Post on 23-Feb-2023
transcript
ii
Acknowledgements:
I would like to thank my specialist tutor Dr. Stephen Bowe for his assistance and guidance through my
study and also for his wealth of knowledge on Carter Preston, Tyson Smith and the art and sculpture
in Liverpool. I also acknowledge the help and valuable information of Dr. Emma Roberts of Liverpool
John Moores University who kindly spent time giving me an insight into Carter Preston’s work and life.
iv
Contents:
1. The context of Liverpool at the time………………………………………………………………..………………….....1
The beginning of an Artistic Liverpool…………………………………………………………………………………………...…2
The Liverpool School of Applied Arts…………………………………………………………………………………………….….5
2. Family Tree................................…………………………………………………………………………………………….12
Family background of the artists..………………………………………………………………………………………………....13
The background of Edward Carter Preston……………………………………………….…………………………………...13
The background of Herbert Tyson Smith…………………………………………………………………………………….….17
3. The Individuals and their Careers……………………………………………………………………………………….…..23
Edward Carter Preston: Painter, sculptor, medalist………………………………………………………………………..23
Julia Carter Preston: Ceramicist and potter…………………………………………………………………………………….31
Herbert Tyson Smith: Sculptor and medallist………………………………………………………………………………….37
4. Case Studies…...............................................................................................................................45
Edward Carter Preston and the Liverpool Cathedral……………………………………………………………………….45
Herbert Tyson Smith and the Martins Bank Building……………………………………………………………………….56
5. The Relationship of Architecture and Sculpture in Liverpool 1880-1950…………………………………65
The 70 years of Architectural sculpture in the City………………………………………………………………………….65
Discussion and Conclusion: Comparison and Contrast of the Artists……………………………………………….71
Appendix A: List of the most important works………………………………………………………………………………..75
Appendix B: Dr. Emma Roberts interview………………………………………..……………………………………………..78
Appendix C: Letter Radcliffe-Scott…………………………………………………………………………………………………..80
Appendix D: Letter Scott-Radcliffe…………………………………………………………………………………………………..80
Appendix E: Letter Radcliffe-Scott……………………………………………………………………………………………………80
Appendix F-G: Biography of the artists.................................................................................................80
Illustrations……………………………………………………………………………………………………………………………………..82
Bibliography…………………………………………………………………………………………………………………………………….87
2
1: The context of Liverpool at the time
The Beginning of an Artistic Liverpool
‘’During the nineteenth century Liverpool consolidated its position as a major port and began to
enjoy spectacular growth (fig.1.1), which in 1904 led Dr. James Currie to describe the town as a busy,
noisy, smoky, money-getting Liverpool’’.1 In the mid 1880’s, the period of Carter Preston’s and Tyson
Smith’s births, Liverpool was the second city in the U.K. in terms of economic confidence and growth.
In the early 1900’s Liverpool was part of the process of modernism that was spreading out in major
European wealthy cities. Liverpool’s geographical position and culture, as well as its great port found
the City closer to the American Beaux Arts ideas in architecture, towards modernism. These influences
spread out through the wealthy merchants of the city before spreading nationally.2 There is no doubt
that the English Arts and Crafts ideals were similar to the Beaux Arts schemes but the difference was
on the physical expression.
The transition of the two styles took place between 1880 and the beginning of World War One in
1914. Also the rejection of the Arts and Crafts stylistic coding took place in the Liverpool artistic world
alongside with innovative and pioneering technologies and American style educational practices.
Moreover, the railway which was developed during the period, machinery and the expansion of the
Liverpool docks were major elements of change in the city, as shown in the 1896 ‘Lumierre Brothers’
film of the ‘Liverpool Overhead Railway’.3 In a cosmopolitan city with a busy port at the time, change
was necessary and the art and architecture of the port City moved towards the American ideas, rather
than the European, due to the increasing trade between Liverpool and America.4 The wealth of
Liverpool coming from the sea was changing the city’s appearance rapidly including major investments
such as the mercantile and maritime structures, the ‘Port of Liverpool building’ (fig.1.2), public
facilities and housing.
Additionally, the Liverpool University of Architecture and Applied Arts was established to support
the artistic transformation of the city in the early 1890’s. The university, based on the English Arts and
Crafts ideas as well as the Beaux Arts later on, it was the first university in Britain to offer a degree in
architecture and civil engineering. It was the most renowned English School of Architecture
worldwide, and it was the unique and pioneering approach to the course which made it the main
influence upon the arts and architecture of the city in the early Twentieth Century. Liverpool’s
constant expansion required a substantial building program with wealthy merchants and the city
council being the major investors. At the time, the appearance of the city according to Willet John was
‘’widely considered a dull, ugly and commercial city, for me abounded in interest and surprise.’’5 At
the time where change was necessary, the city’s artistic influences were not enough in the Liverpool
background and the result was architects and artists to look elsewhere for inspiration. Meanwhile, the
3
reputation of Liverpool for progressiveness, tolerance, political activity and innovation, was growing
rapidly and the Mersey and Liverpool port were the foundations of a powerful city and a thriving
economy. The co-operative spirit was becoming part of the city’s culture, including the development
of voluntary societies and associations between all the classes of citizens and similar was the approach
of the Liverpool University upon arts and architecture also, which produced some of the most
renowned architects of the time.6
Moreover, the statistics of the Liverpool port (fig. 1.3) show its importance at the time, by owning one third of the British shipping and one tenth of the International registered shipping along with 28
miles of linear quayage, as shown in the ‘Merseyside Film by the British Council of 1941’.7
Furthermore, the city’s wealth raised funds for massive investments in warehousing and the construction of the docks which began in 1840’s under the engineer Jesse Hartley, and the port, by 1911 was the world’s greatest cotton market. The economic growth of the merchants in the city was constantly increasing along with the level of social divisions. In the same year a two month strike took place at the port, with the consequence to be injured and dead workers. The social disparity was also reflected upon architecture, and mostly upon the contrast of housing, with slum court houses (fig. 1.4) of the poor and the luxury town houses and villas of the wealthy class (fig. 1.5).
Fig. 1.3
Liverpool Brunswick Dock
early 20th century
4
Fig. 1.4
Slum Houses,
Chorley-Court, dale st.
Liverpool, 1925
Fig. 1.5
Sudley house, Aigburth,
Liverpool, built for the
corn merchant Nicholas
Robinson, 1828,
now art gallery
5
The Liverpool School of Applied Arts
The wealthy city of Liverpool was moving towards modernization, and as it happens in every
modern city, the architecture and style are chosen according to the latest fashion and technologies of
the period. The American contemporary style was to change the face of the traditional British City into
a modern Twentieth Century one. Also, the economic growth led to new opportunities for the artists
and architects of the time and the arts were moving towards improvement with the establishment of
the ‘College of Art’ in 1882, the new university buildings in 1885, as well as many Churches, public
houses and impressive commercial buildings. These new opportunities were inspirations for young
people to take up an artistic career including Carter Preston, Tyson Smith and other important artists
of the time. Liverpool’s building expansion of the period created new demands and extra skills were
needed to respond to the new era of arts and crafts related to architecture. The ‘Liverpool Society of
Fine Arts’, the ‘Fine Arts Committee’ and also an ‘Arts Congress’ held in Liverpool in 1888, brought
new ideas and inspirations into the city’s artistic world.8 The formation of the ‘Architecture and
Applied Arts Department’ (fig.1.6) of the Liverpool University was a result of all these, and it meant to
be a pioneering and inspirational department which produced some of the most important sculptors
and artists of the period. The ‘Art Sheds’ as they used to call the department, aimed in producing
individuality, and architecture students were educated alongside with decorative artists in a multy-
disciplinary programme, with the purpose being highly skilled specialists in a whole variety of
construction related subjects.9
Fig.1.6
The School of Applied Arts
Late 1890’s
6
In 1894, the leaders of the University, Professors Stevenson and MacKay10 decided to turn the
programme into an association between architecture and the applied arts which gave the
opportunity to the students, to study a combination of arts, crafts and architecture, which were
closely aligned, in the same programme. Ruskin’s and Morris’s teaching passed into younger
generations and also ideas such as Leathaby’s and Macmurdo’s were influential upon the
development of the architecture and applied arts students of the period.11 Additionally, the
tradition of the ‘English Arts and Crafts’ and the ‘American Beaux’ ideas were also influential upon
the ‘Art Sheds’ students. Christopher Crouch highlights the links between Liverpool and American
architects such as Bloomfield Bare, who was highly involved in the arts programme of the Liverpool
University. C. Crouch in his book ‘’Design culture in Liverpool 1880-1914,12 also talks about the
similarities between Liverpool and America, in pioneering modern art and architecture and the
successful similar scheme, that seemed to have direct links to the principal towns in America. Crouch
also discusses the replacement of the English Arts and Crafts tradition with the French Beaux Arts
practices established at the schools of architecture in America. The two art styles of the time
seemed to share the same ideology that the cooperative is more important than the individual, but
the difference was upon the physical expression.
Further, the Beaux Arts eventually dominated in the Liverpool School of Applied Arts after the
appointment of Professor Chares Reilly13 in 1904. The architect Bloomfield Bare14 was also to play an
important role in the course during the 1890’s, with the publishing of the Liverpool University into the
magazine ‘The Studio’ where he argues for the prominence of a combined artistic education, and talks
about the problems of their generation, and also the master-apprentice type of relationship they
aimed to have with their students. Meanwhile, the Industrial Art Schools in Germany were also to play
a small part in the architectural program of the department, while the RIBA and the ‘South Kensington
System’ were criticising the school’s distance from their structural system and control. Furthermore,
the inspirational tutors of the ‘Art Sheds’ believed that architecture students should necessarily learn
how to ‘finger’ the clay and every sculptor should be trained in the architecture classes too. The spirit
of the architect W.R. Leathaby who was the founder of the ‘Arts and Crafts Exhibition Society’ and the
‘Art Workers Guild’ was closely related to the philosophy of the school’s course.15
Additionally, the skills of a builder were valued along with the skills of the architect’s and the artist’s
due to Simpson’s and Jackson’s approach to the programme. Their vision was to integrate the skills of
masonry, carpentry, plumbing and plastering into the programme of the school. Jackson’s vision was
highlighted in his essay with the title ’Architecture: A profession or an Art?’
‘’Imagine some school of architecture to which anyone connected with building
could have some access, whether is intended to be an architect, a builder or a
craftsman in one of the arts connected with building.’’16
7
Richard Rathbone17 who became the metalwork tutor at the school shared the same ambition in a
letter of 1886 telling that the ‘’best craftsman was an educated man, highly skilled in his craft and able
to express through it his own individuality’’.18 Apart from metalwork in copper, wrought iron and brass
the program also provided classes in decorative design, modelling and sculpture, painting from life
and antique, enamelling and wood carving. The students of the Applied Art classes were coming from
a variety of different backgrounds including art and architecture students, apprentices and aristocratic
students who were developing their skills for leisure purposes.
Further, the tutor of sculpture and modelling C.J. Allen19 along with the painter Gerard Chowne20
were two of the most influential teachers upon Tyson Smith’s and Carter Preston’s development
whom both attended the classes in the same period, and later would become brothers-in-law and
‘’senior artists at the Sandon Society at the Bluecoat Chambers.’’21 The Liverpool School of Applied
Arts eventually closed down in 1906 and the department joined the fresh ‘School of Art’ in Hope
Street. Some of the students and staff moved to the new School and others who wanted to keep the
values of the Art Sheds set up the ‘Sandon Terrace Artists Group’. It was the first time in the city that
an organised set of artists were opposite and outside the ‘Recognised Art Establishment’. Carter
Preston and Tyson Smith were amongst the founders of the society and after moving to the Bluecoat
Chambers building (fig.1.7, fig.1.8) in 1907, they adopted the name ‘Sandon Studios’. (The Bluecoat
chambers was the first Art Centre in Britain, and also the oldest standing building in Liverpool city
centre, dated 1716. Once housed the workshops of Herbert Tyson Smith (fig.1.9), Edward Carter
Preston and Julia Carter Preston. Now it is home for art exhibitions and events) (fig. 1.10). The
mainstream of the students there, around forty in all, were poor but they were some of the best artists
of the ‘Art Sheds’. They kept the values of working together and they shared the expenses, and as they
were doing before, they kept the ethos of working in collaboration and sharing their skills and ideas
towards experimentation and work. Hamel Calder who was one of the most important founders of
the society, stated the aim of the fresh group and that their vision was to:
‘’stimulate the artistic and intellectual life of Liverpool by bringing together those
who are interested in something more than fashion and football and bridge the
share market’’ as well as to unite the artists with the people who were interested in
arts’’.22
In conclusion, the group employed both the painter G. Chowne and the designer H. MacNair23 to act
as tutors, but due to the economic problems they were facing, the approach of creating a school-like
programme had finally failed.
8
Fig.1.7
The Front of the Bluecoat
Chambers, once house of
Sandon Studios Society
Fig. 1.8
The back yard of the
Bluecoat Chambers,
used as workshop
Space for artists
9
Fig. 1.9
Once Tyson Smith’s workshop,
rear of the Bluecoat
Chambers, in 2002 workshop
of Terry McGunigle
Fig. 1.10
Soft Estate Collection, by
Edward Shell at the Bluecoat,
Dec 2013 – Feb 2014
10
1. Footnotes:
1 Peter Richmond, Marketing Modernisms: The Architecture and influence of Charles Reilly, Liverpool,
Liverpool University Press, 2001, p.1 2 Maureen Ann Bampton, Craftsman and Client: the official commissions of Edward Carter Preston,
PhD Thesis, University of Liverpool, 2007, p.20 3 Liverpool scenes: Lime Street & the Liverpool Electric Overhead Railway, dir. Alexander Promio, UK,
Lumiere Brothers Films, British Council Film Collections, 1896, [film]. 4 Richmond, Marketing Modernisms: The Architecture and influence of Charles Reilly, Liverpool, p.1
5 John Willet, Art in A City, London, The Shenval Press, 1967, p.55.
6 Bampton, Craftsman and Client: the official commissions of Edward Carter Preston, p.20
7 The Mersey – Liverpool’s River, dir. John Finn, UK, Liberty Films, British Council Film Collections,
1941, [film]. 8 Bampton, Craftsman and Client: the official commissions of Edward Carter Preston, p.20
9 Bampton, Craftsman and Client: the official commissions of Edward Carter Preston, p.22
10 Professor John Macdonald Mackay (1856–1931), Rathbone Chair of History, University of Liverpool
(1884–1914). 11 Charles Harvey and Jon Press, William Morris Design & Enterprise in Victorian Britain, Manchester,
Manchester University Press, 1991, p.85 12 Christopher Crouch, Design Culture in Liverpool 1880 – 1914: The Origins of the Liverpool School of
Architecture, Liverpool, Liverpool University Press, 2002 p.10 13 Sir Charles Herbert Reilly (Mar. 1874 – Feb. 1948) was born in London and he was an architect and
teacher. He became the leader of the Liverpool school of architecture in 1904 and he was strongly
influenced by Architecture in America. Some of his students were Herbert Rowse and Lionel Budden. 14 Henry Bloomfield Bare (1848 - 1912) was a Liverpool Architect who moved to Philadelphia, U.S.A.
in the 1980’s and he was a fellow to Liverpool School of Architecture of the Liverpool University. 15 Crouch, Design Culture in Liverpool 1880-1914, p.99
16 Crouch, Design Culture in Liverpool 1880-1914, p.99
17 Richard Llewellyn Benson Rathbone (1864-1939) was a metal worker, designer and teacher at the
department of Applied Arts of the Liverpool University. He was also a member of the Sandon Studio
Society.
