An Inventory of the Works of Walter Gilbert by Phillip Medhurst

WORKS ARRANGED AND EXECUTED BY
WALTER GILBERT
IN ASSOCIATION WITH
LOUIS WEINGARTNER AND DONALD GILBERT

with photographs commissioned by the artists at the time of first completion
including the original clay models


compiled by

Phillip Medhurst


WALTER HENRY GILBERT (1871-1946)


Walter Gilbert was a designer and modeller, mainly in metalwork, for firms whose
manufactures embraced architectural sculpture (see appendix for a definition).
Finding its genesis in the Arts and Crafts movement and the formation of artists
into Guilds who worked anonymously on large projects such as churches, Gilbert
developed a role whereby he would obtain commissions, present the patron with
an idea which usually involved some research, and then have the idea executed by
a more talented practitioner. This involved collaboration formerly with Louis
Weingartner (initially under the auspices of the Bromsgrove Guild) and latterly
with his son Donald Gilbert, with whom he worked for H.H. Martyn of Cheltenham.
Walter would liaise with technicians and maintain a “hands-on” involvement in the
execution of the work; and, as “front-man”, often tacitly assume credit for the
finished product.

We know only the barest facts of his personal life: he was born in Rugby on 12
August 1871, son of Henry Edward Gilbert and Jane Isabella Gilbert. He married
Ina MacGeoch and they had one son Donald and one daughter Margot. Both
children were encouraged to take up art as a career and in the 1920's father and
both children were to collaborate on the interior decoration of the "SS Queen
Mary". It is generally supposed that he was the cousin of Alfred Gilbert, famed as
the designer of "Eros", for whom he arranged a "come-back" in the late 1920's.

Walter studied art at the Birmingham Municipal Art School, in South Kensington,
and in France, Belgium and Germany. He is reputed to have taught art in Rugby
and Harrow Schools, and in c. 1890 he became Master of Fine Arts at Bromsgrove
School in Worcestershire. Local legend says that he set up the Bromsgrove Guild,
an association of “industrial artists”, after quarrelling with the Headmaster. (One
of the foundry-workers, George Cowper, recalls an outing given by the Guild, to
Holt Fleet, in 1907. On this occasion, Gilbert, in a speech, stated that the firm had
been in existence for only twelve and a half years, and that they had done "pretty
well." This dates the founding of the Guild c. 1894.) He continued with one day a
week teaching at the School of Art in Birmingham and three evening classes at the
School of Science and Art in Bromsgrove.

After 1903 Gilbert's principal works in metal were designed in conjunction with the
Swiss modeller Louis Weingartner, about whom almost nothing is known except

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that he died in 1934 in his native Switzerland not long after his retirement from
working with Gilbert. He had been a jeweller at the School of Art in Birmingham,
and moved to Bromsgrove c. 1903 as principal executant of small-scale castings.
When the plaster-worker George Bankart left the Bromsgrove Guild in 1908 to
establish himself in London, Gilbert took over the design and modelling in this
field. But new commercial opportunities presented themselves in 1918 when he
entered into agreement with H.H. Martyn and Co. Ltd. of Cheltenham on the
12th October (while still living in Birmingham). Under this arrangement he became
assistant manager of the company for five years. Within one month he was made
art managing director, but without a seat on the board. There was a possibility of
travel to the U.S.A. if the company were to extend its interests across the Atlantic.
His duties were to obtain orders, see clients, advise on pricing and supervise all
work secured by him and carried out in the company's studios. At the same time
Gilbert managed to "poach" the metal casting expert Arnold Edwards from the
Bromsgrove Guild. Edwards joined H.H. Martyn in 1919. He remained foundry
manager throughout the period 1920-1938, when Martyn's cast 75% of all art
metal in the U.K., their main rivals being the Bromsgrove Guild, the Birmingham
Guild, and Singers of Frome.

