LADY LEVER ART GALLERY Port Sunlight, Wirral

Transcription

LADY LEVER ART GALLERY
Port Sunlight, Wirral
CONSERVATION MANAGEMENT PLAN
May 2014
REBECCA BURROWS
On behalf of Purcell ®
29 Marygate, York YO30 7WH
[email protected]
www.purcelluk.com
All rights in this work are reserved. No part of this work may be reproduced, stored or transmitted in any form or by any means (including without limitation
by photocopying or placing on a website) without the prior permission in writing of Purcell except in accordance with the provisions of the Copyright, Designs
and Patents Act 1988. Applications for permission to reproduce any part of this work should be addressed to Purcell at [email protected].
Undertaking any unauthorised act in relation to this work may result in a civil claim for damages and/or criminal prosecution. Any materials used in this work
which are subject to third party copyright have been reproduced under licence from the copyright owner except in the case of works of unknown authorship
as defined by the Copyright, Designs and Patents Act 1988. Any person wishing to assert rights in relation to works which have been reproduced as works of
unknown authorship should contact Purcell at [email protected].
DOCUMENT ISSUE
ISSUE 1
(MAY 2014)
-
NATIONAL MUSEUMS LIVERPOOL
ISSUE 2
(JUNE 2014)
-
NATIONAL MUSEUMS LIVERPOOL FOLLOWING CONSULTATION
Purcell asserts its moral rights to be identified as the author of this work under the Copyright, Designs and Patents Act 1988.
Purcell® is the trading name of Purcell Miller Tritton LLP.
© Purcell 2014
RB/lkc/235253
CONTENTS
EXECUTIVE SUMMARY
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1
1.1
1.2
1.3
1.4
1.5
1.6
1.7
1.8
INTRODUCTION
General Background
Vision and Aims
Purpose of the Conservation Plan
Scope of the Study
Existing Information
Gaps in Knowledge
Acknowledgements
Adoption and Review
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2
2.1
2.2
2.3
2.4
2.5
2.6
2.7
UNDERSTANDING THE LADY LEVER GALLERY
Description of the Site
Description of the Building
Historic Development
Construction, Repair and Alteration
Lady Lever in Context
Management and Use
Policy and Guidance
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57
3
3.1
Correspondence
regarding the
south doors, 1925
ISSUES AND OPPORTUNITIES
SIGNIFICANCE
Assessing Significance
59
59
4
4.1
Issues and Opportunities
67
68
5
5.1
5.2
CONSERVATION FRAMEWORK
Definition of Conservation
Conservation Framework
71
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72
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BIBLIOGRAPHY
76
APPENDIX A: ARCHIVAL RESEARCH
77
APPENDIX B: LIST DESCRIPTION
79
APPENDIX C: REPORT OF THE DECORATIONS
AT LADY LEVER, QUENTIN HUGHES, ARCHITECT, 1960
84
APPENDIX D: CORRESPONDENCE REGARDING THE
SOUTH DOORS,1925
86
APPENDIX E: REPORT ON THE HEATING AND
VENTILATION WITHIN THE LADY LEVER ART
GALLERY, 1948
87
EXECUTIVE
SUMMARY
This Conservation Plan (CP) is concerned with the Lady Lever Art
Gallery, Port Sunlight, Wirral. It has been prepared by Purcell on
behalf of National Museums Liverpool to inform and support the
scheme to re-develop the South Galleries of the Lady Lever Art
Gallery and a Stage Two application to the Heritage Lottery Fund.
The content of this CP will be the subject of internal consultation,
following which it will be issued for external consultation by key
stakeholders. This will achieve a consensus view of the significance of
the site, together with the associated risks, issues and opportunities
that should be carefully considered as the scheme moves forward.
The aim of the study is to look at the Gallery, its history and context
as a whole, with a particular emphasis placed on the South Galleries,
the scope of the current redevelopment project.
The Gallery is a Grade II listed building set within the Port Sunlight
Village Conservation Area. The study considers the interior and the
exterior of the building and the context of the site within the wider
village. The collections are mentioned briefly here and discussed in
greater detail in a separate Collections Statement.
The Lady Lever Art Gallery represents a site of national and
international heritage significance. This significance is not only defined
by the statutory designation of the site, but also by the deeper
heritage values such as its value to the local community. The interior
and exterior appearance, layout and fabric have remained remarkably
intact.
The Lady Lever was conceived as a public gallery purpose-built
to house Lord Lever’s extensive collection of art. The building is
designed not only as a canvas on which to view these objects, but as
an architectural accomplishment and work of art in its own right. Its
setting within Port Sunlight is strengthened by the carefully designed
views to and from formal axial landscaping to the south.
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4
The Gallery has high aesthetic value as an important and
accomplished example of Beaux-Arts classicism. The Gallery also
has high historical value, not only through its direct association with
Lever (one of the key philanthropists of the Victorian and Edwardian
eras), but also its situation within the internationally significant
Garden Village of Port Sunlight.
The site has high illustrative historical value, exhibiting the objectives
of the Victorian and Edwardian philanthropist in the education of
the working classes. The complete nature of the Gallery with the
collections it was designed for is also very unusual in Britain. In
addition, the quality of the building, the detailing and the finish are
all exceptional. Within the South Galleries, the 1960s sub-division,
suspended ceilings and simplified detailing are detrimental to
significance, particularly in the Napoleon and Wedgwood Rooms.
Removal of these alterations would enhance significance and lead to
greater understanding of the building.
The key risks to the significance of the Lady Lever Art Gallery
are fairly benign overall, and centre largely on a sense that the
opportunities to interpret and access the history and development
of the site remain unfulfilled. The condition of the fabric of the built
structure is reasonable.
The main issue relates to the inability of visitors to appreciate the
historic layout and fabric of the South Galleries due to inappropriate
mid-20th century alterations. Opportunities arise within the HLF
redevelopment project to remove the detrimental (but largely
reversible) alterations and reinstate original architectural features
and open up historic viewpoints and links with the village. The HLF
redevelopment project represents an opportunity to enhance the
visitor offer through improving existing interpretation, with a focus
on Port Sunlight and its links to the Gallery.
The Conservation Framework at the end of this document provides
direction and practical recommendations for the protection and
enhancement of the significance of the Gallery as part of a process
of carefully managed change and enhancement.
This CP is arranged over five main sections:
Introduction
A summary of basic information including the client’s vision, the purpose of the
CP, scope of study, gaps in knowledge and stages of review and adoption.
Understanding
the Heritage
A history and description of the site and its context including site location, description of
the site, setting and context, historic development, policy and guidance, and management
and use.
Statement of
Significance
An assessment of the heritage values of the Lady Lever Art Gallery as a whole and the
South Galleries in their own right. This is derived from the understanding established in
section 2 and is based on the English Heritage Conservation Principles, 2008.
Issues and
Opportunities
An examination of the main issues that threaten the significance of the Gallery, as well as
the opportunities that may exist to both safeguard and enhance the significance. This is
linked directly to the aims set out in 1.2. This section informs the formulation of Section 5.
Conservation
Management
Framework
This section builds upon the Client’s vision for the Gallery and the conservation and
management aims set out in the Conservation Statement. It offers a framework of
policies for the South Galleries for a sustainable future and recommendations for
achieving this vision in response to the issues and opportunities identified in section 4.
Bibliography
A list of sources consulted and other relevant documents.
Appendices
Supporting information to the CP, including a space-by- space Gazetteer for the South
Galleries.
SECTIONS
OVERVIEW
5
1
INTRODUCTION
1.1
GENERAL BACKGROUND
This Conservation Plan (CP) concerns the Lady Lever Art Gallery,
Port Sunlight, Wirral. The Gallery was constructed between 1913 and
1922 to house the best of the collection of William Hesketh Lever,
the founder of Lever Brothers (latterly Unilever). The Lady Lever is
now regarded as one of the best galleries in Europe.
This CP has been produced in response to a project at the Art
Gallery to deliver more than 500sqm of refurbished rooms within
the South Galleries. The 2014 HLF-funded project will offer a
material improvement to the Lady Lever South Galleries through
extensive reinstatement and conservation. Gallery spaces will
be returned to their original architectural design and elegance,
1960s suspended ceilings will be removed, original flooring will
be reinstated and better access and new visitor circulation will be
designed to enhance the visitor experience, and their understanding
of these important collections. Environmental conditions will be
improved; the superb collections will be redisplayed under a new
lighting scheme and in suitable display cases. There will also be
new interpretation, relating to the collections and the Gallery’s
relationship with Port Sunlight.
However, it is designed continue to be relevant beyond the life of
the HLF project. These spaces display 1,700 of the most important
objects in the collection including the best collection of Wedgwood
Jasperware in the world, one of the best collections of Chinese
porcelain in Europe, outstanding 18th century paintings and furniture,
and some of the most significant 19th century sculpture in a British
collection.
1.2
VISION AND AIMS
The client’s vision for the sustainable future of the Lady Lever Art
Gallery is set out below:
The galleries display a concentrated group of more than 1,700 fine and
decorative art items collected by William Hesketh Lever, including the
finest collection of Wedgwood Jasperware in the world. These collections
demonstrate Lever’s overriding interest in collecting works to show the
best of British art.
This project will ensure we keep up the momentum of positive,
visible improvement to the Lady Lever. It will help us to care for the
collections and make them more accessible, and help us to attract more
diverse audiences, building on the visitor numbers that have grown so
significantly over the past decade. The project will also enable us to
continue to build on our successful education programme. 1
The client’s aims relating to the South Galleries are summarised as
follows:
• To fill gaps in knowledge relating to the history and original
construction of the Art Gallery
• To reinstate the integrity of the South Galleries spaces by
removing inappropriate modern intrusions and carrying out a
major refurbishment, returning galleries to their original design
and elegance
• To develop better visitor routes and circulation within the
galleries and to open up links to the village through improved
vistas across the designed landscape of The Diamond to the
south
• To improve the interpretation of collections within the Galleries
and provide stronger context for visitors, focusing on the history
of Port Sunlight
• To repair, restore and conserve the fabric of the building in
line with Condition Survey recommendations and ensure the
management and maintenance of the site is consistent.
These aims will be considered and addressed directly within the
Issues and Opportunities section.
1
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6
HLF Round One application, 2013
1.3
PURPOSE OF THE CONSERVATION PLAN
This CP has been prepared to support a Stage Two
application for Heritage Lottery Funding to redevelop the
South Galleries at the Lady Lever Art Gallery.
1.4
SCOPE OF THE STUDY
This CP provides an overarching understanding of the Lady
Lever together with a more focused appraisal of the South
Galleries, being the elements forming the basis of the current
HLF project.
The purpose of this report is to set out current
understanding of the site and its setting; its heritage value
and significance; and the key issues and opportunities that
may either threaten or potentially enhance significance. In
the context of this knowledge, this report sets out a number
of policies and action points as a Conservation Framework
for addressing the identified issues and opportunities.
The ultimate purpose of this report is to establish good
conservation practice and to put recommendations in place
for a sustainable future at Lady Lever.
Plan of the Lady Lever Art Gallery highlighting the South Galleries.
1 INTRODUCTION
7
1.5
EXISTING INFORMATION
This report should be read in conjunction with the
Collections Statement (May 2013), the External Condition
Survey (December 2013), the Venue Master Plan (updated
2011) and the National Museums Liverpool Collections
Management Policy. Draft copies of the Management and
Maintenance Plan (2014) and the Activity Plan (2014) have
also been consulted.
This CP builds on the April 2013 Conservation Statement
prepared by Robert Chambers, Associate, Purcell. The
key sources used to develop the original Conservation
Statement were:
•
•
•
1.6
Key stakeholder and client consultation
Listing Descriptions (included in the appendices)
Select Publications (referenced in the text/bibliography)
GAPS IN KNOWLEDGE
The preparation of this CP builds on the understanding
established in the Conservation Statement, but has included
extensive consultation of archival resources and relevant
NML policy documents.
Several areas of research were highlighted in the
Conservation Statement that warranted further investigation:
•
•
•
The historic paint or decorative schemes within the
Gallery
The original mechanical heating and ventilation system
Details of the original south portico doors or changes
made subsequently
The relevant archival collections have been examined
to ensure this report fully comprehends the history and
development of the site. Greater understanding of the all
three areas has been gained and is set out within section 2
of this document.
8
Lady Lever Art Gallery, Conservation Management Plan, May 2014
The Lady Lever Art Gallery has a substantial archival
collection of letters, plans, sketches and other documentation
relating to the building. However, the absence of a catalogue
hinders research.
The most obvious gap in knowledge relates to the
original decorative scheme. Much is known from historical
photographs, which go some way towards understanding the
schemes, but offer no clues as to the materials or specific
colours used. Details pertaining to the 1920s decorative
scheme that would allow for reinstatement have not been
found and archival sources have been exhausted on this
subject. Historic paint analysis by a specialist would be
needed to confirm any reinstatement schemes that are to
be implemented.
The archives and resources that have been consulted are set
out in Appendix A.
1.7
ACKNOWLEDGEMENTS
This CP has been prepared by Rebecca Burrows, Heritage
Consultant with input from Alex Holton, Heritage
Consultant, Purcell, March 2014, as part of the preparation
of a Stage Two application to the Heritage Lottery Fund to
support the redevelopment of the South Galleries at Lady
Lever.
During the preparation of this document, key individuals
have provided invaluable support, advice and comments,
these include:
Sandra Penketh – Director of Art Galleries, National
Museums Liverpool
Chris Bailey – Estate Manager, National Museums Liverpool
Jenny Green – Project Officer
Sarah Lynch – Lady Lever Archives
Lesley Owen-Edwards – Unilever Archives
William Meredith - Wirral Archives
1.8
ADOPTION AND REVIEW
This CP is at Internal Draft Stage. Following internal client
review and update this document will be issued to external
stakeholders for review. The external stakeholders will
include:
Wirral Borough Council, Conservation Officer
English Heritage
The Victorian Society
Port Sunlight Village Trust
Following external feedback, a final draft of this report will
be issued, taking into account the consensus view of the
history, significance, issues and opportunities connected with
the site. This will form a sound platform and strategy for the
conservation and management of the Gallery for the long
term.
2
1
UNDERSTANDING
INTRODUCTION
THE LADY LEVER
GALLERY
SUMMARY OF UNDERSTANDING
The Lady Lever Art Gallery was built between 1914 and 1922
by Lord Lever (later 1st Viscount Leverhulme), the Sunlight Soap
magnate, in dedication to the memory of his wife.
Lord Lever was probably the largest private patron of architecture in
Edwardian England and the Lady Lever Art Gallery received his close
attention at the initial planning stages and in the final details; from the
development of his own architectural style to the positioning of items
of furniture within the galleries.
Lever’s commitment to the social welfare of his workers was
unstinting and his incredible patronage has ensured the unique special
relationship between a major public gallery and a local community has
endured to this day.
The value of the Lady Lever as an important example of inter-war
art gallery in the neo-classical beaux-arts style has given the Gallery
its status as a Grade II building of special national interest. The Gallery
is the centrepiece to the Garden Village of Port Sunlight, which is a
Conservation Area. The Gallery is set within a remarkable civic space
and is one of the two most important draws for attracting visitors to
the village (the other is Christ Church).
It is within this context that the current proactive approach to
management and maintenance of the building should be considered
and the use of the building by a diverse audience; from local people to
international tourists.
The Gallery was relatively innovative in terms of its construction
using reinforced concrete and its attempt at environmental controls,
at a time when collections management was a new field of study.
Refurbishment and alterations in the 1960s had a profound impact on
the character of the galleries and spaces but tell an interesting story
about the evolution of art gallery design.
Beneath the surface, the Gallery is remarkably intact in its fabric and
as a collection of historic spaces. However, the majority of the gallery
spaces have suffered to some degree from the alterations in the mid20th century that have impacted on visitors ability to understand the
spaces and make the visual connection between the village and the
Gallery.
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2.1
DESCRIPTION OF THE SITE
2.1.1 SITE LOCATION
The Lady Lever Art Gallery is situated within the garden village of Port Sunlight, Wirral,
some 5 miles South of Birkenhead. The area is adjoined by Bebington (W), New Ferry
(N) and Bromborough (S).
Port Sunlight is a model village, suburb and electoral ward in the Metropolitan Borough
of Wirral, Merseyside. Port Sunlight was constructed between 1888 and 1914.
The village is served by both Bebington and Port Sunlight railway stations on the
Wirral Line of the Merseyrail network, with regular trains to Chester and Liverpool.
ndale
Gree
Low
er
Ro
ad
Road
Aerial view showing Lady Lever and
The Diamond within the setting of
Port Sunlight © Getmapping PLC 2014
Windy
Drive
rive
ry D
n Ma
eorge
King G
Quee
ay
ausew
The C
10
Bank
2.1.2 SETTING
Port Sunlight contains just under 1000 dwellings, of which 900 are Grade II listed buildings,
and the village was designated as a Conservation Area in 1978. Consideration for World
Heritage Site status was suggested in 2005, however to date this has been taken no further.1
2
1
2
The South Entrance, 2014
View from the South, 1953. Showing
recently completed fountain
1
1
Ben Chapman MP for Wirral South raised this in Parliament on 8 March, Hansard, 2005
2 UNDERSTANDING
11
The Lady Lever Art Gallery is situated at the north end of a
landscaped public area called ‘The Diamond’ (grade II listed, see
section 2.3.2), a key axial feature within the village. The area to the
south of the building is laid to tarmac and comprises the primary
car-parking area for the Gallery and the Port Sunlight Museum,
housed within the former Girls’ Club. At the end of The Diamond is
a large fountain, with a sculpture by Sir Charles Wheeler (1949).
