CONTENTS - Royal Borough of Kensington and Chelsea

CONTENTS
High Street Kensington and Kensington Palace
48
Lord Napier of Magdala by Sir Joseph Edgar Boehm RA
49
Unfurl by Eilis O’Connell
50
Queen Victoria by Princess Louise
51
William III by Heinrich Baucke
52
Lion and Unicorn - sculptor unknown
53
Kensington War Memorial by Hubert C Collette and F W Pomeroy RA
54
Charity Children by Thomas Eustace
55
Alex Clifton Taylor Memorial Garden by Jack Simmons and Philip Murdin
56
Drinking Fountain - MDF & CTA
57
Lion and Unicorn by William Macmillan RA
58
Genius, Caxton and Chaucer by William Macmillan CVO RA
59
James Heywood by John Acton Adams
60
Head of the Stairs by Ivor Abrahams RA
61
Globe by Joe Smith
62
Drinking Fountain - MDF & CTA
63
Drinking Trough - MDF & CTA
64
Memorial to Queen Victoria by H L Florence amd William Brindley
For those pieces set in green Go to the Grouped Pieces and Miscellaneous folder
48 Lord Napier of Magdala
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Queen’s Gate, opposite gates to Kensington Gardens
Sculptor: Sir Joseph Edgar Boehm RA (1834-1890)
1890, installed in Queen’s Gate in 1921
Grade II 15.4.1969
Viewers of the magnificent equestrian statue
of Robert Cornelis, 1st Baron Napier of
Magdala (1810-1890) often question why
the horse stands on an upward slope which
appears to be unnecessary at this site. The
answer is simple, it was originally installed
in 1891 in Waterloo Place and was designed
with an eye to the fall of the roadway in front
of the statute at this location.
It was moved to Queen’s Gate in 1921
to make way for the equestrian statue of
Edward VII. Today, it stands in front of the
recently restored ornate Queen’s Gates
which lead into Kensington Gardens in right
on the boundary between the City of
Westminster and the Royal Borough.
However, the statue is owned by English Heritage
who are responsible for its maintenance.
Robert Napier was born in Colombo, Ceylon (now Sri Lanka) and had a long and distinguished career in the British Army.
He entered the Bengal Engineers in 1826, fought in the Sikh Wars from 1845-1849 and took part in the Relief of Lucknow in
1857, during the Indian Mutiny. His most famous campaign was an expedition to Ethiopia in 1868, during which he captured
Magdala, thus securing the release of British captives. He was rewarded with a peerage in the same year. He later acted as
Commander-in-Chief in India till 1876, then Governor of Gibraltar till 1882 and finally Constable of the Tower.
The bronze statue is the work of Sir Joseph Edgar Boehm (see also
nos 09, 37 and 78) and cost £5000. It was cast at the Morris Singer
foundry. This was one of Boehm’s last works and following his death in
1890, the statue was finished under the supervision of Sir Alfred Gilbert.
It stands on a grey granite base. In 1883 Boehm sculpted a similar
statue for Calcutta which originally stood on Napier Road.
Passers-by in the summer of 2004 were astonished to find that the statue had turned red. This was the work of Italian born
Eleonora Aguiari, a sculpture student at the Royal College of Art, for her final show. After obtaining a raft of permissions,
including from the Napier family, she spent four days assisted by three colleagues carefully wrapping the statue. First a layer
of cling film was applied and then a finishing layer of red, using some eighty rolls of duck tape. After ten days the statue was
restored to its former state.
49 Unfurl
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Palace Gate, adjacent to no. 10 Palace Gate
Sculptor: Eilis O’Connell (1953-)
2001
Unfurl, by Eilis O’Connell, was commissioned by the residents
of Palace Gate in 2000, with the assistance of the Henry
Moore Foundation. The site chosen, outside Wells Coates’
1937 masterpiece 10 Palace Gate, seems to offer an excellent
balance as the two points of interest compliment one another
very well. Unfurl took the Royal Borough’s award for General
Environmental Improvement in 2001, with the judges also
praising the setting, key features of which are five small
ornamental trees, new street furniture and improved lighting.
The sculpture is composed of a thick bronze sheet around an
empty centre, in the shape of an unfolding plant. The exterior
surface of the upright conical shape is marked by a ribbed
horizontal pattern with a green patina; its inner surface is a
smooth black patina. The sculptor describes the piece as being,
“modern and organic”. The fusion of
an organic form with a constructed
form is a frequent feature of her
work. Unfurl appears to the viewer
like a flower bud or leaf gently
opening to allow you to look within.
Eilis O’Connell was born in Derry, Northern Ireland in 1953 and
studied at the Crawford School of Art, Cork from 1970-1974
and again from 1975-1977. In between she spent a year at the
Massachusetts College of Art, Boston. She then spent some
time in London returning to live and work in Cork in 2001. She
has exhibited widely since the early 1970s, with numerous solo
and group shows. As well as being regarded as one of Ireland’s
greatest living artists, O’Connell has established a major
international reputation over the last two decades.
She is best known for her often large scale, public commissions,
now totalling over 30. The most notable are Secret Station in
Cardiff Docklands, Pero’s footbridge at St Augustine’s Reach in
Bristol, Vowel of Earth Dreaming its Root at London Docklands
and Ever Changing for Grainger Town in Newcastle. She likes
to experiment with different shapes, textures, materials and
techniques, which can clearly be seen in her smaller studio
and exhibition pieces. Archaeology, architecture and geometry
provide the inspiration.