11
18 Mary Bennett, The Art Sheds 1894-1905: An Exhibition to Celebrate the Centenary of the University
of Liverpool, Liverpool, Walker Art Gallery, University of Liverpool, 1981, Introduction 19 Charles John Allen (Greenford, Middlesex, 1862–1956) was a British sculptor, a figure in the New
Sculpture movement. In 1894 Allen moved to Liverpool, where he spent more than thirty years as a
respected teacher at the University of Liverpool and Vice-Principal at the Liverpool City School of Art. 20 Gerard Chowne (1875-1917) was a British visual artist who was the tutor of painting at the School
of Applied Arts of the Liverpool University. 21 Bampton, Craftsman and Client: the official commissions of Edward Carter Preston, p.28
22 Hamel Calder, ‘Sandon Studios’, The Bulletin of the Sandon Studios Society, No. 1, March 1912, LRO
367 SAN/4/2/1. 23 James Herbert MacNair (December 23, 1868 - April 22, 1955), was a Scottish artist, designer and
teacher whose work contributed to the development of the "Glasgow Style" during the 1890’s. He was
a member of the ‘Glasgow Four’ along with C.J. Mackintosh and others. In 1894 he moved to Liverpool
and became the design tutor at the ‘Art Sheds’ of the Liverpool University.
12
2: Family Tree
Herbert Tyson Smith - Sculptor and Medalist
Father, George Tyson Smith, Lithographic artist and Engraver. He was responsible for the ‘Illuminated
Address presented to the Queen on the opening of the exhibition of the Wavertree park’ in Picton
Road.
Mother, Mary-Jane was passionate about renaissance art and music. She was very supportive upon
her son’s creativeness and childhood.
Sister, Clarisa-Marie (Wife of Carter Preston), water-colourist, dressmaker and costumist. Once
worked for a local theatrical costumier. She also studied at the Liverpool School of Applied Arts with
her brother and husband.
Son-In-Law, Neville Bertram, stone carver, colleague and apprentice of Tyson Smith.
Edward Carter Preston - Painter, Sculptor and Medalist
Wife Clarissa-Marie (sister of Tyson Smith) water-colourist, dressmaker and costumist.
Brother Albert, manuscript, illuminator and commercial artist. Once worked with his brother Edward
on the ‘King’s Liverpool Regiment Book of Remembrance’ during the Second World War.
Daughter Julia Carter Preston. She was a talented ceramicist and potter. One of the most inspirational
potters of all time mostly with her sgraffito technique.
Daughter Irene Carter Preston. She was a talented silversmith and jeweller.
George T. Capstick, brother-in-law, sculptor, painter and decorator. He studied at the Liverpool School
of Applied Arts with Carter Preston and Tyson Smith. He was also colleague and apprentice of Tyson
Smith at the Martins Bank project.
13
Family Background of the Artists:
The Background of Edward Carter Preston
Edward Carter Preston (fig.2.1) lived between 1884-1965, and he was a successful and inspirational
artist, sculptor and medalist. His artistic skills took him a step forward and he was also very familiar
with painting, glassware and wood carving. Edward was part of a family whose background was based
in the world of commerce and he decided not to follow the family’s tradition but to take up an artistic
career. He was the oldest of four siblings (Winifred, Albert and Jessie), and he always wanted to be a
good example for them.1 Further, Edward’s grandfather William, was a successful brewer who moved
in Liverpool during the 1850’s from North Lancashire. William became one of the most renowned
brewers in the area by 1861 and Edward’s father Robert John was to continue this family tradition
after his father died in 1872.
Carter Preston lived in the family’s house in Walton, Liverpool, where he was involved in many
aspects of farming as well as brewery activities, helping his father since he was a small boy. Fields,
trees and animals such as dogs, cats and horses were also part of his life at their house at Walton,
Liverpool. These influences can be seen in many of his works throughout his career, including the
Liverpool Cathedral project, the Royal Mint commissions and also in his late works in the form of
mostly symbolic representation. The ‘’tradition of the spirit of Victorian self-reliance which was
instilled into all the children at an early stage in their lives’’2 seemed to be an influence upon Edward,
and later in his career, it became a characteristic of the man, who was described as an industrious and
energetic professional in his commissions, by his colleagues, clients and friends.
Fig. 2.1
Portrait of Edward
Carter Preston
14
Meanwhile, brewers were important business at the time and his father wanted to pass the
traditions and techniques into the family by turning Edward into a successful brewer in the late 1890’s.
Carter Preston’s passion for art and creation was to cause major problems to the family, especially
because artists were making no living before the First World War in Liverpool. His father was furious
about his son’s ambition to become an artist, and it seemed an alien decision to him according to the
family’s background.3 Brewing was the best option for Edward according to his father, Robert John.
Pugh-Thomas, Edward’s son-in-law claimed that his father discouraged him from his dreams, while
characteristically saying that: ‘’painting is for ladies, it’s no way for a man to earn a living’’.4 Thomas
adds that after their aggressive conversation, Robert John asked his son to leave home if he does not
change his decision, and if he wants to become an artist he will have to do it alone without the family’s
support. Carter Preston would never leave his passion for creation behind and he decided to follow
his dreams by taking his life on his hands early in his life.5
His first step was to enrol for art classes run by a local woman, privately, and there, he would
experience gilding and engraving. Two dimensional design, which he learned at the local school can
be seen in many of his sculptures and medals. Edward was a realist and after leaving his family for a
new life, he knew that he would have a difficult time making his own living as an artist, and his first
job at the Morison’s furnishing store was about to begin. At the store he was involved in different
aspects of design, decoration and applied art techniques. Carter Preston also worked as an apprentice
with E. Lathom in Renshaw Street where he experienced glassware and he learned decorative glass
techniques.6
Nothing indicates an artistic talent or tradition in Edward’s family tree but surprisingly his
generation produced many talents including many of his siblings who were interested in arts, became
artists, or even married artists. His brother Albert was a commercial artist and manuscript illuminator.
According to Edward’s daughter Julia, himself and his brother Albert worked together on the ‘King’s
Liverpool Regiment Book of Remembrance’ during the Second World War. Further, in the Preston’s
family tree, Edward’s daughters Irene (was a silversmith and jeweller) and Julia (was a talented
ceramist and potter), were to prove their grandfather wrong for his discouragement against their
father.7 Unfortunately the Carter Preston artistic family tree came to an end after this generation with
none of Edward’s grandchildren becoming professional artists. Meanwhile, the family tree was
expanding, and the new member of the family was his brother-in-law and friend from the ‘Sandon
Studios’, George T. Capstick8, who was a sculptor, painter and decorator. Capstick assisted Tyson
Smith in several commissions including the ‘Martins Bank’ Project too. The most important person
though, to become a member of the Carter Preston’s artistic family was his Wife Clarissa-Marie, who
was a talented water-colourist, dress-maker and costumist. Marie was the factor that two artistic
families of Liverpool, the Preston’s and the Smith’s, became one. Additionally, her brother Herbert
Tyson Smith was another great artist and sculptor, who is considered as one of the most successful
sculptors Liverpool has ever produced, along with his brother-in-law Edward Carter Preston.
15
Further, during the Edwardian period, Carter Preston entered the ‘Art Sheds’ of the Liverpool
University. ‘’Carter Preston attended the classes as an evening student from 1902-1903 and a day
student 1903-4’’9. This was a period of transformation, change and experimentation in the world of
art and architecture in Liverpool and also in his personal life when he met his future wife Marie, at the
school. Some important art movements such as the ‘Art Deco’, the ‘Arts and Crafts’, and also
Classicism and Impressionism, proved sources of inspiration for the young artist and his work. His
training at the school was mostly based on traditional techniques, but Edward was always
experimenting with new materials such as fiberglass, later in his career. Furthermore, he was very
confident in working with a variety of different media, and this reflected his ‘Art Sheds’ education
mostly on the ‘Arts and Crafts’ thinking. Some of his tutors at the Liverpool University were very
influential upon his work as well as exhibitions by Clive Bell10 and Roger Fry11, who organised post-
impressionist demonstrations at the Bluecoat Chambers.
After his training at the school, Edward was about to begin his career at the Bluecoat, and the
Sandon Studios, where for the first time he had the opportunity to work alongside with other talented
artists of the time, mostly on producing watercolour paintings for commercial purposes. Carter
Preston was originally registered as a decorator during 1901-1902 and as a glass decorator during
1902-190312. Painting, (fig.2.2 – fig.2.4) was the major source of income for the young artist but this
was about to change with the start of the First World War in 1914. Edward was also very successful in
producing glassware, sculptures and medals, later in his career.
Fig. 2.2
Watercolour painting
by Carter Preston,
1904-05
16
Fig. 2.3
E. Carter Preston,
Coastal Scenes Collection,
Watercolours,
1905-06
Fig. 2.4
E. Carter Preston,
Coastal Scenes Collection,
Watercolours,
1905-06
17
The Background of Herbert Tyson Smith
Herbert Tyson Smith (fig.2.5) was born in Liverpool and he lived between 1883 and 1972. He was
a very influential sculptor and medalist, one of the best the city has ever produced. He was the son of
George Smith, a lithographic artist and engraver. Herbert was fortunate to belong in a family with
artistic background, and individuals who were passionate about art and creation, and parents who
would encourage every element of creativity of their children. George, Herbert’s ‘’father had been
responsible for making the illuminated address presented to the queen on the opening of the
exhibition of the Wavertree park in Picton Road’’.13 Tyson Smith was present at the exhibition with
his parents at the age of four, and it was the first time he had the opportunity to get involved with art
and creation, and in a late interview he seemed to remember art pieces from the show. His mother,
Mary Jane Tyson, who was passionate about Italian Renaissance art and music, was also a very
influential and encouraging person upon Herbert’s childhood and creativeness. Herbert’s sister,
Clarissa-Marie was also an artist (water-colourist, dress-maker and costumist), and she attended the
‘Art Sheds’ of the Liverpool University along with her brother and future husband, Edward Carter
Preston. This bonded the two families together to create a dynasty of artistic background in the
Liverpool world of art and sculpture. Tyson Smith’s artistic family tree came to an end after Herbert’s
generation, and none of his children is known to have become an artist.
Fig. 2.5
Portrait of Herbert Tyson Smith
18
In opposition to his fellow sculptor and future brother-in-law, Tyson Smith had great opportunities
to visit major exhibitions by renowned, innovative and pioneering artists alongside with his parents,
and the person who pushed him more was his father, George. During the end of the Nineteenth
Century, Liverpool was fortunate to host design exhibitions of International importance and from a
young age until his university years, Tyson Smith had visited most of the shows such as the ‘’Second
International Jubilee Exhibition in 1886’’.14 Many pioneering and influential architects, designers and
furniture manufacturers were involved in the shows including Arthur H. Mackmurdo15 who presented
revolutionary designs at the time such as the ‘Century Grid Stand’. In 1899, he spoke of the importance
of structural features in architecture as well as metal work, and wood furniture. Also, as Tyson Smith
was growing up he found early motivation on Mackmurdo’s work especially on ornamental art
(fig.2.6), as well as on the importance of detail on the sculptures driven by the lines of the Renaissance
Ethic in architecture and design.16
Herbert’s father was pushing him so hard into art and competitions when he was a young man that
sometimes it was against his will and a good example is that he arranged for his son to produce some
pieces of work for the City’s Engineers’ Drawing Office. The artist was negative about working at the
municipal offices, and he preferred to work alongside with the monumental sculptors at the Toxteth
Park Cemetery in Smithdown Road.15 Working with experienced stone carvers, Herbert had the
opportunity to get involved in letter cutting in stone and marble. In 1897 he enrolled at the Municipal
School of Art to further explore the skills he developed at the ‘stone yard’. Tyson Smith was an
energetic young man, passionate about creation that he could not stand the theoretical approach of
the course and after only two weeks he moved to the Liverpool School of Applied Arts. He joined his
sister and his future brother-in-law at the ‘Art Sheds’ of the Liverpool University where he had the
opportunity to study wood carving and modelling. The school was nicknamed ‘Art Sheds’ due to the
bad conditions of the facilities but the inspirational tutors there, and the unique programme were the
major reason for his choice.
Masters such as R. Bell and H. MacNair in design, R.L. Rathbone in metalwork and C.J. Allen in
sculpting were some of them. The programme at the Liverpool University of Applied Arts was
combining architecture and crafts as well as sculpture. This proved to be very influential upon
Herbert’s later career, when he became one of the most renowned medal workers and sculptors,
and also, a master on producing designs on architectural projects. Tyson Smith was working for a
mason at Duke Street at the same time, called Frank Norbury, where he would learn wood carving
and sculpting. One of his most influential tutors at the school was C.J. Allen who worked alongside to
Hamo Thornycroft who was a renowned New Realist, and he founded the ‘’Experimental Phase of
British Sculpture at the end of the Nineteenth Century’’.17 Augustus John18 seemed to be also
influential upon Tyson Smith’s work, mostly on painting and art, including consideration of light
effects and the atmosphere on his works, through the ‘’English Impressionists of the ‘New English
Art Club’ ideas and approaches to design. Further a fresh intake of Tutors were appointed in 1904 at
19
the School, including the architect Charles Reilly (fig. 2.7) who brought the programme of Art and
Architecture back to classical traditions after a period of ‘mixed revivalism’, together with other
teachers including John Sergent19 and Henry Tonks20 who were members of the ‘New English Art
Club’. These influences can be seen on both Tyson Smith’s and Carter Preston’s works later in their
careers, by rejecting any approaches to Art Deco or Medievalism. Additionally, the skill of C.J. Allen
(fig.2.8) on three dimensional design and sculpture, had a major effect on the development of the
young sculptor and also his skill and fame increased the number of sculptural commissions in the
wider city along with other important artists of the time such as George Frampton21, Bruce Joy22,
Alfred Gilbert23 and many more. Meanwhile, the classes at the ‘Art Sheds’ were attended by both
artists, Herbert and Edward, and that was the reason of their similar approaches to sculpture and
medal work upon their important commissions. They seemed to be competitive against each other
though, on personal level, but according to Pugh-Thomas, Carter Preston’s son-in-law, they used to
work really close together and they seemed to have a very friendly relationship.