Somewhat surprisingly Gilbert was only ejected from the company of his
Bromsgrove employers in 1922 when it became apparent that he was using his
Guild expenses to obtain orders for Martyn’s. News of the commissions for the new
Gothic-style Anglican cathedral in Liverpool probably brought this to a head,
although Gilbert was almost certainly instrumental in obtaining the elaborate
metal chancel gates (designed by Gilbert Scott) for Bromsgrove. Gilbert continued
to operate independently in association with Weingartner from 62-66 Weaman
Street, Birmingham. It was with Weingartner that he executed the great reredos of
Liverpool Cathedral, which was mechanically cut from original clay models by
stone-carvers at Martyn's. The Bromsgrove Guild had, in fact, lost their stone-
carver Weiss on the "Titanic" in 1912 and the new relationship between Gilbert
and Martyn's may have been instigated by the advent of the Liverpool reredos
commission. Walter was a member of a Masonic Lodge in Birmingham and no
doubt was able to use this connection to obtain commissions. After Weingartner’s
retirement in 1930 and much of the modelling work for commissions secured by
Gilbert was taken over by his son Donald, himself an accomplished artist in the
new “Art Deco” style.

Walter retired in 1940 when Martyn's was taken over by Maples. He died on 23
January 1946 at Littlehampton, Sussex. His son Donald carved a memorial to his
father and Louis Weingartner in Hanbury Church, Worcestershire, where the
family had lived during Walter’s association with the Bromsgrove Guild. The
church also contains two large plaster-cast made from the clay reliefs modelled for
the Liverpool Cathedral reredos.

In a promotional booklet probably written c.1938 by Gilbert himself, it says that he
was "a pupil of Benjamin Creswick, who was Ruskin's favourite pupil, trained by
him in sculpture to be the Professor of his school of Sculpture at Keswick. The
foundation of Ruskin's teaching, which has in turn has become the foundation of
Gilbert's, was to study the work of the old artists, try to probe the secrets of their
minds, and find the way they fitted their work to its surroundings and the story
they desired to tell. So, while (he) has worked in various schools and taught in
many of them, it is from the study of sculpture on the actual buildings of the past
in Europe, India and elsewhere, and from the infinite painstaking study in the
museums that he has developed the romanticism of his outlook and the fitting of

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decoration to surroundings." ("A Description of the New Headquarters for the
Anglo-American Corporation of South Africa Limited, 44 Main Street,
Johannesburg".)

LOUIS WEINGARTNER (Died 1934). Chief modeller. From Lake Lucerne in
Switzerland. Jeweller at the School of Art in Birmingham. Weingartner moved to
Bromsgrove c.1903 as principal executant of small-scale castings. He left the
Bromsgrove Guild with Gilbert c. 1921. He returned to Lucerne in Switzerland in
1930 where he died shortly afterwards.
HUBERT DONALD MACGEOCH GILBERT (1900-1961). The talented on of Walter,
Donald was born in Burcot, Worcs. on 29th November 1900. He was educated at
Rugby School and subsequently studied at the Birmingham Central School of Art,
the Royal College of Art and the Royal Academy, Rome, and Florence. A Royal
Academy silver and bronze medallist, he was highly commended in Prix de Rome
final competition (1927). He achieved R.B.S.A. in 1937. He exhibited at Royal
Society of Artists Birmingham, Glasgow Institute of Fine Art, Walker Gallery
Liverpool, Royal Academy, Royal Hibernian Academy, Royal Scottish Academy,
Chenil Galleries. Principal works: animal and decorative sculpture. He designed
many wares for the Bourne Denby pottery and made at Ashtead Potters Ltd. He
also produced portrait busts (including the portraits of the Stocks-Masseys at
Towneley Hall, Burnley, see below): his works include busts of John Logie Baird
(on display in the National Portrait Gallery, London; bronze, 1943) and Edward
Elgar at the Guildhall, Worcester. Hartlebury Museum has a bust of his father
executed by him. His principal sculptural work is a carving for the Adelphi
Building in London.
MARGOT GILBERT [dates unknown]. There is little information in the public
domain about Walter Gilbert’s daughter. She executed a large painting on hide
(still extant?) illustrating in a light-hearted way the history of dance for the SS
Queen Mary ballroom. A sketch-book with drawings in an “art-deco” style surfaced
in c. 2007 in an auction house in Sussex, possibly related to the Queen Mary
commission. Its present whereabouts are unknown.
ARNOLD EDWARDS. Formerly with the Bromsgrove Guild, Edwards joined H.H.
Martyn at Gilbert's instigation in 1919. Edwards remained foundry manager
throughout the period 1920-1938, when Martyn's cast 75% of all art metal in the
U.K. (Their main rivals were the Bromsgrove Guild, the Birmingham Guild, and
Singers of Frome.) Gloucester Records Office (D6345 bundle 1/1) has a letter
dated 25.01.1920 from Gilbert to Edwards as follows: "Dear Mr. Edwards,
Confirming my conversation with you of this morning I on behalf of this firm
accept the proposals in your letter of the 12th inst. The engagement of your
services with the firm of H.H. Martyn & Co. Ltd. to commence not later than in six
weeks time. I am looking forward with great pleasure to your working with me in
the Development of a Foundry in Cheltenham. I shall do my best to make you
happy in your work."