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View down the Diamond from arch,
1953
Aerial view, showing Lady Lever and the
Diamond with the Unilever factories in
the distance
View down the Diamond from the arch,
2014
Further south is the World War One memorial by Sir W.
Goscombe John (1919- 21) the theme of which, defence
of the home, is rare in war memorials. Finally, the axis is
completed by an ornamental arch and wall, designed by J.
Lomax-Simpson (1933-34).
To the east of the building is a roundabout, and grassed
area with, to the north-east, a crescent of cottages designed
by Charles Reilly, with an iron loggia and arched dormers.
Further to the South, off Lower Road, a lawned area is
fronted by further cottages of ‘Wealden’ style, with hung
tiles and jettied upper storey (Lomax-Simpson 1906). To
the North of the Gallery is the junction of Lower Road and
Queen Mary’s Drive.
The Gallery is surrounded by railings (added 1986), of
galvanised steel, with pyramidal capped posts. The area
between the Gallery and the railings has been planted
with shrubs, with more formal planting to the south and
west. There are rows of sycamores to the east and west
elevations, which screen the Gallery from view. Early
photographs show the Gallery set within open lawns, with
no boundaries between the village and the Gallery.
1
Lever wanted the Gallery to be situated at the heart of
the village he had created for his workforce and where he
had set up his first purpose-built factory. The Port Sunlight
Conservation Area Appraisal and Survey notes that:
The impact of the building is principally in the effect that it has
on the setting of Port Sunlight and the dramatic setting to The
Diamond. It is a remarkable civic space which is so unexpected
within the setting of the Arts & Crafts style village. The building
has to be considered in conjunction with The Diamond, the War
Memorial and the triumphal arch at the east end of the axis.
2
1
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3
3
View of Queen Mary’s Drive to the west of Lady
Lever 2014
View from the North. Trees have grown up, screening
the Gallery from view, 2012
Detail view of the railings surrounding the Art Gallery,
2014
2 UNDERSTANDING
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2.1.3 VISTAS AND VIEW POINTS
The Gallery was designed to be seen from the formal
landscaped area of The Diamond to the south, and the
main entrance was originally on this elevation. These views
were strengthened when the fountain, war memorial and
ornamental arch were constructed.
Pedestrian access from the west (the Port Sunlight railway
station can be accessed in this direction) gives views of the
Leverhulme monument and the current main entrance.
Views from this direction demonstrate how Lever was keen
to keep the height and mass of the building in proportion to
the rest of the village. This gives visitors an elongated but still
distinguished impression of the building.
Views from the north are curtailed by modern tree planting
and the angle of the road is at odds with the strong formal
views from the south and west. Similarly, long- distance views
from the East are blocked by the curve of the road.
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1
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3
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3
View of Lady Lever looking along The Diamond from the Arch, 2014
View of the west entrance of the Lady Lever, 2014
View of the war memorial with Lady Lever in the background, 2014
2.2
DESCRIPTION OF BUILDING
2.2.1 EXTERIOR
The building follows a shallow H-plan, with entrance
projections to each elevation. The structure is of reinforced
concrete, with the exterior finished in Portland limestone.
It is the only building in the village so finished, but its
construction has been followed by several monuments on
The Diamond; the war memorial and ceremonial arch, which
are also built in Portland stone.
The Gallery has a richly moulded plinth with an entablature
and parapet. The east and west elevations are particularly
plain, with long expanses of unadorned ashlar. The parapets
are balustrades on the entrance projections.
The four entrances to the building comprise three different
designs, with only north and south being the same. The
west Entrance is a (Greek) Ionic hexastyle portico, slightly
recessed, but the loggia is reduced to provide a vestibule
internally. Within the portico are two windows with
decorative surrounds, comprising a recessed plinth with
swags, flanked by swept brackets supporting the dentilled
cill. An entablature surmounts the surround, supported on
further swept and moulded brackets. The portico itself is
flanked by rusticated panels, these contain further windows
with more elaborate surrounds surmounted by intricate
carved detail representing the arts. The primary entrance
to the Gallery was relocated to the west elevation in 2007
and has a contemporary ramp with glass balustrades. The
north and south bays have recessed Ionic hexastyle porches,
flanking windows as above with fielded panels over.
Original 1931 sketch showing the south elevation and proposed water features
along The Diamond © Lady Lever Art Gallery
The south entrance has inscription “THE LADY LEVER ART
GALLERY” at frieze level. The south entrance has paired
panelled doors with steps flanked by marble bases and urns.
2 UNDERSTANDING
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1
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5
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Lady Lever view from the south, 2014
View of the south entrance of Lady Lever, date unknown © Wirral Archives
View of the north entrance and surrounding housing, 2014
View of the south and west elevations of Lady Lever, date unknown © Wirral Archives
The south entrance to the Art Gallery, currently not in use, 2014
View of Lady Lever looking across the formal planting of The Diamond, 2014
5
2.2.2 SUMMARY OF INTERIOR
Internally the building has a symmetrical plan
of a Central Gallery, with top lit balconies, and
wider ends to form an elongated ‘H’ in plan.
Flanking the Central Gallery space to the north
and south are two rectangular galleries, and
beyond these galleries are two rotundas. To the
east and west of the rotundas are a series of
smaller galleries that lead off from each other.
All four cardinal points have vestibules that were
originally intended to be entrances for different
uses, for example the eastern entrance was to
service a library (this was never created). To the
east of the Central Gallery is the Reception Hall
(now the Main Entrance Vestibule with reception
desk). The basement level is reached by
sweeping stairs to the west, and holds ancillary
uses such as shop, café, toilets and
activity rooms. Rooms not accessible
to the public include the Gallery’s
archives, furniture and paintings stores.
1
2
3
The interior retains a high degree
of integrity and the majority of the
rooms remain in their intended
use, from the conception of the
Gallery. Alterations from the 1960s
have had the most impact, with the
introduction of suspended ceilings,
simplification of architectural detailing
and the partitioning of the Napoleon
room.
5
4
1
2
3
4
5
View looking down the Main Hall towards the South Galleries, 2014
Detail of the tessellated mosaic floor in the South Galleries, 2014
View of the art on display within the north 18th century furniture and paintings room, 2014
Detail of the door leading to private spaces within the west entrance vestibule, 2014
Original plan of the Gallery and the various room names and numbering, besides the water colour rooms, the
contents and use has remained largely the same, W&S Owens, 1914 © Lady Lever Art Gallery
2 UNDERSTANDING
17
2.2.3 CENTRAL GALLERIES
Main Hall
Originally called the Long Gallery, this room was intended
‘not only for the display of pictures furniture and porcelain, but
also as an assembly room, a special occasion social centre and
as a ballroom.’ 2
The central part of the space is flanked with free-standing
Ionic columns, and the main space is visually linked to the
balconies above with fat pilasters incorporating anthemion
and palmette decoration. Above is a substantial cornice,
with arched roof surmounted by patent-glazed rooflights.
The space is currently a warm yellow with stone/offwhite detailing but was originally painted in a dramatic
monochrome scheme.
Lever the Collector
Known as the China room when the Gallery first opened
in 1922, this room was originally intended to become the
library, a scheme that never materialised. It has a different
character to the gallery spaces with a low ceiling and no
natural light. Today this room is used as an interpretation
space relating to Lord Lever’s role as a collector and also
displays items relating to the construction of the Art
Gallery. The room retains its original parquet flooring,
door architraves and classical columns; all display cases are
modern.
1
Tudor and Stuart Room
This room has retained its original use and avoided major
alterations in the mid-20th century; retaining its original
ceiling height with coved decorative plaster work and roof
lights. The room is light and airy, and contains panelling from
Lambourne Hall farm of 1571. The walls have been painted
above the cornice with a warm yellow. The room retains
original parquet flooring, benches and radiators. The door
surrounds match the wooden panelling.
4
1
2
3
4
2
18
Letter of 1964 from the Curator to the architect halting the
alterations to the main hall which would have seen the insertion
of suspended ceilings, Lady Lever Archives
2
3
Main Hall, viewed from the centre looking south, 2014
Lever the Collector, an exhibition within the space that was originally intended
to be the library, 2014
Historic photograph of the main hall, date unknown, © Wirral Archives
The Tudor and Stuart Room, 2014
William and Mary Room
The William and Mary room also contains historic panelling
but the rooflights have been blocked-out, creating one of the
darkest spaces in the Gallery. The original parquet floor, with
floor grills for hot air circulation have been retained whilst
the walls above cornice level have been painted a warm
yellow.
Mortlake Tapestries room and the Gobelins Tapestries
Room
Originally the Masonic room and the Tapestry room
respectively, the Mortlake and Gobelins Tapestry Rooms
flank the west Reception Hall and contain large wall hanging
tapestries and 18th century furniture. These rooms again
have deep profiled cornices with arched ribs, supporting
patent-glazed rooflights, which have been blacked-out.
East and West Balconies
The west balcony was originally intended to be a Musicians
Gallery, complete with organ but this was never installed.
Today they are accessed by steep, narrow wooden staircases
and contain 19th and 20th century paintings.
1
2
East Entrance Vestibule
The eastern entrance vestibule now contains several large
wall-hung tapestries and leads to ladies and gentleman
lavatories. These spaces contain original decorative schemes
and many original fixtures and fittings, including metal
window frames, tiles and sinks.
3
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5
The William and Mary Room, 2014
The Mortlake Tapestries room to the south of the main entrance, 2014
The west balcony
Lavatories flanking the east vestibule, 2014
The east entrance vestibule with tapestries, 201
2 UNDERSTANDING
19
West main entrance vestibule and
reception
Originally labelled as the ‘Crush Hall’
and the Reception Hall, this is now the
main visitor entrance. The reception
room has Greek Corinthian pilasters
and a decorative cornice, surmounted
by a glazed dome. The walls are painted
a mint green with architectural detailing
in white. The room retains its original
parquet flooring.
The west entrance vestibule has
limestone cladding, classical detailing
and domed rooflights. To the north and
south are sweeping staircases into the
café and shop, with mahogany doors
and surrounds. Much of the timberwork
resembles that within Lever House, the
offices of Lever Brothers to the south
west of Port Sunlight (now the Unilever
reception building).
1
South Galleries plan of 1936 © Unilever Archives
2
1
2
20
Door detail
West Entrance Hall, 2008
2.2.4 SOUTH GALLERIES
South Sculpture Rotunda
The first room a visitor would originally have
arrived at upon entering the Art Gallery, the
Rotunda is octagonal in shape with a circular
ionic colonnade of paired fluted columns.
The ceiling is a glazed dome with simple
stained leaded lights and passive ventilation,
the central light-fitting is now missing.
There are four entrances around the room,
which alternate with niches.
The central focus of the room is a sculpture
of Salambo by Maurice Ferrary, 1899.
Detailing of the columns and plasterwork
include bay leaf, anthemion, egg and dart,
waterleaf and dart and Greek key. The floor
is a monochrome tessellated mosaic of
stylised anthemion and geometric patterns
radiating outwards from the centre. Bronze
and marble sculptures and busts are placed
around the edges of the room against fat
pilasters. Historically the spaces were finished
in a lined stucco in imitation of the ashlar in
the outer vestibules beyond.
1
2
3
Sculpture Rotunda, View from the south, 2014
The Sculpture Rotunda in the 1920s
Original sketch of the south sculpture rotunda,
Geoffrey Owens, 1914 © Lady Lever Art Gallery
1
2
3
2 UNDERSTANDING
21
South Galleries Entrance Vestibule
Beyond the Rotunda (the 18th and 19th
Century Sculpture Gallery) is the South
Entrance Vestibule, which is lined in polished
limestone cladding up to frieze level, with
pilasters and dentils. Above the frieze,
decoration is off-white plaster, with a large
cornice on triglyphs and ornamented
metopes. The ceiling is fat, with 3 domed
rooflights, original light fittings and glazed
wooden doors lead out to the South Portico.
The Gallery was originally accessed from
Port Sunlight via this entrance and early plans
(1914) and photographs (1920s) show a
revolving door. Later plans from 1924-1936
show the original door had been modified to
allow an entry and exit door for visitors, with
a turnstile installed to the west. The existing
entrance configuration dates from these
modifications as a central divide still remains
and both doors swing in opposite directions.
1
2
3
1
2
4
22
3
4
South Vestibule, 2014
The South Vestibule in the 1920s showing the revolving
door and suits of armour
View of one of three domed skylights in the vestibule
South Vestibule door detail, 2014
Office space and staircases
To either side of the South Vestibule are small
lobbies; to the east the space has been heavily
sub-divided with a mezzanine to form two
offices and a small library. To the west the
space was modified in the 1980’s to form a
staircase down to the basement areas. Both
spaces have coffered ceilings with dentilled
cornices and decorative plasterwork. The
office door to the east is likely to date to the
1924-1936 alterations from cloakroom into
the Assistant Curator’s Office and Library.
To the west, a corresponding door surround
survives, but no door remains.
The mahogany doors at this end were added
in 1930 to match the existing in the north
when the Curators office (now the south
stairs) was altered.
1
2
1
2
South Eastern Offices, 2012
The southern staircase descending to the Activity Rooms, inserted in the late
20th century, 2014
2 UNDERSTANDING
23
South 18th Century Furniture and Paintings Room
This room is the largest of the exhibition spaces
in the South Galleries (besides the Rotunda) and
holds a collection of 18th century furniture and
paintings. The grand chimneypiece from Moor
Park in Hertfordshire was added in the late 1920s.
The room retains its original ornate plaster door
surrounds (egg and dart, dentils and bay leaf) and
has a modern blue painted scheme. The original
beamed ceiling with plaster decoration and
rooflights remain, as does the wood-block flooring.
Other original architectural details include light
switch surrounds, skirting and hanging light fittings.
Historic cast iron radiators (post-dating 19458) and
wooden benches restrict the circulation of the room
and corresponding large modern humidifiers are
a somewhat intrusive element. The radiators may
not be part of the original scheme as they obstruct
brass floor vents in a number of rooms.
1
2
3
4
5
View from the Sculpture Rotunda through to the 18th Century Gallery, 2014
Original sketch of the 18th century room within the south galleries, Geoffrey Owens, 1914 © Lady Lever Art
Gallery
18th Century Furniture and Paintings Room, 2014
The 18th Century Furniture Room in the 1920s before Lever’s death in 1926 and before the fireplace was
replaced.
Detail of the architrave surrounding the door in the 18 Century Furniture and Paintings Room, 2014
1
3
24
2
4
5
Chinese Pottery and Porcelain Rooms
To the east of the 18th Century Furniture and Paintings Room are the Chinese
Porcelain Galleries. They comprise three small square rooms, with 1960’s décor and false
suspended ceilings (their original wood-block floors remain). The third southernmost
room has been created by sub-dividing the Napoleon Room with a full-height studpartition and false ceiling. The door surrounds in all three rooms have been simplified.
The cabinets in all three rooms were designed by Edmonds & Co Ltd, with the cabinets
in the first two rooms likely to date to the 1930s or earlier whilst the cases in the subdivided Napoleon room are reproductions by the same firm from 1966.
The showcase in the centre of the third room is one of the cases that was originally
designed to house the Chinese collection in Hulme House, which were moved to Lady
Lever when it was opened. It dates from 1911.
The radiators in the original two rooms are likely to pre-date 1948.
2
1
1
2
View through the Chinese Porcelain Galleries from the north, 2014
One of the Chinese Porcelain Rooms in the 1920s showing the 18th
century style cabinets designed by Edgar Gorer and made for Hulme
House c. 1911
2 UNDERSTANDING
25
Napoleon Room
The Napoleon Room, in the south- eastern corner of the Gallery,
has been curtailed by the introduction of the full-height partition.
The remaining space is open to the beamed ceiling and the
previously blacked-out rooflights have been opened, making the
space much lighter. The walls are painted in the ‘empire’ style, with
painted frieze, with vases and acanthus detail that corresponds
with historic photographs of the decorative scheme. The panels
beneath are delineated in gold and black. Differential separation
in the south-western corner of the room evidences the position
of the door visible in historic photographs. Original architectural
features include the wood-block flooring and light fittings.
Small Wedgwood Room and Greek Vases Room
To the south-east, the spatial configuration retains its original
layout, but the Greek Vases Room and smaller Wedgwood
Room have been compromised by intrusive suspended ceilings.
These rooms retain their wood-block flooring, historic cast iron
radiators and cabinets by Edmonds of Birmingham. The door
surrounds have been simplified.
1
2
4
1.
