in sculpture at Leeds College of Art, then as a structural engineering welder during the war. From 1944--8 he studied at the Anglo-French Art Centre, later attending the Central School of Art and Crafts from 1949--51. From 1951 to 1963, he worked as an industrial designer and metal worker with his own metal workshop. From 1963 he worked full time as a sculptor. He also taught at St Martin’s School of Art. At first geometric, after 1977 his work becomes organic, usually in marine paint on steel plate. He participated in the Arts Council’s touring exhibition, Sculpture in a City (1968), and his solo exhibitions include the Architectural Association (1964), Annely Joda, Hamilton Galleries (1965), Guinness Brewery (open air exhibition) (1972). His South of the River (a large, steel sculpture) is located in Lambeth Palace Road, in front of the offices of Ernst & Young, and his work is held in the collections of the Arts Council, Leicester City Art Gallery, and Warwick University. Overseas collections holding his work include the City of Toronto, and the Sackler Foundation, New York.
Source: Dictionary of National Biography, CD ROM version. [WCS2003]

Bernard Schottlander (1924--99)
Sculptor in metal, born 18 September 1924 of Jewish parents in Mainz, Germany. His family fled Germany in 1939, he and his parents and brother becoming separated, with them ending up in Switzerland and he in England. He stayed, was adopted by a refugee organisation, and was naturalised in 1946. From 1941--4 he worked as a welder and plater whilst attending evening classes in sculpture at Leeds College of Art. After war service, 1944--8, he studied at the Anglo-French Art Centre, St John’s Wood, 1948--9, and then, 1949--51, took an industrial design course at Central School of Arts and Crafts. From 1951 Schottlander worked as an industrial designer and metalwork maker in his own workshop. From 1963, however, he practised sculpture full-time, teaching at St Martin’s School of Art, 1965--7. His first solo exhibition was at the Architectural Association in 1964 and he had an open-air exhibition at Guinness’s Brewery in 1972. His work was also included in a number of mixed shows, including the Arts Council’s touring exhibition, ‘Sculpture in a City’, and Coventry Cathedral’s open air ‘Exhibition of British Sculpture’, both 1968. In the mid-1970s, Schottlander began to move away from the geometric forms hitherto characteristic of his sculpture towards more organically-based forms. His most important public sculptures are a memorial to the Jewish athletes killed by terrorists at the 1972 Munich Olympic Games, now in Tel Aviv, Israel, and South of the River, 1975, outside Ernst and Young’s offices, Lambeth Palace Road. He died 28 September 1999 at Oxford.
Sources: Buckman, D., 1998; The Independent, 14 October 1999, p.6 (obituary); Strachan, W.J., 1984. [LR 2000]

Benno Schotz (1891--1984)
Born in Arensburg, on the Estonian island of Oesel, he studied engineering at Darmstadt, then joined his brother in Glasgow in 1912. He continued his studies at Glasgow Royal Technical College, 1912--14, and, while working as a draughtsman at John Brown’s shipyard, attended evening classes at GSA. He exhibited sculpture at the RGIFA in 1917, became President of the Society of Sculptors and Painters, Glasgow, in 1920, and established himself as a professional sculptor in 1923. A protégé of the architect John Keppie, and influenced by Rodin and Epstein, he executed many portrait busts, including one of Keppie in 1923. Among his many ideal works and public commissions are the Partick Camera Club Trophy (1925), the Keir Hardy Monument, Old Cumnock (1939), Ex Terra, Glenrothes (1965), and several cycles of The Stations of the Cross for churches by Jack Coia. He succeeded Archibald Dawson (q.v.) as Head of the Department of Sculpture and Ceramics at GSA in 1938 and remained in the post until 1961. Exhibiting widely throughout Britain, Israel and the USA, he was elected ARSA in 1933, and RSA in 1937. In 1963 he was appointed Her Majesty’s Sculptor in Ordinary for Scotland. He also received an HLLD from Strathclyde University in 1969, and was accorded the Freedom of the City of Glasgow in 1981. His Moses the Sculptor (1949, originally shown in Kelvingrove Park), was exhibited as a posthumous tribute at the 1988 Glasgow Garden Festival.
Sources: HAG, Honeyman & Keppie Job Book, 1920--8; West End News and Partick Advertiser, 16 November 1973, p.14, 29 March 1974, p.5, 12 July 1974, p.4; GH, 12 October 1984, p.3 (obit.); Schotz, passim.; Halliday and Bruce, p.xi; SAC, Benno Schotz Retrospective Exhibition, Edinburgh, 1971 (ex. cat.); GAGM, Benno Schotz Portrait Sculpture, Glasgow, 1978 (ex. cat.); Murray, pp.98--9; Mackay; McEwan. [G2002]

Hans Schwarz (b.1922)
Sculptor and graphic designer, born in Austria. Expelled by the Nazis, Schwarz came to England in 1939, attending the Birmingham School of Art 1941--3. He taught at various art schools from the early 1940s to 1966 whilst also undertaking painting and sculpting commissions, and now lives in London. He has exhibited widely, with sculptures in Birmingham, Cardiff and Greenwich, and has work in the collections of the National Portrait Gallery, the National Maritime Museum and Glasgow Art Gallery. Since 1966 he has written several books on art for Studio Vista and Pitmans as well as articles for The Artist. Member of the New English Art Club and the Royal Watercolour Society.
[1] PSoB, p.24. [2] Buckman, p.1078. [NE 2000]