Fig. 2.6
Arthur Mackmurdo,
Century Guild Chair,
1882
20
Fig. 2.7
Charles Reilly’s design
for the competition of
the Liverpool Anglican Cathedral
Fig. 2.8 Queen Victoria Monument, Derby
Square, Liverpool, by Charles John
Allen, 1906
21
2. Footnotes:
1 Bampton, Craftsman and Client: the official commissions of Edward Carter Preston, p.40
2 Michael P. Thomas, ‘A Family Perspective’, in Ann Compton (ed), Edward Carter Preston 1885-1965
Sculptor Painter Medallist, University of Liverpool, 1999, p.9 3 Willet, Art in a City, p.23
4 Willet, Art in a City, p.23
5 Thomas, ’A Family Perspective’ in Ann Compton’s (ed) Edward Carter Preston 1885-1965 Sculptor
Painter Medallist, p.9 6 Thomas, ’A Family Perspective’ in Ann Compton’s (ed) Edward Carter Preston 1885-1965 Sculptor
Painter Medallist, p.9 7 J. Sharples, ‘From Signwriter to Cathedral Sculptor’, in Ann Compton’s (ed) Edward Carter Preston
1885-1965 Sculptor Painter Medallist, Liverpool, University of Liverpool Press, 1999, p.19 8 George Thomas Capstick (1885-1964) was a sculptor, painter and decorator who studied at the ‘Art
Sheds’ of the Liverpool University and a member of the Sandon Studios. He was also brother-in-law to
Edward Carter Preston. 9 Bampton, Craftsman and Client: the official commissions of Edward Carter Preston, University of
Liverpool, 2007, p.19 10 Robert Anning Bell (14 Apr. 1863 - 1933) was an English artist and designer and Head of the
Decorative Arts Department at Liverpool School of Architecture and Applied Arts from September
1894 to 1899 11 Roger Eliot Fry (14 December 1866 – 9 September 1934) was an English artist and art critic, and a
member of the Bloomsbury Group. In the 1900s, Fry started to teach art history at the Slade School of
Fine Art, University College London and he organised several art exhibitions in Britain. 12 Sessions Register 1901-05, Arts, Media & Design Library archive Collection, Liverpool John Moores
University Library 13 Susan Joy Poole, A Critical Analysis of the Work of Herbert Tyson Smith, Sculptor and Designer, PhD
thesis, University of Liverpool, 1994, p.3 14 Poole, A Critical Analysis of the Work of Herbert Tyson Smith, Sculptor and Designer, p.3
22
15 Arthur Heygate Mackmurdo (1851 – 1942) was a progressive English architect and designer, who
influenced the Arts and Crafts Movement. He was also a furniture designer and he presented
revolutionary designs at the time such as the ‘Century Guild’. 16 Poole, A Critical Analysis of the Work of Herbert Tyson Smith, Sculptor and Designer, p.3
17 Nikolaus Pevsner, ‘Pioneer designer: Arthur H. Mackmurdo’, Architectural Review, LXXXIII, 1938,
p.141 18 Augustus Edwin John (1878 – 1961) was a Welsh painter, draughtsman, and etcher. For a short time
around 1910, he was an important exponent of Post-Impressionism in the United Kingdom, and tutor
at the Art Sheds of the Liverpool University. 19 John Singer Sargent (January 12, 1856 – April 14, 1925) was an American artist and painter,
considered the "leading portrait painter of his generation" for his evocations of Edwardian era luxury.
He also organised several art exhibitions in London and Liverpool after moving to Britain. 20 Henry Tonks, (1862 – 1937) was a British surgeon and later draughtsman and painter of figure
subjects, chiefly interiors, and a caricaturist. He became an influential art teacher also later in his
career. 21 Sir George James Frampton, (18 June 1860 – 21 May 1928) was a notable British sculptor and
leading member of the New Sculpture movement. 22 Albert Bruce-Joy (21 August 1842 – 22 July 1924) was an Irish sculptor working in England, mostly
in Liverpool. He was the brother of the painter George W. Joy 23 Sir Alfred Gilbert (1854 – 1934) was an English sculptor and goldsmith who enthusiastically
experimented with metallurgical innovations. He was an important participant in the New Sculpture
movement that invigorated sculpture in Britain at the end of the nineteenth century.
24
3. The Individuals and their careers
Edward Carter Preston: Painter, Sculptor, medalist
Edward Carter Preston was producing watercolour paintings during his early career, while making
a low income despite his magnificent paintings. He also produced several pencil drawings (fig.3.1) and
he became a well-recognised painter in the city at a young age. He exhibited his work alongside with
J. Herbert MacNair and other famous artists of the period, as well as with his brother-in-law Tyson
Smith on several occasions. One of his early successful exhibitions was the Manchester Exhibition
alongside with the ‘Society of Modern Artists’ group, which was described ‘’as a small association
whose aim apparently is to encourage modern movements in art’’.1 One of the comments for this
exhibition by a critic upon his fresco paintings was that he exhibited ‘’some of the best things in the
show’’.2 Carter Preston, had never forgotten his passion for sculptures and medals, and in 1910 when
George V came to the throne, he received his first official commissions before the First World War.
The war years between 1914 and 1918 were to close doors in the arts of the time but they were
to open new ones, including the need for memorial sculptures and medals (artistic approaches that
had low recognition before the War). Edward was working at the Lord Robert’s memorial workshops
at the time, and he was also teaching arts and crafts to rehabilitated troopers, and producing wood
figures, which they used to assemble together and paint (fig. 3.2 - fig 3.5). In 1915, he set up an
exhibition in London, where he exhibited his own versions of colourful statuettes. A ‘Westminster
Gazette’ article commented upon Edward’s figures of the exhibition saying that ’’The phase suggests
something tolerably familiar whereas not the least merit of Mr Preston’s work is his ingenious
novelty’’3, while the ‘Sunday Times’ described him as ‘’a new caricaturist-the genius of genius’’4.
25
Fig. 3.2
Wood figure,
Sultan Mohammed V
of Turkey (1914-18)
Fig. 3.3
Wood figure,
Crown Prince Wilhelm
of Germany (1914-18)
26
Fig. 3.4
Wood figure,
Winston Churchill (1914-18)
Fig. 3.5
Wood figure
Emperor Franz Joseph (1914-18)
27
Further, the period around World War One (1914-1918) was the starting point of Edward’s new
career as a medalist (fig. 3.6, fig. 3.7) and memorial artist. His most important years in medal design
were in association with the Royal Mint which was the main source of his official commissions,
including some unofficial works also, such as the ‘Gold Medal of the Royal Society of Medicine in 1920’
the ‘Edward Jones Prize medal’ of the Institute of Bankers 1920, and the ‘Severe Halianne Medal of
the British Academy’ the same year. He also produced important medals around World War Two
(1939-1945) such as the ‘George VI medal’ (fig. 3.8) in 1940 and also, medals related to the Korean
War (1950-1953) such as the ‘Korea Medal’ in 1951 (fig. 3.9). Additionally, some of these designs
showed classical influences including animal and bird figures. The artist’s new career began but he
was always interested in paintings as described in an unattributed review with the title ‘’An
Appreciation’’ which describes Herbert as:
‘’a man of prodigious industry and as a mere interlude of his work at the Lord
Robert’s memorial workshops and his designing and executing of National medals,
he has found time to design some of the most striking of modern posters’’.5
Meanwhile a 1916 article called ‘’The Dixons Paper Circullatiar’’ tells that the British Museum and
the Numismatic Society offered £100 for the best medal design associated with the ‘Jutland Battle’.6
Mr. Harold Stabler7 from Liverpool, won the competition with Carter Preston’s and Tyson Smith’s
design being a major contender for the prize. Memorials at the time of the War and afterwards were
receiving critical consideration due to the importance given by the Royal Mint and the various
societies. Carter Preston produced many quality and unique art pieces in the city including the
Liverpool Cathedral Memorial plaques as well as the ‘Elder Dempster Memorial’ in green bronze, ‘J.J.
Bibby and Sons Memorial’ and ‘The Liverpool Provision Trade Memorial’. Further, Edwards’s first
National success was the winning of the ‘Next-of-Kin-Plaque’ competition, awarded to the relatives of
those who died during World War One. A newspaper cutting written by a critic, with the title ‘Fame
via Liverpool, An Artist in Medal Designing’ described an exhibition held by Carter Preston at the Liver
Buildings, and explains how the man ‘’was a good artist before, but the war inspired by him to whistle
away at medaling’’8. Also, the critic talks about the paintings and drawings shown, and that his biggest
impression was the watercolours. The artist also undertook glass designs during that period such as
the ‘St. Helens for the Pilkingtons’ and the glass of the clock at current Natwest Bank building, London
Road, Liverpool. In 1930 he commissioned his first of his Liverpool Cathedral sculptures, and it was to
become the most important of his commissions until 1960. Over these long years he produced the
font, and eight tablets associated with the Cathedral and its construction. Also, he carved over sixty
sculptures around the Church including interior works such as the ‘Welsford and Rankin Porches’. It
is known that Carter Preston began with the ‘South Choir Aisle’ and the ‘Bishop Ryle’ in 1930, and he
finished with the ‘Dean Dwelly Memorial’ in 1960.
28
Fig. 3.6
Distinguished Flying Cross, 1918
Fig. 3.7
The Next-of-Kin Memorial Medal,
in bronze, 1918
29
Fig. 3.8
King George VI campaign medal,
E. Carter Preston, 1940
Fig. 3.9
Korea campaign medal,
E. Carter Preston, 1951
30
Carter Preston, had produced some very unique sculptures for individuals and the Council also
during this period, such as the ‘Nelson Figuehead on the HMS Conway in 1938’ (fig. 3.10), which is
probably the last wood carved figure of its kind in the U.K, (Appendix B) showing Lord Horatio Nelson
in his navy suit. The unique sculpture was analysed in great detail by Dr. Emma Roberts in her
presentation with the title ‘One of the Last Great Ship Figureheads: Edward Carter Preston’s
Figurehead of Nelson on HMS Conway’9, published in May 2013. The ‘Cadet’ magazine of April 1938
also commented upon the unique figure and the famous message carved beyond it, which was
‘England Expects That Every Man Will Do His Duty’. He continued working with watercolours,
memorial sculptures and medals during the Second World War too, and finally, as his daughter Julia
stated, Edward was so passionate about art that he was working on art pieces until the very last day
of his life. Edward Carter Preston gained a significant reputation as a sculptor in Liverpool, while his
medals are much more appreciated nationally, than any other type of his work.
Fig. 3.10
Wooden figurehead of Lord Horatio Nelson
on HMS Conway, 1938
31
Julia Carter Preston: Ceramicist and Potter
Julia Carter Preston (fig. 3.11) was born in 1926 and died at the age of eighty-five (2012), in
Liverpool. She was the daughter of the famous sculptor Edward Carter Preston, one of the most
influential artists of his time. Julia, had followed her family tradition by taking up an artistic career as
a potter and ceramicist and an important member of the ‘Arts and Crafts Movement’. ‘’With art
embedded in her DNA on both sides of the family, it was inevitable that Julia would follow a creative
career’’.10 She was the youngest of four daughters, and she educated at ‘the Blackbourne House
School for Girls’ in Liverpool, and in the early 1950’s she joined the ‘Liverpool Collage of Art’ where
she specialised in ceramics and pottery. Most of her creations, were carved with her unique scratching
or sgraffito11 technique, a demanding method which includes scratching of layers of clay and also a
lot of skill and patience. Julia in several occasions claimed that she never did draft drawings before
starting a new art piece and sometimes she had no plan for the final result.
‘’As a potter to royalty she was admired for her exquisite handiwork, often in a style
called sgraffito, which had been developed in ancient Egypt – the art of scratching
stencil-like designs into two layers of differently coloured clay’’.12
Fig. 3.11
Julia Carter Preston
in her studio in the
Bluecoat Chambers,
Early 1960’s
32
Antique furniture, Chinese ceramics, paintings, pottery, Persian ceramics and also complex
decorative ware, were early influences from the family’s house, influences that she kept during her
entire career. She began using lustre in the mid 1980’s giving her work a touch of colour effects.
Animals, birds and plants were designed on the majority of her designs both literally and iconicall.
Her most important works include decorative ware, dinner services (sometimes collections of 100
pieces), bowls, jugs, teapots and plates.13
Also, she made several series of commemorative plaques for marriages, christenings and births and
also worked on commissions for churches, including stoups and files for Holy Water. Julia ‘Althea’
Carter Preston, as she used to sign her designs, produced many works for churches and ecclesiastical
pottery was a major part of her career. During her studies at the College of Art, the local architect
Bernard Miller approached the school and asked the course tutor Stan English to suggest a potter, to
produce some pieces for a church he was designing at the time. The tutor suggested Julia as the most
talented and hardworking student in the course and her career on ecclesiastical pottery was about to
begin. In the early 1960’s her uncle Herbert Tyson Smith asked her to produce some slabbed tiles
designed with Christian symbols on a concrete font he carved at St. Mary’s Church in Tarleton,
Lancashire. Julia produced art pieces for many local churches including the Liverpool Parish Church,
Our Lady and St. Nicholas (fig. 3.12, fig .3.13), and Liverpool’s Anglican Cathedral, as well as several
other churches near Liverpool. Many items were produced for St. Columba’s church in Anfield, and
for an ‘Art Deco’ style church by Bernard Miller, including a stained glass window. In 1997 she designed
the wrought iron gates of St. Helen’s church in Sefton (Fig. 3.14), Liverpool, which include two ceramic
plaques, accompanied with decorative Lancashire roses.14
Julia’s career developed at the Bluecoat Chambers in Liverpool, the studios that provided her with
deep artistic connections within the city. Her unique sgraffito technique (fig. 3.15 - fig. 3.18) was
described historical by some critics but her application to become a member of the Crafts Council was
refused, in 1970’s, due to the underestimation of her work and skill,15 and also because the members
of the Council were not familiar with her earthenware technique (stoneware was the traditional
technique of the period). Julia Carter Preston was never interested in promotion, and like her father,
she never received a National recognition, but her exhibitions in the City were sold in minutes (but her
prices were reasonable throughout her career). Julia, as well as her father, her husband Michael and
her uncle Tyson Smith, were involved in the unique Bluecoat Society Institute, which included social
and artistic activities and provided studios for artists. Later:
‘’As a teacher, she became head of ceramics at Liverpool College of Art, where she
once tutored John Lennon, but, from the mid-1970s, she was a full-time potter and
ceramicist.’’16
33
Finally, in 2005 she became fellow to John Moores University, and her work can be seen at the
Liverpool University Gallery, York Art Gallery, ‘the Walker Art Gallery’, at ‘the Smithsonian Institute in
Washington’, and at the ‘Hope University’ Gallery in Liverpool where a trust preserves her collection
and supports student bursaries.
