We’ve reached the end of our series so before we head into the next one, here’s a recap…
Originally installed at the Stocks Market in the City of London, this equestrian statue shows a figure atop a horse which is trampling over a prostrate figure lying on the ground.
The marble statue, which stands on a tall plinth, is believed to have been created in Italy by an unknown sculptor. It originally depicted Polish King John III Sobieski riding down a Turkish soldier. But it was bought to London by goldsmith and banker Sir Robert Vyner in the early 1670s.
A strong supporter of King Charles II, he had the sculpture’s head remodelled by Jasper Latham to depict the King (although the figure beneath was left largely untouched, meaning if it is supposed to represent Cromwell, he’s wearing a turban).
Sir Robert, who had been responsible for making the king’s new coronation regalia to replace items lost or destroyed during the Commonwealth, offered to have the statue installed at the Royal Exchange after it was rebuilt following the Great Fire of 1666. When that was rejected, he had the statue installed at the Stocks Market – originally named for being the only location of fixed stocks in the City – near Cornhill in 1675 (Sir Robert served as Lord Mayor around the same time).
The statue was removed in 1739 to make way for the Mansion House. But all was not lost – given back to Vyner’s grandnephew, also Robert Vyner, it reappeared some years later at the Vyner family estate at Gautby Hall. In 1883, it was relocated to Newby Hall in North Yorkshire (which had come into the family via an inheritance) and still remains there today, about 150 metres east of the hall. It received a Grade II listing in 1967.
It’s a rather incongruous place for a king. Standing outside the entrance to Tooting Broadway Underground Station is a large-than-life statue of King Edward VII, who ruled from 1901-1910.
Erected in 1911 after the King’s death, the statue is the work of Louis Fritz Roselieb (later Roslyn) and was funded through a public subscription.
The statue depicts the King in royal regalia holding a sceptre in his right hand with his left hand resting on his sword hilt. The plinth features bronze reliefs on either side depicting representations of ‘peace’ and ‘charity’.
Given Tooting Broadway Underground Station didn’t open until 1926, the statue wasn’t initially located in relation to it.
In fact, it was originally located on a traffic island a short distance from its current siting but was moved after the area was remodelled in 1994.
It isn’t, of course the only statue of King Edward VII in London – the more well known one can be found in Waterloo Place. It was unveiled by his son, King George V, in 1921.
This statue in Portland Place in Marylebone commemorates wartime Polish Prime Minister and military leader (and British ally) Władysław Sikorski (1881-1943).
Larger than lifesize, the bronze statue depicts Sikorski in military uniform standing on a white stone plinth. It is the work of late British artist Faith Winter (also the sculptor of a controversial statue of Air Chief Marshal Sir Arthur Harris outside the RAF church on the Strand).
Funded by public subscription, this statue of Sikorski was erected on 24th September, 2000, and unveiled by the Duke of Kent. It stands near the Polish Embassy on a traffic island near the intersection with Weymouth Street.
There’s inscriptions on each face of the plinth which commemorate Sikorski as well as the “Soldiers, Seamen and Airmen of the Polish Armed Forces and the Resistance Movement” between 1939 – 1945. The east face inscription commemorates Polish involvement in World War II through a listing of battles.
Sikorski is also commemorated with a plaque adorning the Rubens Hotel in Buckingham Palace Road which served as his headquarters between 1940 until his death in an air crash in Gibraltar in 1943 (where there is another memorial to him).
Located on the west side of India House – location of the High Commission of India – is a bust of Jawaharlal Nehru, the first Prime Minister of independent India.
The bust, which stands in India Place between Aldwych and The Strand, is the work of Latika Katt and stands on a granite plinth. It was unveiled in 1990 by the High Commissioner of India LM Singhvi and the Mayor of London.
In 2009, the bronze bust was temporarily dislodged from the plinth but was subsequently returned to its home.
Standing on the edge of Parliament Square opposite the UK’s home of government, this statue of the 16th US President was erected to mark the friendship between Britain and the United States of America.
The statue was proposed by the American Committee for the Celebration of the Hundredth Anniversary of Peace Among English Speaking Peoples to commemorate the centenary of the end of conflict between the two nations in 1915.