2.
3.
4.
5.
3
26
View of the Small Wedgwood Room, 2014
View of the Greek Vases Room showing the
cabinets and suspended ceiling, 2014
View from the partition wall into the Napoleon Room, 2014
The Napoleon Room in the 1920s before reduction in size in the 1960s
Plan showing the division of the Napoleon Room and the new cabinets,
1965 © Lady Lever Art Gallery [napoleon]
5
Wedgwood Room
The large Wedgwood Room has been heavily modified with the insertion of a very
intrusive angular suspended ceiling (the original is just visible above) in the 1960s,
a dark paint scheme, large chamfered inserts to the corners and a dark tiled floor.
Three very fine Wedgwood fireplaces have been installed within modern surrounds
The cabinets again match those in the Chinese Porcelain Rooms and were installed
by Edmonds of Birmingham. There is some evidence that the original wood-block
floor survives beneath the new, and the room has wooden benches but no cast-iron
radiators. The door surrounds have been simplified.
1960s photograph of the Wedgwood room following redecoration
and installation of the suspended ceiling. © Lady Lever Archives
Large Wedgwood Room, 2014
Large Wedgwood Room looking through into the Sculpture
Rotunda, 2014
2 UNDERSTANDING
27
2.2.5 SOUTH GALLERIES: DETAILS
1
2
4
5
3
1. Wedgewood Room fireplace and modern surround, 2014
2. Detail of cabinet from Hulme House c.1911 and suspended
ceiling in the Chinese Porcelain Room, 2014
3. Door lock, 2014
4. Example of floor ventilation grills throughout the Gallery, 2014
5. Modern partition wall in the Napoleon Room and suspended ceiling, 2014
6. Historic interpretation panels, Chinese Porcelain Room, 2014
6
28
1
2
1.
2.
3.
4.
5.
3
4
Peep hole to office East of the vestibule, 2014
Fireplace within the 18th Century Room, 2014
Light switch surrounds, 2014
Cabinets found throughout the South Galleries, 2014
Humidifiers found throughout the Gallery, 2014
5
2 Understanding
29
2.2.6 NORTH GALLERIES
The North Galleries, in layout, largely
follow the pattern of those in the
south. To the northern end of the
Gallery, east and west of the rotunda
and adjoining gallery, are a series of
smaller gallery spaces, which house
temporary exhibition spaces and two
of Lever’s period rooms.
North Sculpture Rotunda
Originally the Sculpture and China
Hall, this mirrors the southern rotunda.
Octagonal in shape with a circular
ionic colonnade of paired fluted
columns. The roof is a glazed dome
with simple stained leaded lights and
passive ventilation.
The floor is a monochrome tessellated
mosaic of stylised anthemion and
geometric patterns radiating outwards
from the centre. Bronze and marble
sculptures and busts are placed around
the edges of the room against the
pilasters.
2
1
1
Detail of the sculpture found within the North Rotunda, 2014
2
View of the North Sculpture Rotunda, 2014
3
Original sketch of the north rotunda dome, Geoffrey Owen, 1914 © Lady
Lever Art Gallery
3
30
North 18th century furniture and 19th century paintings
room
Originally described as the north gallery, this room mirrors
the southern room of the same name. This room has
remained largely unaltered although the paint finish is now in
a warm yellow. The room retains its original parquet flooring,
benches, radiators, ornate door surrounds, coved ceiling
and rooflights. Modern interventions include raised wooden
platforms for exhibits and portable humidifiers.
Temporary exhibition rooms
Originally all the small northern galleries were described
as the water colour galleries. Now, three small galleries on
the west side are in use as temporary exhibition spaces for
changing displays. These range from Turner to Rossetti and
give an indication of the ability of the Lady Lever Art Gallery
to borrow significant pieces of art from other galleries. The
rooms have a modern finish with white gloss walls, white
display areas, spotlighting and simple glass display cases. The
rooms have suspended ceilings which block a lot of natural
light but they retain their original parquet flooring, benches
and radiators.
1
2
1
The north 18th century furniture and
19th century paintings room, 2014
2
One of three smaller galleries dedicated
to temporary exhibitions, 2014
3
View of the Early 18thy Century room,
2014
4
The blacked-out rooflights, 2014
Early 18th century room
Originally called the Queen Anne Painted room, this room
contains panelling from a 1730s house near Chatham. The
room has floor heating grilles, parquet flooring, a coved
ceiling with blocked rooflights and historic light fittings. The
room contains an early 18th century fireplace and the door
surround has been foreshortened to accommodate the
smaller 18th century door.
3
4
2 UNDERSTANDING
31
Adam room
The Adam Room was designed for the
Gallery by Percy Macquoid 1852-1925
and has always been in this use. In this
room the coved ceiling and rooflights
are blocked by a suspended ceiling with
ornate imitation stucco work to match
the interior. The room has floor heating
grilles within the parquet flooring.
East 18th century furniture and paintings
rooms
This range of rooms mirrors the
temporary galleries to the west and were
also originally rooms for water colours.
Three of these rooms now contain a
collection of 18th century furniture and
paintings either displayed on modern
raised platforms or within glass display
cases. The walls have been painted a mint
green and all rooms have suspended
ceilings. Rooms contain original radiators
and benches and parquet flooring but also
humidifiers and simplified door surrounds.
The fourth room is similarly decorated as
those previously mentioned but is painted
a darker blue and contains no exhibits
save a single exhibit; a large wooden chest.
1
2
3
4
5
6
North entrance vestibule
The north entrance vestibule is similar to
the south but the door is screened by a
temporary partition and a marble bust.
The area is the area is currently roped off
from the public. Rooms to either side of
the vestibule wth mahogany doors were
original cloak rooms but are now in use
as offices.
1
2
3
4
32
The Adam room, 2014
View of the exhibits in room 23, 2014
View of the empty room 24, 2014
View through the 18th century furniture and painting rooms, looking north, 2014
5
6
Original sketch of the north vestibule, Geoffrey Owen, 1914 © Lady Lever Art Gallery
Original sketch of one of the 18th century rooms, Geoffrey Owen, 1914
© Lady Lever Art Gallery
2.2.7 ANCILLARY SPACES
The basement area is reached via stairs within the west
vestibule or an additional, newer staircase to the south. There
is lift access and the main visitor facilities are housed here,
including ladies and gentleman lavatories, a disabled toilet
and bay changing facilities.
The café occupies the space used in the 1930s as a
banqueting hall. During the Second World War the space
was used as an air raid shelter. The café has a clay tile floor
and structural supporting columns. The main feature of the
café is the slightly odd but strangely enjoyable rustic timber
framing.
Leading from the café is a shop to the south, and from this
are three activity rooms that include interactive spaces for
families, including puppets, dressing up clothes and story
books.
Spaces that are not publicly accessible include the kitchens,
various store rooms and archival stores. The archives are
situated beneath the north rotunda and house one of the
large boilers used to supply hot air to the underfloor heating
ducts. Several of the spaces are liable to flooding.
2 UNDERSTANDING
33
2.3
HISTORIC DEVELOPMENT
This section outlines the evolution of the Gallery and how
it has been used over time. Provided here is a chronological
description of the historic development of the Art Gallery
through the use of a variety of primary and secondary
sources.
SUMMARY OF HISTORIC DEVELOPMENT
The Lady Lever Art Gallery was built by the wealthy Victorian philanthropist William Hesketh
Lever, founder of Unilever, as a memorial to his late wife, Lady Lever, and as a purpose-built gallery
to hold his collection of furniture, china and fine art.
The Art Gallery is one of several public buildings constructed within the workers’ village of Port
Sunlight, a forerunner of the garden city movement. It took its name from the popular Sunlight
Soap from which Lever had made his fortune.
The Art Gallery and Port Sunlight are closely linked, through strong visual terminations of formal
axial landscaping, and through that fact that the Gallery houses Lever’s collection of fine art, which
played a role in popularising Sunlight Soap through advertising, something that had no been done
in Britain before.
Lever had a passion for architecture, and worked closely with the architectural practice William
and Segar Owen to design and plan the Art Gallery from 1913 when it became clear that the
small makeshift museum at Hulme Hall in Port Sunlight was inadequate for Lever’s swiftly growing
collections.
The foundation stone was laid in 1914 but the advent of war meant construction was slow and
had halted completely by 1917. By 1919 work has re-started and by 1922 the Gallery was
opened by Princess Beatrice.
The Art Gallery is one of the earliest examples of a prominent public building being constructed
in reinforced concrete, with a Portland stone cladding. The interior was modelled on an 18th
century stately home, with a succession of small galleries leading from one to another and
reception rooms for banquets and balls. The paintings were hung on a stark black and white
background, the sculptures displayed within classical rotundas and china displayed within bespoke
cabinets.
The layout of the Gallery and visitor circulation routes have remained relatively unchanged since
1922, the major exception being to move the visitor entrance from the south to the west. A major
redecoration scheme was embarked upon in the 1960s, which had a significant impact on the
character of the galleries through the use of suspended ceilings, artificial light and neutral colours.
The Lady Lever has, from the beginning, endeavoured to ensure that environmental conditions
within the building were appropriate in caring for the collections, and although not pioneering,
were up-to-date with contemporary innovations and ideas.
34
2.3.1 PHASE 1: WILLIAM HESKETH LEVER
William Hesketh Lever (1851-1925), the first Lord
Leverhulme, was the son of a Bolton wholesale grocer. He
joined the family business at 16 and diversified into the
manufacture of soap - firstly in Warrington (from 1886),
then in Port Sunlight (1888).
Lever was elected Liberal MP for the Wirral in 1906 and
was created a baronet in June 1911. Six years later he was
elevated to the peerage to become Baron Leverhulme and
in 1922 he became a Viscount. Whilst Lever was enormously
wealthy, his commitment to the social welfare of his workers
was unstinting. He was a committed supporter of reasonable
wages, reduced working hours and profit sharing. Lever
held a long-standing interest in the housing of his workers,
believing that better standards would result in social
improvement, but also commitment to the company and
consequently to delivering success.
For his larger projects Lever had an enthusiasm for the
classical style, particularly for interiors. This developed
into the more refined, scholarly classicism latterly seen at
the Lady Lever. He developed close collaborations and
friendships with a number of architects and designers, in
particular Jonathan Lomax-Simpson (1850-1937). Lever was
also a great patron of the Liverpool School of Architecture,
establishing the Department of Civic Design in 1909, he
developed a friendship with Professor Charles Reilly. Reilly
was an exponent of Beaux-Arts classicism, and the influence
of this can be seen, firstly in the formal design for the replanning of the centre of Port Sunlight by Ernest Prestwich,
the Mawson and Atkinson scheme for Bolton and latterly in
the Lady Lever Art Gallery.
W&S Owen were an established practice based
in Warrington, who had a successful track-record
delivering projects throughout the region. Lever
first encountered William Owen as a neighbour in
Warrington and subsequently employed him to extend
the factory there. Latterly he was a close associate of
Lever, and was made a director of Lever Brothers in
1897, having assisted in the selection of the site for Port
Sunlight and designed of some of the first buildings
there.
Owen was joined in partnership by his sons Segar
(1874-1929) and Geoffrey (1887- 1965). Segar worked
closely with his father on Hulme Hall, the Lever offices
in Newcastle and Christ Church in Port Sunlight (19024). Geoffrey was articled to Dunn & Watson in London,
working on a variety of Beaux-Arts Office buildings and
the Dorchester Hotel.
Lever was responsible for a number of model settlements,
including Port Sunlight, Leverville (in the then Belgian
Congo), and Leverburgh in the highlands. A man of
extraordinary drive and energy, he was involved in every
stage of the planning and design of Port Sunlight.
Lever’s passion for the built environment is further
evidenced by his foundation of the Chair of Civic Design at
Liverpool University (the first in the UK). He also showed
commitment to his home town of Bolton with the founding
of an early country park at Rivington, providing a visitor
centre and Art Gallery, funding collegiate buildings for Bolton
School and a new Congregational Church. His passion for
architecture was also expressed by his own houses. He
was a great patron of the garden designer Thomas Mawson
(1861- 1933) who provided elaborate gardens of the arts
and crafts style at Thornton Manor (Wirral), Rivington and
The Hill in Hampstead.
THE ARCHITECTS
William and Segar Owen (1846-1910)
Jonathan Simpson (1850-1937)
Lifelong friend and architect for William Lever, he
worked on many buildings within Port Sunlight.
William Hesketh Lever,
William Strong 1918
Jonathan Lomax-Simpson (1882-1977)
Son of Jonathan Simpson, Lomax-Simpson trained at
Liverpool University and assisted in his fathers practice,
He set up his own office in 1905 and designed the
bandstand and cottages at Port Sunlight. He became
architect for the Lever Brothers in 1910 and was soon
made director, overseeing construction of the factories.
2 UNDERSTANDING
35
2.3.2 PHASE 2: PORT SUNLIGHT
Port Sunlight is arguably the finest remaining example of the Workers’ Village and a
forerunner to the garden city movement. It was the first major attempt to reconcile
the English Picturesque tradition with the mass housing requirements demanded by
industry. 10 The first sod was cut by Mrs W. H. Lever on 3rd March, 1888, signifying
the commencement of the development of Port Sunlight. The village was named
after the product which was initially produced at the Warrington works, but had
out-grown the site, leading Lever to look for a location for a new soap factory. The
site, in Wirral, was selected by Lever and William Owen as it allowed for expansion,
had good transport links and a ready source of labour nearby. It also had the space
available to construct the workers’ village. The site was, however, poor quality building
land, being generally marshy with tidal inlets.
SUNLIGHT SOAP AND THE FOUNDING OF UNILEVER
William Lever came from a family of Bolton Grocers. He came up with the idea of giving the bar
of soap a good name by wrapping it up attractively and selling it ‘energetically’ at a good price.
This was the first time anyone had thought to do this, and it made Lever incredibly wealthy. The
product was Sunlight Soap, which, in 1886, provided a basis for the development of modern mass
production and mass marketing.
Lever showed particular skill in the use of advertising, learning from American practice. His
products were immediately successful, and the company rapidly expanded. Sunlight Soap
dramatically influenced the trend of commercial advertising; inspired new manufacturing, sales and
distribution methods and setting down the principles of quality control.
Initially, Lever began collecting art for use as advertising for Sunlight Soap. One famous example
within the Lady Lever collection is Millais’ Bubbles (although this was actually used to advertise
Pears Soap), which led to a widespread debate about the relationship between art and
advertising.
Lever quickly established factories across Europe,
America and Australia and purchased plantations
in order to maintain control over the entire soap
making process. By the time of Lever’s death in 1925
Lever Brothers was one of the largest international
companies, although its financial position was far from
secure. Four years after Lever’s death the company
merged with the Dutch Margarine Union to form
Unilever.
1
OS map of 1874 showing that the railway line exists but no development has taken place. The area is still a
tidal floodplain.
2
36
1
An example of one of the many advertisements
for Sunlight Soap
2
Millais ‘Bubbles’ was an example of fine art used
for its power of advertising
The factory was completed by 1889 and the first cottages were
erected on the corner of (what are now) Bolton and Greendale
Roads in 1889-90. By 1897 the village had extended around
The Dell (a sunken park, grade II listed), with the addition of
further cottages, shops and public buildings, occupying the
South-Western corner of the current village area. The perimeter
boundaries were dictated by the factory and Wood Street to
the south, the railway to the west, New Chester Road to the
east, and Bebington Road to the north.
OS map of 1899. By this date Port Sunlight had been established and was starting to grow. Linear housing
development has expanded along roads to the north and east of Port Sunlight. A housing estate has been
constructed to the east, with allotments to centre of the development. The area around The Diamond remains
undeveloped but by 1897 the village had extended considerably around The Dell to the South.
Port Sunlight 1899, showing completion of first houses.
Aerial View, T Raffles Davison, 1916.
2 UNDERSTANDING
37
The erection of the Victoria Bridge in 1897 opened up further areas of
the site for development, and by 1900 some 400 or so houses had been
constructed. The channels were later in-filled above the high water mark
and the village plan was reconsidered as the subject of a competition
for the Liverpool University, School of Architecture and Department
of Civic Design. The result was the plan developed by Ernest Prestwich,
which extended an open area called The Diamond into a major formal
axis and the creation of a formal square of public buildings including
an art gallery, later known as the Lady Lever (completed in 1922). The
plan was largely implemented, but the position for the Art Gallery
was amended (probably by Lever in conjunction with James LomaxSimpson) to the northern end of The Diamond. Lever maintained
that building 10-12 houses per acre was the maximum that should be
allowed ‘A home requires a greensward and garden in front of it, just as
much as a cup requires a saucer’.
Ernest Prestwich, Proposed Plan of Port Sunlight Village Winning Competition Entry, 1910.
OS map of 1912 showing that by this date Port Sunlight Village has almost reached the
end of construction (development to the West of the Art Gallery is underway) with
most existing housing and roads in place by 1900. By this date the Art Gallery has been
established at the northernmost end of The Diamond.