‘’The Liverpool Bluecoat Society of Arts had been started by her dad in 1927 with
Lord Leverhulme, the soap magnate and art collector, and Herbert Tyson Smith’’17
Fig. 3.12
Wall plaque, made
to commemorate
the opening of the
Parish Centre by
Princess Alexandra,
1993
34
Fig.3.13
Baptismal bowl and ewer,
made for Parish Church, Our Lady
and St. Nicholas, 1987-90
Fig. 3.14
Outer Gate, South Porch,
St. Helen’s Church, Sefton
Liverpool
35
Fig. 3.15
Group of wares, 1995-98
earthenware, sgraffito-
decorated, with lustre
Fig. 3.16
Group of wares, 1960s
earthenware, sgraffito-
decorated, casserole with
black-iron glaze
36
Fig. 3.17
Bowl, Earthenware, with
sgraffito in black, 1980
Fig. 3.18
Masonic punch and jugs,
Mariners Lodge 249,
Buff earthenware, with
sgraffito in black and
gold, 1968
37
Herbert Tyson Smith: Sculptor and medalist
Herbert Tyson Smith created a great reputation on producing architectural sculpture and memorial
medals during his career, in opposition to Carter Preston who was more expressive and worked with
different media and techniques. Tyson Smith’s career began very early in his life, when he was a
student at the ‘Art Sheds’. His talent gave him the opportunity to assist sculptors such as C.J. Allen and
J.H. MacNair and he also prepared stones for relief posters and portrait busts during his university
years. Further, he worked on the memorial ‘Nightingale’ in Princes Avenue, and he awarded the
commission of the foundation stone at the Liverpool Anglican Cathedral, after winning the
competition, at the age of twenty-one.18 This commission at a very early stage in his career, was the
milestone of gaining great respect from his masters and also by the Liverpool public. It was a time for
experimentation for the young sculptor by producing busts of his family and friends at the School of
Applied Arts of the Liverpool University and the ‘Sandon Studios’ later on, with his first recorded
sculpture ‘’The Son’’ to be dated 1906.
In 1907, he exhibited his portrait busts at the ‘Liverpool Autumn Exhibition’ and the national
periodical called ‘The Studio’19, commented on Tyson Smith’s work: ‘’there were several good portrait
busts executed by Tyson Smith’’. The young student was winning school awards as well, and by the
time he finished his course he was already a renowned sculptor in the City, which was unusual for an
artist of his age. In December 1905 the ‘Sandon Studios Society’ was established and Herbert had one
more group of inspirational artists to work with, and a community of famous painters and sculptors
of the time. Some of his first carvings at the Sandon Studios were busts of his friends William Burden
in 1910 and George Capstick in 1911.20 Moreover, in 1911 when his only son Geoffrey was born, he
carved a bronze figure of ‘Mary Ann’ and he worked on several other sculptures too. Using the same
technique he carved a bust of his son and his wife Mary Saunders, called ‘Mother and Child’ and later
the bust of King George V (fig. 3.19). Tyson Smith was using stone and bronze for most of his early art
pieces, and Neo-Classicism was his favourite style.
Fig. 3.19
Herbert Tyson Smith at his studio working on the bust of King
George V, for the Birkenhead Library.
38
Blending Neo-Classical decoration with sculpture and architecture was the main field of
experimentation for the sculptor. Architectural decoration proved to be the subject of his most
important commissions during his career. Additionally, in 1914 the First World War began and things
were to change for Herbert, as he was called to serve in Woolwich and later in Enfield as a sergeant
armourer. His job later in the war, was to fit machine guns on aeroplanes at the Flying Corps in New-
Romney. Some four years later, his friendship with Professor Charles Reilly led to several
commissions such as the ‘Post Office Memorial’ as well as architectural commissions which derived
from his colleagues’ respect of his ability and knowledge upon architectural detailing and also on
methods of preventing weathering of building materials. Meanwhile, his connections were to
increase during the war and the skills he developed during that period, gave him the first official
memorial commissions at the end of the War including the Cenotaph Panels at St. George’s Hall
(fig.3.20). A mason who worked with Tyson Smith in several occasions called Mr Lesley Rumsey,
remembers him as:
‘’A tolerant and humble man, who forced the masons into preparing the highest
quality on stone’’ and also claims that he was so passionate on his commissions that,
his ‘’soul was always in his work’’.21
He also remembers his skill of communicating with architects, even the most autocratoric including
Herbert Rowse, with whom they worked together on Tyson Smith’s most notable work ‘the Martins
Bank’ project. Furthermore, Danae, Herbert’s daughter, ‘’at an interview said that her father was so
busy, and passionate about his work that his children saw very little of him’’.22
The art and architecture in Europe were rapidly changing, and a number of architects and artists
were looking to move and they had chosen Liverpool as their base in England. Architectural detailing
and sculpture were becoming popular and Herbert was one of the main contenders for commissions
in the city. The ‘President’s Badge for the Liverpool Architectural Society’ in 1923 was one of the first.
The architect Clough Williams Ellis23 who was a friend of Tyson Smith, commissioned sculptures to the
artist for his ‘Portmeirion Village’ in North Wales too. Architects like Bernard Miller24 and Xavier
Velarde25 became members of the Sandon Studio Society by 1925, and they were patrons of Herbert’s
skill and talent. Both architects commissioned Tyson Smith to produce sculptures for their ‘Church of
England’ and ‘Church of Rome’ projects respectively. Additionally, by 1930’s Smith was very busy with
projects such as the ‘Martins Bank Building’ under Herbert Rowse26, the ‘Fleetwood War Memorial’
(fig. 3.21),the ’Birkenhead Memorial ’(fig. 3.22), the Accrington War Memorial (fig. 3.23) and the
Widnes war memorial in Victoria Park, Cheshire (fig. 3.24).
The Martins Bank and Lloyds Bank decorative schemes gave him the reputation of a great
architectural sculptor and also his connections and fame for his skill in collaboration with architects
quickly made him one of the most renowned in the city. The sculptor was mostly using linear Art Deco
39
stylisation with touches of Neo-Classical elements on his sculptures. Further, he worked on the
Littlewoods project as well as he carved plaques, made garden furniture, sundials, tombstones,
repaired mechanisms of clocks and also worked on the reconstruction of the fabric at the Bluecoat
Building. Projects under B. Miller, X. Velarde and others were the most of his 1930’s works, including
the St. Matthew’s Byzantine theme, the decoration of the Spinney House and the ‘Our Lady of Pity
Church’’ project in Greasby. Later in his career, during the 1940’s and 1950’s he worked under city
architects Ronald Bradbury27 and Sir. Lancelot Keay28 who were the last architects to create any
sculptural decorations of importance on their buildings. Finally, by the early 1960’s architectural
sculpture and decoration on buildings was out of favour, and during his late years, Tyson Smith
remembers that no sculptor in the city produced anything similar to his designs after that period, and
the previously famous architectural detailing was finally gone.
Fig. 3.20
Liverpool
Cenotaph, St.
George’s Hall,
Liverpool, 1930
41
Fig.3.22
The Birkenhead War Memorial,
Wirral, 1923
Fig. 3.23
Accrington War Memorial,
Lancashire, 1921
43
3. Footnotes
1 Poole, A Critical Analysis of the Work of Herbert Tyson Smith, Sculptor and Designer, p.7
2 Poole, A Critical Analysis of the Work of Herbert Tyson Smith, Sculptor and Designer, p.6
3 Review, September 1912, Press cuttings scrap book, Liverpool Record Office, LRO/ACC 1622 730
PRE6/1. 4 Review, September 1912, Press cuttings scrap book, Liverpool Record Office, LRO/ACC 1622 730
PRE6/1. 5 ‘An Appreciation’, Westminster Gazette, 23.6.1915, Liverpool Record Office, LRO ACC11622 730 PRE
6/1 6 ‘The Dixons Paper circullatiar’, Sunday Times, 20.6.1915, Liverpool Record Office, LRO ACC 1622 730
PRE 6/1 7 Harold Stabler (1872-1945) was an English ceramic and metalwork designer. studied metalwork at
the Keswick School of Industrial Art, where he later taught. In 1899 he left Keswick to study in the
metalwork department of the Liverpool School of Art under Richard Llewellyn Rathbone. 8 ‘An artist in Medal Designing’, Fame via Liverpool, Liverpool Record Office, LRO ACC 1622 730 PRE
6/1. 9 Phillip Attwood, Artistic Circles, The Medal in Britain 1880-1918, London, British Museum Press,
1992, p.62 10 Dr. Emma Roberts, ‘One of the Last Great Ship Figureheads: Edward Carter Preston’s Figurehead
of Nelson on HMS Conway’, Liverpool john Moores University, [online video], 2013 http://www.youtube.com/watch?v=UGIEf2gPajs, (accessed 6/1/2014) 11Sgraffito (Italian), in ceramics, is the technique of applying two successive layers of contrasting slip,
to an unfired ceramic body, and then scratching so as to produce an outline drawing. 12 William Leece, ‘Julia Carter Preston: part of Liverpool artistic dynasty’, Liverpool Echo, 4th February,
2012, Liverpool Echo website, accessed 19/12/2013 13 ‘Tribute paid to Liverpool artist Julia Carter Preston’, Liverpool Echo, 9 January 2012, Liverpool Echo
website, accessed 19/12/2013 14 E Myra Brown, Julia Carter Preston, Liverpool, Bluecoat Press, 1999, p.22
15 ‘Julia Carter Preston’, The Telegraph, 18 January 2012, The Telegraph website, accessed 19/12/2013
16 Julian Treuherz, ‘Julia Carter Preston obituary’, The Guardian, 22 January 2012, The Guardian
website, accessed 19/12/2013
44
17 William Leece, ‘Julia Carter Preston part of Liverpool artistic dynasty’, Liverpool Echo, 4th February,
2012, Liverpool Echo website accessed 19/12/2013 18 ‘Tribute paid to Liverpool artist Julia Carter Preston’, Liverpool Echo, 9 January 2012, Liverpool Echo
website, accessed 19/12/2013 19 Poole, A Critical Analysis of the Work of Herbert Tyson Smith, Sculptor and Designer, p.8
20 ‘Liverpool Autumn Exhibition’, The Studio, vol. 37, 1907, p.72
21 Poole, A Critical Analysis of the Work of Herbert Tyson Smith, Sculptor and Designer, p.35
22 Poole, A Critical Analysis of the Work of Herbert Tyson Smith, Sculptor and Designer, p.39
23 Sir Bertram Clough Williams-Ellis (1883 – 1978) was an English-born Welsh architect known chiefly
as creator of the Italianate village of Portmeirion in North Wales.
24 Bernard A. Miller was a Liverpool Architect who was based in the Bluecoat Chambers. He designed
several Churches such as the ‘Saint Aidan's Church of England’, in Speke, Liverpool. He was also a
member of the Sandon Studio Society.
25 Francis Xavier Velarde (1897 - 1960) was an English architect who practiced in Liverpool,
Merseyside, England. He was trained at the Liverpool School of Architecture from 1920, and from 1928
taught at the school.
26 Herbert James Rowse (1887 – 1963) was an English architect. Born in Liverpool and a student of
Charles Reilly at the Liverpool University School of Architecture. He is best known for his work in
Liverpool, including Martins Bank, India Buildings, the entrances to and ventilation towers of the
Mersey Tunnel (Queensway), and the Philharmonic Hall.
27 Ronald Bradbury (1908-1971) was an architect, born in Reading and educated at the University of
Manchester. He was Director of Housing in Glasgow from 1943 to 1948 following which he became
City Architect for Liverpool.
28 Sir. Lancelot Keay (1883-1974) was born in Eastbourne. He studied at Eastbourne College and
Brighton School of Art. Keay arrived in Liverpool after a period of working as Chief Assistant Architect
with Birmingham Corporation. He was appointed City Architect and Director of Housing for Liverpool
in 1925.
46
4. Case Studies Edward Carter Preston and the Liverpool Cathedral
In the early 1900’s the Liverpool Anglican Cathedral project was about to begin after discussions,
hundreds of letters between the members of the committee and many changes to the approach of
the design of the landmark building. Architectural competitions began with the decision of employing
the twenty-one year old architect Giles Gilbert Scott1, as he seemed to be the best professional for
the job. The high importance of the construction attracted 102 portfolios and the young architect was
competing the most renowned and experienced architects of his time including Charles Reilly. The
process is analysed in detail by P. Kennerley in his book ‘The Building of Liverpool Cathedral’.2 The
committee’s decision of Gilbert Scott’s employment was about to change because the architect was a
Catholic and he was not suitable for designing an Anglican Cathedral, as recorded in early letters
between members of the Cathedral board. The journals ‘The Builder of May 1903’, ‘The Truth’, ‘The
Tablet’,3 and many more criticized this approach as unprofessional and the early decision was finally
kept, with the architect suggesting that the sculptor Edward Carter Preston should be also employed
for the building’s sculptures and decoration. Preston’s position for the commission was not
guaranteed but a letter between Radcliffe and the architect shows how they were trying to employ
the best possible sculptor for the job.4
Further, the lawyer Frederick M. Radcliffe who was the chairman of the committee was responsible
for the process of the construction and they worked in great harmony despite their different
perspectives, for the best result upon the design and sculptural aspects of the Liverpool Cathedral.