KINETON PARKES (1865-1938). Educated Mason College, Birmingham.
Publications: "Sculpture of Today", 2 vols. 1921; "The Art of Carved Sculpture", 2
vols. 1931. Contributor to "Architectural Review", "Studio", "Apollo", "Queen", etc.
Article in "The Architectural Review": "The Great Reredos of Liverpool Cathedral"
Vol. 56, Aug. 1924, pp. 74-77. Introduction (3 pages) by Parkes in "Sculpture in
the Garden". Privately published, printed by G.E. Over, Rugby. Preface by Gilbert.

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WORKS IN CHRONOLOGICAL ORDER



WALTER GILBERT: EARLY WORKS


1. LIVERPOOL. HANGING LAMPS at the Unitarian Memorial Church, Liscard,
Wallasey. c.1899.

2. VIENNA. CORONA LIGHT-FITTING exhibited at the Paris Exhibition in 1900.
Now in the Osterreichisches Museum fur Angewande Kunst.



WORKS ARRANGED BT WALTER GILBERT IN ASSOCIATION WITH
LOUIS WEINGARTNER AND THE BROMSGROVE GUILD





3. CARTOUCHES OF THE ROYAL COATS OF ARMS and LAMPS on Buckingham
Palace Gates, London; THE GREAT GATES OF CANADA and THE AUSTRALIAN
SCREENS adjacent to the Victoria Memorial, London. Architect Aston Webb.
1906-11.

4. MORETON HALL, MORETON MORRELL, WARWICKSHIRE. (?). CENTAUR
HANDRAIL. c. 1906. Destroyed by fire 2008 (?). See Gilbert's own drawing on p. 4
of "Romance in Metal Work" ("Journal of the Royal Institute of British Architects",
Third Series, Vol. XIII, No. 6). In the article, Gilbert wrote, "The perfect work of art
is always the result of some emotional mood, and . . . it was something of this
emotion which caused me when designing a hand-rail for a small flight of marble
steps for one of the most distinguished members of your profession to place a
centaur in one volute hurling stones up the steps at a dryad peeping out of the
opposite volute, remembering the days of my youth and the frequent use we made
of books at school. It is a trivial thing, but an artist's amusement." In fact, this was
almost certainly executed by Weingartner from a “design” by Gilbert. Weingartner
specialised in the kind of rococo classicism, full of charm and sentiment, found in
the embellishments on Buckingham Palace gates.

5. LONDON. LIFT ENCLOSURE in the British Museum Edward VII extension. c.
1907. These are still in place, and the royal coats of arms are in a more severe
style than at the Palace Gates, and therefore unlikely to be by Weingartner.

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6. ENRICHMENTS FOR LYONS'S RESTAURANTS. Plaster enrichments in one of
Lyons's Restaurants at the Franco-British Exhibition, Shepherd's Bush, London.
Presumed destroyed.