But World War I broke out and so it wasn’t until July, 1920 that this statue, a replica of a statue Auguste Saint-Gauden made for the city of Chicago and now Grade II-listed in its own right, was formally presented to then UK Prime Minister David Lloyd George by the US Ambassador and subsequently unveiled by Prince Arthur, the Duke of Connaught.
The 12 foot high, larger than life, monument – which includes a granite plinth – depicts Lincoln wearing a frock coat standing in front of his Grecian chair and about to give a speech. The original was completed in 1887 and was unveiled in Chicago’s Lincoln Park with Abraham Lincoln II, grandson of the President, in attendance as well as a crowd of some 10,000.
Interestingly, the UK wasn’t the only nation given a copy of the statue – a replica was also given to Mexico in 1964 and now stands in the Parque Lincoln in Mexico City.
There is also a replica at Lincoln’s tomb in Springfield, Illinois and in 2016, a newly cast replica of the statue was installed at the Saint-Gaudens National Historic Site – the former home and studio of the sculptor – in Cornish, New Hampshire. There are also numerous smaller replicas including a bust which is sometimes displayed in the Oval Office in the White House.
The next two entries in Exploring London’s 100 most popular posts countdown…
Before we move on from our recent series on animal monuments, we pause for a recap…
We kick off a new Wednesday series next week…
We’ve come to the end of our Wednesday series on 10 (lesser known) memorials to women in London, so here’s the recap. We’ll kick off a new Wednesday series next week…
And so we come to the last entry in our series on lesser known memorials to women in London. And for our final memorial, we’re heading to Westminster where a memorial actually commemorating two women – Suffragettes Emmeline Pankhurst (1858-1928) and her daughter Christabel (1880-1958) – sits in Victoria Tower Gardens next to the Houses of Parliament.
Erected in 1930, the statue, which stands atop a central pedestal set in a low wall, was, according to the plaque on the front, installed as a tribute to Emmeline’s “courageous leadership of the movement for the enfranchisement of women” and was funded through subscriptions made to the Pankhurst Memorial Fund established following her death.
Sculpted by Arthur George Walker (he also sculpted a statue of Florence Nightingale in Waterloo Place), the now Grade II-listed statue depicts Pankhurst standing with arms appealing to those before her as if addressing a crowd.
Inside the pedestal upon which the statue stands there is apparently a metal box containing some of her letters and an obituary to her published in The Times.
The statue, which was originally installed as a stand-alone monument further to the south of its current position (but still in the gardens), was unveiled on 6th March, 1930, by then Prime Minister Stanley Baldwin. The Metropolitan Police Band, conducted by Ethel Smyth, a friend of Pankhurst’s, played during the unveiling – some of those police officers who played had previously arrested Suffragettes.
The monument was moved to its current location in 1958 and in 1959 the low wall was added to accommodate a second memorial, this one to Dame Christabel. It consists of two medallions sculpted by Peter Hill. Located at each end of the wall on either side of the statue, they depict the Women’s Social and Political Union badge, known as the “Holloway Prison brooch”, and a portrait of Christabel (right).
There are reportedly controversial plans to move the memorial to a site in The Regent’s Park. The proposed new site, which sits inside Regent’s University grounds, was apparently selected because of the historical association of the Suffragettes with Bedford College which once stood on the site.
There is also apparently a proposal for another statue of Emmeline Pankhurst to be located on Canning Green outside the Supreme Court on Parliament Square.
This statue of famed ballerina Anna Pavlova (1881-1931) is actually a replica of an original which was first installed here atop the cupola of the Victorian Palace Theatre, in Victoria Street in the West End, in 1911.
Commissioned by the theatre’s owner, Alfred Butt, it had been installed to mark Pavlova’s London debut. The ballerina, who had started her career in Russia, moved to settle in Ivy House in Golders Green in 1912 and subsequently went on to tour the world.
It is believed that the gilded statue was the work of the theatre’s architect, Frank Matcham. Larger than life-sized (although that’s hard to ascertain given its lofty position), it depicts Pavlova in a classical tutu standing on one leg in what’s known as the “arabesque” position.