There are several letters also which provide conversations between Radcliffe and Scott discussing the
best possible way of designing parts of the Cathedral to save money for future works5. Scott and
Radcliffe planned a trip to Spain together and this had a major influence upon the final design of the
Liverpool landmark.6 Early drawings by Scott show the Gothic approach on the design of the building
but the architect had to redesign the Cathedral with a Renaissance approach after the committee’s
concern that the architectural styles in Europe were changing and the Gothic style would not be
suitable for the time.7 The architect Gilbert Scott and the sculptor Carter Preston found early influence
upon Ruskin’s work and this proved to be a tool of communication between the two professionals at
the early stages of the construction of the Liverpool Cathedral.8
47
Edward was involved in the project in 1930, approximately 25 years after the construction work began,
and he was very fortunate to get involved in a massive sculptural project like the Cathedral, in a period,
when sculptors were not making a living, as a contemporary critic of the 1930’s highlights in his report:
‘’the mere fact that an artist today chooses to become a sculptor is evidence
certainly of great courage, possibly of incipient lunacy, but undoubtedly of immense
sincerity.’’9
Carter Preston was employed to produce a series of sculptures for the Cathedral for less than a
decade. The sculptor finally produced more than sixty masterpieces at the Liverpool landmark and he
worked there for thirty years between 1930 and 1960. The long sculptural program of the building
produced a great collaboration between the architect and the sculptor, and the 1930’s appeared to
be the busiest period for Carter Preston who carved decoration for the west entrance (fig.4.1) and the
exterior, the window mullions, sixteen sculptures for the interior porches of the impressive central
space (fig. 4.2), the tympanum of the Baptistery, the High Altar (fig. 4.3), the fibre-glass moulding of
the Holy Family (fig. 4.4), the Bishops Throne Transept, (fig.4.5) thirteen figures for the Welsford
Porch, ten sculptures for the Ruskin Porch, the font and pulpit, and also many sculptures on the left
and right of the Central space (fig.4.6 – fig, 4.9). Small models were requested for every proposed
figure of the building as highlighted in several letters sent to the sculptor by Radcliffe and Scott.10
The Art-Deco style was a major influence upon Edward’s sculptures of the Cathedral after visiting
France and the Paris Art Exhibition ‘’L’Exposition Internationale des Arts Decoratifs et Industeries
Modernes’’ in 1925,11 while Radcliffe’s concern about the modern approach to the sculptures was
highlighted in several letters between himself and the architect (Appendix C). In addition to Carter
Preston’s busy programme, additional series of ten sculptures were added to the schedule related to
the Parables which were chosen carefully by Radcliffe, for the Rankin Porch, from Apostles’ writings
in the Bible. Moreover, the Welsford Porch was designed with the figures of four Evangelists and four
Prophets and also St. Paul and King David, being the most impressive. Edward requested three years’
time to finish the first three parts of the program, including the North and South Porches. Radcliffe
and Scott were passionately involved in every part of the construction and they considered very
carefully the subject of the sculptures, their appearance (Appendix D) and the positioning also (and
the order which the figures would appear). For example the order of the sculptures for the Rankin
Porch which were chosen from the Bible were placed in the correct order written in the Holy Book
including the figures of:
‘’The Merchant, the Builder, the Labourer, the Sower Scattering Seed and the
Shepherd with the Fisherman. Also, the Good Neighbour, the Steward and the
Servant, were to follow with referencing from Radcliffe according to the writings of
Luke and Mathew.’’12
48
Further, the sculptures entitled Liberal Arts and Sciences were carved at the Rankin interior Porch, including Architecture, Music, Philosophy (fig. 4.10), Poetry, History, Medicine, Mathematics and Painting. Above the doorway Astronomy (fig. 4.11), Theology and Natural Sciences were added with symbolic representation. The sculpture of Christ with the Angel of the Eternal Gospel and the Angel of Promise on his left and right, stand out at the central doorway of the Rankin Porch. The King’s doorway includes figures of King George V and Queen Mary, while the Baptistery doorway includes figures of King George VI and Queen Elizabeth. Additionally, the exterior of the Welsford porch includes the figures of the four Major Prophets Isaiah (fig. 4.12), Jeremiah (4.13), Ezekiel and Daniel along with the figure of King David, the sculpture of the Risen Christ and also two Angels and five Saints including, St. Luke (Fig. 4.14), St. Paul (Fig. 4.15), St. Matthew, St. Mark and St. John. On the other hand the interior of the Welsford Porch was given to the Virtues and Vices including Bounty, Temperature, Humility, Justice, Fortitude, Prudence, Concord and Chastity, and also above the doorways, Hope, Charity and Faith were carved. All the figures are considered as masterpieces not only because of their beauty and incredible technique, but also because of the symbolic representation of the sculptures, curved out of cold stone, and they look so alive and warm to the viewer’s eye.
‘’Carter Preston was unusual as an artist, in the depth of research and
development he undertook in analysing such things as symbolism and
iconography for projects’’.13
Meanwhile, other figures that Carter Preston carved at the Liverpool landmark were John the
Baptist, the Pulpit and Moses, Paulinus at the North West exterior and the Thuriel at the interior, the
Nave Arch including the Angels and Censers, the Apostles at the Font, and a symbolic representation
of Christ calling the boys Raphael and Tobias along with the figure of Barnabas at the Baptistery
Transept Exterior. Furthermore, personal memorials were also carved by Herbert’s skilful hand such
as the memorial to Mrs. Francis Neilson in the Lady Chapel, memorial to Dean Dwelly and Bishop Ryle
at the South Choir Aisle, Sir. Robert Jone’s and Admiral Sir. Max Horton’s memorial at the Derby
Transept. Finally, the Andre John Melly memorial at the North Choir Aisle, along with Percy Noble
were beautifully designed. More than sixty masterpieces were produced at the Liverpool Cathedral by
one of the most inspirational sculptors Liverpool has ever produced. Carter Preston was carving
models of the proposed sculptures out of plaster in his studio and then he carved directly on stone in
place, based on his sketches. For bigger figures the sculptor was producing clay models in his studio,
which were shown to Radcliffe and Scott for final approval, before being carved in site by hand.
50
Fig. 4.3
The High Altar
bronze and stone
Fig. 4.4
Fibre Glass moulding
Of Holy Family,
Eastern Transept
52
Fig. 4.6 plaster model, Central space Fig. 4.7 Plaster model, Central space
Fig. 4.8 Plaster model, central space Fig. 4.9 Plaster mode, central space
53
(Left) Fig. 4.10
Philosophy, South
Porch, Liverpool
Cathedral, 1934-5
(Right) Fig. 4.11
Astronomy, South
Porch, Liverpool
Cathedral, 1934-5
54
(Left) Fig. 4.12,
Isaiah, South Porch,
Liverpool Cathedral,
1935-6
(Right) Fig. 3.13
Jeremiah, South Porch,
Liverpool Cathedral,
1935-6
55
(Left) Fig. 4.14
St. Luke, South
Porch, Liverpool
Cathedral, 1935-6
(Right) Fig. 4.15
St. Paul, South Porch,
Liverpool Cathedral,
1935-6
56
Herbert Tyson Smith and the Martins Bank Building
Herbert Tyson Smith had learned how to collaborate with architects during his course at the ‘Art
Sheds’ and this resulted to a great collaboration with the architect of the Martins Bank building
(fig.4.16) in Water Street Liverpool, Herbert Rowse. The Martins Bank building was a great example of
the Beaux Arts architecture with a massive steel frame which required surface decoration, with stone
carving to be the favoured at the time. Also, impressive detail and symbolism are highly involved in
the design with figures representing different cultures and generations, carved in Neo-Classical
imagery which had been internationally important and understood. Further, the design of the nine
story building was a result of a competition with strict requirements for the facilities, style and design
of the Bank. The decoration was Tyson Smith’s responsibility and materials such as Portland stone,
marble, plaster and bronze were used by the sculptor.14 The facade of the building includes Neo-
Classical mouldings at the central doorway and windows, and also, the opportunity of big windows,
made available because of the modernist steel structure, was not wasted by the architect especially
at the office spaces.
Fig. 4.16
Martins Bank Building
57
Moreover, a classical decoration scheme was drawn by Tyson Smith to harmonise the modern
structure and blend the exterior with the interior dress. Six steps are separating the two doorways of
the main entrance of the bank with a coffered arched ceiling decorating the archway and the head of
Midas was carved above the doorway (fig.4.17). The two majestic double doors are made of bronze
and they are separated by Corinthian columns including carved papyrus leaves and fourteen
rectangular panels on each door (fig.4.18). A Viking Maiden, along with two male Vikings accompany
the door designs. Also, a Liver Bird, which was the emblem of the Liverpool Headquarters, is carved
beneath each figure, and at the top three sailing ships, symbolic of the Liverpool port, and four sea
horses support the crest of the Bank. At the top of the doorway, an oval and dart motif is carved, with
a large oriel, steel framed window, which is designed with traditional steel of the time.15 Classical
decoration was carved around the windows of the ground floor and the top floors as well (fig.4.19).
Also the motifs of the exterior and interior of the building are symbolic of the wealth of Liverpool
which came from the ocean with maritime themes like crabs, lobsters and seashells to be included.
Another symbol to be used constantly in the design was the emblem of the Bank, a kneeling
grasshopper,16 which was the family emblem of Sir. Thomas Gresham17 who was the founder of the
Bank.
Further, additional series of decorations in the building are the heads of King Midas where Tyson
Smith uses his satirical humour. Symbolically, coins are falling to the ground behind Midas’s head,
moving away from him. These figures are repeatedly used in several occasions around the walls with
the addition of mermaids and mermen enriching the sculptures. Also Symbolic representation of coins
blended with mythological, historical and realistic sculptures are blended together, along with the
symbol of the Bank, paper notes, mermaids in muscular representation and also figures that represent
the sea and the port of the City of Liverpool. Additionally, above the secondary doors a cherub sitting
cross legged and holding a shell filled with bank notes is represented, including two mermen on his
sides and motifs of Triton below him. Old men that give the impression of robotic, with deep carving
and Assyrian bears decorating the sides of the first door. Also two children are positioned below him,
holding pots filled with gold and an anchor, symbolizing the growth of wealth through slavery. The
second door is decorated with slender females carrying pots of coins dressed in Assyrian clothes and
also carrying large keys towards the Bank vault. Figures of a mermaid and a merman are curved above
the windows of the fourth floor including the Liver Bird standing above the waves and the grasshopper
(fig. 4.20), while the top of the frame of the building represents series of dolphins and spike finned
fish.
58
Fig. 4.17
Midas figurehead above
main doorway
Fig. 4.18
Bronze double doors, main
entrance of Martins Bank
59
Fig. 4.19
Exterior window
decoration
Fig. 4.20
Liverbird, Mermaid and
Merman, stone carving
4th floor exterior
60
Tyson Smith designed many of the ceilings and cornices (fig.4.21, fig.4.22), including the impressive
ceiling of the entrance (fig.4.23) a war memorial to associates of the Bank who died and the bronze
grilles, which act as physical and visual barriers to the central banking wall. The workload was so
intense that Tyson Smith is known to have hired forty stone carvers (including George T. Capstick), to
help him with the sculptures. Also a bronze decorative rail of sea waves runs around the lift area and
the top frieze. Figures of legend and sea myth were designed in the board room, which are decorating
the beams, including mermaids, mermen and Tritons coloured in red, green and gold. Aquatic motifs
continue in the central banking hall including Viking ships, sea serpents and dolphins as a reminder of
the sea-related wealth of the city. The integration of the structure and the symbolic deep meanings
of the decoration (fig. 4.24) were the major facts of the success of the building. Influenced by the
Greek or ancient Christian buildings were everything was related to a higher order or deeper meaning,
Tyson Smith gave to the building this extra element of beauty and mystery. C.J. Allen also commented
upon the impressive decoration of the Bank:
‘’The impression of unity in design… the architectural quality of the sculpture is
something very rare in this country, and although traditional forms have been used,
a new life has been given to them…these time honoured forms are not dead in the
hands of an inventive designer’’.18
The architect of the Bank Herbert Rowse with an early letter to the owners of the Bank wrote that
it is important that all decoration work has carried out by one sculptor including stonework, plaster,
ornamental metalwork etc. in order to maintain continuity and unity. Finally, Charles Reilly had used
contemporary terminology to describe the building as:
‘’a machine for its combined purposes…a great bank, probably the best building of
its kind in the country…these buildings based entirely on tradition but stretched out
to modern size’’19
Later, during the 1970’s, modernism became the new style, and the Martins Bank building was criticized as out-fashioned, but for many historians and critics this building remains a masterpiece and probably the best example of Beaux Arts architecture of the period in Britain.
61
Fig. 4.21
Interior central space of Martins Bank Building, cornices
and ceiling decoration by Herbert Tyson Smith.
64
4. Footnotes 1 Sir Giles Gilbert Scott, (1880 – 1960) was an English architect known for his work on such structures
as Liverpool Cathedral, Waterloo Bridge and Battersea Power Station and designing the iconic red
telephone box. 2 Poole, A Critical Analysis of the Work of Herbert Tyson Smith, Sculptor and Designer, p.47
3 P. Kennerley, The Building of Liverpool Cathedral, Preston, Carnegie Publishing, 1991, p.22
4 Kennerley, The Building of Liverpool Cathedral, p.297
5 Radcliffe-Gilbert Scott, letter, Liverpool Cathedral Committee Papers, 2.3.1931, Liverpool Record
Office, ACC 2343 6 Scott-Radcliffe, letter, dated 27.1.1931, GGSA RIBA Library, SCGG/201-233
7 Vere Cotton, O.B.E. Liverpool Cathedral official Handbook, Liverpool, Daily Post Printers 1926, p.27
8 Quentin Hughes, Seaport, Architecture & Townscape in Liverpool, Liverpool, Bluecoat Press, 1964,
p.113 9 H Read, The Art of Sculpture, London, Faber & Faber Ltd, MXMLV1, p.18
10 E.G. Underwood, A Short History of English Sculpture, London, Faber & Faber Ltd, 1933, p.9
11 Giles Gilbert Scott, Archive RIBA Library letter, dated 17.11.1930
12 Bampton, Craftsman and Client: the official commissions of Edward Carter Preston, pp.131-132
13 Bampton, Craftsman and Client: the official commissions of Edward Carter Preston, p.148
14 Poole, A Critical Analysis of the Work of Herbert Tyson Smith, Sculptor and Designer, p.154
15 Poole, A Critical Analysis of the Work of Herbert Tyson Smith, Sculptor and Designer, p.157
16 The Golden Grasshopper was the emblem of the Gresham family and later the emblem of Martins
Bank Ltd. Later the Liverpool headquarters of the bank in Water Street adopted the Liverbird as their
emblem. ‘The grasshopper story’, Martins Bank Archive, Martins Bank Archive website, accessed
20/1/2014 17 Sir. Thomas Gresham was a London based diplomat and banker, who founded Matins Bank Ltd back
in 1563. He was also the financial agent of Elizabeth I and he was one of the major part of the
development of English Banking. ‘Four Centuries of Banking’, Martins Bank Archive, Martins Bank
Archive website, accessed 20/1/2014 18 C.J. Allen, The decoration of Martins Bank, Architects Journal, 2/11/1932. P.551
19 Charles Reilly, The Martins Bank Building, Architects Journal, 1933, p.55
65
Fig. 5.1
W. D. Caroe, Adelphi Bank, Castle St.
Liverpool, 1891
Fig. 5.2
James Doyle, Royal Insurance Building,
North St. Liverpool, 1896, decoration by
C. J. Allen
66
5. The Relationship of Architecture and Sculpture in Liverpool 1880-1950
The 70 years of Architectural Sculpture in the City
Seventy years were enough for the architects and artists of the period between 1880 and 1950 to
create an incredible collection of nationally and locally important buildings in the city of Liverpool
which include some of the most majestic architectural decoration being created for centuries. The
Eighteen-Eighties was the period that the population of the City reached half a million and it was
rapidly increasing. The expansion of the railway was growing along with the plans for rebuilding the
central business streets in the City. Renaissance and the English Baroque styles were dominant in the
new large office and commercial buildings along with incredible craftsmanship in some of them. Castle
Street was one of the first to experience major transformation with architectural practices such as the
Grayson & Ould and W.D. Caroe being very busy at the time. Caroe had designed the Adelphi Bank
(fig. 5.1) in 1891 and also many other important buildings were constructed around that period such
as the General Post Office by Henry Tanner in 1894, the City Education Offices by Deacon in 1897 in
Sir Thomas Street and also the Parr’s Bank building by Norman Shaw in 1898. The White Star Lane
building was the first example of the new massive office buildings designed by Shaw in James Street
in 1895.