50 HM Queen Victoria
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Kensington Gardens, Broad Walk
Sculptor: HRH Princess Louise, Duchess of Argyll (1848-1939)
1887-1893
Grade II
15.04.69
On May 24 1819, in one of the rooms in the eastern wing of Kensington Palace, the Duchess of Kent gave birth to a daughter,
Alexandrina Victoria. Eighteen years later, on 20 June 1837, she was woken early in the morning to be informed that she was
now Queen. Shortly after this, Victoria moved to Buckingham Palace but never lost her affection for her old home.
The statute, which stands on the east front of the Palace, just off the Broad Walk, was commissioned by the Kensington
Women’s Jubilee Fund to commemorate the Queen’s Golden Jubilee in 1893. On the integral marble plinth below the cushion,
the sculptor’s name is carved
“HRH Princess Louise, sculp”.
Both stand on a buff stone plinth and
a Portland stone pedestal. Lettering on
the bronze cartouche gives the history
of the work, as outlined above. Queen
Victoria, aged 74, unveiled the statue
on 28 June 1893.
The marble statue of the Queen in
her coronation robes is the work of
her talented fourth daughter, Princess
Louise. As was the common practice at
the time, the Princess prepared the clay
model and the marble was then worked
by a professional carver. Work on
the sculpture began in the late 1880s
and was installed several years later.
It is thought that she may have been
assisted by her friend Alfred Gilbert,
who was responsible for the Eros statue
at Piccadilly Circus.
The least conventional of all Victoria’s children, her artistic talents
were recognised early on. From 1868 she attended the National
Art Training School in South Kensington, the forerunner of the
Royal Academy of Art. She was taught first by Mary Thornycroft,
wife of the sculptor Thomas, and later by Edgar Boehm
(see nos 9, 37, 48 and 78).
Many stories circulated about Boehm faking her sculptures,
which were false, and about their relationship. Certainly they
were close friends and she was present at his death in 1890 in
his Fulham Road studio, but the rest is pure conjecture. Shortly
after her marriage to John Campbell, Marquess of Lorne and heir
to the Duke of Argyll, they were given apartments in Kensington
Palace. This was to be her home from 1875 until her death in
1939. She built several studios in the Palace grounds and moved
extensively in artistic and intellectual circles.
51 William III
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Kensington Palace, South Front
Sculptor: Heinrich Baucke (1875-1915)
1906
Grade II
15.04.69
The gift of the statue of William III, from Kaiser Wilhelm II to King
Edward VII and the British people, proved to be something of an
embarrassment to the British Government. Already alarmed by
the Kaiser’s sabre rattling and concern over his new battleship
building programme, relations were somewhat strained. Not
wishing to offend either the Kaiser or the King, finding a suitable
location became a pressing issue. The ideal spot was found at
Kensington Palace, in front of the South Façade of the Palace,
in the private grounds, but on show to visitors to Kensington
Gardens. Today, it can be glimpsed through the ornate black and
gold Crowther Gates.
Soon after they ascended to the throne in 1689, King William
and Queen Mary began to look for a suitable home. They were
anxious to find a place away from the London smog which
aggravated William’s asthma. Later that year they purchased
Nottingham House for £20,000 from the Earl of Nottingham,
as they felt the King would benefit from the healthy air of
Kensington. It was enlarged by Sir Christopher Wren and they
became the first monarchs to make Kensington Palace their
home. Heartbroken after Mary’s death in 1694, William retreated
to Kensington and embarked on a further building programme,
one of which, completed in 1695, was the South Front we see
today. William died in the Palace following a riding accident in
March 1702.
The statue is made of bronze with a green patina and stands
on a Portland stone base. The figure is double life size and
the King is magnificently bewigged and dressed. He is more
usually shown in armour, as throughout his reign he was
almost continually at war, primarily with the French and in
Ireland.
It is the work of the German sculptor Heinrich Baucke,
who lived from 1875 to 1915. He received much patronage
from the German Court and his work can mainly be
seen in Berlin, most notably the royal statues at the
Charlottenburger Gate which have recently been restored.
The Kaiser also commissioned statues of the five greatest
rulers of the House of Orange for the Berlin Palace. They
were to celebrate the close links between houses of
Hohenzollen and Orange, one of which was a replica of the
statute sent to his British uncle. The pedestal and setting
were designed by Sir Aston Webb, who was responsible for
much work on the Royal residences at this time.
52 Lion and Unicorn
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Palace Avenue, atop the Gate Piers
Sculptor: unknown
c.1807
Grade II 15.04.1969
The gate piers at the Kensington High
Street end of Palace Avenue will be familiar
to many. They have featured frequently in
newspapers and on television as this is
the main entrance to the Royal apartments
at Kensington Palace. Surprisingly, very
little is known of their history and date of
construction.
Although Palace Avenue has been the main
entrance of Kensington Palace since the
1690s, the pier gates were erected at a later
date. The present red brick pier gates with
stone bases, cornice and panelled fronts
were built in 1899 for the opening of the State
Apartments. The old lamp brackets were
also replaced with wrought iron square
lanterns with a royal crown on top. However,
the gates and the statues of a rampant lion
and unicorn date from an earlier period. These features are clearly seen on the 1811 Salway’s plan of the Road from Hyde Park to
Counter’s Creek but were not there in 1760 when the Palace ceased to be a royal residence. It is possible that they date from 1807
when extensive repairs were undertaken for the Duke of Kent, Queen Victoria’s father.