38
REGISTERED PARKS AND GARDENS WITHIN
PORT SUNLIGHT
The Diamond
The Diamond is an area of landscaping in a formal
axial design that was the result of an open architectural
competition in 1910, won by Ernest Prestwich, a student
at Liverpool University. It is influenced by the axial
layouts of the Garden City Movement at Letchworth
Garden Village.
It stretches between Church Drive and Greendale Road
and runs from the Lady Lever Art Gallery, terminating at
an ornamental arch to the south. It owes its name to the
fact that branch channels originally cut diagonally across
it at either end. Originally The Diamond was a more
informal open space and had a small classical bandstand
by Lomax-Simpson of 1906.
The level of control exerted on the design process by Lever is demonstrated by his
methodology for briefing the architect. Lever would prepare guidance with regard to style and
plan form, providing some concept sketches (he had his own drawing board and instruments
for this purpose), then he would scrutinise the drawings prepared by the architect, annotating in
great detail.
Lever maintained close involvement in all his building projects, and often made quite radical
changes during the latter stages of building or shortly after completion. It is said that Lever’s
greatest recreation was building, and he treated the process as something of a hobby, but one
to be undertaken with enthusiasm and a great degree of knowledge and dedication.
Lever had an eclectic and evolving approach to style and his early projects evidence his
enthusiasm for north-western vernacular architecture. Some of the earliest buildings at Port
Sunlight, such as no.5 Park Road, evidence this. Some of the housing design actually made
reference to his collections; for example the pair of houses on Windy Bank that take inspiration
from Lever’s Wedgewood collection. By the time Lever died in 1925 nearly 900 houses had
been completed.
The Dell
The Dell is a small area of sunken parkland that is one of
the few remnants of the earlier more informal ‘organic’
landscaping, set out prior to 1910. It was established on
an area with poor ground conditions around the tidal
inlet. The first houses of Port Sunlight were built around
The Dell.1
1
Port Sunlight, Conservation Area Appraisal, 2007 p11
Houses on Windy Bank taking design and colour reference from Lever’s fine
collection of Wedgewood, 2014
2 UNDERSTANDING
39
In 1930 a memorial to Lever was erected in front of the West
Entrance of the Gallery, designed by Lomax- Simpson, who also added
the classical arch to the south of The Diamond, terminating the vista,
in 1933-4. This largely completed the development of the village until
the introduction of the retirement village on a former football pitch
(1999-2000), the conversion of the hospital into the Leverhulme
Hotel, and the construction of an apartment development on the
periphery of the village adjoining the Bromborough Pool.
OS map of 1936 showing construction of the village is now complete, with some landscaping changes
visible. The planting and landscaping of The Diamond has now been formalised, including installation of
the Leverhulme Monument, removal of the bandstand and construction of the fountain at the south
end of the Gallery.
The unveiling of the Leverhulme Memorial, 13 September 1930.
40
Port Sunlight had always had a strong community spirit; this
continued through the General Strike of 1926 and many
of the workers were better off than those elsewhere. The
villagers enjoyed free holiday camps, outings and festivities
such as Founders’ Day.
During Second World War Port Sunlight was often a
target for bombs, partly due to the use of glycerine in soap
manufacture, but also because bombs intended for Liverpool
would frequently hit the village. Damage to houses was
extensive and repairs continued until 1951.
In 1962 a company was set up to run the village; Unilever
Merseyside Ltd. Major changes were made to properties
in this period to bring them in line with modern suburban
housing.
By 1980 there were over 10,000 employees working in the
factories and only a small fraction housed within the village.
It was decided that the tied tenancy system had become
unmanageable and in 1980 over half the stock of houses
and flats were sold. The Village Trust took over responsibility
for the management of the village in 1999 and the Port
Sunlight Village Society was reformed, aiming to ‘preserve and
enhance the character of the village and retain the essential
fabric of the community.’1
OS map of 1955 showing that several additional buildings have been constructed to the east of the Gallery, encroaching on
what was formally a football ground. Otherwise the overall footprint of the village and the Art Gallery remain the same.
1
http://www.portsunlight.org.uk/history/
2 UNDERSTANDING
41
2.3.3 PHASE 3: LEVER THE COLLECTOR
Lever was no less passionate about collecting works of art than he was
about buildings. He had started in his early years in Bolton, collecting
oak furniture and small objet d’art. It was, however, the combination
of art and advertising that led Lever to become a serious collector. In
1887 he bought a number of contemporary paintings for use as soap
advertisements.
Lever can be seen as one of the last great patrons who collected
art-works across a range of genres and periods. Buying not only
contemporary works by artists such as Millais, Holman Hunt and others,
but also following the turn-of-the- century fashion for the 18th century,
purchasing works by Richard Wilson, Gainsborough and Reynolds. His
diverse taste is evidenced by his collections of Wedgwood pottery,
Chinese porcelain, furniture and tapestries. Lever’s houses soon became
backdrops for his collections which, in turn, influenced his approach to
display and architecture.
LADY LEVER
Lever believed strongly that exposure to art
could benefit the wider public and he stressed the
importance of making art available to everyone
because ‘art and the beautiful civilise and elevate because
they enlighten and ennoble’.2 For Lever, art was a source
of encouragement and inspiration for everyone and,
for the man who as a teenager wanted to become an
architect, building design was equally important.
As a consequence he began to display parts of his
collections, firstly through the factory at Port Sunlight,
the ‘Lever Free Library and Museum’ in Port Sunlight
(formerly the Girls’ Hostel) and a small museum in
Bolton. In 1911, Hulme Hall, the former female Dining
Room (named after his wife’s maiden name) in Port
Sunlight, was converted into the Hulme Hall Art
Gallery complete with its own curator. By this time
the fortunes of the company were also improving and
Lever began
Little is known about Elizabeth Hulme, later Lady Lever, and the
only sources of information are Lever Brother publications. Lady
Lever was known to take a great interest in Port Sunlight, often
laying the foundation stone for new houses around the village, and
was known as Aunty Lever by the village children.
Daughter of a draper and a close neighbour to the Lever family in
Bolton, She married William Lever in 1874.
She died in 1913 at the age of 62 and was described in a recent
exhibition at the Port Sunlight Museum as ‘a patient, sacrificing wife,
always ready to sympathise with the wishes of others and someone
who had considerable influence on her husband’s achievements.’1
At the opening of the Lady Lever Art Gallery, William Hesketh
Lever is on record saying ‘I venture to say that without the gracious
influence of my wife, I doubt whether there would have been
a Port Sunlight; I doubt whether there would be a firm of the
dimensions of Lever Brothers’.
When Lord Leverhulme became a Viscount, he chose his title by
combining his own name with that of his late wife Elizabeth Hulme.
Hulme Hall, Port Sunlight 1953
1
2
42
Port Sunlight Museum, Lady Lever Centenary Exhibition, 2013
Shippobottom, The building of the Lady Lever Art Gallery,
1994 p. 177
collecting again on a grand scale, purchasing extensively
at the sale of the private collection of the mining
pioneer George McCulloch in 1913. McCulloch has
made it a rule not to acquire a picture unless it was
painted within his own lifetime.
It became evident that Hulme Hall (designed by W&S
Owen in 1900-1) a relatively low, timber-framed,
vernacular revival building wouldn’t provide
a suitable setting for the grander parts of his collection
(in particular the purchases from the McCulloch
collection), and in the same year (1913) he started
work on the Gallery, which became dedicated to Lady
Lever following her death. The conversion of Hulme
Hall does however show the establishment of themed
rooms, particularly Wedgwood ware and French
furniture, which latterly influenced the planning of the
Lady Lever.
2.3.4 PHASE 4: CONSTRUCTION OF LADY LEVER ART GALLERY
W&S Owen were approached in June 1913 to develop plans for a new Gallery, ‘with wall space equal
to the present Hulme Hall, library accommodation equal to the present capacity and a hall with Attendants
Rooms, as a Masonic Lodge.’ Segar, being the senior partner, regularly dealt with Lever, (and became in
time a personal friend of the second Viscount), but many of the key drawings are by Geoffrey, a talented
draughtsman and designer.
The Gallery was constructed at the termination of the Port Sunlight ‘Civic Cross’, known as The
Diamond. This is characterised by its impressive axial formality which contrasts markedly with the rest
of the village with its smaller scale spaces and ‘Garden Village’ character. 11 The plan for the Lady Lever
was partly dictated by the constraints of this site, which negated the possibility of wings and presented
challenges in terms of servicing the building.
Interestingly, during early discussions on style, Lever expressed a preference for Runcorn red sandstone
as it would ‘harmonise better with the village’. Segar however expressed his view that Portland stone
would be less likely to compete with the church. No doubt there was also significant influence from
Charles Reilly, Chair of Liverpool School of Architecture who was also responsible for the crescent of
cottages opposite the Gallery on Lower Road.
Lever was heavily involved in the
planning of the building:
Lever’s classical interiors and love of
the ‘Old English’ style as developed by
architects such as Norman Shaw are
characteristic of the era, and Lever had a
particular interest also in the vernacular
architecture of the North-West. From
the 1890s onwards he increasingly took
an interest in refined academic classical
architecture… A consistent quality of
detail, sureness of touch and boldness of
scale are the invariable qualities of Lever
buildings derived from his very careful
control over the whole building process.
External detail drawings of Lady Lever
by W&S Owens, 1914 © Lady Lever
Art Gallery
Ground Floor Plan, W & S Owen,
10 May 1914.
2 UNDERSTANDING
43
As a result, Lady Lever is more compartmentalised than true beaux-arts buildings,
which are more often characterised by axial, interlinked spaces. The lack of a first floor
allowed the windowless façades to become lower, responding more effectively to the
vernacular surroundings. Lever was also keen to keep the height down to avoid too
strong a contrast with the village. Described by Segar Owen (1913) as ‘long lines giving
this large building a low, dignified appearance (which) would, I think, harmonise with the
village, but at the same time stand out quite apart’ Latterly the visual impression of the
Gallery has been slightly reduced by the addition of the railings and planting.
1.
2.
3.
4.
1
2
Section plan of the Main
Hall of Lady Lever by W&S
Owens, 1914 © Lady Lever
Art Gallery
Section plan through the
Napoleon room by W&S
Owens, 1914 © Lady Lever
Art Gallery
Section plan of the North
Rotunda of Lady Lever by
Owens, date © Lady Lever
Art Gallery
Section plan of the South
Galleries of Lady Lever by
W&S Owens, 1914 © Lady
Lever Art Gallery
4
3
44
BEAUX-ARTS ARCHITECTURE
Beaux-arts is a style of architecture that was originally
taught at the Ecole des Beaux-Arts in Paris and is an
academic neo-classical style that drew on imperial
Roman architecture and French and Italian Baroque.
The Beaux-arts style heavily influenced architecture in
the United States from 1880 to 1920, but often used
Greek rather than Roman motifs.
Beaux-arts architecture is characterised by bold
sculptural decoration, swags and naturalistic enrichments,
rustication, flat roofs, arched windows, symmetry and
classical details.
The foundation stone was laid by King George V on
25th March 1914. This extraordinary event actually took
place in Hulme Hall, where the stone was laid by remote
control. The King pressed a button on a model (currently
on display at the Gallery), which activated a winch
on-site, causing the stone to be laid on the site, some
quarter of a mile away. This was apparently to highlight
the capabilities of the newly installed electricity.
A newspaper article of the time mentioned that ‘the
Royal party will devote over an hour and a half to the
world-famous garden city, and will inspect the offices and
works of Messrs. Lever Bros., as well as the village.’3
3
Liverpool Echo, 3rd January, 1914
The Gallery, despite its traditional appearance, is a reinforced
concrete structure and is one of the earliest examples of the
use of this new material on a prominent building in Britain. James
Lomax-Simpson (the Lever Brothers architect) and W&S Owen
were using concrete regularly by this stage, and Geoffrey Owen
had worked with a well-known exponent of reinforced concrete,
William Newton Dunn at Dunn & Watson in London.
At Lady Lever concrete was also beneficial in producing a
building-wide integrity between walls, floor and roof, which was
important as the site was a former tidal creek, in-filled when
the site was reclaimed to construct the factory and village. By
September 1914 half the piles had been driven. However the
advent of war meant construction proceeded slowly under
wartime building licences, and work was halted completely by
1917. However following the cessation of war, work re-started,
and by 1919 the British Film Institute’s record of the village of
‘Port Sunlight’ shows much of the ashlar in place.
Laying the Foundation Stone, 1914
Main Hall, showing reinforced concrete shell (c1920).
2 UNDERSTANDING
45
It is said that Lever arranged the whole of the
interior collections and spaces himself, and it is
known that Lever paid some 23 visits to the building
between February 1920 and December 1922,
when it was finally opened by Princes Beatrice.
2.3.5 PHASE 5: THE COLLECTIONS
Once Lever had made the decision to construct a purpose-built
Gallery, he began to acquire objects and pictures specifically
for display in certain places within the Gallery. This consciously
separated his previous private collection of works from the newer
public collections and he was well aware of the need to cater to
a wider audience when he was purchasing items – for example
the armour be bought in 1923 for ‘those who do not particularly
admire pictures.’ 13 He also began to focus on 19th century items in
the public collection, judging that these would be more popular.
He also bought Greek and Roman antiquities, presumably to
underpin the classical basis of the collection as a whole. Within
the collection Lever had amassed were chimneypieces, panelling
and other features, and these were combined into ‘period’ rooms,
which were seen as educational tools.
2.3.6 PHASE 6: 1922 ONWARDS
Lever continued adding to the collection for the remaining three
years of his life. After his death in 1925 the Gallery continued to
be run by the Trustees (a group of people close to or related
to Lever) until 1978, when responsibility passed to the former
Merseyside County Council, who managed the building until
1986. Alterations were made to the building in the 1960s, which
included the addition of suspended ceilings, new decorative
schemes and the modification of architectural features such as
door surrounds.
Upon its creation in 1986, The National Museums and Galleries
on Merseyside took over responsibility of the building. This
group changed its name in 2003 and is now known as National
Museums Liverpool. It comprises eight different venues, all of
which are within Liverpool apart from the Lady Lever Art Gallery.
After Lever’s death in 1925 the part of his collection that had not
been selected for the Gallery (approximately half) were dispersed
in a series of sales, lasting 45 days. Amongst the items sold were
portraits of King George and Queen Charlotte by Reynolds (sold
1926) and the Feast of Herod by Rubens (sold 1958).
Princess Beatrice and W H Lever at the Opening, 1922.
Cover of the Programme from the Official Opening, 1922.
46
Original sketch of the sculptures to be placed within the south rotunda, Geoffrey Owen, 1914 © Lady Lever Art Gallery
2.4 CONSTRUCTION, REPAIR AND ALTERATION
This section looks in detail at original interior detailing of the
Lady Lever Art Gallery and changes that were subsequently
made.
2.4.1 DECORATIVE SCHEMES
As with all elements of the building process, Lever was
heavily involved in the arrangement of the collections and
the decoration of the Gallery.
A number of sketch plans from 1914 exist (probably
produced by Geoffrey Owen) but they offer little
information on decorative finishes. Historic photographs
show us that the Gallery was originally decorated in a stark
mix of black and white at the behest of Lever himself. This
style was in favour at the time although the RIBA criticised
the use of black paint in the National Portrait Gallery in
1912.4
Window curtains and wall papers he kept plain and unobtrusive
and he did not attempt to make them play a prominent
part in the decorative scheme of a room. This restraint was
apparent in the decoration of the Main Gallery picture rooms
which were finished with black oil-paint on Lever’s direction,
a colour criticised as being too oppressive when used in the
National Portrait Gallery. In the four china galleries a yellow silk
covering was used up to cornice level of the display cases with
a contrasting gimp edging and with black finished walls above.
Elsewhere there was a walnut-coloured finish and ceilings,
architraves, friezes and domes were in broken white.5
4
5
Journal of the Royal Institute of British Architects, vol. 19, 1912,
p.405
Shippobottom, The building of the Lady Lever Art Gallery, 1994 p. 189
Detail of Main Hall, 1953 - Black and while scheme still in-situ
Original sketch of the main hall, Geoffrey Owen, 1914 © Lady Lever Art Gallery
2 UNDERSTANDING
47
Much of the information we have, besides historic photographs, comes from
correspondence in the 1960s relating to the major scheme of redecoration that
was carried out in that period. The architect of the time was Quentin Hughes and
correspondence between him and the Trustees give a window into the very different
perceptions of Gallery presentation to those we hold today. Whilst he initially
acknowledges that the building has a powerful and positive architectural expression,
he considers this a disadvantage as:
It is interesting to compare this description, by the 1960s
architect, of Lever’s apparently excessive detailing with the
description of Shippobottom above; describing the original
decoration as restrained and unobtrusive.