Additionally the new generation of architectural design continued to expand with buildings such as
the Royal Insurance (fig. 5.2) in North Street by James Doyle in 1896. This example of Baroque style
design includes craftsmanship by C.J. Allen on the front façade as Joseph Sharples highlights in his
book ‘Liverpool’:
‘’This extremely impressive Baroque pile has a landmark tower capped by a gilded
dome, and the façade incorporates a frieze by C.J. Allen. Behind the richly decorated
masonry is a virtually self-efficient steel frame - perhaps the earliest designed for a
British building…’’1
Also, other examples of Baroque style architecture were the Everton Library, 1896, and the Hornby
Library, 1906, both by Thomas Shelmerdine. Great Gothic Revival Churches were also built in the late
Nineteenth Century such as the St. Agnes by Pearson and the Church of St. Clare by L. Strokes with
carved Arts and Crafts furniture by C.J. Allen. St. Claire’s Church also includes a nice set of decorations
by G. Frampton and R. Anning but:
‘’for arts-and-crafts furnishing, the nearby Uterian Church of 1896-9 is richer. Linked
with its church hall by library and cloister, the whole picturesque group is the work
of Thomas Worthington & Son of Manchester. It has woodcarving by Allen, metal
work by Gerald Moira in the vestry and library.’’2
67
Fig. 5.3 The King’s Liverpool Regiment memorial, St. John’s gardens, by Sir W. G. John, 1905
Fig. 5.4
India Buildings, Water St.
Liverpool by Herbert J. Rowse
1924-1932
68
C.J. Allen, Rathbone and B. Bare who were members of the ‘Sandon Studios’ designed parts of the
decorations for the remarkable Philharmonic Hotel, Hope st, by Walter Thomas in 1900.
The wealthy public monuments and architectural sculpture commissioned during the period
between 1880 and 1915, were some of the richer in the history of the City. Statues such as the ‘Charles
Turner and Son’ by Hamo Thornycroft in 1885, the panels of the St George’s Hall of 1882-1901 by
Allen, Dressler, T.S. Lee and Tyson Smith were some of them. Moreover F.W. Pomeroy had produced
many sculptures also between 1896 and 1901, for the ‘Central Technical School’ project. St. John’s
gardens is also a good example of the Arts and Crafts of the time with the statues by Frampton and
Pomeroy, the T. Block’s Gladstone Memorial and the W.G. John’s King’s Liverpool Regiment Memorial
(Fig. 5.3). Allen’s bronze statue of the Queen Victoria Monument in Derby Square 1906, under F.M.
Simpson was also part of the great and rich group of figures designed during the period. The city of
Liverpool was experiencing major transformations with the slum houses to be demolished and
experimentation on housing design was also a part of the process, for example, the blocks in Vauxhall
Road and Eldon Street by J.A. Brodie to be some of them.
Additionally, Walter W. Thomas, who was one of the most individual architects of the early
Twentieth Century, designed the Lord Street Arcade in 1901, the State Insurance in 1903 and the
Tower Buildings in 1906. Structures on the waterfront were also to be designed such as the Royal Liver
Building with remarkable craftsmanship in 1908 by Thomas. Also its neighbours the Mersey Docks
Headquarters, the Harbour Board and the Cunard Building were constructed around the same period.
‘’At the Pier Head is Frampton’s iconographically unusual Alfred Jones Memorial,
along with monuments to Edward VII and the Heroes of the Marine Engine Room by
John, the latter unveiled in 1916 and the notable for its dignified representation of
manual workers.’’3
Further the Cotton Exchange Building in Old Hall Street, designed by Matear & Simon in 1905 was one
more example of the blend of architecture and sculptural decoration of the early Twentieth Century.
Meanwhile, the architecture of the City of Liverpool was moving towards Neo-Classicism during the
1910’s with some early examples being the Adelphi Hotel by F. Atkinson in 1911 with Greek style
sculptures, the Premier Buildings by G.C. Fraser in 1912 and the Crane Building by A. Thomas in 1913.
Moreover, one of the best examples of the American Classicism of Charles Reilly’s students can be
seen upon Herbert Rowse’s designs of the India Buildings (fig. 5.4), 1923-30, and the Martins Bank,
1927-1932, with light sculptural decorations on the facades and great detail and decorations
internally. Another example is the redesign of the entrance of Walker Art Gallery by Thornely in 1931.
Alternative approaches to architecture were adopted by architects of the 1930’s, with the streamlined
Art Deco style of Herbert Rowse, appearing to be one of the most impressive. H. Rowse designed the
Philharmonic Hall in 1936 and the first Mersey Tunnel too.
69
Fig. 5.5
Lutyens Crypt, Metropolitan Cathedral,
Liverpool, by Sir Edwin Lutyens, 1933-58
Fig. 5.6 Head of Athena, Athenaeum, School Lane Liverpool, by Tyson Smith, 1924
70
Other examples of the mid-Twentieth Century Art Deco architecture were the Leverhulme Building
by C. Reilly, L. Budden and J. Marshall as well as the Forum Cinema by W. Glen in Lime Street.
Additionally, below the modern structure of the Roman Catholic Cathedral by E. Bloomfield stands
one of the greatest examples of the interwar Neo-Classical style, which is the Crypt designed by Edwin
Lutyens (fig. 5.5).
During the mid-twentieth century architectural sculpture and the Art Deco style were vanishing
and a decade later, only artistically cheap commercial buildings were designed with no sign of
sculptural decoration. Edward Carter Preston during these years produced remarkable sculptures and
decorations for the Liverpool Cathedral project too. He was very busy during the early and mid-
Twentieth Century that there was not much spare time to produce designs for other buildings of
importance, apart from Gilbert Scott’s Cathedral. On the other hand Herbert Tyson Smith never
worked on a single project for a long period and his talent for architectural decoration and his fame
as the dominant sculptor of his time gave him several commissions of building related sculptures and
decorations under important architects of the period. Apart from the Martins Bank project, Tyson
Smith had produced the sculptures of the Bluecoat Building and also the famous Cenotaph Panels in
1930. Further, another project with sculptural decoration he was involved, was the Stanley Hall, built
for the animal-feed producers R. Silock & Sons by Medcalf architects in 1938. Tyson Smith along with
Fraser and Geary designed animal figures on the building’s exterior and interior including animal and
bird sculptures including the over-door relief of the entrance. In 1931 the Lloyd’s Bank branch in
Williamson Street by Herbert Rowse, had a green bronze and red brick roof designed by Tyson Smith
and E.C. Thompson which unfortunately does not exist anymore.
‘’Carved decoration in Portland stone, now unfortunately painted, by Herbert Tyson
Smith and Edmund C. Thompson. The round-arched windows and parapet are Neo-
Romanesque, but much of the ornamental is Art Deco.’’4
Also the Athenaeum Club in School Lane designed by Harold Dod in 1924, includes the Head of Athena
sculpture which is a keystone carved at the entrance of the building by Tyson Smith (fig.5.6).
Herbert also carved incredible detail on another Lloyd’s Bank branch in Slater Street under the
architects G.H. Grayson and L. Barnish in 1920. In 1925 he also designed a classical war memorial
behind the Wirral Museum and near the Queen Victoria Monument by E. Kirby of 1905. Finally, the
amount of architectural decoration, sculptures and great craftsmanship is enormous and a walk
through Liverpool gives an insight that it was a city of great artists, architects and sculptors that give
a sign of the Liverpool’s great artistic past.
71
Discussion and Conclusion:
Comparison and contrast of the Artists
Edward Carter Preston and Herbert Tyson Smith (fig.5.7) lived in a period of transformation in the
political, artistic and architectural background of the city of Liverpool. Both artists were born in the
mid-1880’s and they experienced the contrast of the political divisions of the citizens due to the wealth
that came from the city’s great port. The pre-war years at the beginning of Twentieth Century were
the starting point of the artistic successful career of the talented men, in a period where art and
sculpture were not favourable. Tyson Smith came from a background of artists, with his father who
was a lithographic artist pushed him towards the arts since he was a small boy. His mother was
passionate about Italian Renaissance art and they visited along with their children all the important
exhibitions held in Liverpool at the time.5 On the other hand Carter Preston’s father wanted to turn
his son into a brewer and farmer, although the young Edward was passionate about art and creation.
In contrast to his fellow sculptor, Edward left home without his family’s support and to make his dream
come true he had to work and study at the same time to make a living in a period when, to become a
sculptor it was a sign of great courage.6 He was producing paintings during his early career for
commercial purposes along with experimentation on sculptural techniques and materials.
Both artists entered the pioneering programme of the ‘Art Sheds’ of the Liverpool University with
influences by their inspiring tutors being major tools upon the style and quality of their works. The
similar approaches of their sculptures and medals, inspired by the English Arts and Crafts7 continued
throughout their entire career which made them two of the most skilful artists Liverpool has ever
produced. Additionally, another fact that shows the economic contrast between the two artists was
the fact that Tyson Smith was enrolled at the Liverpool School of Art and due to the theoretical
approach of the program, and after paying his fees for the whole year he moved to the ‘Art Sheds’
after only two weeks. Carter Preston at the same time was working along with studying and struggling
to pay his fees and expenses and also making a living at a young age.8 Tyson Smith’s sister, and future
wife of Carter Preston, the water-colourist and dressmaker Clarisa-Marie also attended the ‘Art Sheds’
at the same time. After their marriage two of the most important artistic family trees of the city grew
together and further additions were included with many of their siblings and children becoming artists
or marrying artists.9
Edward Carter Preston, his daughter Julia and his brother-in-law Tyson Smith had a common
approach to their designs which was the use of symbolic decoration and also, the use of animal and
bird figures as well as plants on their commissions. Julia also collaborated with her uncle at the church
of St. Mary in Tarleton, Lancashire, where she produced the tiles on Tyson Smith’s concrete font.
72
Also, all three of them, worked at the Bluecoat studios in Liverpool, and they were servants of the
unique Bluecoat society throughout their entire life.
Carter Preston was more expressive than Tyson Smith in his career by working with many different
materials and techniques including sculpture, medals, watercolour paintings, glassware and wood
figures. Tyson Smith produced medals and sculptures throughout his career including architectural
decoration also. One might argue that Carter Preston’s expressiveness could be a result of the type of
his commissions when the Royal Mint and The Liverpool Cathedral were asking the sculptor to present
ideas of the proposed figures. On the other hand, many letters between Tyson Smith, the architect of
the Martins Bank Herbert Rowse, and the Martins Bank Board show that the proposed sculptures and
decorations were suggested by the board and the sculptor had to follow strict lines on his work. Tyson
Smith worked on foundation sculptures of the Liverpool Cathedral project after winning a competition
and it proved to be Carter Preston’s most important work some twenty-five years later. This was the
only major project in the city where both artists were involved and produced decorations and
sculptures. Both artists had the opportunity to produce memorial sculptures and medals with the
beginning of the First World War and also architectural sculpture with the arriving of the American
Beaux Arts style which was favoured at the time in France and America.
Fig. 5.7
Herbert Tyson Smith,
near Manchester
73
Further, the post-World War One years proved to be the busiest for the artists who were major
parts of the transformation of Liverpool into a modern 20th century city, when sculptures, medals and
architectural decoration were in fashion and also the need for memorials that the Great Wars had
produced. During these busy years members of their families claimed that they worked so hard that
they could not find spare time for their children and families. Meanwhile, the two artists were closely
related by marriage and they had a very friendly relationship but in several occasions it was obvious
that there was a spirit of competiveness between them on a personal level. At some points though
they worked closely together and worked in partnership for sculptural competitions and art
exhibitions. The Carter Prestons’ and Tyson Smiths’ were highly influenced by Italian Renaissance and
the English Arts and Crafts ideas along with other key families of the time such as the Bloomfield Bares,
the Rathbones and the MacNairs. Other parallels proved to be key for their success it was not only the
pioneering program of the ‘Art Sheds’ and the influential tutors but also the system of apprentiship
were students had the opportunity to work on sculptures from an early stage, as William Morris
suggested: ‘’The old system of apprentiship by which workmen learned their craft, is a good deal
broken down now, and nothing has taken its place.10
Furthermore, apart from the competiveness between the two men, they seemed to have very
different personalities and also a lot of interests in common. The spirit of competiveness between
them was analysed by critical authors with Roderick Bisson in his ‘’Sandon Studios Society’’ book
talking about the time they first became friendly when Carter Preston described Tyson Smith ‘’as
another fine craftsman’’.11 Bisson also tells that during their ‘Sandon Studios’ years they planned a
trip abroad to France, which cost them six pounds at the time. He also suggests that they had a lot of
interests in common and it is known that they had long conversations about topics like ‘The Lost
Continent of Atlantis’, ‘The Social Credit’, The ‘Golden Section’, ‘The Oriental Mysticism’, the ‘Theories
of Vernon Blake’ and many more. Additionally a ‘‘Catalogue of the Sandon Studios Society’s Exhibition
of Modern Art at the Liberty buildings’’ of 1912, shows sculptures by Tyson Smith and watercolour
paintings on silk by Carter Preston.12 A review for this show in the ‘Manchester Guardian’ spoke about
Carter Preston’s ‘Dancers’, which had the characteristic simplicity and abstract design of the ‘Post-
Impressionist Movement’.13
In Conclusion, the years of the Second World War and their late careers found them producing
sculptures for individual clients and also war memorials related to the Great War, but mostly working
on art pieces for leisure due to the decrease of the sculptural commissions at the beginning of the
1960’s. After Liverpool’s economic decline a lot of modern architectural plans were revealed such as
student accommodations and churches, but most of them had nothing to do with the previous artistic
buildings, with no sign of craftsmanship at all. After the 1960’s the great period of the production of
amazing sculptures, incredible medals and demanding architectural decoration was finally gone.14
74
5. Footnotes
1 Joseph Sharples (ed) Pevsner Architectural Guides: Liverpool, New Heaven & London, Yale University
Press, p.27 2 Joseph Sharples (ed) Pevsner Architectural Guides: Liverpool, New Heaven & London, Yale University
Press, p.28 3 Joseph Sharples (ed) Pevsner Architectural Guides: Liverpool, New Heaven & London, Yale University
Press, p.29 4 Joseph Sharples (ed) Pevsner Architectural Guides: Liverpool, New Heaven & London, Yale University
Press, p.175 5 Poole, A Critical Analysis of the Work of Herbert Tyson Smith, Sculptor and Designer, p.3-4
6 Thomas, ’A Family Perspective’ in Ann Compton’s (ed) Edward Carter Preston 1885-1965 Sculptor
Painter Medallist, p.9 7 Crouch, Design Culture in Liverpool 1880 – 1914: The Origins of the Liverpool School of Architecture,
Preface 8 Poole, A Critical Analysis of the Work of Herbert Tyson Smith, Sculptor and Designer, p.6
9 Bampton, Craftsman and Client: the official commissions of Edward Carter Preston, p.29
10 Charles Harvey and Jon Press, William Morris Design & Enterprise in Victorian Britain, Manchester:
Manchester University Press, 1991, p.185 11 R.F. Bisson, The Sandon Studios Society and the Arts, Liverpool, Sandon Society, 1965, p.29
12 Bampton, Craftsman and Client: the official commissions of Edward Carter Preston, p.48
13 Unattributed Review, Liverpool Record Office, LRO ACC1622 730 PRE 6/1
14 Joseph Sharples (ed) Pevsner Architectural Guides: Liverpool, New Heaven & London, Yale
University Press, p.40
75
Appendix A:
List of the most important works
Herbert Tyson Smith:
Medal for the Dardanelles…………………………………………………………………………………………………….1918.