The lion and unicorn holding the Hanoverian coat of arms on top of the gate piers are made of Coade Stone. Coade stone is an
artificial stone and is, in fact, a ceramic. More durable and weather resistant than natural stone, it was used extensively by leading
architects of the day, such as Robert Adam, for delicate and detailed exterior decoration. The Coade factory in Lambeth was run by
Eleanor Coade.
Women in business were a rarity in Georgian times but
Eleanor Coade was a notable exception. She was born
in Exeter in 1733 and came to London with her mother
in 1769. Although she never married she was given the
curtsey title of ‘Mrs’, a common practice at the time. The
firm flourished from 1769 to 1840 and was patronised by
both George III and IV. After Eleanor’s
death in 1821 the firm continued to do
well until the 1840s, when the new more
austere style of architecture led to a
drop in demand.
Many myths have grown around Eleanor
Coade’s recipe, but modern research
has uncovered the secret and, indeed,
modern works have recently been
produced using Coade stone. Ball clay
from Devon and Dorset was mixed with
a ‘grog’ of pre-fired flint, fine sand and
crushed soda lime glass.
As this mix could not be sculpted by hand, artists were
employed to make models to the scale of 13” to 1’ to allow
for shrinkage from which plaster moulds were made.
The clay was then rolled and pushed, often by children as the
work was very fiddly, into moulds. The pieces were then fired
in a kiln at 1100-1500° Celsius. It was the skill of the kiln firer
that ensured success, especially with the larger pieces which
were fired for up to four days. Modelling tools were then used
to sharpen up the detail, undercutting and incising lines and
inscriptions.
The material was particularly suited to
heraldry. All the details could be clearly
shown even the ‘tincture’ (colour) details
could be incised with a stylus in the clay
before it dried. Once fired and turned
into Coade Stone, the detailing became
permanent and waterproof. A key way
to distinguish Coade stone from natural
stone is the sharpness of the details. A
comparison with the Portland stone lion
and unicorn outside the Central Library
(see no.57) demonstrates this very well.
In the mid-1960s, due to the construction of the Royal Garden
Hotel, the gates were completely rebuilt approximately 2m
back from their original position.
53 Kensington War Memorial
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Kensington High Street, outside St Mary Abbots Church
Designed by: Major Hubert C Corlette FRIBA
Sculptor: Frederick W Pomeroy RA (1856-1924)
1922
Grade II 15.4.1969
In 1920 the Kensington War Memorial Committee was set up to
determine how best to remember those who lost their lives in the
First World War, and to raise the necessary funds. The Committee
was assisted in their choice of design by Alderman Sir Aston Webb,
President of the Royal Academy. The two Kensington regiments,
namely 13th Princess Louise Regiment and the 22nd Kensington
Battalion of the Royal Fusiliers, had fought in all the major battles and
suffered terrible losses. The Council and residents wanted a fitting
memorial to mark their sacrifice.
Major Hubert C Corlette, best known as a church architect, was
selected as the designer. The memorial stands on the pavement area
in front of St Mary Abbots Church. The pedestal stands on a stepped
plinth, which every November is covered with wreaths of poppies, and
on which details of the battalions and their principal battle honours are
inscribed. Above the south face are the arms of the Royal Borough
of Kensington in heraldic colours. The main pillar is made of Portland
stone with four finials with a winged angel between each on the upper
part and topped by an ornately carved Cross.
The most arresting part of the memorial is the heavily draped female
figure on the south face of the shaft. This is the work of the sculptor F.
W. Pomeroy. In her left hand the figure holds a laurel wreath; her right
hand reaches up to a banner with an inscription from Shakespeare’s
Henry V, “Awake remembrance of the valiant dead”.
F. W. Pomeroy was born in London in 1856, and
worked for a firm of architectural carvers before
entering the South London Technical School of Art,
where he was trained by W. P. Frith. In 1880 he went
to the Royal Academy Schools and then travelled on
a scholarship to France and Italy. He was elected an
Associate of the Royal Academy in 1906 and RA in
1917. A long time resident of Kensington, he lived
initially at 15 Douro Place and then, from 1907 to his
death in 1924, at 15 Kensington Square.
The Memorial was unveiled by Princess Louise, who
had helped to raise one of the regiments honoured,
on 1 July 1922 at 2.30pm. Some of the funds raised
were used for the creation of Kensington Memorial
Park in North Kensington which opened in June 1926.
54 Charity Children
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St Mary Abbots School, Church Walk
Sculptor: Thomas Eustace
c.1715
Charity children statutes can be seen all over London adorning
the facades of church schools and charity buildings and a
particularly fine pair can be seen on the wall of the north entrance
to St Mary Abbots School. These figures are all that remain of the
Kensington Charity School. The school was the work of Nicholas
Hawksmoor, at that time Clerk of the Works at Kensington
Palace, and was built in 1711-12 on the north side of the High
Street.
Prior to the introduction of free education, pauper children
attended schools run by churches or charities. Many of these
schools were provided by wealthy parishioners in the latter
part of the seventeenth century and maintained by the parish &
voluntary subscriptions.
From 1707 subscriptions were raised to fund a charity school and
the subscribers included Queen Anne & her husband George.