Hughes proposals to rectify the perceived issues involved:
•
‘The display of objects of art and of historical interest occurs in a setting which is itself
competing for the attention of the observer. The consistent classical treatment of the interior of
the building has resulted in situations in which small spaces are dominated by such features as
door architraves, ceiling ribbing, cornices and panelling. Further to this the height of the rooms is
often excessive and leads to a distraction from the objects displayed. This height is exaggerated
in those rooms where top lighting is provided in the form of domes or vaults. In many cases the
adverse reflections on paintings protected by glass under these top lights cannot be ignored.’6
•
•
•
•
•
•
•
Painting all main walls below cornice level in matt white
with the exception of wall panels and certain rooms
with specially selected exhibits i.e. Napoleon room
Painting the surfaces above cornice level in shades of
slate blue-grey
Controlling natural light by providing slotted suspended
ceilings above the level of the pictures to eliminate
direct light and reflection
Removing inadequate tungsten lighting and install natural
florescent lights concealed in the new suspended
ceilings
Painting both rotundas matt white and painting the
ceilings light blue-grey with nylon drapes suspended to
diffuse the harsh contrast of the glazing bars and the
area of glass.7
Painting all columns, pilasters and entablature within
the Main Hall matt white and a medium slate blue-grey
above cornice level, with nylon nets draped over glazed
areas of the vaulted ceiling
Painting the ceilings of the vestibules a deep maroon
colour
Redecorating the Napoleon Room, Early 18th Century
Room, Adam Room in a manner similar to their present
appearance
Historic postcard of the main hall showing its original decorative scheme
7
6
48
A Report on the Present condition and limitations of the decorations at Lady Lever, Quentin Hughes, 1960,
Lady Lever Archives
Within the rotundas, Hughes had particularly objected to the strong
architectural character of the halls and in particular the effect of the
strongly contrasting pattern of the joints in the ashlar walls on the
display of the powerful pieces of sculpture.
From these descriptions it appears that the current
decorative scheme does not follow the 1960s alterations,
and makes more use of yellows and pale colours rather
than slate-blues and maroons. It is unclear when the present
colour scheme was carried out. Archival sources also note
repainting was carried out in 1955, indicating at least four
different phases of redecoration to date.
In 1961 a specification for the scheme of internal
redecoration and suspended ceilings was drawn up which
included redecoration to most of the galleries. The schedule
of works states that every room was repainted. Within the
larger rooms such as the Wedgwood Room instructions
were to ‘repaint walls one tint, above cornice, one different tint,
woodwork one tint.8 Within the sculpture rotundas, the walls
were to be ‘painted and the lining to imitate joints to be filled
and rubbed down.’
The suspended ceilings were a key component of the
decorative scheme, having both practical and aesthetic
functions. It is easy to forget today how experimental and
cutting edge these suspended ceiling designs were at the
time and the Trustees initially has some misgivings about
‘whether any advantage from these ceilings will outweigh the
interference with the appearance of the galleries at Owen
designed them’9
The suspended ceilings were produce by a company called
Isora Illuminating ceilings Ltd. They offered products that
‘have been universally accepted as a highly attractive, efficient
and economical… translucent ceiling.’10 They previously
installed ceilings at Buckingham Palace, The National Gallery,
The National Portrait Gallery and the Tate Gallery.
8
9
10
Specification for the scheme of internal redecoration and suspended
ceilings at the Lady Lever Art Gallery, 1961, Lady Lever Archives
Letter from the Trustees, 1961, Lady Lever Archives
Letter from Isora Illuminating Ceilings Ltd to the curator, 1963, Lady
Lever Archives
A brochure for Isora illuminating ceilings, 1963 © Lady Lever Art Gallery
Hughes has initially desired to put up a suspended ceilings
in the main hall as part of the scheme but a letter of 1964
from the Curator to the architect states that on reflection,
the scheme for the main hall should be suspended, as ‘the
trustees feel that the original architectural concept must not
be modified… the introduction of a suspended ceiling and a
ground floor screening would destroy the overall impression of
the main hall.’11
11
Letter from the curator to the architect, 1964, Lady Lever Archives
2 UNDERSTANDING
49
2.4.2 ENTRANCES AND VISITOR ROUTES
The Lady Lever Art Gallery was designed as a purpose-built
public space for the display of art and as such visitor routes
and circulation within the Gallery was always an important
consideration. A plan from 1929 shows that visitors entered
and exited through the south entrance, and were directed
around a prescribed route that encompassed all the gallery,
balcony and vestibule spaces. The plan also shows that by this
date, the doors from the southern offices to the Wedgwood
and Napoleon rooms had already been blocked up.
The Gallery had initially been fitted with a revolving door to
the south entrance. However, by1926 this had been replaced
by swing doors to allow the unexpectedly high number of
visitors ‘the necessity of quick entry and exit’.12At the same
time, a turnstile system was put into place, with a turnstile
for people entering, doors to the south entrance vestibule
that swung both directions and counters on either side of
the entrance (see Appendix four).13 The original revolving
doors remain in storage at the Art Gallery. One attempt to
sell them back to the manufacturer was declined in 1928 as
they had been made in a bespoke size to fit the Gallery.
The turnstile is also in storage at the Gallery.
1
1.
2.
3.
12
13
50
Letter from the curator to Lord Leverhulme, 1925, Lady Lever
Archives
Letter from the curator to Lord Leverhulme, 1926, Lady Lever
Archives
2
3
Historic plan showing the
intended visitor routes; with
visitors entering the Gallery
from the south entrance, 1929
© Lady Lever Art Gallery
Plan showing the new south
door, 1925 © Lady Lever Art
Gallery
Plan showing the new turnstile
design, 1925 © Lady Lever Art
Gallery
2.4.3 DISPLAY CASES AND CABINETS
The display cases and cabinets with the South Galleries
were all supplied by the same manufacturer; Edmonds
& Co Ltd, a cabinet maker and shopfitter that still
specialises in bespoke showcases today. Evidence
suggests the company were supplying cabinets to the Art
Gallery as early as 1934. They also produced them to the
same design in 1966 for the Napoleon room and China
Room; made from welded bronze and clear plate glass
and a walnut veneer finish. In 1969 they also produced
the wall and free-standing cabinets for the Wedgwood
room.
Only one of the original cabinets, designed to house
Lever’s Chinese collection, survives and is situated within
the China room in the South Galleries. They dated from
1911 and have a delicate neo-classical carved design.14
The cabinets were designed and manufactured by
Edgar Gorer, a London dealer, from whom Lever also
purchased a large amount of his Chinese pottery.
1.
2.
Proposed drawing for the display
cabinets within the Wedgwood
room, Edmonds & Co Ltd,
1968 © Lady Lever Art Gallery
Section plan showing showcase
locations in the napoleon room
and china room, it also indications
the position of new suspended
ceilings, Quentin Hughes,
1965 © Lady Lever Art Gallery
1
2
14
Gorer v Lever: Edgar Gorer and William Hesketh Lever , Pearce,
N., Department of History of Art, University of Glasgow P16
2 UNDERSTANDING
51
2.4.4 ENVIRONMENTAL CONTROLS
The original 1920s heating system consisted of
basement coal-fired boilers feeding a combination of
hot-water radiators and ducted warm air, which serving
the main galleries through decorative bronze grills.
The plant-room incorporated washed canvas air-filters
which cleaned the air prior to circulation and offered
an unsophisticated form of humidity and temperature
control. The Lady Lever was not pioneering in this
respect but it was at least up-to-date in adopting a
packaged air-handling system. 7 All rooms were originally
fitted with natural air pump ventilators in the ceilings but
these were found to be inoperative by 1948.
The current radiators in the Gallery are likely to date
to between 1922 and 1950. It is clear that the radiators
in the Greek Vases room, Small Wedgwood room and
Chinese Pottery and Porcelain rooms are an original or
very early addition (marked as existing on a 1948 plan)
but those in the 18th century paintings and furniture
room, and Wedgwood room are additions relating to
changes to the heating system in 1948.
1
By 1948 the original 1920s heating system was not
considered to be effective in controlling temperature
and humidity within the Galleries. The curatorial team
monitored the environmental conditions to understand
the relationship between temperature and relative
humidity and consulted other galleries, particularly the
National Gallery, on the benefits of air conditioning.
1.
2.
2
52
Plan of the original heating system –
boiler house and fan chamber, detail of a
plan of 1948 © Lady Lever Art Gallery
Example of the heaters and humidifiers
found throughout the galleries © Lady
Lever Art Gallery
An engineering company called Young,
Austen and Young Ltd was asked to supply a
quote for an updated system which focused
largely on installing additional radiators
within the galleries to control humidity.15
After much discussion a report was drafted
that stated that the proposals submitted
were considered to be unnecessary and
would not solve their particular problems.16
Following these discussions, in 1949 a new
boiler and automatic stoker was installed at
a cost of £4916.
In 1969 the heating boilers were converted
to oil firing, at a cost of £1,500.
Both the Unilever and Lady Lever archives
hold substantial plans and correspondence
that relate to the existing heating system
and several proposed new schemes. These
should be consulted in greater depth by an
engineer if a wider understanding of the
existing system is sought. See appendix five
for a report on the heating and ventilation
within the Art Gallery.
Plan showing the proposed positions for new radiators, blue shows the position of existing radiators whilst red are proposed. It is not known if this was carried
out, 1948 © Lady Lever Art Gallery
15
16
Quotation by Young, Austen and Young, 1948,
Unilever Archives
Report on the heating and ventilation of the
Lady Lever Art Gallery, 1948, Unilever Archives
2 UNDERSTANDING
53
2.5
LADY LEVER IN CONTEXT
2.5.1 THE GARDEN CITY MOVEMENT
Garden Cities were planned, self-contained communities
surrounded by large areas of green spaces and contained all
the needs of the community, from employment and shops to
parks and cultural facilities.
As a workers’ and garden village, Port Sunlight was founded
in order to provide self-contained, clean, modern and
sanitary accommodation for workers employed at the
adjacent factory. Port Sunlight has features in common with
Saltaire (1851), established by the wool baron Sir Titus
Salt, New Earswick (1904), built by Joseph Rowntree and
Bourneville (1895), the home of the Cadbury brothers’
chocolate factory.
However it differs from Bourneville as this was a mixed
community in terms of class and occupation, whilst Port
Sunlight contained ‘tied’ houses for factory works.
Mawson & Atkinson, Bolton Improvement Scheme, 1911.
54
2.5.2 ART GALLERIES
Museums in Britain evolved out of private bodies before
the 19th century but an Act of 1845 also enabled local
authorities to levy a rate to build museums and galleries.
Both types of ownership produced major civic buildings
with grand facades giving way to monumental public spaces.
Lady Lever shares some architectural similarities with an 18th
century country house, and indeed some of the intended
functions of the spaces were compatible with that use.
The neo-classical style of the Gallery is in striking contrast
to the Garden Village housing around it and it is likely
that American architecture was a direct inspiration on
Lever (Beaux Arts Classicism was a powerful influence on
American architecture).
Influences for the Lady Lever Art Gallery can be seen in
several other buildings. Through correspondence between
Lever and Segar Owen, clear enthusiasm is seen from Lever
for recent American precedents, including the Walker Art
Building at Bowdoin College (1891-5). Influences can also
be seen from British gallery design including the Mappin
Art Gallery, Sheffeld and St George’s Hall, Liverpool. There
are also similarities to the Williamson Art Gallery in nearby
Birkenhead (1928).
The Lady Lever is highlighted as a nationally important
example of inter-war art gallery construction in the English
Heritage Listing Selection Guide for Cultural Buildings:
The inter-war period saw a preference for neo-Georgian styles,
as being suitably academic in design and economical to build,
but these could be richly appointed inside with extensive
panelling and top-lit galleries. An exceptional example is
the Grade II listed Lady Lever Art Gallery, built (1914-22)
as the centrepiece of the 1920s extension of Port Sunlight,
and important as a piece of town planning as well as for its
sociological and artistic interest.
Walker Art Building, Bowdoin College, Maine USA (1895).
Williamson Art Gallery, Birkenhead, 1928
Birkenhead Central Library, 1934
2 UNDERSTANDING
55
2.6
MANAGEMENT AND USE
2.6.1 MANAGEMENT
What follows is a synopsis of National Museums Liverpool’s
Management and Maintenance Plan for the Lady Lever Art
Gallery and is a summary view of some of the many policies
the NML work towards. Lady Lever has many unique
characteristics, within its collections, its building structure
and its history, which the client has both the expertise and
continuity to manage within set budgets.
GALLERY MANAGEMENT
The Gallery falls under the direct Management of NML’s
Director of Art Galleries and sits alongside the Walker Art
Gallery and Sudley House. This therefore has the support
and resource of NML’s wider estate and policy standards, to
provide, Visitor, Curatorial, Conservation and Maintenance
services.
VISITOR SERVICES
The day to day operational care of the Building is managed
by a member of the Visitor Services Team; who oversees the
presentation, management and security of the building. The
service is carried out by directly employed staff, which has
the wider support structure of NML’s Visitor Services Team
to lend extra support as and when required.
DAY TO DAY OPERATIONS
Daily cleaning and inspection schedules are carried out
and any identified fault/defect is reported to the Estate
Management Department to be issued out to the relevant
contractor, or else to be surveyed by the relative member
the Estates Team, which include experienced Electrical and
Mechanical officers, working alongside Building Maintenance
Officers. On-site staff, also work in co-operation with NML’s
Conservation officers and directly manage the multiple
portable humidifiers set up to control humidity in the
building.
56
CURATORIAL SERVICES
The Lady Lever Art Gallery is a fully accredited museum.
Its collections are managed by the Head of Lady Lever Art
Gallery supported by a team of 8 colleagues in the Fine and
Decorative Arts departments of NML. This experienced
team manages the collection in accordance with the
organisation’s Collections Management Policy.
This document is reviewed regularly. The curatorial team is
responsible for the documentation, research, interpretation
and display of the collections. They work in close liaison
with conservation staff in respect of the ongoing care of
the collections and the environmental requirements for
their display and storage. Curators regularly assess gallery
displays to identify any change in object condition and issues
with display materials. The curatorial team also supports
education and community programmes to ensure access to
the collections.
ongoing maintenance of the monitoring equipment. NML’s
Integrated Pest Management policy outlines procedures for
monitoring insect pest activity, and protecting collections
from infestation.
CONSERVATION SERVICES
NML’s Collections Management Policy outlines the
procedures and standards by which the care and
maintenance of collections are undertaken. NML’s
conservation sections include Sculpture Conservation,
Ceramics and Glass Conservation, Furniture Conservation,
Paintings Conservation, Paper Conservation, Metals
Conservation, Frames Conservation and Textiles and
Organics Conservation. Specialist conservators from these
departments carry out condition surveys of the collections
(e.g. the collections survey carried out March - April 2013
for the Lady Lever South Galleries redevelopment) and
oversee remedial conservation work, and preparation of
items for display. Specialist technicians from NML’s Handling
and Transport and Technical Services sections carry out the
movement, transport and installation of collection items.
The general approach to environmental management is set
out in NML’s Environmental Guidelines for collections, which
outlines NML’s commitment to sustainable environmental
control for collections, safeguarding collections using passive
measures with minimal energy consumption. NML’s Head of
Conservation Science oversees environmental management
for the collections at the Lady Lever Art Gallery. Nominated
conservation and curatorial staff have responsibility for the
BUILDING MAINTENANCE
The Lady Lever Art Gallery is an integral part of the
wider National Museums Liverpool Group and therefore
enjoys the benefits of being looked after by a team of
in-house skilled maintenance officers, run by NML’s Estate
Management Department. All statutory and functional
maintenance requirements are placed through a number of
contracts, with competently assessed contractors. The main
elements of the maintenance regime are described below:
The environmental monitoring system was upgraded in 2013
to the Eltec Darca Heritage 2 system. This is a networked
radio-telemetry system, with transmitters monitoring
temperature and relative humidity in all galleries and stores,
as well as lux and UV levels in 5 galleries and a food alarm
for the basement. The transmitters are calibrated every 2
years to ensure continuing accuracy.
A maintenance contract is in place for the portable
humidifiers, with regular cleaning every 2 weeks, to ensure
water hygiene standards are met, and a twice yearly
mechanical service to carry out repairs and preventive
maintenance.
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Fire Alarm and Emergency lighting, maintained under a
24 hour maintenance contract, with off-site monitoring
of the alarm status.
HVAC, the LLAG does not have holistic AC system but
relies on a recently upgraded traditional atmospheric
boiler house, providing Low Temperature hot water
for radiators throughout the venue, there is a
comprehensive maintenance contract in place to cover
this venue.
Lifts and platforms are maintained through a 7 days a
week maintenance contract.
All, roof gullies, drains and sewers are inspected and
cleared regularly throughout the year on a scheduled
maintenance and inspection programme.
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The external fabric of the building is routinely checked
for defects, and there is currently a commission being
issued for a detailed fabric survey within 2013, to inform
future requirements.
The roof structures have had in the past 2 years a very
detailed survey which has led to a rolling programme of
replacing both the roof surfaces and the glazing systems
and reintroducing the ability to have passive ventilation
within the Gallery space.
The grounds to the Gallery are maintained to a
reasonable standard with the use of an outside
contractor. Efforts have been made since early 2013
to ensure grounds remain in a good condition but are
still ‘comfortable’ for use by visiting groups rather than
formally landscaped. The railings have been recently
painted.