7. THE MUSIC OF THE SEA AND OF THE WINDS. Plaster enrichment in the
Music Room of the Cunard liner "SS Lusitania". Destroyed.

8. AMORINI UPSETTING THE EMBLEMS OF TIME. Plaster enrichment in the
Lounge of the Cunard "SS Lusitania". Destroyed. Gilbert wrote: "The Lounge is the
resort of daintily-dressed women: the playful tricks of the Amorini upsetting the
emblems of time, represented by the signs of the Zodiac, are a delicate satire on
their womanly caprices.” Destroyed. The subservience of women is to be seen later
in the Burnley and Eccleston Park war memorials.

9. LIVERPOOL. HARVEST. Plasterwork in the smoke-room of "The Vines" Public
House, Lime Street, Liverpool. Still in place.





10. MORETON HALL, MORETON MORRELL, WARWICKSHIRE (?). FRIEZE OF
THE GODDESSES. Destroyed by fire in 2008 (?). Plaster decoration in a Dining-
Room.








11. KANSAS CITY. PAN AND THE NYMPHS. Formerly in lead at Moreton Paddox,
Kineton, Warwickshire. First re-located in East 47th Street, Kansas City, 753-
3345, U.S.A. this 10,000-pound lead sculpture was purchased by the Nichols

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Company in 1960 and found its current home in 1969. In the centre of Chandler
Court 4701 Wyandotte Street “near the Swanson's building on the Plaza.”
The CONTEMPORARY sculpture critic Kineton Parkes wrote ". . . in the lead group
of ‘Pan and the Nymphs’ I see virility and imagination. This latter is conceived in
the Versailles spirit, but it includes a later and more real feeling. It is an
exceptional work made for Major Robert Emmet of Moreton Paddox, Kineton,
Warwickshire. It is a noble group which has little to rival it in modern English
garden sculpture. Its authors have gone far beyond the craftsmanship, which is
usually and mistakenly accepted in such work, into the realm of pure art." (pp. 8-9
of Introduction to "Sculpture in the Garden") Gilbert's own caption (on p. 4 of
"Sculpture in the Garden") runs: "Pan the great god of the countryside (the
atmosphere) being courted by the Nymphs of the Gardens, the Orchards, the
Streams and the Woods. Pan looks down rather cynically because he knows that
the nymphs do not always fulfil their promises. The gardens do not always flower,
the streams run dry, the orchards bear no fruits and the trees without shade." His
caption to the illustrated detail was (p. 14): "’The Naiad’ with the merbaby
scrambling after the frog. The water which feeds the lake comes from the crevice
the nymph is opening." (on p. 4 of "Sculpture in the Garden"). On the back of a
contemporary photo with a boy (Donald Gilbert’s son Walter?) posing before the
group there is a handwritten note: "14 ft. long, 13 ft. high, 9 ft. 9 in. wide." A note
on a press cutting at Hartlebury Castle Museum in Worcestershire (no date - dress
suggests e. 1950's) reads: "This lead group fetched £1,025 at sale."

12. KANSAS CITY. "NEPTUNE AND HIS HORSES". Currently located in 308 West
47th Street/Wornall Road, Kansas City, MO 753-3345, U.S.A. This 8,000 pound
cast lead fountain, placed in an oval pool, depicts Neptune. The god of the sea
moves in his chariot pulled by three mythological sea horses. It was cast in lead
originally for the entrance of a grotto in the grounds of the residence of Alba B.
Johnson esq., President, Baldwin Locomotive works, Philadelphia U.S.A. Diameter
of Group: 5ft. 6ins. Miller Nichols purchased the 8,000-pound cast lead fountain
for its weight in scrap metal. It was found on the top of a train car full of scrap
metal by workmen at a salvage company and installed installed in in its present
location in the 1950's.