Five eighths of the rent of the Goat Tavern, which still stands on
the south side of the High Street, also went towards the school’s
upkeep. Pupils were often set to work to defray expenses,
typically through sewing, knitting and repairing clothes. On
special occasions children paraded two by two to acknowledge
the generosity of local residents.
The rudiments of English, mathematics, singing, good manners
and religious education were instilled in the pupils. The children
were then either apprenticed or went into service armed with a
bible and a copy of The Whole Duty of Man.
The figures were cast in stone by Thomas
Eustace in about 1715. They were
originally sited on either side of the bell
tower of the Kensington Charity School
to mark the separate entrances for boys
and girls. Thomas Eustace was a mason
employed by Hawksmoor to work on the
school and is believed to have been a
local man. The statues were painted to
show the distinctive uniforms worn by the
pupils. The boy wears a light blue flared
jacket with gilt buttons, red breeches, white
stockings and red square toed shoes.
In his hand he holds a quill and a scroll
on which is written, “I was naked and ye
clothed me”. The girl wears a white bonnet,
a pale blue gown and bodice laced across
a cream blouse with a blue wide collar, an
apron and bright red shoes. She is holding
a prayer book.
The school was demolished around 1878
to make way for New Kensington Town
Hall, which was in turn demolished some
100 years later. Prior to demolition the
figures were salvaged and installed on the
north façade of the new school in Church
Court in 1875.
55 Alec Clifton Taylor
Memorial Garden
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Kensington Church Walk
Sculptors: Jack Simmons and Philip Murdin
1991
The Alec Clifton-Taylor Memorial Garden provides a small oasis of peace and tranquillity just a minute’s walk from the bustling
High Street. However the campaign to build the garden was mired in controversy and it took many years to achieve.
Following the demolition of the old Kensington
Town Hall on Kensington High Street, the site was
sold to the developers of MacMillan House. An
agreement was reached with the developers that
the land at the back of the site was to be given
partly to St Mary Abbots School and the remainder
as an open space for the borough. Three years
later the developers applied to build a house on
the land. This was strongly opposed and planning
permission refused. The site lay neglected and
unused and it was proposed by Philip Burkett, a
friend of the late Alec Clifton Taylor, with support
from the Kensington Society, that the site be used
for a memorial rose garden. In 1988 the borough
agreed to make a Compulsory Purchase Order for
the land which was finally made in January 1990.
The garden was officially opened on 28 November
1991, having been designed by Mrs Carol
Gilbert, a landscape architect. It is enclosed by a
stone curb and black railings with ornamental trees and low hedging providing a back drop for the key element of the planting,
which was roses. The inner circular rose beds are edged with box with a carved plaque in one of the beds. In the centre of
the dissecting paths there is a sundial, which was donated by the Kensington Society. The plaque and sundial, both made of
Clipsham stone, are the work of Jack Simmons and Philip Murdin of the English Heritage Stone Carvers’ Studio, then based in
Vauxhall Bridge Road.
Alec Clifton-Taylor OBE (1907-1985) was a
well known lecturer, author and broadcaster
on British architecture. He wrote nine books on
architecture with the first The Pattern of English
Building, published in 1962, becoming a classic
work on building materials. But it is for his series
of eighteen programmes on British towns,
which he made for the BBC, that he will be best
remembered. When they were repeated shortly
after his death, in 1985, they were watched by
some five million viewers.
He lived in the Royal Borough for much of his life and spent the last twenty years in Clareville Grove in South Kensington.
A member of the Kensington Society from 1954, he became President in 1978. The two passions of his life were architecture
and gardening. It is therefore fitting that he is remembered by a garden in front of Sir Gilbert Scott’s gothic masterpiece, St
Mary Abbots Church.
A small oasis of peace and tranquillity
If you are viewing the book numerically, the next item no. 56
may be found in the 'Grouped Pieces and Miscellaneous' folder.
57 and 58 Lion and Unicorn, Genius
and the recessed, high relief plaques of
Caxton and Chaucer
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Kensington Central Library, Phillimore Walk
Sculptor: William McMillan RA FRIBA (1887-1977)
1960
Grade II* 24.04.1998
After many years of discussion, plans for a new Central
Library finally came to fruition in 1960, when the Queen
Mother opened the completed building on Hornton Street.
The architect was E. Vincent Harris RA, FRIBA and the overall
cost was £680,000. The plans for the Neo-Renaissance
style library were not popular with everyone, as shown by
a colourful demonstration by architectural students on the
High Street in January 1959. But opinions change; in 1998
the Library was given a Grade II* listed status by English
Heritage. Harris was involved with every aspect of the
design, both external and internal. He entrusted the external
decorations to his fellow Academician, William McMillan. In
1958 McMillan had executed a bust of Harris, which was
displayed at the Royal Academy.
MacMillan produced four key pieces for the library.
At each corner, in front of the south façade, two Portland
stone pylons carrying sculptures of a lion and a unicorn,
symbolising the Borough’s Royal status, were erected.
Unfortunately, they proved to be a traffic hazard as they
obscured sight lines for cars entering and leaving the car
park under the library and so the statues were removed onto
plinths near the rear doors. The lion is on the west side of
the building and holds the Royal Coat of Arms with its left
paw. The unicorn, with its gilded horn, holds the Coat of Arms
under its right foot and wears a crown round its neck and a
chain around its body.