The lighting systems with this building are in the main
simple by nature, and daily inspection of lamps are
carried out by on-site personnel, but the replacement
of lamps and or fittings are carried out by designated
competent people usually through our maintenance
contract. Future more controllable lighting will be
procured using tested and proven system on other
venues, with wherever feasible the use of lower energy
light units.
2.6.2
USE
National Museums Liverpool hold in trust and safeguard
some of the world’s most important museum collections.
Their vision is to:
To change the lives of our users, and enable millions of people,
from all backgrounds, to engage with world-class museums.
The Lady Lever Art Gallery aims to:
• Widen participation in activities, thereby fulfilling social
objectives, especially by attracting diverse audiences;
• Ensure that NML offer educational opportunities to
people of all ages and backgrounds;
• Achieve economic benefits through developing cultural
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tourism and by helping build a strong image for
Liverpool and the city region;
Pursue research programmes that lead to greater
knowledge about collections, and promote the
exceptional quality of collections;
Improve visitors’ experience by upgrading buildings,
displays and facilities, offering quality and variety.
VISITOR NUMBERS
In 2012/2013, the Gallery had 191,263 local, regional,
national and international visitors. 21,001 people engaged
with education activities and, of these, 9,333 were children.
On completion of the South Galleries project the client
estimates a regular annual visitor figure of more than
215,000 (a 35% increase on existing) and an estimated
8,000 children and 8,000 adults will engage in education
programmes relating to the South Galleries in the first year.
Investment and publicity surrounding this current project will
allow increased engagement with stakeholders and visitors
through the duration of the redevelopment in preparation
for a steady increase in numbers from 2015.
INTERPRETATION
Interpretation is currently available to visitors in several
formats; through the use of a free hand-held audio guide, or
by making use of written resources such as a short leaflet,
free standing display boards and other ad hoc historic display
labels and texts.
LOCAL COMMUNITY
The Gallery is very active in terms of supporting the local
community through offering a venue to local initiatives such
as Messy Play and there are strong community relationships,
which increase a sense of ownership. The Lady Lever Art
Gallery serves a local community as a local facility – a social
gathering space, a place to hold community events and bring
community groups, a place to learn and to relax. A strong
informal and formal education programme gives visitors
from the local community and further afield the opportunity
to engage with the fascinating story of Lever and his art.17
2.7
POLICY AND GUIDANCE
2.7.1
Current and anticipated user groups:
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Local families with children
Adults visiting independently or as part as a group
Primary schools • Secondary schools
Visitors with learning and physical disabilities
Chinese families and communities across Merseyside
Local community groups
Higher Education Students
Initial Teacher Trainees and PGCE students
Individuals participating in volunteering and skills training
opportunities
THE COLLECTIONS
The collection of the Lady Lever Art Gallery is classed as
a closed collection. That is, the collection is not expanded
either through acquisition or gift. This has been the case since
the 1950s.
LISTED BUILDINGS AND CONSERVATION
AREAS
The Lady Lever Art Gallery and the surrounding historic
Port Sunlight Village are a nationally significant part of
England’s historic environment and as a consequence enjoy
considerable statutory protection. The Lady Lever itself is
listed Grade II (ref 1075469), and was first listed in 1965.
Port Sunlight Village was designated a Conservation Area in
1978.
2.7.2 NATIONAL POLICY AND GUIDANCE
As a significant heritage asset, a key piece of legislation
relevant to the site is the National Planning Policy
Framework (NPPF) which came into force in March 2012.
The NPPF sets out government policy on how the historic
environment should be integrated into, and considered
during, the planning process. It provides policies for the
protection and enhancement of the historic environment. A
17
HLF Round One application, 2013
2 UNDERSTANDING
57
building, monument, site, place, area or landscape identified
as having a degree of significance meriting consideration in
planning decisions, because of its heritage interest is defined
as a heritage asset. Such assets include both designated
elements (for example listed buildings and conservation
areas) and non-designated (for instance locally listed
buildings).
Listed Buildings and Conservation Areas are protected by
law under the Planning (Listed Building and Conservation
Areas) Act 1990. Section 13 of the 1990 Act requires
the local authority to notify the Secretary of State of any
application for listed building consent (LBC) which they
may propose to grant. This applies to consent for works to
the exteriors and interiors of Grade I and II* buildings, and
works to the exteriors of Grade II buildings.
Section 13 does not apply to the interiors of Grade II
buildings which have not been grant aided under the
Historic Buildings and Ancient Monuments Act 1953. All local
authority applications for listed building and Conservation
Area consent are referred to the Secretary of State.
Works that may affect the special character of a designated
Conservation Area also require Conservation Area Consent
under the 1990 Act.
2.7.3 LOCAL POLICY AND GUIDANCE
A new Local Development Framework is currently being
prepared by Wirral Council. The Local Development
Framework (LDF) is a collection of Local Development
Documents that together set out the vision and spatial
strategy for future development in the Borough. They will
gradually replace the Unitary Development Plan (UDP) that
was adopted in February 2000.
The UDP contains specific elements relating to the
protection of the Heritage. The overarching policy is
covered as CH01:
CH01 The Protection of Heritage, Strategic Policy
In considering all development proposals the local planning
authority will pay particular attention to the protection of:
1. Buildings, Structure and other features of recognised
58
architectural or historic importance.
2. Historic areas of distinctive quality and character; and
3. Important archaeological sites and monuments. Proposals
which would significantly prejudice these objectives will not be
permitted.
Within the ‘Heritage and Conservation’ section the UDP, sets
out specific policy for the borough’s Conservation Areas.
Policy CH9 relates specifically to Port Sunlight Village;
Policy CH9 states:
The Village still represents a residential environment of rare
quality within the built-up area. The objective of Policy CH9
is, therefore, to retain and preserve essential elements in the
“planned” form, layout and architectural detail of the Village.
This especially includes the formal layout of open spaces which
provide the setting for prominent “public” buildings, such as
Christchurch and the Lady Lever Art Gallery. Policy CH9 also
provides for the primarily domestic character and scale of the
Village to be preserved and for the historic factory frontage to
be retained as a continuing reminder of the purpose and history
of the Area.
Port Sunlight Conservation and Management Plan
The Port Sunlight Conservation and Management Plan was
published in 2007, commissioned by the Port Sunlight Village
Trust, to look at both building and landscape elements.
The Plan makes some reference to the Lady Lever and its
importance within the village:
Survey Notes:
This is the most prominent building within Port Sunlight, situated
as it is at the western end of the long axis to The Diamond.
Condition Survey:
A surprisingly large building but skilfully shoe- horned into
the village context. A later addition, it led to rebuilding and
realignment of windy lane to coincide with the south porch.
Ashlar white limestone at odds with the warm pink sandstone
used elsewhere. a sad mistake which makes the building more
solemn and ‘sad’. Grecian subdued classicism with ‘in antis’
porticos. Dominant rotundas at roof level make a striking
silhouette.
3.1
ASSESSING SIGNIFICANCE
Significance can be defined as the sum of the cultural, social and/or
natural heritage values that make a building or place important to
this and future generations. The aim of conservation is to sensitively
manage change to a place to ensure that its significance is not only
protected, but also revealed, reinforced and enhanced at every
possible opportunity.
Many heritage values are recognised by the statutory designation and
regulation of significant places. In statutory terms, the significance of
the Lady Lever Art Gallery is formally recognised by its Listing. As a
Grade II Listed Building, the Gallery is of special, national interest. The
formal cultural and heritage value of the Gallery and its Environs is
also reinforced by its inclusion within the Port Sunlight Conservation
Area.
However, while these designations provide baseline guidance to the
significance of the Lady Lever, it is essential to go beyond this view
to arrive at a deeper understanding of its values and significance that
considers more than matters architectural-historical. This ensures
that decisions regarding both day-today and long term use and
management of the site take into account all of the values that
contribute to a place’s significance. The range of values that may
therefore contribute to the significance of a place can be categorised
under the following headings. These headings derive from English
Heritage’s Conservation Principles (April 2008):
Evidential Value: The potential of a place to yield evidence about
past human activity.
Historical Value: The ways in which past people, events and aspects
of life can be connected through a place to the present.
Aesthetic Value: The ways in which people draw sensory and
intellectual stimulation from a place.
Communal Value: This derives from the meanings of a place for the
people who relate to it, or for whom it figures in their collective
experience or memory. Communal values are closely bound up
with historical (particularly associative) and aesthetic values, but tend
to have additional and specific aspects; it can be commemorative,
symbolic or spiritual.
The significance of a place is the sum of these values, brought
together and expressed in a statement of significance. This
statement forms the foundation upon which any proposals for
change and enhancement of a place can be considered and carried
forward.
In order to identify the relative contributions that these values make
to the significance of a place and therefore the capacity for these
values to be revealed and/ or enhanced, the following ratings are
used:
3
1
INTRODUCTION
SIGNIFICANCE
High: An aspect of value that strongly contributes to the significance
of a place, forming an essential piece of its history and cultural value.
In material terms, these aspects will best contribute towards the
heritage values. Conservation will be a priority, and alteration is likely
to be strongly resisted unless it is demonstrated that significance will
be greatly enhanced, reinforced or revealed as a result.
Medium: An aspect of value that will have some cultural importance
and will make a moderate contribution to the significance of a place.
In material terms they will play an important role in conveying the
heritage values. Efforts should be made to protect and enhance
these aspects, though a greater degree of flexibility is possible than
with aspects of high value.
Low: An aspect of value that will make a slight (yet still noteworthy)
contribution to the significance of a place. In material terms it will still
add something to the heritage values (such as helping to maintain
plan form and historic character), although this contribution may
have been compromised by loss or uninformed intervention. A
greater capacity for enhancement exists than for items of medium
or high value, although a low designation does not necessarily mean
that the feature is expendable.
Neutral: An aspect that has no discernible value that neither adds to
nor detracts from the significance of the place. Informed change will
be acceptable.
Detrimental: An aspect of the place that detracts from its values and
therefore its significance. In material terms, removal or reversal of
these aspects should be strongly encouraged.
59
3.1.1
STATUTORY DESIGNATIONS
Wider Context
Port Sunlight Village was designated a conservation area in
1978 as an area of special local and national interest. As such
it is of high significance.
The Dell, The Diamond and The Causeway form a group
and are listed Grade II (ref 1001637) as a Registered Park
and Garden. These landscaped areas are of special, national
interest and are of high significance.
Lady Lever Art Gallery
Lady Lever itself is listed Grade II (ref 1075469), and is
therefore of special, national interest. All fixtures, fittings and
building fabric fall under this listing; making the building highly
significant.
Lady Lever is highlighted as an important example of
inter-war gar gallery construction by English Heritage. It
is important for its construction techniques, collections
management, its importance as a piece of town planning and
its neo-classical civic design.
3.1.2 EVIDENTIAL VALUE
Wider Context
Port Sunlight was constructed on a tidal inlet, of
undeveloped ground on the banks of the Mersey and its
subsequent development and history is well documented.
Much primary documentation survives, and the village is
consequently well understood. Therefore the potential of the
village to yield further hidden information is low.
Within the context of Port Sunlight the Lady Lever Art
Gallery is of low evidential value as the area was previously
undeveloped. Construction of the building involved
many innovative techniques but the structure and layout
has remained largely unaltered. However, the interior is
of medium evidential value for the evidence of former
decorative schemes that modern treatments within the
building may yet conceal. Physical investigations by a specialist
into the décor may yield important information on previous
decorative schemes.
3.1.3
HISTORICAL VALUE
ASSOCIATIVE
The Lady Lever Art Gallery has high associative significance
as it is located within the internationally recognised Garden
Village of Port Sunlight, and its construction as a focal point
on The Diamond, beginning in 1914, influenced the latter
stages of the planning of the village.
The ethos of the Garden City movement, focusing on cooperation, struck strong resonances with the Pre-Raphaelite
movement, of which Lever was a keen collector. The link
between the two is of medium significance.
Lady Lever is one of the last galleries of the great period
of British gallery building, and therefore associated strongly
with this epoch. The completeness and concurrent nature
of the building and collections, and its consequent strong
association with the Pre-Raphaelite movement underpin this
significance.
Lady Lever has a strong associative value with the founder,
Lord Lever, and was constructed as a memorial to his wife.
Lever was a figure of national and international stature and
was one the one of the great exponents of the philanthropic
age. It can be associated with the desire to educate and
‘improve’ the workforce by exposure to great art works.
The establishment of the Gallery and its roots can be
associated with Lever’s use of significant art works in
the advertisement of his products. The use of fine art in
advertising was highly innovative in the UK at the time, taking
the idea from America, and is therefore of high significance.
South Galleries
The fabric, features and collections of the South Galleries
illustrate the objectives of the Victorian philanthropist
seeking to educate the working classes in their employ, by
exposure to arts and culture. The Lady Lever is one of the
most complete examples of this objective and is of high
significance. Lever also paid particular attention to ensuing
that his collections were accessible to the public and in this
respect was pioneering.
ILLUSTRATIVE
The construction of the Gallery to house its collections as a
single, complete, entity is very unusual in the UK. In fact the
Lady Lever Art Gallery remains the only major public gallery
in the UK built by its founder to house a private collection.
Such an approach was far more common in America, and
the collections and displays of leading US businessman like
Pierpont Morgan, Huntington and Frick provided inspiration
to Lever.1
The design and layout of the Lady Lever Art Gallery can
be described as a product of Lever’s creative input and the
building and collections give a clear insight into Lever’s taste.
The Gallery is organised across the main floor in the form
of a Piano Nobile and Lever was involved in checking the
decorative detail of all the rooms. This input by a private
collector of Lever’s standing gives the Gallery high significance.
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Draft Management and Maintenance Plan, Lady Lever Art Gallery,
NML, 2013
Five of the rooms are ‘period’ rooms reflecting Lever’s
interest in contextualising objects. Such period rooms are
extremely rare in British galleries and are of high significance.
The Napoleon Room, Tudor and Stuart Room, William and
Mary Room, Early Eighteenth Century Room and Adam
Room include re-used original panelling, suitable for the
period or specially commissioned decorative schemes.2
The Gallery has high illustrative value for the completeness
and integrity of the original design and layout of the building.
The high quality of design, workmanship, attention to
detail and architectural quality is clearly present internally
and externally and can be linked back to Lever’s input
into construction. Coupled with the largely complete
collection, the visitor can easily attain a complete and holistic
understanding of the concept, the building and the founder.
Development of the interpretation and removal of the
detrimental 1960s additions would make this process easier.
Lever also had a good grasp of the technology behind
collections management and was conscious of new
developments in the scientific world. As such the reinforced
concrete construction and air conditioning system were
relatively innovative. They have medium illustrative value.
The Gallery is highly significant in illustrating the evolving
role of the Art Gallery as a canvas for displaying collections.
The use of classical architecture, elaborate decorative
elements, small galleries, large circulation spaces, stark
monochrome backgrounds, bright natural light and
exaggerated height in the 1920s was considered inconsistent
for the display of art by the 1960s. Equally, the reasoning
behind the alterations of the 1960s including low ceilings,
simplification of detailing and artificial light are hard for us to
comprehend today.
South Galleries
The collections within the South Galleries have an integrity
not seen in many other collections. The South Galleries hold
the finest collection of Wedgwood Jasperware in the world,
one of the best collections of Chinese porcelain in Europe,
outstanding 18th century paintings and furniture, and some
of the most significant 19th century sculpture in a British
collection. These are of high significance.
South Galleries
The aesthetic significance of the South Galleries is primarily
as a part of the holistic significance of the Lady Lever.
However, the Rotunda is an important circulation space
with high aesthetic value. It also illustrates the role of Lord
Lever in the design process. The ‘pairing’ of the columns are
significant as a result of his influence as he suggested the
arrangement.
However, modern interventions such as suspended ceilings,
modern partitions, loss of natural light and dark paint finishes
detract from the value of these spaces and are detrimental
to significance.
Whilst in many cases the 1960s alterations to the interior
are reversible (the parquet floor in the large Wedgwood
room for example is stored in the basement), some of the
key interiors have been heavily modified with mid-20th
century suspended ceilings, concealment of original details
and finishes, which are aesthetically detrimental:
3.1.4 AESTHETIC VALUE
The Lady Lever Art Gallery is of high aesthetic value
overall. The design and construction of the Gallery as a
counterpoint to the vernacular-revival architecture of Port
Sunlight, the axial arrangement on The Diamond, the high
quality materials and Beaux-Arts composition all contribute
to this significance. The condition of the building is also good,
contributing to its significance.
The design and layout of the Lady Lever Art Gallery is as
much a product of Lever’s creative input as that of the
architects; five of the rooms are ‘period’ rooms reflecting
Lever’s interest in contextualising objects. Such period rooms
are extremely rare in British galleries and again, reflect
Lever’s interest in American art museums.
The modification of the setting to provide railings, which
were added in the late 20th century, has impacted upon the
Gallery’s relationship with the village. The railings are modern
but well detailed and help protect the fabric from vandalism
so are neutral.
• The Chinese Porcelain, Stubbs, Greek Vases and
Wedgwood Rooms have been modified with new,
modern, suspended ceilings.