The Jutland Bank Medal………………………………………………………………………………………………………..1918.
The Hightown Memorial…………………………………………………………………………………..…………………..1919.
Holy Trinity War Memorial, Wavertree…………………………………………………………………….…….…….1919.
Liverpool Post Office Memorial…………………………………………………………………………..………………..1920.
Accrington Memorial…………………………………………………………………………………………..………………..1921.
Liverpool Cenotaph……………………………………………………………………………………………..………………. 1926.
Martins Bank Building, Liverpool………………………………………………………………………..……..………….1926.
Birkenhead Cenotaph………………………………………………………………………………………………..………….1923.
South Port War Memorial………………………………………………………………………………………..……………1923.
Fleetwood War Memorial……………………………………………………………………………………...………………1927.
Portmeirion Village, North Wales……………………………….……………………………………..………..…………1935.
Liverpool Airport Gates…………………………………………………………………………………..……………………..1940.
Port of Liverpool Memorial……………………………………………………………………………..…………………….1952.
Spinney House, Liverpool…………………………………………………………………………..………………………….1954.
Moss Way, Croxteth…………………………………………………………………………………..………………………….1954.
76
Edward Carter Preston:
Next-of-Kin Memorial plaque…………………………………………………………………………………………………. 1918
Distinguished Flying Cross……………………………………………………………………………………………………… 1918
Air Force Cross………………………………………………………………………………………………………………………… 1918
Distinguished Flying Medal………………………………………………………………………………………………………. 1918
Air Force Medal……………………………………………………………………………………………………………………….. 1918
Trienniel Award of the Royal Medical Society, Edinburgh……………………………………………………….. 1918
Dardanelles Medal………………………………………………………………………………………………………………….. 1918
Edward Jones Prize Medal………………………………………………………………………………………………………. 1920
The Imperial General Service Medal……………………………………………………………………………………….. 1920
Liverpool Cathedral sculptures…...…………………………………………..........……………………………… 1930-1960
HMS Conway Figurehead…………………………………………………………………………………………………..……. 1937
Warrington Yorke Memorial Medal, for the Liverpool School of Tropical Medicine………………….. 1944
Queens seals for the Duchy of Lancaster…………………………………………………………………………………...1953
77
Julia Carter Preston
Plate in Turkish Manner, exam piece, red earthenware................................................................1950
Sprigged teapot, exam piece, cream-coloured earthenware.........................................................1950
Coffee set, cream-coloured earthenware, sgraffito in brown........................................................1950
Deep bowl, buff earthenware, with sgraffito in black, semi-transparent glaze.............................1957
Group of wares, earthenware, sgraffito decorated, casserole with black-iron glaze....................1960
Tiles for St. Mary’s church, Tarleton, Lancashire...........................................................................1960
Tall vase, buff earthenware, sgraffito-decorated, private collection.............................................1965
Tureen and ladle, with sraffito in black and semi-transparent glaze.............................................1965
Masonic punch bowl and jugs, Mariners Lodge 249, sgraffito in black and gold...........................1968
Dinner service, earthenware with sgraffito in black, private collection.........................................1970
Plate, earthenware, with sgraffito in brown, collection: Don McKinlay.........................................1975
Lidded box, earthenware, with sgraffito in black, collectin: Don McKinlay....................................1975
Bowl, earthenware, with sgraffito in black, collection: GA Hall......................................................1978
Plate, beige-tinted earthenware, with sgraffito in brown and rust................................................1980
W. Marjorie bowl, sgraffito decorated, Collection: Julia Carter Preston........................................1982
Wall plaque, St. Columba’s church, Liverpool, sgraffito in brown and rust....................................1982
Baptismal bowl and ewer, Liverpool Parish church, sgraffito and lustre........................................1987
Bottle vase with stopper, earthenware, with sgraffito and lustre..................................................1990
Wall plaque, earthenware, sgraffito and lustre decorated, private collection...............................1992
Wall plaque, Parish centre, Liverpool Parish church, sgraffito and lustre decorated.....................1993
Large wall plaque of St. George and the dragon, sgraffito and lustre............................................1995
Outer Gate, South Porch, Sefton Church, Liverpool.......................................................................1999
78
Appendix B:
Dr. Emma Roberts Interview 17th January 2014, email correspondence
Carter Preston was one of the most important sculptors Liverpool has ever produced, in your opinion, what makes him different from the rest of the talented artists of his time? I think he was more inventive with materials and this made him different- e.g. he would use broom
handles and other bits of household furniture to make sculpture. For example in the film of my lecture
on Youtube that you have seen I mention that he sandwiched together slim sheets of wood in order
to make a ship’s figurehead. I also think he had a real sensitivity to materials- he enjoyed the sensual
grain of wood or stone for example. Also, although I know little about it, he is very much appreciated
nationally for his work in designing commemorative medals and coins.
Edward had to work and study at the same time to make his dream come true after his argument
with his father who told him that to become an artist he has to do it alone. Do you thing that this
unfortunate happening acted as a catalyst upon his success and strong character?
Yes I do think that ‘whatever does not break us makes us stronger,’ as the saying goes. I think he felt
that he had to prove his father wrong and become a success. I think he had a proper vocation to
become and artist and he never bored or tired of his work. This shows that his father was wrong as
Carter Preston would have been stifling his natural talents and personality if he had done what his
father asked. He was interested in all aspects of art and design- stained glass, coin design, sculpture,
drawing etc. so was a natural artist.
The cathedral project is carter Preston’s most notable work, do you consider any sculpture in the
cathedral special or unique in comparison to the others?
‘’Actually although they are all very skilful and excellent I think that he intended them to be a coherent
group rather than let one stand out. Also, I think he was aware that they were meant to be
architectural decorations rather than independent sculptures in the round and so I don’t think that
one stands out more than others. I know that the Dean of the Cathedral who commissioned him, gave
him ‘free rein’ and this was really appreciated by Carter Preston and so he added some unusual
draperies and symbolism on to sculptures but I think he knew that the sculptures were to serve the
cathedral rather than be show-stopping works by him to be appreciated on their own. My personal
favourite are the sculptures on the Rankin porch inside the cathedral but, again, they blend into the
architecture well and are not dominant as sculptures.’’
79
I came across your Nelson Figurehead presentation of May 2013, what is it that makes that work of
the sculptor special?
I think this is important as it might be the last traditional ship figurehead to be made as they have now
been abandoned as an addition to modern ships. Also, he researched the figure really well so all the
medals and uniform on the figure are very accurate. He is such a skilled sculptor too that he managed
to do great detail with the uniform and hair etc. Finally, I think it is very interesting because of the
sandwiching technique that I mentioned earlier- it would have been too difficult and expensive to use
one block of wood so it was really inventive to compile several different sheets together.
Carter Preston, despite his talent and fame in Liverpool, he never received the expected recognition
nationally. What is your opinion about this?
Yes I agree and think that he is of the same standard as Eric Gill, Henry Moore and Jacob Epstein. I
think the reason that he did not gain national recognition was because he stayed in Liverpool and did
not move to London. This is unfair but I think that Liverpool is seen by Londoners to be ‘provincial’
and that he would be provincial because he is in Liverpool. Yet, Liverpool actually is and has been for
decades a hotbed for the arts and I wish that it would gain its proper recognition as a place for talent.
It is a real shame for Carter Preston as his work is of very high technical and conceptual skill and should
have been appreciated in his lifetime by the London museums such as the Tate. Having said that
though, it is my understanding that, as a medal and coin designer, he is seen as possibly the UK’s finest.
I believe that some of his medals and coins are held by Manchester Museum.
Do you believe that the time will come that his work and skill will receive the expected recognition,
as happened for other artists’ works in the past?
I think this will be difficult but it is possible. It will need concerted efforts from a group of people and
then it could happen. It is really good that Liverpool Hope University have been given his archive and
they are cataloguing this now. This will increase the interest in Carter Preston. Then he will need a
big retrospective in somewhere like the Walker, Tate or Bluecoat followed by later shows in London.
If all this is accompanied by scholarly articles then it is possible that he will be recognised properly. All
that could take one decade or more though! He might benefit from an exhibition first about his coins
and medals as he is already better known for those.
80
Appendix C:
Radcliffe to Gilbert Scott, Letter dated 21.9.1934
‘’I have had much correspondence with Carter Preston. It seems difficult to persuade him that certain
things are ‘not done’ in our churches, and that sometimes it is not just open to the artist to do what
looks nicest, when there is a risk however slight of offending Christian tradition or sentiment even
remotely. … You will understand, as he does not, the ‘atmosphere’ about these things. As you know I
should never ask an artist to do anything he thought wrong on artistic grounds, but I shall ask him, in
a church to make art the hand man of religion and not vice versa.’’
Appendix D:
Gilbert Scott – Radcliffe, letter dated 22.2.1935
RIBA
RE: Poetry Figure.
‘’Though the actual figure is good, as a bit of sculpture, it hardly seems, to me, to convey the
idea of ‘poetry’ what do you think? To my mind, the lady gives the impression of a rather
severe maiden aunt! But perhaps Carter Preston was anxious to avoid treating this subject
too ‘prettily’. I shall be glad, to hear your opinion on this model.’’
Appendix E:
Radcliffe – Gilbert Scott, letter dated 26.2.1935
RIBA
‘’I have written the enclosed letter about Carter Preston’s later model in a form which you
may care to send it on to him to read… What I say only irritates him especially if his dyspepsia,
which I am sorry to say plagues him, happens to be especially troublesome. But I think my
letter is inoffensive! I really feel relieved at the excellence of his figure as I feared his
inspiration might peter out over a long series.’’
Appendix F:
Biography of Edward Carter Preston
Edward Carter Preston was a Liverpool born painter, sculptor and medallist and the brother-
in-law of another famous sculptor, Herbert Tyson Smith. He lived between 1885 and 1965,
and he studied at the Liverpool School of Applied Arts. Edward began his career as a
commercial painter, and later, he produced nationally important memorial medals for the
Royal Mint such as the Next-of-Kin memorial plaque. His most important commission was
81
for the Liverpool Anglican Cathedral where he worked for 30 years and produced 50
sculptures, 10 plaques and several reliefs.
Appendix G:
Biography of Herbert Tyson Smith
Herbert Tyson Smith was a Liverpool sculptor and medallist and he lived between 1883-
1972. Herbert studied at the Liverpool School of Applied Arts and he produced sculptures
for the foundation plaques of the Liverpool Anglican Cathedral during that time.
He produced important medals at the time such as the Cenotaph Panels at St. George’s Hall,
Liverpool, and memorial sculptures such as the Accrington war memorial in Lancashire.
Tyson Smith was also very successful on architectural decoration and his most important
work was the Martins Bank Building in Water St. Liverpool.
82
Illustrations
1. The Context of Liverpool at the Time
Fig. 1.1 Photograph of the Salthouse Dock, Liverpool, Late 19th Century, Cumberland and
Scarrow website, accessed 27/12/2013
Fig. 1.2 Port of Liverpool Building, formerly Mersey Docks and Harbour Board Offices, Flickr
Website accessed 20/1/2014
Fig. 1.3 Photograph of the Salthouse Dock, Liverpool, Early 20th Century, Cumberland and
Scarrow website, accessed 27/12/2013
Fig. 1.4 Slum Houses, Chorley-Court, dale street, Liverpool, 1925, Streets of Liverpool website
accessed 5/2/2014
Fig. 1.5 Sudley house, Aigburth, Liverpool, built for the corn merchant Nicholas Robinson, 1828, now serves as an art gallery, South Liverpool website accessed 6/2/2014 Fig. 1.6 The ‘Art Sheds’, University College, Liverpool early 1900s, Postcard view printed in
1920, National Museums, Walker Art Gallery Website, accessed 9/1/2014
Fig. 1.7 The Bluecoat Chambers Building, School Lane, Liverpool, Photograph by Panagiotis
Konikkos, 10/1/2014
Fig. 1.8 The Bluecoat Chambers back yard, previously open workshop for artists, photograph
by Panagiotis Konikkos, 10/1/2014
Fig. 1.9 Once Tyson Smith’s workshop, rear of the Bluecoat Chambers, in 2002 workshop of Terry McGunigle, Liverpool Monuments website, by Susan Walsh, 2002
Fig. 1.10 Soft Estate Collection, by Edward Shell at the Bluecoat, Dec 2013 – Feb 2014, photograph by Panagiotis Konikkos, 10/1/2014