The story goes that the superstitious dancer hated the idea of the statue and always refused to look at it, even pulling closed the curtains on her cab when passing.
It was removed for safe-keeping in 1939 following the outbreak of World War II but apparently lost soon after.
The replica, which was created by Hary Franchetti based on photographs, was reinstalled in 2006. The fate of the original remains a mystery.
Located at Denmark Hill in south London, this statue of Catherine Booth (1829-1890), co-founder of the Salvation Army, was apparently dedicated twice.
The first dedication took place in 1929, the centenary of her birth, and the second the following year when an accompanying statue of her husband William Booth – they stand on either side of the entrance to the Salvation Army’s William Booth Memorial Training College, designed by Sir Giles Gilbert Scott (he also designed the statue plinths), on Champion Park – was also being dedicated.
The work of George Edward Wade, the bronze statue depicts Booth in her Salvation Army uniform – complete with bonnet – and has her holding a Bible pressed to her heart and reaching out with an open hand. Her husband William is also shown in his uniform, preaching from an open the Bible.
An inscription on the granite plinth below describes her “The Army Mother”. The larger than life statue was cast at the Morris Art Bronze Foundry.
There are, incidentally, exact replicas of both statues in Mile End Road in London’s east. Donated by the women of the Salvation Army in the US, that of William was unveiled in 1979 and that of Catherine a later addition, unveiled in 2015 on the 150th anniversary of the creation of the Salvation Army.
The statues are located close to the site where the Booths commenced the work of the Salvation Army in July, 1865.
We’re kicking off a new Wednesday series this week and in honour of the fact that a statue of Millicent Fawcett became the first commemorating a female to be erected in Parliament Square earlier this year, we’re looking at 10 other memorials – lesser known ones – to women in London.
First up, it’s a Grade II-listed monument in Tavistock Square Gardens commemorating Louisa Brandreth Aldrich-Blake (1865-1925), the first female surgeon in Britain and pioneer of new surgical methods treating cancers of the cervix and rectum. She was also dean of the London School Of Medicine For Women.
This double-sided monument, which sits above a curved seat, features two busts of Dame Aldrich-Blake, both holding a book. On the sides of the monument are the depictions of the Rod of Asclepius – an intertwined staff and serpent long used as a symbol for the medical profession.
The base and seat were designed by Edwin Lutyens – the man behind the Cenotaph – and the identical bronze busts were the work of Arthur George Walker.
The monument was apparently erected in 1926, a year after Dame Aldrich-Blake’s death, in a rather fitting location, Tavistock Square is the location of the headquarters of the British Medical Association in BMA House.
As well as listing her achievements in the world of medicine, the monument bears the rather uplifting inscription: “The path of the just is as the shining light”.
Believed to have been made in 1586, the statue is said to be the work of one William Kerwin and originally adorned Ludgate.
It was moved to its current position over the church’s vestry door in 1760 when Ludgate was demolished due to road widening. Along with other statues from the gate, it had been given to Sir Francis Gosling who had it placed at the church.
The statue features a rather regal looking Queen, standing formally in royal robes with sceptre and orb.
A life-sized copy of Lamassu, a winged deity that stood at Nineveh’s Nergal Gate from 700 BC until the so-called Islamic State destroyed it in 2015, Michael Rakowitz’s work The Invisible Enemy Should Not Exist is the 12th to adorn the Fourth Plinth in Trafalgar Square. The American artist’s work is made from 10,500 empty Iraqi date syrup cans, representative of a once-renowned industry which has been devastated by war in the Middle Eastern nation, while the use of recycled food packaging can be seen as a reference to the recycling of cannons once carried on the HMS Royal George to create the reliefs at the base of Nelson’s Column. Unveiled at the end of March by Mayor of London, Sadiq Khan, the work will remain on the plinth until early 2020.
Immortalised in a statue in the grounds of St Thomas’ Hospital on South Bank last year, Mary Seacole is the first named black woman to have a memorial statue made in her image in London.