• The area to the South-Eastern corner of the building
has been subdivided with a mezzanine and partitions
to create offices, obscuring the original ceiling and
detail. The Napoleon Room has also been curtailed
with a new full-height partition.
• The Floor to the Wedgwood Room has been re-laid
in dark, modern tiles.
• Many of the door surrounds in the smaller galleries
have been simplified.
However, many of the original architectural details have
survived, such as light fittings, door locks and cabinets and
attempts should be made to retain these.
However the surrounding trees are now so large as to
prevent the connectivity of views to and from the building
and detract from the aesthetic success of the building. These
are detrimental.
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Draft Management and Maintenance Plan, Lady Lever Art Gallery,
NML, 2013
3 SIGNIFICANCE
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3.1.5 COMMUNAL VALUE
The Lady Lever Art Gallery has high communal value. It has
always played a central role in the social life of Port Sunlight
and was conceived as a vital amenity for the village. Lever’s
belief that the wider public should benefit from exposure to
art was a common philanthropic view of the time and was
clearly valued by the public as visitor numbers in the 1920s
far exceeded their expectations.
The sense of philanthropy Lever fostered can still be felt
today and the Gallery remains a valuable local resource. The
Gallery is important not just to the people of Port Sunlight,
but also to the people of Merseyside and to the nation as a
whole.
Visitor Book quotes:
• Fantastic, well worth the journey
• What a delight, 4th visit and will return.
• What a national treasure this is – thank you Lord
Leverhulme!
• A very unexpected and rewarding surprise
• Such beauty, such style and so loved!
• Worth the long trip, very lucky to have such facilities free
It should also be remembered that the Gallery was built as
a memorial to a woman much loved by the people of Port
Sunlight. The building fulfilled a social function as a public
space used to hold large functions such as banquets and
balls. In many ways it fulfilled some of the functions of the
18th century country house; providing hospitality for the local
tenants, displaying the family ‘heirlooms’ and thriving on ideas
of patronage, fashion and taste.
South Galleries
The connections between the village and the Gallery have
been notably depleted since the removal of the main
entrance from the south to the west. Whilst this is a more
practical entrance for the Gallery, with disabled access, the
62
linear relationship between the formal landscape of The
Diamond and the Gallery has been lost, which is detrimental
to the communal value of the Gallery.
Local community
The connections of the Gallery with Port Sunlight Village
are still very important today and both the village and the
Gallery are key to attracting visitors to the wider borough.
The legacy of Lever’s beliefs and his incredible patronage
has ensured a unique and very special relationship between
a major public Gallery and a local community. On the
one hand, the collections are appreciated by experts and
students worldwide in the fields of art history, collecting, and
the history of design. On the other hand, the Lady Lever Art
Gallery serves a local community as a local facility – a social
gathering space, a place to hold community events and bring
community groups, to learn and to relax.
3.1.6 LANDSCAPE VALUE
The setting of the Lady Lever is highly significant within an
early Garden Village and its position at the termination of
the key axial feature, creating a remarkable civic space.
The use of a large open space to the south of the Gallery as
a car park has degraded the links between the building and
its landscape and is a detrimental feature.
Port Sunlight Landscape Appraisal
Of course, the jewel in the crown is the Lady Lever Art Gallery,
completed in 1922, and which has a growing reputation,
drawing visitors in from across the region and beyond. [The Art
Gallery] is the highest profile civic building in the village and one
of the two most important ‘draws’ for attracting visitors to the
village.
South Galleries
The south entrance and the views across The Diamond
also demonstrate the importance of the connection of the
Gallery to the village. The south vestibule and portico are of
considerable illustrative and aesthetic value.
The South Galleries could play a notable role in enhancing
the connection between the village and the Gallery. The
fact that the doors are currently unused detracts from this
connection and the opening up of these for groups or the
installation of glass doors would enhance significance.
3.1.7 TECHNOLOGICAL VALUE
The use of new construction technology and methods of
collections management were of interest to Lever, which the
use of reinforced concrete and complex ventilation, heating
and coal-fired air conditioning systems testify.
The use of reinforced concrete may be another idea that
Lever learned from America as it was initially used in major
urban areas to construct fireproof buildings.
Collections management did not exist as a distinct field
before the 1880s. In Britain, pioneering research into the
scientific approaches to the care of objects such as paintings,
ceramics and stone was carried out from 1900. The Curator
at the Lady Lever made efforts to consult London galleries
and museums to understand the impact of environmental
conditions on their collections, focusing particularly on
managing the relative humidity and temperature at a stable
rate. Collection management techniques and environmental
controls are therefore of medium significance for their
technological value.
3.1.8 COLLECTIONS
The collections of the Lady Lever Art Gallery are of high
international, national and local significance. Collected
over a period of approximately 40 years, they reflect
Lever’s personal taste and interests and are one of the
most significant put together by a British collector. They
contain fine and decorative arts of international significance
including outstanding Victorian paintings, the best collection
of Wedgwood jasperware in the world and one of the best
groups of English 18th-century furniture.
Lever is regarded as Britain’s last, great multidisciplinary
collector, continually adding to and never deselecting from
his collection. From this extensive personal collection, which
included fine art, decorative arts, and ‘museum’ type objects,
he chose what he regarded as the best and most interesting
for visitors to the Gallery.
This gift was an incredible act of philanthropy, made all the
more significant by Lever’s decision to build a purpose-built
Gallery to hold the collections. Today the collection of just
over 12,000 works is regarded as one of the best fine and
decorative art collections in Europe.
South Galleries
The collections in the South Galleries are highly significant
as they hold outstanding examples of 18th century pictures,
an important collection of sculpture, a comprehensive
collection of English furniture from the definitive period of
English cabinet making, the finest collection of Wedgewood
jasperware in the world and one of the best collections of
Chinese porcelain in Europe.
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works owned by Charles Darwin. There are extremely
rare examples of Wedgwood including three fireplaces
and copies of the Portland vase.
The collection of Chinese porcelain is considered to
be one of the best collections in Europe and fills three
rooms.
Lever also collected a small number of antique Greek
vases to provide a context for the neo-classical style of
the eighteenth-century works in his collection.
As this Conservation Plan will initially focus on
redevelopment of the South Galleries, a brief description of
the significance of the collections within these rooms is given
below:
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The 18th Century Furniture and Paintings Room holds
many outstanding examples of 18th century pictures,
collected by Lever and date from 1750 to 1900.
Lever was one of the most important patrons of the
New Sculpture movement and a broad range of these
works are displayed in the South Rotunda.
Lever purchased a number of antique sculptures from
the collection of Sir Thomas Hope, the most important
collector of antique and neo-classical sculpture in the
18th century.
Lever was also one of the first collectors to attempt to
create a comprehensive collection of English furniture
across the definitive period of English cabinet making
(late 16th to early 19th century).
Lever’s interest in Napoleon led to an outstanding
collection of 22 pieces items including settees, armchairs
and chairs commissioned by Napoleon.
The Gallery holds the finest collection of Wedgewood
jasperware in the world and the collection includes
3 SIGNIFICANCE
63
SIGNIFICANCE PLANS
The plan below offers a guide to the elements of significance found within
the South Galleries of the Lady Lever Art Gallery, principally looking at the
evidential, historic and aesthetic value of the building. Communal value of a place
is excluded as it is often not articulated within its structure. The darker shade
represents the fabric and the lighter shade represents the value of the spaces.
An assessment of significance of the whole Gallery has not been undertaken
but would bear many similar to the values given to the fabric and spaces within
the South Galleries.
HIGH
MEDIUM
LOW
N
Plan of the Lady Lever Art Gallery giving a guide to levels of significance of the fabric and spaces within the building
64
This plan gives an indication of the foremost modern
interventions that have been made within the South Galleries.
The majority of these date to alterations made in the 1960s
and are considered to be intrusive and detrimental to the
significance of the galleries. The exceptions to these are the
two corners to the north of the Wedgwood room, which
possibly appear on a 1936 plan of the Gallery, and the
blocked doorways, which were also carried out before 1936.
CEILING
BLOCKED DOORS
FLOOR
MODERN STAIRCASES AND PARTITION
CORNERS
MODERN DOOR SURROUNDS
POSSIBLY HISTORIC
Plan focusing on the South Galleries that highlights modern interventions within the galleries.
N
3 SIGNIFICANCE
65
SUMMARY OF SIGNIFICANCE
The Lady Lever is an exceptional example of inter-war building and represents
a site of national heritage significance, with some key aspects of international
heritage significance. This is not only represented by the statutory designations that
have been assigned to the various elements of the site (indeed, the Grade II listing
would not seem to reflect the status of the site enough), but also by their deeper
heritage values such as its perceptible importance to the local community, and the
setting in which it sits.
The Lady Lever was built for two purposes, first as a memorial to the memory
of Lever’s late wife, and secondly, as a public gallery purpose-built to house his
extensive collection of art. The building is designed not only as a canvas on which
to view these objects, but as an architectural accomplishment and work of art in its
own right, drawing on classical motifs, as was popular at the time.
The Gallery has high aesthetic significance and a strong visual relationship with
Port Sunlight Village. It is an important and accomplished example of Beaux-Arts
classicism and the quality of detailing, level of finish and materials are to a high
standard. As Michael Shippobottom describes; ‘A chaste and lovely treasure box of a
building’. The use of reinforced concrete is also very accomplished, and significant in
the context of other illustrative buildings such as the Royal Liver Building.
Whilst the evidential value of the site is minimal perhaps overall, there is still
potential for modern treatments to conceal historic décor. The Gallery is of
high historical importance, both in associative and illustrative terms, through the
conception of the Gallery by Lord Lever, one of the most prominent international
industrial philanthropists, to the situation within the internationally significant village
he founded. The Gallery is also one of the most complete and finest examples of
the aspiration of the Victorian and Edwardian philanthropist in the education and
‘betterment’ of their workforce to art and culture.
66
The building continues to fulfil a social function as a prominent civic building at the
heart of Port Sunlight. This communal value is strengthened through the carefully
designed views and vistas that puts Lady Lever as a clear terminus of the formal
axial landscaping of The Diamond.
The completeness and integrity of the original design of the building, with its
original collections, allows a full and holistic understanding of the concept, the
building and its founder gives the building high significance in an international
context, and exceptional significance nationally as the concept is very unusual
in the UK, and should be seen in the context of key examples in the USA.
The collections themselves are of high significance, particularly for holding the
finest collection of Wedgewood jasperware as in the world and one of the best
collections of Chinese porcelain in Europe.
There are some elements that detract from the significance of the site. The car
park to the south has some detrimental effects, as does the scale and screening
introduced by the planting to the perimeter of the Gallery. Internally the
suspended ceilings and inappropriate finishes are risks to the significance of these
spaces and their appreciation.
However, overall Lady Lever retains a high degree of integrity and authenticity.
The interior and exterior appearance, layout and fabric have remained remarkably
intact. Removal of the 1960s alterations would enhance significance and ensure
original designs can be comprehended.
Key significances to be retained:
• Links to and from Port Sunlight to the south
• Visitor circulation routes around the galleries
• Historic layout
• Original architectural detailing
• Role of the Gallery within the community
4
1
INTRODUCTION
ISSUES AND
OPPORTUNITIES
SUMMARY OF ISSUES AND OPPORTUNITIES
The key risks to the significance of the Lady Lever Art Gallery are fairly benign overall, and centre largely on a sense
that the opportunities to interpret and access the history and development of the site remain unfulfilled.
The condition of the fabric of the built structure is reasonable and the public realm is largely well kept. There is
currently a programme of repair works in hand to key areas of the roof (including the South Galleries) and a
Condition Survey of the external building fabric has been produced.
The main issue relates to the inability of visitors to appreciate the historic layout and fabric of the South Galleries due
to inappropriate mid-20th century alterations. Opportunities arise within the HLF redevelopment project to remove
the detrimental (but largely reversible) alterations and reinstate original architectural features and open up historic
views and links with the village. Beyond the HLF project, similar alterations can be carried out to the central and
northern galleries to improve the visitor experience.
The HLF redevelopment project represents an opportunity to enhance the visitor offer through improving existing
interpretation within the Galleries, much of which is late-20th century, and strengthening the connections with the
village and its history. New interpretation should be produced, with local community input, which focuses on Port
Sunlight and its links to the Gallery.
67
4.1
ISSUES AND OPPORTUNITIES
The issues and opportunities here relate directly to the aims
set out in 1.2. This section will also inform the formulation of
Section 5.
4.1.1
CONDITION, MANAGEMENT, MAINTENANCE
AND REPAIR
The Lady Lever is a well-managed public building and
proactive maintenance has been undertaken to ensure
defects are rectified at an early stage and there are few
urgent issues. A Management and Maintenance plan is
currently in production by National Museums Liverpool to
accompany the stage two HLF bid and is at draft stage. This
will create an opportunity for the long-term maintenance of
the building to be structured and well planned.
In 2013 NML commissioned a full external fabric survey; this
stated that:
“Lady Lever Art Gallery is a very well maintained public building,
with proactive maintenance having been undertaken ensuring
that defects have been rectified at an early stage and not
allowed to develop into more serious or widespread problems.
The external fabric is generally in good order and very few
urgent issues have been noted.”1
The main concerns noted are set out below:
• The Portland stone would generally benefit from
cleaning, though this is for aesthetic reasons rather than
the prevention of decay.
• There is a widespread problem with open joints to
the underside of the cornice on all elevations, with the
dentils below the areas with an open joint generally soft
and delaminating.
• Several large sections of stone have detached from the
building at high level, specifically at the entablature and
on corners
• The paintwork to all windows and their respective
security grilles is starting to flake and rust is visible
beneath.
1
68
External fabric survey, 2013
•
Redundant ferrous iron fixings were noted within the
walls in several locations. These have the potential to
rust, expand and damage the surrounding masonry
• There is a stepped vertical crack through the joints to
a section of ashlar walling in the East elevation which
should be investigated further to determine if it is an
on-going or historic problem.
• There may be concealed defects to internal rainwater
pipes which are causing damage to the external
stonework.
Recommendations based on the findings of the external
fabric survey set out repair needs and their solutions within
a framework of timescales. Immediate actions have already
been enacted and there is the opportunity to deal with the
remaining concerns following presentation to NML’s Capital
Projects Steering Group, for funding and prioritisation.
SOUTH GALLERIES
The Gallery roofs have suffered a period of stop-gap
maintenance and minor leaks are not uncommon in the
South Galleries. One issue mentioned above that specifically
affects the South Galleries is the possibility of concealed
defects to internal rainwater pipes which could be causing
damage to external stonework. A programme of repairs
to the roof structure of the building is underway, with the
rooflights to the South Galleries having been replaced in
2013.
The interior treatment of the South Galleries is dated and
beginning to decline in condition. Low ceilings, artificial light
and dark paint finishes are detrimental to the heritage value
of the building. Sensitive renewal of decoration and removal
of intrusive features in the South Galleries will improve the
experience of visitors and ensure the interior remains in
good condition.
4.1.2 GAPS IN KNOWLEDGE
Aim - To fill in gaps in knowledge relating to the history and
original construction of the Art Gallery
The history of the Gallery, those who designed it, its
operation and its use in the intervening period is generally
well understood. Archival sources have been consulted in
an attempt to understand the gaps in knowledge identified
in the Conservation Statement, set out in section 1.6 of this
document.
An understanding has been gained of the original decorative
scheme used within the Gallery, and alterations to this in the
mid-20th century. This is also the case relating to the original
heating and ventilation system and much correspondence
and many plans exist that can shed further light on this area.
The forms of the original south entrance and subsequent
configurations have also been discussed within section 2.4.2.
The majority of this information was gained through analysis
of the Lady Lever Art Gallery archival collection of letters,
plans, sketches and other documentation relating to the
building, held in the basement of the Gallery. However,
the absence of a catalogue, online or paper-based, hinders
research and means that whilst it is possible to gain an
arbitrary snapshot of understanding but no systematic search
of the collections can be carried out.
It is understood that there is limited resources to undertake
the cataloguing of the archives, and that this is currently in
hand, with volunteers taking on the bulk of the work. Putting
further funding towards cataloguing and the creation of an
online resource would speed up the process and ensure
further detailed research could take place.
Whilst an overview of the original decorative schemes
has been gained, full understanding of the original colour
schemes and finishes has not been achieved due to a lack
of specifications or scheduled of works. There are early
photographs of many of the spaces but these and other
archival sources do not provide sufficient detail to inform
their reinstatement.
Ultimately, historic paint analysis is needed to inform
reinstatement of the original decorative scheme due to
the lack of specifications on materials or colours. This is an
opportunity through this process to learn more about the
building and engage visitors in physical investigations.
4.1.3 PRESENTATION
Aim - To reinstate the integrity of the south galleries by removing
inappropriate modern intrusions and carrying out major
refurbishment returning galleries to their original design and
elegance
The significant issue of presentation and visitor experience
is raised throughout the Art Gallery as a result of 1960s
interventions, which detract from the original architectural
design of the building (as a space within which to view the
collections), and harms the integrity of these spaces.