2. The Family Background of the Artists.
Fig. 2.1 Edward Carter Preston Portrait, Maureen Ann Bampton, The official commissions of
Edward Carter Preston, p.40
Fig. 2.2 Watercolour painting by E. Carter Preston, Arcadja Auctions website, accessed
7/1/2014
Fig. 2.3 Edward Carter Preston, coastal scenes collection, watercolors, 1905-06, ebay auctions website, accessed 5/2/2014 Fig. 2.4 Edward Carter Preston, coastal scenes collection, watercolors, 1905-06, ebay
auctions website, accessed 5/2/2014
Fig. 2.5 Photograph of Herbert Tyson-Smith, E.Chambré Hardman Collection, National Trust
website, accessed 12/1/2014
Fig. 2.6 Century Guild Chair, Arthur Mackmurdo, 1882, Victoria and Albert Museum website,
83
Accessed 5/2/2014
Fig. 2.7 Drawing for the Liverpool Cathedral competition by Charles Reilly published in 1902,
SevenStreets website accessed 5/2/2014
Fig. 2.8 Queen Victoria Monument, Derby Square, Liverpool, by Charles John Allen, 1902-
1906, Photograph by Panagiotis Konikkos, 17/12/2013
3. The Individuals and their Careers
Fig. 3.1 Portrait study by Edward Carter Preston,drawing in pencil, Walker Art Gallery
Liverpool, 1910, Gallery, docbrown website, accessed 15/1/2014
Fig. 3.2 Wood figure, Sultan Mohammed V of Turkey, catalogue no. EPH 9355, Imperial War
Museums website, accessed 16/1/2014
Fig. 3.3 Wood figure, Crown Prince Wilhelm of Germany, catalogue no. EPH 9359, Imperial
War Museums website, accessed 16/1/2014
Fig. 3.4 Wood figure, Winston Churchill, catalogue no. EPH 9363, Imperial War Museums
website, accessed 16/1/2014
Fig. 3.5 Wood figure, Emperor Franz Joseph, catalogue no. EPH 9360, Imperial War Museums
website, accessed 16/1/2014
Fig. 3.6 Distinguished Flying Cross (DFC), Eward Carter Preston WW2 Awards website,
accessed 18/1/2014
Fig. 3.7 The Next of Kin Memorial Plaque & Scroll, The Great War 1914-1918 website,
accessed 17/1/2014
Fig. 3.8 King George VI campaign medal, by E. Carter Preston, 1940, ForcesRecords website,
accessed, 5/2/2014
Fig. 3.9 Korea campaign medal, related to Korean war 1950-1953, by E. Carter Preston, 1951,
Talismancoins website, accessed 5/2/2014
Fig. 3.10 The new figurehead of Nelsonon HMS Conway, HMS Conway website, accessed
17/1/2014
Fig. 3.11 Julia working in her studio in the Bluecoat Chambers, Letter: Julia Carter Preston
Obituary, the Guardian website, accessed 18/1/2014
Fig. 3.12 Wall plaque, made to commemorate the opening of the Parish Centre by princess
Alexandra and dedicated by the Bishop of Liverpool, 1993, Earthware, sgraffito and
Lustre-decorated, Collection: Liverpool Parish Church, Our Lady and St. Nicholas
(Courtesy of the Rector), E Myra Brown, Julia Carter Preston, Liverpool Bluecoat Press
1999, p.21
Fig. 3.13 Baptismal bowl and ewer, made for Liverpool Parish Church, St Nicholas and Our Lady,
1987-90, Earthenware, sgraffito and lustre decorated, E Myra Brown, Julia Carter
Preston, Liverpool, Bluecoat Press, 1999, p.23
84
Fig. 3.14 Outer Gate, South Porch, St. Helen’s Cgurch, Sefton, Liverpool, ceramic plates, 1999,
Geograph website, accessed 8/2/2014
Fig. 3.15 Group of wares, 1995-98, Earthware, sgraffito-decorated, some with lustre,
Collection: Julia Carter Preston, E, Myra Brown, Julia Carter Preston, The Bluecoat
Press, 1999, p.26
Fig. 3.16 Group of wares, 1960’s, Earthware, sgraffito-decorated; casserole with black-iron
glaze, Collection: Julia Carter Preston, Michael Pugh Thomas and Mrs L Johnson, E,
Myra Brown, Julia Carter Preston, The Bluecoat Press, 1999, p.12
Fig. 3.17 Bowl, earthenware with sgraffito in black, by Julia Carter Preston, 1980, E,
Myra Brown, Julia Carter Preston, The Bluecoat Press, 1999, p.15
Fig. 3.18 Massonic punch and jugs, Mariners Lodge 249, buff earthenware, with sgraffito in black and gold, by Julia Carter Preston, 1968, E, Myra Brown, Julia Carter Preston, The Bluecoat Press, 1999, p.20 Fig. 3.19 Photograph of Herbert Tyson-Smith working on a sculpture of George V, E.Chambré
Hardman Collection, National Trust website, accessed 12/1/2014
Fig. 3.20 Cenotaph panels, St. George’s Hall, Liverpool, photograph by Panagiotis Konikkos,
5/1/2014
Fig. 3.21 War Memorial, the Fleetwood Memorial Park, Lancashire by George Herbert Tyson
Smith (1883–1972), Flickr website, accessed 16/1/2014
Fig. 3.22 Birkenhead War Memorial. 1923. Sculptor: George Herbert Tyson Smith, Hamilton
Square, Birkenhead, Flickr website, accessed 16/1/2014
Fig. 3.23 The Accrington War Memorial, Herbert Tyson Smith, War Poetry website, accessed
17/1/2014
Fig. 3.24 Widnes war memorial, Victoria Park, Cheshire, England, by H. Tyson Smith, 1921,
WarMemorialsTrust website, accessed 5/2/2014
4. Case Studies
Fig. 4.1 Entrance of the Liverpool Cathedral, carved decoration by Edward Carter Preston,
photograph by Panagiotis Konikkos , 23/12/2014
Fig. 4.2 Central space, Liverpool Cathedral, photograph by Panagiotis Konikkos, 23/12/2014
Fig. 4.3 The High Altar, bronze and stone carvings by Carter Preston, photograph by
Panagiotis Konikkos, 23/12/2014
Fig. 4.4 Fibre Glass moulding of Holy Family Eastern Transept, Liverpool Cathedral,
photograph by Panagiotis Konikkos, 23/12/2014
Fig. 4.5 Bishop's Throne Choir, photograph by Panagiotis Konikkos, 23/12/2014
Fig. 4.6 Plaster model, central space, photograph by Panagiotis Konikkos, 23/12/2014
85
Fig. 4.7 Plaster model, central space, photograph by Panagiotis Konikkos, 23/12/2014
Fig. 4.8 Plaster model, central space, photograph by Panagiotis Konikkos, 23/12/2014
Fig. 4.9 Plaster model, central space, photograph by Panagiotis Konikkos, 23/12/2014
Fig. 4.10 Phylosophy, South Porch, Liverpool Cathedral, 1934-5, Ann Compton, Edward Carter
Preston, 1885-1965: Sculptor, Painter, Medallist, University of Liverpool, p.27
Fig. 4.11 Astronomy, South Porch, Liverpool Cathedral, 1934-5, Ann Compton, Edward Carter
Preston, 1885-1965: Sculptor, Painter, Medallist, University of Liverpool, p.27
Fig. 4.12 Isaiah, South Porch, Liverpool Cathedral, 1934-5, Ann Compton, Edward Carter
Preston, 1885-1965: Sculptor, Painter, Medallist, University of Liverpool, p.28
Fig. 4.13 Jeremiah, South Porch, Liverpool Cathedral, 1934-5, Ann Compton, Edward Carter
Preston, 1885-1965: Sculptor, Painter, Medallist, University of Liverpool, p.28
Fig. 4.14 St. Luke, South Porch, Liverpool Cathedral, 1934-5, Ann Compton, Edward Carter
Preston, 1885-1965: Sculptor, Painter, Medallist, University of Liverpool, p.31
Fig. 4.15 St. Paul, South Porch, Liverpool Cathedral, 1934-5, Ann Compton, Edward Carter
Preston, 1885-1965: Sculptor, Painter, Medallist, University of Liverpool, p.31
Fig. 4.16 Exterior View of Martins Bank Building, Photograph by Panagiotis Konikkos, 14/1/2014
Fig. 4.17 Midas figurehead above main doorway, Martins Bank, photograph by P. Konikkos,
14/1/2014
Fig. 4.18 Bronze double doors, main entrance of Martins Bank, photograph by P. Konikkos,
14/1/2014
Fig. 4.19 Exterior window decoration, carved by Tyson Smith, photograph by P. Konikkos, 14/1/2014 Fig. 4.20 Grasshopper, Mermaid and Merman, stone carving, photograph by P. Konikkos, 14/1/2014 Fig. 4.21 Interior central space of Martins Bank Building, cornices and ceiling decoration by
Herbert Tyson Smith, photograph by P. Konikkos, 14/1/2014
Fig. 4.22 Ceiling decoration, ground floor by Herbert Tyson Smith, photograph by P. Konikkos,
14/1/2014
Fig. 4.23 Decoration above main entrance of the Bank, photograph by P. Konikkos, 14/1/2014
Fig. 4.24 Symbolic representation of the wealth that came through slavery, Martins Bank,
Photograph by P.Konikkos 14/1/2014
5. The Relationship of Architecture and Sculpture in Liverpool 1880-1950
Fig. 5.1 Adelphi Bank, Castle St. Liverpool, by W. D. Caroe, 1891, Liverpool World Heritage
website accessed 6/2/2014
86
Fig. 5.2 Royal Insurance Building, North St, Liverpool, 1896, decoration by C. J. Allen, LJMU
Journalism website, accessed, 5/2/2014
Fig. 5.3 The Kings Liverpool Regiment memorial, St. John’s gardens, Liverpool, by Sir. W. G.
John, 1905, VictorianWeb website, accessed 6/2/2014
Fig. 5.4 India Buildings, Water St. Liverpool, by Herbert J. Rowse, 1924-1932, India-Buildings
website, accessed 6/2/2014
Fig. 5.5 Lutyens Crypt, Metropolitan Cathedral, Liverpool, by Sir Edwin Lutyens, designed 1930,
constructed 1933-1958, Metropolitan Cathedral website, accessed 5/2/2014
Fig. 5.6 Head of Athena, above main doorway of the Athenaeum, School Lane, Liverpool, 1924,
Liverpool Monuments website, accessed 10/1/2014
Fig. 5.7 Herbert Tyson Smith, at a late stage of his life, near Manchester.
Old Man of the Sea, The Liverpolitan website, accessed 19/5/2014.
87
Bibliography:
Books:
Attwood, Phillip, Artistic Circles, The Medal in Britain 1880-1918, London, British Museum Press, 1992
Bisson, R.F, The Sandon Studios Society and the Arts, Liverpool, Sandon Society, 1965
Cotton, Vere, E, O.B.E. Liverpool Cathedral official Handbook, Liverpool, Daily Post Printers 1926
Crouch, Christopher, Design Culture in Liverpool 1880 – 1914: The Origins of the Liverpool School of
Architecture, Liverpool: Liverpool University Press, 2002
Harvey, Charles, Press, Jon, William Morris Design & Enterprise in Victorian Britain, Manchester,
Manchester University Press, 1991
Hughes, Quentin, Seaport, Architecture & Townscape in Liverpool, Liverpool, Bluecoat Press, 1964
Kennerley, P, The Building of Liverpool Cathedral, Preston, Carnegie Publishing, 1991
Read, H, The Art of Sculpture, London, Faber & Faber Ltd, MXMLV1
Richmond, Peter, Marketing Modernisms: The Architecture and influence of Charles Reilly, Liverpool,
Liverpool University Press, 2001
Sharples, J, ‘From Signwriter to Cathedral Sculptor’, in Ann Compton’s (ed) Edward Carter Preston
1885-1965 Sculptor Painter Medallist, Liverpool, University of Liverpool Press, 1999
Sharples, Joseph, (ed) Pevsner Architectural Guides: Liverpool, New Heaven & London, Yale University
Press, 2004
Underwood, E.G, A Short History of English Sculpture, London, Faber & Faber Ltd, 1933
Willet, John, Art in a City, London, The Shenval Press, 1967
PhD Thesis:
Bampton, Maureen, Craftsman and Client: the official commissions of Edward Carter Preston, PhD
Thesis, University of Liverpool, 2007
88
Poole, Susan, A Critical Analysis of the Work of Herbert Tyson Smith, Sculptor and Designer, PhD
Thesis, University of Liverpool, 1994
Catalogues and Essays:
Bennett, Mary, ‘The Art Sheds 1894-1905’, An Exhibition to Celebrate the Centenary of the University
of Liverpool, Liverpool, Walker Art Gallery, University of Liverpool, 1981, Merseyside County Council
Brown, Myra, E, Julia Carter Preston, Liverpool, Bluecoat Press, 1999
Thomas, M.P, ‘A Family Perspective’, in Ann Compton’s (ed), Edward Carter Preston 1885-1965
Sculptor Painter Medallist, Catalogue University of Liverpool Art Gallery, 1999
Journals - Articles:
Allen, C.J., The decoration of Martins Bank, Architects Journal, 2/11/1932, p.551
Calder, Hamel, ‘Sandon Studios’, The Bulletin of the Sandon Studios Society, No. 1, March 1912, LRO
367 SAN/4/2/1.
‘Four Centuries of Banking’, Martins Bank Archive, Martins Bank Archive website, accessed 20/1/2014
‘Julia Carter Preston’, The Telegraph, 18 January 2012, The Telegraph website, accessed 19/12/2013
Leece, William, ‘Julia Carter Preston part of Liverpool artistic dynasty’, Liverpool Echo, 4th February,
2012, Liverpool Echo website accessed 19/12/2013
‘Liverpool Autumn Exhibition’, The Studio, vol. 37, 1907, p.72
Pevsner, Nikolaus, ‘Pioneer designer: Arthur H. Mackmurdo’, Architectural Review, LXXXIII 1938, p.141
Reilly, Charles, The Martins Bank Building, Architects Journal, 1933
‘The Grasshopper Story’, Martins Bank Archive, Martins Bank Archive website, accessed 20/1/2014
Treuherz, Julian, ‘Julia Carter Preston obituary’, The Guardian, 22 January 2012, The Guardian website,
accessed 19/12/2013
‘Tribute paid to Liverpool artist Julia Carter Preston’, Liverpool Echo, 9 January 2012, Liverpool Echo
website, accessed 19/12/2013
89
Archive Material:
‘Review’, September 1912, Press cuttings scrap book, Liverpool Record Office, LRO/ACC 1622 730
PRE6/1.
‘The Dixons Paper Circullatiar’, Sunday Times, 20.6.1915, Liverpool Record Office, LRO ACC 1622 730
PRE 6/1
‘An artist in Medal Designing’, Fame via Liverpool, Liverpool Record Office, LRO ACC 1622 730 PRE 6/1.
‘An Appreciation’, Westminster Gazette, 23.6.1915, Liverpool Record Office, LRO ACC11622 730 PRE
6/1
‘Unattributed Review’, Liverpool Record Office, LRO ACC1622 730 PRE 6/1
Letters:
Gilbert Scott-Radcliff, letter dated 27.1.1931, GGSA RIBA Library, Archive RIBA Library, SCGG/201-233
Giles Gilbert Scott, letter dated 17.11.1930, GGSA RIBA Library, Archive RIBA Library, SCGG/201-233
Radcliffe-Gilbert Scott, letter dated 2.3.1931, Liverpool Cathedral Committee Papers, Liverpool Record
Office, ACC 2343
Sessions Register 1901-05, Arts, Media & Design Library archive Collection, Liverpool John Moores
University Library
Video Material:
Dr. Emma Roberts, ‘One of the last great ship figureheads: Edward Carter Preston’s Figurehead of
Nelson on HMS Conway’, Liverpool john Moores University, [online video], 2013,
http://www.youtube.com/watch?v=UGIEf2gPajs, (accessed 6/1/2014)
Liverpool scenes: Lime Street & the Liverpool Electric Overhead Railway, dir. Alexander Promio, UK,
Lumiere Brothers Films, British Council Film Collections, 1896, [film].
The Mersey – Liverpool’s River, dir. John Finn, UK, Liberty Films, British Council Film Collections, 1941,
[film].