13. MORETON MORRELL, STRATFORD. "DIANA AND THE LOVES". Lead. In its
original location, now the Warwickshire College of Agriculture. Diameter 8 ft. (The
Grade II listed house was built in 1907-08 by a rich American, Charles Tuller
Garland, son of the co-founder of National City Bank in New York. It was designed
for lavish entertaining, with sumptuous plasterwork, particularly in the barrel-
vault-ed great hall, library and dining room. As a result of a fire in March 2008,
Almost all the interiors appear to have been lost, including a handsome 18th-
century-style staircase with wrought-iron balustrade.) Gilbert's own caption says:
"Diana, the virgin goddess, exhausted by the chase, has fallen behind the fir tree
(the emblem of chastity) and is imploring the water spouting from the tree to hide
her from the Loves pursuing her and pelting her with flowers." ("Sculpture in the
Garden" p.18)

14. LONDON. BATTLE OF JUTLAND MEDAL. For the Battle of Jutland, 1916,
struck bronze, 76 mm., British Museum. Date made:1916. Materials: bronze
silver frosted. Measurements: Overall: 76 mm. (in the collection of the National
Maritime Museum, Greenwich, London among commemorative medals).
Description: obverse: Jugate busts of Admirals Jellicoe and Beatty (three-quarter

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right), wearing full dress uniform. A laurel branch covers the lower portion.
Legend: 'RESOLUTE IN ACTION JUTLAND MAY 31-JUNE I . 1916'. Reverse:
Inscription (within laurel wreath), 'THE GERMAN . HIGH-SEA . FLEET HELD
AGAINST . ODDS TILL . ROUTED BY . INVINCIBLE MIGHT'. Legend (circular):
'STRUCK . UNDER . THE . AUSPICES . OF . THE . ROYAL . NUMISMATIC .
SOCIETY . 1916 . AE . PRESIDENT.' Produced in response to a competition
conceived by Sir Arthur Evans for a medal to commemorate the Battle of Jutland
of 1916, Gilbert designed the obverse around the busts of Admirals Jellicoe and
Beatty; the reverse is by Charles Wheeler. Gilbert's medal came third. The Royal
Numismatic Society arranged for the three winning models to be struck in bronze.

15. WORKSOP. GRIEVING MOTHER, Welbeck Abbey. Chapel of Welbeck College,
Worksop, Nottinghamshire. On west wall of north entrance. Plaque, aprox. 2 feet
high and 3 feet 6 ins. wide. Small relief panel (aprox. 9 ins. by 8 ins.) top centre: a
mother, dolphins at feet, being presented with the arms of her dead son. A
semi-nude female figure is on the left with sword and palm; a semi-nude male
figure on the right with shield and laurel; the "mother" carries a helmet in her right
hand. Laurel decoration on two outer side edges of main plaque; inner border
sixteen regimental badges interspaced with fir and cones.

16. WORKSOP. MOURNING KNIGHT, Welbeck Abbey. Chapel of Welbeck College,
Worksop, Nottinghamshire. On west wall of baptistry. Plaque, aprox. 9 in. wide 10
in. high. Knight on horseback laying wreath with lance. Coat of arms underneath,
surrounded by first Names of three members of the Bentinck family (ie. owners of
the original House). Three regimental badges.

17. LOCATION UNKNOWN (BIRMINGHAM?). BIRMINGHAM CONSERVATIVE
CLUB WAR MEMORIAL, Formerly located in Temple Row. The two plaques were in
what became "The Birmingham Club Ltd.", 2nd Floor, Winston Churchill House, 8
Ethel Street, Birmingham, but this Club has now closed and the work has been
removed. One plaque has a figure of Britannia unsheathing a sword, the other a
figure of St. George standing on a dragon.

18. NEWCASTLE. MEMORIAL FOR JESMOND DENE, Jesmond United Reformed
Church, Burdon terrace, Newcastle. Whitaker p. 302: "The figures are symbolical,
delicately sculptured and expertly cast in the round, each one a work of art in its
own right, from the mother holding her child in her lap to the soldier in attentive
stance, looking towards Christ on the Cross . .”

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19. LOCATION UNKNOWN. "MEMORIAL TO AN AIRMAN". The back of a photo of
the original clay model signed by Gilbert has the captions: "Memorial to a young
American who joined the Air Force". "I will take the wings of the morning and go
into the uppermost parts of the air". "The aeroplane leaving the earth". It is not
known whether this proposal ever got past the clay model stage.