The original interior fabric and design of the galleries is of
high significance but the introduction of low suspended
ceilings throughout the galleries, artificial light, blocked
rooflights, simplified door surrounds, dark paint schemes and
dark floor tiles to some rooms are deeply unsatisfactory
in terms of the original design of the Gallery and is far
removed from the experience Lever intended visitors to
have.
It is acknowledged that these alterations are very ‘of their
time’ and were relatively cutting edge in terms of museum
and gallery design. However, the character created by the
insertions is incompatible with modern expectations and is
damaging to visitors from an experiential and presentation
perspective.
Significance could be enhanced through the removal of all
modern ceilings and the opening up of all blocked rooflights.
The installation of new ornate plaster architraves to replace
the simplified 1960s door surrounds should be considered
to ensure all galleries retain a consistent character. Repainting
of the galleries would also improve the visitor experience
and investigations into the original decorative scheme should
be made, with a mind to considering their reinstatement if
deemed appropriate.
Within the South Galleries in particular, there is the
opportunity as part of the HLF redevelopment project
to reinstate the wood-block flooring of the Wedgwood
room and remove the partition that currently sub-divides
the Napoleon room. This is the only room in the Gallery
where the layout has been changed to any major degree.
Other proposed alterations include the unblocking of two
doors within the South Galleries which are dealt with in the
section 4.1.4.
Before any changes are made, a comprehensive
photographic record of the existing configuration and
decorative scheme should be made, including reference to
the 1960s alterations. This should be deposited within the
archives at the Gallery.
4.1.4 ACCESSIBILITY
Aim - To develop better visitor routes and circulation within the
galleries
The Gallery as a whole has reasonable physical access,
including ramps, accessible toilets and a lift to the basement.
However, very low light levels and dark decorative schemes,
whilst desirable for very sensitive artefacts, are not suitable
for those with visual impairments. It is important to balance
the conservation needs of the collections with presentation
and access needs more effectively in terms of lighting levels
and natural daylight.
The Gallery is well provided for in terms of visitor facilities
and the use of the basement space to house these facilities
ensures they do not detract from the spaces on the main
floor. The three Activity Rooms are a valuable resource but
there should also be consideration given into integrating
the needs of younger audiences into the Gallery itself and
accompanying interpretation.
There is however, a long history of poor engagement,
interpretation and intellectual access to both the spaces and
the collections, which will be dealt with in section 4.1.6.
Visitor routes and circulation is an important consideration
within the Gallery but one issue is that the Lady Lever was
built with four different entrances, all designed for different
users, which does not promote consistent visitor flow.
A plan from 1929 showing the suggested visitor routes
indicates that visitors began in the south rotunda, moving
through the smaller galleries until they reach the main hall,
mirrored this route in the North Galleries then returned to
the south entrance. The plan suggests that the doors that
lead from the office and stair spaces within south entrance
vestibule into the Wedgwood and Napoleon rooms were
already blocked off.
These doors may have originally have been intended as
part of the visitor route before the turnstile was installed in
1926. Nevertheless, the unblocking of these doors would be
considered a minor alteration to the suggested visitor route
around the building and would help bring the south entrance
vestibule back into use as a public space, either as part of the
circulation route or as an interpretation space. This also has
the advantage of strengthening the connections along the
formal axial display of The Diamond in the village.
4.1.5 CONTEXT AND SETTING
Aim - To open up links to the village through improved vistas
along The Diamond to the south.
The position of the Lady Lever Art Gallery within Port
Sunlight and its relationship with the village is one of its
most significant features. Whilst views towards the Gallery
remain strong, links from the Gallery towards the village are
hindered by the removal of the main entrance from the
south to the west; cutting formal visual and physical ties with
the village from The Diamond. Car parking in front of the
south elevation also detracts from its setting.
There are several opportunities that would allow the Gallery
to re-connect with the village. The south entrance could
be opened up for groups or events, or during community
activities, to at least provide a clearer visual connection with
4 ISSUES AND OPPORTUNITIES
69
the village. Glazed doors are also a possibility.
There is an opportunity to improve interpretation to
strengthen the understanding of the relationship between
the Gallery and the village, which could be installed within
the south entrance vestibule or attached offices. This will be
dealt with in further detail in the section below.
Whilst extensive tree cover and railings also break visual
and physical connections with the village, the railings help
reduce incidences of vandalism and ensure the building
remains in good order. It is not suggested that these should
be removed. However, tree cover should not be allowed
to increase, and selective pruning and lopping should be
included as part of a wider maintenance programme.
4.1.6 INTERPRETATION
Aim - To improve interpretation of the collections within the
Galleries and providing stronger context for visitors to the history
of Port Sunlight
The Lady Lever is a closed collection as it was decided
in the 1950s that by adding to Lever’s original collection,
the Trustees would be diluting one of its key attributes,
an outstanding example of individual collecting in the late
Victorian and Edwardian periods. This is an important
element of the significance of the Gallery but there are
disadvantages in that it can be difficult to keep displays fresh
and exciting; enticing return visits.
The Lady Lever has a selection of temporary exhibition
rooms that are regularly rotated to offer visitors something
new alongside the permanent collections. The Gallery
regularly deals with requests for loans and in return is able
to produce some very significant temporary exhibitions.
At present there are significant problems with how the
collections are interpreted, which prevents visitors engaging
with the heritage. The current interpretation of the spaces
and the collections is out-dated and engages with a limited
audience on a basic level only. Beside from an audio guide,
the interpretation is all in written form and largely dates
from the 1960s and 1970s, much still on its original display
panels and labels. There are some more modern free
70
standing-display boards to interpret each room.
This interpretation is minimal and the font sizes are small,
causing issues for those with visual impairments. Intellectual
access is also compromised by the high reading age of the
text. There is a lack of up-to-date multisensory interpretation
and an over reliance on text based interpretation excludes
visitors who prefer to learn through other means. Through
this HLF redevelopment project and beyond, there is the
opportunity to provide innovative displays across the entire
Gallery that cater to a wider audience and engage visitors
on a variety of levels.
Removal of the 1960s alterations will return the South
Galleries to their original configuration, ensuring visitors are
able to interact with the original architecture and concept.
The lack of expression within the Gallery of the relationship
of the Lady Lever with Port Sunlight village has already
been mentioned and is an issue for visitors that come from
further afield as they are not offered an insight into the
wider understanding of the Art Gallery in its context.
A key component of the HLF redevelopment project should
be to encourage visual and intellectual connectivity relating
to the wider context of the village. The south entrance
vestibule, with its visual connections, or the adjoining offices
would be the ideal location to install interpretation relating
to the village in order to increase understanding and learning
opportunities.
A significant component of this display could be the
collection and display of local memories of the Art Gallery
and the role it has played at the centre of the village for 100
years, since the laying of the foundation stone in 1914.
Within the HLF project there may be the opportunity to
engage in discussions with visitors in order to understand
what they would like to get out of their visit and how this
can be achieved i.e. through new interpretive technologies,
different mediums and smart applications.
4.1.7 ENVIRONMENT AND EFFICIENCY
Environmental conditions have long been a concern within
the Gallery and have needed careful management to ensure
they do not impact on the significance of the collections or
the building. It should be noted that while environmental
conditions should always be a central consideration of
management, they have so far not affected the Gallery’s
ability to obtain high profile loan items from other national
galleries.
The environmental conditions in the building are variable
and during winter the galleries are prone to low relative
humidity. The effectiveness of the current environmental
controls is compromised by poor insulation resulting in
heat loss in winter and solar gain from the rooflights in the
galleries in the summer.
Enhancements to the heating and ventilation systems within
the Gallery could improve conditions and visitor comfort
levels. Currently portable, freestanding humidifiers are used.
Energy efficiency of the Gallery is good as energy
consumption is relatively low. There is no active air
management and a light touch approach of simple
maintenance has kept inefficient interventions to a minimum.
There is an opportunity to become ‘greener’ as part of the
sustainable strategy of Port Sunlight to look towards the
future. The Lady Lever has aspirations to be part of this.
5
This section offers a framework of policies for the South Galleries for a
sustainable future and recommendations for achieving this vision in response
to the issues and opportunities identified in section 4. Each Recommendation
has been linked to an associated issue.
CONSERVATION
FRAMEWORK
The principal aim should be to safeguard the significance of Lady Lever for
future generations while maintaining the viability of the building as part of the
NML portfolio and an internationally significant art gallery.
5.1
DEFINITION OF CONSERVATION
Conservation can be defined as the management of change to significance
places that sees their heritage and cultural value safeguarded, revealed,
reinforced and enhanced at every possible opportunity.
71
5.2
CONSERVATION FRAMEWORK
POLICY
CORRESPONDING ISSUES
TIMESCALES
RECOMMENDATIONS
1 Safeguard, celebrate and promote
the Lady Lever Art Gallery.
General
Every five years
Conserve and where possible enhance the significance of the Lady Lever. A crucial part of
this should be to review and update this Conservation Management Plan every five years.
General
HLF project
Adopt the principles of this Conservation Management Plan and ensure all decisions are
informed and benefit users and the building.
Management and maintenance
HLF project
Adopt the draft Management and Maintenance strategy that has been prepared in
conjunction with the HLF bid.
Condition
Every five years
Ensure the 2013 Condition Survey is regularly updated or reviewed at five yearly intervals
and ensure the recommendations are implemented.
Maintenance and repair
HLF project
(south elevations)
and beyond
Carry out the recommendations set out within the 2013 Condition Survey:
Stained stonework – sheltered areas of the limestone subject to discolouration and staining
should be gently cleaned with a Doff machine.
Open joints - should be raked out and re-pointed to all elevations and any loose stonework
below be dressed off.
Delaminating stonework at the corners - the building should be closely monitored for
additional sections of loose stone, particularly over public areas. Replacement sections
should be bedded diagonally at corners.
Window paintwork – windows should be thoroughly prepared, de-rusted and re-decorated
in the next two years to ensure the metalwork does not begin to deteriorate requiring
repairs in the future.
Iron fixings (redundant) - should be removed to prevent damage to surrounding masonry.
Internal rainwater pipes – an in depth camera survey should be commissioned to look for
concealed defects that could be causing damage to external stonework.
South Galleries - condition
HLF project
Work towards removing inappropriate and modern interventions that were introduced
in the mid-20th century and redecorate in order to ensure the galleries remain in good
condition.
2 Conserve and Maintain the fabric
of the Lady Lever Art Gallery
and ensure it remains in a good
condition
72
POLICY
TIMESCALES
RECOMMENDATIONS
3 Enhance understanding of the
Gallery by addressing gaps in
knowledge and promoting its
significance more widely.
Historic decorative schemes
HLF project
Carry out historic paint investigations and analysis by a specialist to inform the redecoration
of the South Galleries – this could include an element of community participation and could
be included within the HLF Activity Plan.
Cataloguing the archives
Desirable – longterm
Put further resources of time and funding into the cataloguing of the archives within the Art
Gallery. Ensure this catalogue is made available online via Access 2 Archives.
Inventory
Desirable – longterm
Consider producing an inventory (including a photographic record) of items in storage
relating to the Gallery such as the original revolving door and turnstiles.
1960s alterations
HLF project
Remove detrimental mid-20th century alterations such as suspended ceilings, darkened
rooflights, modern flooring and simplified door surrounds.
Spatial configuration
HLF project
Reinstate the overall spatial configuration of the historic gallery spaces through the removal
of mid-20th century partitions. Consider unblocking doors within the South Galleries to
increase circulation within the south entrance vestibule.
1960s decorative scheme
HLF project
Redecorate all gallery spaces. Following investigations into the original decorative scheme,
a discussion should be had regarding the viability of reinstatement. If considered unfeasible,
a new, high quality decorative scheme should be designed and implemented to harmonise
with the collections and the building.
Connectivity
HLF project
Improve visibility and connectivity of the South Galleries to Port Sunlight village by opening
the doors for groups and events.
Photographic record
HLF project
Ensure a comprehensive photographic record is made of areas to be changed before
redevelopment begins. This should be deposited within the Lady Lever archives.
Physical access
On-going
Ensure any physical alterations to the building are accessible to all.
Intellectual access
HLF Project
Ensure all new interpretation is accessible and easy to understand. Consider using a variety
of mediums and ensure young people are catered for.
Light levels
HLF Project
Remove suspended ceilings in order to introduce additional natural light for those with visual
impairments. Ensure a balance is maintained between presentation, visual amenity and the
requirements of the collections.
Visitor flow
HLF Project
Provide visitors with adequate signage and information to allow for consistent and efficient
visitor flow. Unblock two doors in the South Galleries to improve visitor routes at the south
end.
4 Enhance the presentation and
visual appreciation of the Gallery
spaces
5 Improve access in and around the
Gallery
5 CONSERVATION FRAMEWORK
73
POLICY
TIMESCALES
RECOMMENDATIONS
6 Improve context and setting by
developing stronger links between
the Gallery and the village
Vistas and viewpoints
HLF Project
Draw attention to the physical and visual linkages of the Gallery with the village by opening
up the doors for groups and events and making better use of the south entrance vestibule.
This could be achieved through the installation of new glazed doors in the south entrance.
Interpretation
HLF Project and
beyond
Increase understanding of the links through wider interpretation relating to the history of
Port Sunlight and the role of the Lady Lever Art Gallery within this.
Planting
Desirable
Ensure external views are preserved through maintenance of grounds and trees.
Interpretation
HLF Project and
beyond
Draw on new research and understanding of the building and its connections to the wider
village to enhance the interpretation and presentation of the Gallery, its collection and
spaces.
Learning styles
HLF Project
Develop interactive and exciting new educational tools and enhanced interpretation to
showcase findings – use new technologies such as smart phone apps and sound columns to
deliver information in as many learning styles as possible.
Community involvement
HLF Project and
beyond
Ensure provision is made for the input of local groups into new interpretation, for example
through collective local memories and anecdotes to inform displays, and ensure they are
catered for in any new outputs.
Location
HLF Project
Either the south entrance vestibule or the adjacent east office spaces are viable possibilities
for locating this display.
Training
HLF Project and
beyond
Ensure staff are aware of the significance of the site by disseminating information from this
Plan and establishing training opportunities.
Minimal intervention
HLF Project
New interventions to be unobtrusive and free-standing where possible, and subservient to
the overall impression of the spaces.
7 Enhance the interpretation of the
Lady Lever Art Gallery.
74
POLICY
TIMESCALES
RECOMMENDATIONS
8 Work towards a more sustainable
Art Gallery
Climate change
On-going
Monitor the building for signs that changes in climate are impacting on the fabric i.e.
increasing rainfall. Review any mitigation measures that may be necessary as part of the ongoing management and maintenance plan, and future Condition Surveys.
Energy Efficiency
On-going
Environmental efficiency and the impact on the building should be considered when making
improvements to heating and ventilation systems.
Minimum necessary
On-going
Any changes should be the minimum necessary to obtain the required standards in order to
least impact on the significance of the historic building.
Sustainability
HLF Project and
beyond
Any proposals should be developed in line with NML’s Sustainability Policy, which has been
produced to aid understanding and manage energy consumption across the NML estate.
Sustainability
Long-term
Lady Lever should contribute to any anticipated Port Sunlight ‘green’ initiatives in the future.
5 CONSERVATION FRAMEWORK
75
6
BIBLIOGRAPHY
Bibliography
Morris, Edward (Ed), Art & Business in Edwardian England: The Making of the Lady Lever Art Gallery, National Museums
and Galleries on Merseyside,1992.
Hubbard, E & Shippobottom, M, A Guide to Port Sunlight Village, Liverpool University Press, 1998.
Port Sunlight Conservation and Management Plan, Byrom Clark Roberts/Fiona Green, 2005.
Williams, E, Port Sunlight, The First Hundred Years 1888 – 1988, Lever Bros. Ltd, 1988.
Boumphrey, I & Hunter, G, Yesterday’s Wirral: Port Sunlight A Pictorial History 1888 – 1953, 2002.
Various, The Story of Port Sunlight, Lever Bros. Ltd, 1953.
Various, Lord Leverhulme – Catalogue of an Exhibition at the Royal Academy of Arts, 12th April – 25th May 1980.
A Guide to the Lady Lever Art Gallery, Port Sunlight, National Museums & Galleries on Merseyside, 1985
Hunter, Gavin. The Life of Lady Lever: The Lords Leverhulme: their lives, their families and their homes; Part I, Wirral, 2013
Beeson, Edward William, Port Sunlight; the model village of England, a collection of photographs, The Architectural Book
Publishing Company, 1911
Sunlighters Port Sunlight The Story Of A Village 1888 – 1988, Unilever PLC, 1988
Other documents that should be read in conjunction with this Conservation Management Plan:
Conservation Statement, April 2013
Collections Statement, May 2013
External Condition Survey, December 2013
Venue Masterplan, updated 2011
National Museums Liverpool Collections Management Policy
Management and Maintenance Plan, 2014 (draft)
Activity Plan, 2014 (draft)
76
76

LADY LEVER ART GALLERY Port Sunlight, Wirral

Transcription

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