Mary Jane Seacole (nee Grant) was born in Kingston, Jamaica, in 1805, the daughter of a Scottish army lieutenant, James Grant, and a mixed-race Jamaican woman who kept a boarding house for invalid soldiers. She was taught traditional medicine by her mother from a young age and travelled extensively, visiting other parts of the Caribbean including Cuba and Haiti as well as Britain – staying in London for about a year around 1821, during which she added to her knowledge of medicine.
In 1836, she married merchant Edwin Seacole (he was the godson of Vice-Admiral Horatio Nelson – some rumours have it that he was actually his illegitimate son) but he died only eight years later in 1844. She subsequently spent some time in Central America – opening a ‘hotel’ there and aiding in the response to an outbreak of yellow fever – before returning to Jamaica where she apparently provided nursing services at the British Army HQ in Kingston.
In 1854, Seacole returned to England and, amid reports of the hardships soldiers were facing in the Crimean War which had broken out the year before, asked the War Office to send her to the Crimea as an army nurse. She was refused on multiple occasions (some say because of her race; others because she was too late to join the teams of nurses that were sent) and so she headed to Crimea herself.
There, she founded the British Hotel near Balaclava which provided food, quarters and medical care for sick and convalescent officers. She also apparently rode out to the front line of battle where she cared for the sick and wounded and such was her fame that Mary became known as ‘Mother Seacole’, earning a reputation said to rival that of Florence Nightingale.
Seacole returned to England after the war in ill health and poverty and apparently such was her renown that a benefit festival was held in her honour in July, 1857, to raise funds for her to live on. That same year she published her memoir, The Wonderful Adventures of Mrs Seacole in Many Lands.
Seacole returned to Jamaica in the early 1860s but was back in London by 1870. She died at her home in Paddington of ‘apoplexy’ on 14th May, 1881, and was buried in Kensal Green.
In 2004, Seacole was ranked the greatest Black Briton in an online poll. She has also been honoured with an English Heritage Blue Plaque (located on her one-time residence at 14 Soho Square) and a City of Westminster Green Plaque in George Street on the Portman Estate.
The three metre high bronze statue of Mary, built through funds raised in a public appeal and installed using money granted by the government, is the work of sculptor Martin Jennings. It was unveiled by actress Baroness Floella Benjamin in June last year before a reported crowd of some 300.
A disk behind the statue is inscribed with the words of The Times‘ Crimean War correspondent Sir William Howard Russell, who wrote in 1857: “I trust that England will not forget one who nursed her sick, who sought out her wounded to aid and succour them, and who performed the last offices for some of her illustrious dead.”
Seacole remains somewhat of a controversial figure with some saying her recent fame has unfairly come at the expense of contemporary Florence Nightingale.
We’ve mentioned this memorial before but it’s worth a revisit. While last week’s entry looked at a plaque marking the site of the start of the Great Fire of London in September, 1666, this week we’re taking a (second) look at one of the sites where it was stopped.
Positioned high on a building on the corner of Giltspur Street and Cock Lane in Smithfield, this small wooden gilt 17th century statue, by an unknown maker, was once located on front of the pub, The Fortune of War, which stood on the site until it was demolished in 1910 (it was apparently used by body-snatchers as a place to display stolen corpses for surgeons from the nearby St Bartholomew’s Hospital to take their pick from).
The statue marks one of the locations on the city fringes where the fire was ‘stayed’ through the demolition of buildings. It bears an inscription which reads “This Boy is in Memmory put up for the late Fire of London Occasion’d by the Sin of Gluttony 1666”.
Well below it is an explanatory note below explains that the boy was made deliberately fat (the statue was apparently originally known as ‘The Fat Boy’ although to the modern eye it doesn’t look particularly so) in reference to the rather odd claim the fire was started in Pudding Lane as a result of the sin of gluttony and not by Papists as had been originally claimed on The Monument.
It has been said that the statue – which is believed to have once had wings and which is the reason why the building it is upon carries a Grade II heritage listing – was merely a shop sign and originally had nothing to do with the Great Fire, which may well be the case, but that said it is known that the fire stopped here (sparing St Bart’s further up Giltspur Street).
PICTURE: David Adams