Caxton and
The remaining two pieces were high relief busts of Caxton
and Chaucer over the main entrances on the north side.
Each figure sits within a wreath of leaves on a circular stone
panel and surrounded by a circle of bricks within a stone
archway above the entrance.
Chaucer
Genius
He also executed the cleverly disguised lightning conductor
on the roof. The bronze gilded hermaphrodite figure carries
the conductor in a four pointed star in its left hand and stands
on a stone sphere at the centre of the parapet on the north
façade. The work is entitled Genius.
The sculptor, William McMillan, was born in Aberdeen and
studied there at Gray’s School of Art before enrolling at the
Royal College of Art to study under Lanteri, from 1908 to
1912. He became an Associate of the Royal Academy in 1925
and a RA in 1933 and was the Master of the Sculpture School
at the Academy from 1929 to 1941. McMillan’s works can be
seen all over London, the most notable of which are the East
Fountain in Trafalgar Square, the Triton Fountain in Regents
Park, George VI in Carlton House Terrace, Turner in the
Royal Academy and Alcock and Brown at Heathrow Airport.
From 1917 to 1966 he lived and worked in Chelsea, mainly at
65 Glebe Place, and then moved to Richmond where he died
in 1977.
59 James Heywood
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Kensington Central Library, Phillimore Walk
Sculptor: John Adams-Acton (1830-1910)
1882
Photographs of the first Central Library, established in the old
Vestry Hall in Kensington High Street, show the bust of James
Heywood on display. Following the move to the new building in
Hornton Street, it was sited in the lending library. Although a noted
educational and scientific philanthropist in his day, Heywood has
largely been forgotten, even by the library service he helped to
establish in 1887.
The white marble bust of James Heywood FRS (1810-1897) shows
him wearing a frock coat, facing slightly to the right and is placed
on three books. Written on the spines is, “James Heywood FRS
Academic Reform and University Representation, The Primaeval
World of Switzerland and English University”. Around the plinth
is inscribed, “John Adams-Acton fecit. 1888.” It is mounted on a
brown veined marble pedestal. The work was presented to the
Kensington Vestry, when the Central Library opened in 1888 in
the old Vestry Hall. In 1987, to commemorate the centenary of the
Library Service, the bust was renovated and re-sited under the
inscription detailing the opening of the new library. For space and
security reasons it was later removed from the public areas.
In 1874 Heywood provided a ‘free’ public library, at his own cost, at
106 Notting Hill Gate. Although books could be read for free in the
library, a charge was made for borrowing. By 1877 it was used by
13,455 people and offered Sunday opening and light refreshments.
The library was offered to the Vestry in 1878 on condition that they
adopted the Public Libraries Acts; the Vestry refused. Following a
meeting at Heywood’s house at 26 Kensington Palace Gardens on 29
December 1886, a provisional libraries committee was formed. In June
1887 the Acts were finally adopted. Heywood donated his library to the
parish and it served briefly as the first public library in Kensington.
The sculptor of the bust was John Adams-Acton. He was born
John Adams in Acton, Middlesex, in 1830 and became one of the
most prominent portrait sculptors of the late Victorian and early
Edwardian era. Adams took the additional surname Acton in 1869
to avoid confusion with other artists of the same name. His training
began under Timothy Butler and he then went to work in the studio
of Andrew Noble before enrolling in Royal Academy Schools. From
1858 he worked under John Gibson in Rome. On his return, AdamsActon established a studio on the Marylebone Road, where he
produced statues of all the leading figures of the day, including Queen
Victoria, King Edward VII, Disraeli, Charles Dickens, W. P. Frith and a
considerable number of busts of his friend, the Prime Minister William
Gladstone. With his wife Jane, he lived at Langford Place, St John’s
Wood from 1880 until his death, aged 79 in 1910, following a road
accident. He exhibited at the Royal Academy from 1851 to 1892.
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60 Head of the Stairs
Kensington and Chelsea Town Hall, Hornton Street Sculptor: Ivor Abrahams RA (1953-)
2000
Ivor Abrahams’ work, Head of the Stairs, rather appropriately sits on the
flight of stairs leading to the main entrance of Kensington Town Hall.
Previously the site was occupied by Barbara Hepworth’s
River Form, which had been on loan from the Hepworth Museum in
St Ives, Cornwall. Abrahams’ work was originally made for the Bronze
Exhibition held in Holland Park in 2000 and is a smaller version of a
much larger piece commissioned by Sculpture at Goodwood.
The inspiration for the work was the repainting, by his son, of the
staircase in their London home in bright colours. A place once familiar
became altered and strange. Parts of the staircase are shown at
different angles and perspectives both on the open face and on the
neck. The viewer is drawn into the face and then pulled out by the way
the planes have been juxtaposed. It is reminiscent of the work of the
Cubists. It stands 5’ 8” (1.73m) high and was cast in bronze by AB Fine
Arts Foundry and patinated in a range of colours.
Born in 1935 in Wigan, Lancashire, Ivor Abrahams went on to study at
St Martin’s School of Art under Anthony Caro from 1952 to 1953 and
at Camberwell School of Art under the German classicist Karel Vogel
from 1954 to 1957. An apprenticeship at the Fiorini Bronze Foundry
in Fulham followed and he then worked as a display artist for Adele
Rootstein. His first show was with Peter Blake at the Portal Gallery in
1960. Although primarily known as a sculptor, he also exhibits paintings
and prints. Tate Britain holds a fine collection of his quirky garden prints
created in the 1970s. Abrahams became an Associate of the Royal
Academy in 1989 and was elected a full Academician in 1991. He has
taught at several of the most prestigious art schools in Britain including
Birmingham, Goldsmiths, The Slade and the Royal Academy schools.