WORKS ARRANGED BY WALTER GILBERT IN ASSOCIATION WITH
LOUIS WEINGARTNER AND MARTYN’S OF CHELTENHAM


20. BIRMINGHAM(?). BIRMINGHAM CORPORATION GAS OFFICE WAR
MEMORIAL . Bronze figure on a pedestal of Hopton marble. Statue height 140
cms., overall 360 cms. (11 ft.). The cenotaph memorial is crowned by an allegorical
figure representing Britannia similar in form to Phidias' well known design of
“Athena Parthenos” c. 447-439. Formerly in the Entrance Hall of the Council
House Extension ("Gas Hall"), Chamberlain Square, Birmingham. The Gas Hall
underwent a refurbishment in 1992 and the memorial was "reclaimed" by British
Gas in 1991. The proposed plan for its re-location was scrapped, and it was placed
in store at the Works of Guild Masonry Ltd. Tyseley, Birmingham, with the Victory
and fir branch at the Office in Hall Green. It was then subsequently stolen. A
description and clear close-up photo of the statue in situ is in the programme for
the unveiling ceremony on 19 November 1921 (in Birmingham Reference Library).
Explaining his monument Gilbert wrote: "The figure proposed is Britannia holding
the (little Nike or) Victory, for the British troops, seamen and soldiers brought
victory to the Allied Armies, and in the other arm she carries the alms of victory
and the rosary of remembrance." (“Birmingham Gas Department Magazine”, Vol.
IX No. 5 May 1920, p. 72). In the leaflet produced for the unveiling ceremony in
1921 it was further noted: "The Britannia is designed in a slight and delicately
modelled form, after the style of the Tanagra figures, which were the choice
household possessions of the Greeks in their greatest period of appreciation of
sculpture. The reason of the choice of this period of the Art by the artist (Mr.
Walter Gilbert) to commemorate those who have fallen and for the intimate
expression of the love with which their names and remembrance are regarded by
the employees of the Gas Department, will be apparent to all. For just as the Greek
set up the artist's expression of the beauty in the place of honour and had it
always before his eyes in the home, so the employees of the Gas Department have
erected an emblem of the immortal beauty of the sacrificing love of their comrades
for the country and their fellows and have placed it in the centre of their daily
labours in order that the sacrifice may never be forgotten." Both sources say, "The
Memorial is designed in cenotaph form, crowned with a figure of Britannia, holding
in one hand a little Nike or Victory alighting on a globe, and in the other, emblems
(the bay and the fir) of the valour and steadfastness of her sons." Gilbert was
recommended by Sir Whitworth Wallis F.S.A., Keeper of the Museum and Art
Gallery, and his model was approved on 19th April 1920. The bronze figure was
cast by Martyn’s and the base installed on 24th October 1921. (“Birmingham Gas
Department Magazine”, Vol. X No. 1 December 1921, p.180). This represents,
therefore, the first known commission arranged by Gilbert (and, of course,
modelled by an unacknowledged Weingartner) for Martyn’s.

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21. MONS. WAR MEMORIAL TO THE VTH (ROYAL IRISH) LANCERS, Hotel de
Ville, Mons. 1922. Gilbert says: "Height 10ft. 6in.". "E.J. May, Architect". "St.
George and St. Patrick". "St. Patrick and his Chaplain were passing from one part
of Ireland to another when they heard that assassins were lying in wait for them -
the assassins waited all day but saw nothing except the passing of a deer and a
hind. The Royal Irish Lancers were in Mons at the time of the Retreat but escaped
and returned on Armistice Day. The panel below records the return of the Vth
Lancers to Mons on Armistice Day welcomed by the Maire and the Curé."
("Sculpture in the Garden" p. 60). The scene is taken from a painting, “5th lancers,
Re-entry into Mons”, last heard of as being in the private collection of a Belgian
citizen. This in turn is almost a mirror image of a painting “5th Lancers, Retreat
from Mons” (whereabouts unknown). In the former, the troopers are heading in the
opposite direction to the “Retreat”, and a middle-aged priest and a pregnant
woman watching the departure of the regiment among a worried-looking crowd of
Belgian citizens have subtly changed: the priest is now white-haired and the
mother holds up her four-year-old child, having lived through the occupation of
the German forces in Mons for four years.