Hans Schwarz (b.1922)
Born in Vienna he came to Birmingham in June 1939 and worked as a labourer for a year at the Cadbury factory, Bournville, before being interned. He attended Birmingham School of Art 1941--3, then worked in a commercial art studio 1943--5, also teaching part-time. He taught at various art schools until 1966. From 1945 he turned freelance designer but gave up graphic design in 1964 to paint and sculpt full-time. He has exhibited widely since 1940 in Birmingham and London, exhibiting solo from 1955. Commissions for both public and private bodies include: a large bronze figure, Wallsend-on-Tyne shopping precinct 1965; a large relief stainless steel fountain, for BR headquarters, Cardiff 1968; fibreglass relief, Greenwich library, Kidbrook estate 1973. In 1981 he won the £5,000 watercolour of the year Hunting prize. His work is in the collections of the National Portrait Gallery; the National Maritime Museum; Glasgow Art Gallery; Newport Art Gallery and Bridgwater Museum; and he has exhibited at the RA from 1975. Since 1966 he has written several books on art for Studio Vista and Pitman’s, and has written articles for the Artist. He is a member of the New English Art Club; RWS; an Honorary Life Member of Hampstead Artists Council; RSBA. He has lived in London since 1953.
1. Biography from the artist, 1985; 2. Letter from the artist, February 1996; 3. WWA, 26th edition, Havant, 1994, p.423. [B1998]

Scott Associates Sculpture and Design (1999--)
Glasgow-based firm of sculptors, interior designers and fabricators founded by Andy Scott (b.1964) and five other former members of the Glasgow Sculpture Studios: Simon Hopkins, Derek Cunningham, Kenneth Mackay, Pat Moran and Ewan Hunter, with Wilma Eaton as education and outreach officer. In addition to their regular work as designers and fabricators of studio props for television broadcasts, and their collaborations with architects and engineers, they have produced numerous works of permanent public art. These include a bronze statue of the footballer Davie Cooper, Hamilton (1999), The Heavy Horse, Easterhouse (1999) and the Carmyle Heron, Carmyle (2000). Their most prestigious commission to date is for a sculpture for Thanksgiving Square, Belfast (1999).
Sources: H, 18 May 2000, p.8; information provided by Scott Associates. [G2002]

Andy Scott See Scott Associates Sculpture & Design Ltd

Sir George Gilbert Scott (1811--78)
Leading Gothic Revival architect particularly interested in the restoration of ecclesiastical buildings. Scott built his first churches in the late 1830s, though not yet in the Gothic style for which he was to become best known. His first Gothic work (following his meeting with Pugin) was Martyrs Memorial, Oxford (1841--2), while his first church in the Gothic style was St Giles’, Camberwell (1841--4). He later used the same style for his secular buildings, a practice he defended in his book, Remarks on Secular and Domestic Architecture, Present and Future (1857). In 1856 he entered the competition to design the War and Foreign Offices -- a competition which became a centre of conflict between advocates of the Gothic and the classical schools of architecture. Scott was eventually appointed to build the Foreign Office, but only after he had been forced to change his design from Gothic to Italian Renaissance (completed 1873). His most notable buildings in the Gothic style are Kelham Hall, Northumberland (1857), the Albert Memorial (1864), and St Pancras Station and Hotel (completed 1874). By this time, he was recognised as one of the leading practitioners in the field: in 1859 the Royal Institute of British Architects awarded him its Royal Gold Medal, and in 1873 it elected him president. From 1868 he was Professor of Architecture at the Royal Academy, and in 1872 he was knighted. His architectural firm designed around 1,000 buildings including the Home Office and Colonial Office (1858); and Glasgow University (1865).
Sources: Cavanagh, T. and Yarrington, A., Public Sculpture of Leicestershire and Rutland, Liverpool, 2000, p.384f.; Read, B., Victorian Sculpture, New Haven and London, 1982, pp.97--9, 269--72; Turner, J., (ed.), Dictionary of Art, London, vol.28, 1996, pp.277--80; Usherwood, P., Beach, J. and Morris, C., Public Sculpture of North-East England, Liverpool, 2000, p.334f.; Watkin, D., English Architecture, London, 1979, p.169. [SBC2005]

Sir George Gilbert Scott (1811--78)
Gothic Revival architect born at Gawcott, Buckinghamshire. Scott’s father, the curate of Gawcott, recognised his son’s interest in architecture -- the boy spent much time drawing churches -- and articled him in 1827 to architect James Edmeston. On completion in 1831, Scott worked for several other architects before establishing his own practice in 1835, later taking his clerk-of-works, W.B. Moffat, into partnership (terminated 1845). The practice specialised in workhouses, all in a quasi-Elizabethan style, but it was at this time that Scott built his first churches, though not yet in the Gothic style for which he was to become best known. Neither his evangelical upbringing nor the architectural predilections of the architects for whom he had worked had encouraged an interest in Gothic, and it was only when he began to read Pugin and later met him (through Pugin’s chief builder, George Myers) that his interest developed. Scott’s first essay in Gothic principles was the Martyrs’ Memorial, 1841--2, at Oxford, won in competition, and his first building in the Gothic style was the church of St Giles, Camberwell, 1841--4. Then began his series of restorations, starting with Chesterfield Church, his first work for a cathedral being the chapter house at Ely (1847). In 1844 Scott’s r