From 1973 much of his time was spent in the South of France, and
Abrahams now lives and works in London and the South of France.
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61 Globe
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Academy Gardens, Campden Hill Road
Sculptor: Joe Smith (1950-)
2004
The sculptor, Joe Smith, on site during
the creation of the work.
Walking up Campden Hill Road in early December
2004, local residents would have been surprised and
intrigued to see a master of the traditional craft of drystone walling at work. Joe Smith was commissioned by
the developers of the site of the former Queen Elizabeth
College for Women, to create a piece of art work for
their prestigious development, Academy Gardens. A
slate globe was chosen to symbolise the heritage of the
area and the world of learning. It also reflects the other
piece of public art at the site, the Armillary Sphere by
David Harber, located directly in front of The Refectory.
There is symmetry between the hollow nature of the
stainless steel Armillary Sphere and the solidity of the
slate Globe.
Globe was constructed on site over ten days. First a
concrete foundation was laid on to which a plywood
template was fabricated. Then, successive interlocking
layers of slate & concrete were built up to create the
spherical shape. Finally the framework was removed,
the piece tilted on its axis and the base dressed
with slate chippings. The sculpture will not require
maintenance as, over time, the slate will develop a
natural patina of moss and lichen, thereby blending
perfectly with its garden setting. Grey slate was chosen
to compliment the roofs of the surrounding buildings.
The work measures 6’0” (1.83m) in diameter and weighs
approximately seven tonnes.
Joe Smith, born in 1950, is an acknowledged expert
in the ancient craft of dry-stone work and is known
for his horticultural, architectural and sculptural
stonework. His early dry-stone work was recognised
at various national events from 1984-1987. In 1989
Smith began to work with the Dumfries based
landscape sculptor, Andy Goldsworthy. He worked
as an advisor and builder of Goldsworthy’s drystone works in projects all over the world including
Sheepfolds project in Cumbria, Botanic Gardens of
Adelaide, Australia, Vas-y Vierre, Limoges, France,
and in the State of New York, USA. From the
mid-1990s Smith has concentrated on producing
individual slate pieces, which can be seen in many
private parks and gardens and have featured in
show gardens at Chelsea and Hampton Court Flower
Shows.
The partially completed piece showing the
supporting structure and guide templates.
If you are viewing the book numerically, the next item; nos 62 and
may be found in the 'Grouped Pieces and Miscellaneous' Folder.
Globe was commissioned under the aegis of Percent
for Art. This scheme encourages developers to
contribute 1% of their capital building costs for the
commissioning of new contemporary public art work,
which relates both to the development and the wider
community. The scheme was formally adopted by the
Royal Borough in 2005 and an advisory panel has
been set up to promote artistic activity of the highest
quality. One of the first pieces commissioned under
the new borough scheme was unveiled in Thornwood
Gardens. ‘Oscillations’ by Martin and Dowling, made
in English oak, was unveiled in 2007 on this new
development, adjacent to Academy Gardens.
63
64 Memorial to HM
Queen Victoria
Contents page
Back
Forward
Warwick Gardens
Designed by Henry Louis Florence (1843-1916)
Sculptor: William Brindley (1832-1919)
1904, moved to current location 1934
Grade II
07.11.1984
On Wednesday 19 October 1904, Princess Louise, accompanied by her
husband the Duke of Argyll, unveiled the Kensington local memorial to Queen
Victoria which had been erected in Kensington High Street, opposite St Mary
Abbots Church. Local photographer, Argent Archer took a series of photographs
to mark the occasion which are held by the borough’s Local Studies section.
The unveiling was followed by a luncheon, hosted by the Mayor of Kensington,
Lewis H Isaacs, in the Empress Rooms of the Royal Palace Hotel.
The proposal to raise a memorial to her
late Majesty was first raised at a public
meeting in February 1901 and a committee
was set up to raise the necessary funds.
Soon after, a request was received from
the Lord Mayor of London for contributions
towards a national memorial, which was to
take precedence over any local initiative.
The Mayor, Sir Seymour King, then issued
a carefully worded appeal asking for funds
for both memorials. The sum of £800 was
raised for the local memorial, insufficient for
the proposed Clock Tower but sufficient for
the more modest proposal submitted by the
architect H. L. Florence.
Henry Louis Florence was in practice with Lewis
H Isaacs, at this time Mayor of Kensington,
and offered his services both as designer and
supervisor without charge. His design took the
form of a curved pedestal of finely axed Corrennine
granite, with an inscribed bronze tablet on the
main face, supporting an Ionic column made of
polished red Corrennine granite. In the centre of
the column is an annulet bearing a portrait bust of
Queen Victoria and the words, “Victoria, Queen
and Empress”, carved on the encircling band. The
column is capped by an intricately carved block of
white marble and terminated with a red polished
granite vase and a gilt flame. The monument
stands 11.5m high. William Brindley was the
sculptor and it was erected by Farmer & Brindley,
who were also responsible for the erection of the
Cardinal Newman memorial (see no.41). Princess
Louise commented in her address that the Queen
would have approved as it was, “not a monument
of money but of grace and beauty of design”.
