Victoria is roughly described as the area around Victoria station. It includes the conservation areas of Broadway and Christchurch Gardens, Grosvenor Gardens and the environs of Westminster Cathedral. Particularly noteworthy examples of architectural sculpture can be found at 55 Broadway, where in 1928–1929 sculptors including Eric Gill and Henry Moore were engaged on representations of the Four Winds; two further figures, Night and Day, were carved by Jacob Epstein.[1] A great deal of public art by recent graduates of art schools in London was incorporated into Cardinal Place, a development of 2005.[2]
Based on a sketch by Bentley dated to 1895–96 and later worked up in colour by his assistant John Marshall,[6] Bell's mosaic was criticised for its background of white tiles instead of the traditional gold.[7]
Unveiled 25 July 1925. The rifleman in contemporary uniform in the centre is flanked by an officer (on the left) and a private in early 19th-century uniform.[8]
Unveiled 5 June 1930.[9] A replica of a statue erected outside Marshal Foch's headquarters in Cassel.[10] The choice of an existing work by a French sculptor caused some dissatisfaction. The site was chosen so that the statue would be seen by French visitors arriving in London at Victoria station.[11]
Bawden produced an original linocut of the Queen's profile for this scheme but it was rejected;[13] the final design is based on a silhouette by Pearce.[14]
Unveiled 14 July 1970. A bronze scroll in the shape of the letter S balancing on a conical pedestal. Part of the inscription notes that NEARBY CAXTON HALL WAS/ HISTORICALLY ASSOCIATED/ WITH WOMEN'S SUFFRAGE/ MEETINGS & DEPUTATIONS/ TO PARLIAMENT.[15]
Unveiled 9 May 1985 by the Queen Mother. Alexander had a particular affection for the old Guards Chapel (almost completely destroyed by bombing in 1944), having spent much time there as a subaltern.[17]
Unveiled 24 June 1991 by Lord St John of Fawsley (according to the pavement plaque). A stainless steel basin, its circumference bounded by cables suspended from above which define a cylindrical shape in the air. The idea was suggested to the sculptor by the hanging lamps in the Sultan Hassan Mosque in Cairo.[19]
Unveiled 22 November 1995, the tercentenary of Purcell's death, by Princess Margaret. The sculptor described the design as "a rising explosion of activity, a tree to the musical evolution of the 17th century". This was the first major sculptural commission by Westminster City Council.[20]
Commissioned when the complex was still known as Stag Place. Based on several gouache studies by Heron of brightly coloured floating shapes connected by linear patterns. Neon tubes light up the work at night.[21]
Nine discs of varying sizes set in the pavement of the Cardinal Place development at various points in a pedestrian's route; they are inlaid with smaller coloured discs.[25]
Two slabs of oblong welded steel panels (with a gap at the top of the grid forming a "machicolation") hold in place a thin cathode light tube; the whole structure is set into a rotating turntable flush with the pavement.[26]
The memorial garden, a gift from Belgium, was opened on 6 November 2014 by Elizabeth II; the Belgian king Philippe was also present.[32] A low circular wall, within which is planted soil from the war cemeteries of Flanders, is inscribed with the poem "In Flanders Fields" by John McCrae.[33]
Blackwood, John (1989). London's Immortals: The Complete Outdoor Commemorative Statues. London and Oxford: Savoy Press. ISBN978-0951429600.
Bradley, Simon; Pevsner, Nikolaus (2003). London 6: Westminster. The Buildings of England. London and New Haven: Yale University Press. ISBN978-0-300-09595-1.
Ovenden, Mark (2013). London Underground by Design. London: Penguin. ISBN978-1846144172.
Purdon, James (May 2013). "Unreal City". Apollo: The International Art Magazine. 178 (609): 60–65.
Ward-Jackson, Philip (2011). Public Sculpture of Historic Westminster: Volume 1. Public Sculpture of Britain. Vol. 14. Liverpool: Liverpool University Press. ISBN978-1-84631-691-3.
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