22. CREWE. CREWE WAR MEMORIAL. 20 ft. high. This is located in the centre of
Crewe, facing East. Britannia carries a palm in her right hand and a trident in her
left. 10' high 26 cwt.It is very similar to the memorials at Troon and Morley. General
Sir Ian Hamilton unveiled the Memorial on 14th June 1924. The memorial cost
£1,600 which was raised by public subscription and a generous donation form the

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railway company. Around 15,000 people attended the unveiling ceremony. A
message posted on the internet by Crewe and Nantwich Borough Council on 17th
February 2005 announced: “The Borough Council has today been informed by the
Department of Culture, Media and Sport that as of the 16th February 2005 the
War Memorial in Market Square, Crewe is listed Grade II as a building of Special
Architectural and Historic Interest. Commenting on the listing, Councillor Steve
Hogben, the Borough Council's Portfolio Holder for the Local Economy said: ‘The
Borough Council has consistently recognised the importance of the War Memorial
to Crewe in terms of its commemorative significance, sculptural content and
relevance to the people of the Borough. To that extent its listing is to be welcomed
and in common with all the many listed buildings and structures in the Borough,
its preservation and protection will be respected. The emerging proposals for the
removal of the War Memorial and its re-erection in the Market Square are
consistent with that approach. The Council's resolve to enhance the War Memorial
and provide an appropriate, prominent and reverential setting which will be
reinforced by news of the listing’. Paul Ancell, the Borough Planning Officer, has
confirmed that as a result of the Memorial being listed, a separate Listed Building
Consent application will be required, which will ultimately be decided by the
Secretary of State.” The following notice was subsequently posted in September
2006: “Representatives from Crewe and Nantwich Borough Council and The War
Memorial Veterans Working Group visited Britannia in September 2006, whist she
was being restored at the Liverpool Conservation Centre. Work to date revealed a
highly impressive and interesting restoration procedure. The cleaning process has
been based upon laser technology, developed from the removal of tattoos, which
demonstrates just how gently the process is. Over time the original brown exterior
has worn away and so she has been re-coated with an inhibitor which will prevent
future green corrosion. Then finally she has been waxed, so that water cannot rest
onto her surface. Originally, she is thought to have been cast in about twenty
pieces, although she will be restored in one piece reducing possibilities of damage
from future corrosion. Restoration completion is planned for end of September
2006. The difference between the before and after work is quite staggering, you
soon forget just how the green corrosion had effected her. The process has been an
interesting one, as earlier cleaning involved use with abrasive chemicals. With this
process there are no liquids involved, no chemicals and no scrubbing or abrasive
substances, persevering Britannia and resorting her to her former glory for many
years to come.”

23. WAR MEMORIAL, TROON. Unveiled November 1924. Height 22 ft..The
Memorial faces the sea and Britannia is holding out the palm to those who are
resting in and beyond the seas. Donald Gilbert associated in the execution. The
figure holds a winged Victory in her left hand. The monument is very similar to
those at Crewe and Morley. 10 ft.high weighing 26 cwts.

24. MORLEY. MORLEY WAR MEMORIAL. Unveiled 21st May 1927. 22 ft. high
with plinth. Britannia carries a trident in her right and a kneeling male archaic
Victory in her left. This monument is very similar to those at Crewe and Troon.

25. BURGH OF CLYDEBANK WAR MEMORIAL by Clydebank Town Hall, unveiled
on the 7th June 1931. No current information available.

26. TABLET DEDICATED TO WOMEN WAR WORKERS VAD MEMORIAL at
Harrow Cottage Hospital, Roxeth Hill in Greater London. No current information.

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