The inscribed bronze tablet on
The widening of the High Street in 1934
the main face of the pedestal
necessitated the removal of the column from
its original site to the northern end of Warwick
Gardens. The space was originally intended to be the centre of a garden square
until the plans were changed to give access to Pembroke Road. At the same time
Kensington Crescent was demolished to make room for Charles House and the cattle
trough (see no.63) in the crescent was re-sited to the same location.
The Ionic column made of polished red Corrennine granite showing the annulet
bearing a portrait bust of Queen Victoria and the words, “Victoria, Queen and
Empress”, carved on the encircling band.
Navigation
NavigationMap
Map
Contents page
If you’ve come to this page first, scroll to the south west corner of the map (bottom left
hand corner of the page) to start your journey through the sculptures of the Borough or,
if you’re browsing, here’s where you’ll find a list of the illustrated pieces together with their
relevant ‘page’ numbers and an indication of their whereabouts in the Borough.
Inset Map
Holland House
73
72
77
74
93 A bust of
Alexander Fleming
by F Kovaks
is on loan to
St Mary’s Hospital,
Praed Street,
Paddington
75
H
92 The Katyn Memorial
by Louis Fitzgibbon
and
Count Stefan Zamoyski
is now situated in
Gunnesbury
Cemetery
A
RR
O
Ice House
AD
Kensal Green Cemetery
A
66
The
Stables
71
L
91
70
Restaurant
CAN
ON
UNI
68 and 69
Café
W
RO
GRAND
65
67
Cricket
Ground
KEN
RO
A
D
GA RDE NS
53
PAL AC E
IA
TOR
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ST
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SI
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PL
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DN
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Burton’s Court
L
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19
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18
17
ET
CHELSEA
EMBANKMENT
T H A M E S
15
8
with 5a
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Royal Hospital
T
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WA L K
EMBANKMENT
R I V E R
5 – paired
SP
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21, 22, 23 and 24
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29
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Square
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32
30
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34
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35
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They may be found together with coal plates and
0bollards
200and400
600 800 1000 1200 metres
the item;
Unseen and Unsung - Transportation and Installation
in the section labeled ‘Grouped Pieces . . .’
ABY
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42
Victoria & Albert
Museum
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The cattle troughs and drinking fountains,
*** Within the
Library by
Building.
(marked
in Chelsea
this listing
a green background),
may not be accessed from this page.
EV
DC
RO
RT
GA
RE
ON
R
R
F
** At present only the pedestal stands here.
There are plans to have the piece re-cast
and set back in position as before.
GAT E
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* also involved in the design were
Marlon Williams, Tyrone Barton,
Luke Monaghan, Harry Monaghan
and Ashton Lambart from the
Chelsea Youth Centre.
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51
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Kensington
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52
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54
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55
Kensington Palace
KEN
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GARDENS
PAL AC E
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56
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84
85
86
87
88
89
90
91
92
59
58
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60
57
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80
81
82
83
G A T E
H
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ARG
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RO
RO
ROAD
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D
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STREET
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WA L
Commonwealth Institute
D
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See
inset
See Map 2
LBU
TO
LL
NO RLA ND
BE
AD
HO
A
O
ARE
Holland
House
ME
PS
HE
CHEP STOW PLAC
E
RT
C
HOLLAND
PARK
HOLLAND
PARK
N
O
IS S.
D
D RE
C
BURY ROAD
PO
AND
LED
BRA
D
R O YA
D
ROA
SI
D
PA
E GROVE
URN
Nicholas Stone Gate Piers by Nicholas Stone
Drinking Fountain - MDF & CTA
Boy with Bear Cubs by John Macallan Swan RA
The Maid by Eric Rowton Gill - inside the Café
Sun God by Sir Jacob Epstein - inside the Café
Sibirica 1999 by William Pye
The Wrestlers of Herculaneum - copies of originals
Ancient Melancholy Man artist unknown
Dutch wall trough - artist unknown
Milo of Croton by Edme Dumont
Armillary Sphere - Plinth by Oliver Gero
Caesura Vl 2000 by Charles Haddock
Walking man by Sean Henry
Lord Holland by G. F. Watts and Sir Joeph Edgar Boehm
Tortoises with Triangle and Time 2000
by Wendy Taylor CBE
Drinking fountain - MDF & CTA
St. Volodymyr the Great by Leonard Mol-dozhanyn
The Climber by Peter Logan
Carnival Elephant (2 pieces) by Nadim Karam and
Atelier Hapsitus
Garden and Haiku sculpture by Vaclav Voklek
Drinking fountain - MDF &CTA
Horse trough - MDF &CTA
Drinking fountain - MDF &CTA
Drinking fountain - MDF &CTA
Drinking fountain - MDF &CTA
Ladbroke Grove Train Crash Memorial - Richard Healey
The Pump Room -Architectural Sculpture
The Katyn Memorial by Louis Fitzgibbon and
Count Stefan Zamoyski
Bust of Sir Alexander Fleming by F Kovaks
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
OA
’S R
NTS
EN
ROA
HOLL
62
SAI
K
E
O V
G R
NE
D
E
AD
RO
LAN
ALE
CED
ROK
A V E
K
P A R
WOODFORD
SQUARE
63
SQU
KE
DBRO
PA R K
AND
TBO
WES
S
GDN
KE
LADB
D
ROA
E
UKE
ST L
ALL
D
’S
LONSDALE ROAD
ES
DOW
RY
T
HOLL
64
D
TA L B O T R O A
COLVILLE TERRACE
ROAD
RO
LADB
AD
RO
ROAD
PA R K
URNE
N
SD
E
OWN
LANS
CR
D
L A N
H O L
79
K
OC
ARK
ON P
T
ROK
LADB
AD
Starting from the Inset Map
ROAD
R
LA
ROA
TTE
EN
L
ROAD
CRESC
ON
P R IN
83
DALE
END
’S GDNS
ST JAMES
81
N
PO
PE
’S GDNS
ST JAMES
QUEENS
CLAR
EET
WIL SHA M STR
82
S
ROAD
85
84
RE
N
CE
K E
R O
D B
L A
DON
RO AD
86
Numbers 65 to 77
are contained, in detail
on the second map.
Click within this square
to be taken there
N
S
RO
VA
RE
WESTBO
T
IST
ROAD
C
LL
REN
ROAD
SI D A R
87
78
ER
LANCASTE
AD
CLA
D
ROA
ST
S
E
ELLO
ROA
ST
A
NE
Y
A
W
T
TOB
C
ENS
INGT
N
WA L ME R
TON
FRES
TRE ADG OLD
88
80
RD
RD GA
T AV
N
CE
TO
POR
LA
RN
W
R
KS
E
KENS
AD
TE
EL
AD
D
RO
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WA
ST
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S
A
ENS
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RO
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A
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O
RK
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GO
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RO
S IL C
LL
A
.
’S GD NS
ENS
N
The New
Lodge
Tennis
courts
RO
BO
AD
TT RO
BASSE
M
AD
GARD
ROAD
ERTON
TO
BE
ENS
ES
ST
RO
RD
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LL EN
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ER
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RE
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IN
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Childrens’
Play Area
76
M
BY
HE
AD
PE
K E
B R O
L A D
RL
EXMO
BA
UT
L R
O
E ROAD
W AY
SO
ROAD
89
SA
RNO
PEMBRIDG
DALGA
IX
90
9
10
11
13
12
14
16
5a – paired
2
with 5
1
Only sculptures 48 to 64 (shown within the area outlined in red) are accessible from this map
Starting from the south western corner of the borough
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
The Awakening by Gilbert Ledward RA
Bas Relief Carving by Sir Jacob Epstein
Roadblock by Mark Sinckler and Joel Gray*
James McNeil Whistler by Nicholas Dimbleby
Chelsea Embankment Memorials(Pair) see also 5a
Sir Thomas More by Leslie Cubitt Brevis
Sloane Memorial by Joseph Wilton RA
Memorial drinking fountain by Charles Barry
Thomas Carlyle by Sir Joseph Edgar Boehm
Atalanta by Francis Derwent Wood
Boy with a Dolphin by David Wynne
The Boy David by Edward Bainbridge Copnall
Dante Gabrielle Rossetti by Ford Maddox Brown
and John Pollard Seddon
Boy with a Cat by Philip Lindsay Clark**
Sir Hans Sloane by John Michael Rysbrack
Memorial to Carabiniers by Adrian Jones
The In-Pensioner by Philip Jackson FRBS FRSA
King Charles II by Grinling Gibbons and Arnold Quellin
Chillianwallah Memorial by Charles Robert Cockerell RA
Millar Obelisk design and execution unknown
Bust of Thomas Carlyle by Mario Raggi ***
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Henry James O.M. by Francis Derwent Wood ***
The Nymph by Leonard Stanford Merrifield ***
Thomas More 1478-1535 by Ludwig Cauer ***
Drinking fountain - MDF & CTA
Fountain, Wellington Square by unknown
My Children by Allister Bowtell
Young Girl by Karin Jonzen
Sir Hans Sloane by Simon Smith
Venus Fountain by Gilbert Ledward RA
War Memorial by Sir Reginald Blomfield RA
Drinking Fountain MDF & CTA
Girl with Doves by David Wynne
Dancer with Bird by David Wynne
The Dancers by David Wynne
Jeeves (Two Ladies shopping) by Kate McGill
Stewart Memorial Drinking Fountain by Sir Joseph Boehm
Memorial Stone designer unknown
St Columba by Vernon Hill
Drinking fountain - MDF & CTA
Cardinal John Henry Newman by Leon-Joseph Chavailliaud
Cattle trough - MDF & CTA
Yalta Memorial by Angela Conner
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Drinking Fountain - MDF & CTA
Annunciation by Andrew Burton
Bela Bartok by Imre Varga
Lieutenant-General Baden Powell by Donald Potter
Lord Napier of Magdala by Sir Joseph Edgar Boehm
Unfurled by Eilís O’Connell
Queen Victoria by Princess Louise
William III by Heinrich Baucke
Lion and Unicorn - Sculptor unknown - Reign of William III
Kensington War Memorial by F W Pomeroy RA
Charity Boy and Girl by Thomas Eustace
Alex Clifton Taylor Memorial Garden
Drinking fountain - MDF & CTA
Lion and Unicorn by William Macmillan CVO RA
Genius by William Macmillan CVO RA
James Heywood by John Acton Adams
Head of the Stairs by Ivor Abrahams RA
Globe by Joe Smith
Drinking fountain - MDF & CTA
Drinking trough - MDF & CTA
Memorial to Queen Victoria by H. L. Florence
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