1937-38 by Reynolds and Scott built in buff brick of a Modernist Byzantine style.
The choice of the Apostle of Holland as a patron saint for the parish was that of a Dutch priest, Fr. Sassen, who bought land for the parish from St. Brigid’s in 1905. The new parish was opened in 1906.
Fr. Charles Hanrahan developed the mission in its infancy and was followed by Fr. Richard Mortimer, who laboured here for a long period, devoting most of his priestly life to the parish.
Fr. Patrick Dillon supervised the building of the magnificent new church of unusual design, which was opened in 1938.
You were conceived as an integral part of the Merseyway development, which on its inception, was held in the highest regard.
Innovative architecture with confidence, integrity and a clear sense of purpose.
The failure of BHS was a national disgrace, venal management, asset stripping, avaricious, grasping rodents ruled the day.
Dominic Chappell, who had no previous retail experience, bought the high street chain from the billionaire Sir Philip Green for £1 in March 2015. The company collapsed with the loss of 11,000 jobs 13 months later, leaving a pension deficit of about £571m.
A sad end for a company with a long history and presence on the high street.
With an architectural heritage to match:
BHS’s chief architect at this time was G. W. Clarke, who generally worked alongside W. S. Atkins & Partners, as consulting engineers. The stores – like Woolworth’s buildings – were composite structures, with steel frames and concrete floors. Clarke sometimes appointed local architects.
At first, like C&A, BHS retained the narrow vertical window bays and margin-light glazing that had characterised high street façades in the 1930s, but by the end of the 1950s Clarke had embraced a modified form of curtain-walling.
This architectural approach became firmly associated with BHS, with framed curtain wall panels – like giant TV screens – dominating the frontages of many stores.
Of late the store has been home to Poundland – though time has now been called.
Poundland’s retailing concept is extremely simple: a range of more than three thousand – representing amazing value for money.
Our pilot store opened in the Octagon Centre, Burton-upon-Trent, in December of 1990, followed by new stores in High Street, Meadowhall and other quality trading locations. Shoppers loved the concept and so did fellow retailers and landlords. The stores proved to be a huge success. Meadowhall’s success was repeated by further stores opening by the end of the year.
The store has been a success even during COVID restrictions, let us hope that the planned return goes ahead.
So here is my record of the building as is, a tad tired, but in its day a simple and authoritative amalgam of volumes and materials.
Mixing variegated grades of concrete, tiling, mosaic, brick, steel and glass.
I have had the privilege and pleasure to visit St John’s several times over the years and doubly pleased to visit with a group of some 30 Modernists in March 2020 as part of a Rochdale Walk, prior to the lockdown days later.
I cannot thank Christine Mathewson and her fellow volunteers enough for the warm welcome we were given. They take such pride in their church and are eager to convey that pride along with their obvious erudition.
Approaching from the adjacent railway station we could not fail to be impressed by the scale and grandeur of the church, a wonderful mix of the Byzantine and restrained Art Deco – most clearly expressed in the sculptural angels looming high above the tram stop.
The building is Grade II* Listed and deservedly so – details can be found here on the Historic England site.
The original design pre-1917 by Oswald Hill, executed in 1923-25 by Ernest Bower Norris. Henry Oswald Hill was a promising architect with a clear interest in contemporary church-building trends, as evidenced here and at the nearby RC Church of St Joseph, Heywood, he was tragically killed in action in the First World War.
The church uses concrete to its advantage in the construction of the striking, 20m-wide central dome, surrounded by the delicate touch of several arched stained glass windows at the perimeter.
Illuminating the concave space in a heavenly manner.
The apsed sanctuary contains an encompassing mosaic scheme of powerful emotional intensity designed by leading mosaic designer, Eric Newton of specialist firm Ludwig Oppenheimer Ltd.
The mosaic is breathtaking in scale, design and execution – nothing can prepare you for its impact as you enter the church.
The quality of the sanctuary mosaic is further enhanced by the use of high-quality tesserae made of stone, coloured marbles and coloured glass, set off by a shimmering background of gold tesserae.
The apsed sanctuary is completely covered in a mosaic scheme with the theme Eternal Life designed by Eric Newton. Newton was born Eric Oppenheimer, later changing his surname by deed poll to his mother’s maiden name. He was the grandson of Ludwig Oppenheimer, a German Jew who was sent to Manchester to improve his English and then married a Scottish girl and converted to Christianity. In 1865 he set up a mosaic workshop, (Ludwig Oppenheimer Ltd, Blackburn St, Old Trafford, Manchester) after spending a year studying the mosaic process in Venice. Newton had joined the family company as a mosaic craftsman in 1914 and he is known to have studied early Byzantine mosaics in Venice, Ravenna and Rome. He later also became art critic for the Manchester Guardian and a broadcaster on ‘The Critics’. Newton started the scheme in 1932 and took over a year to complete it at a cost of £4,000. It had previously been thought that he used Italian craftsmen, but historic photographs from the 1930s published in the Daily Herald show Oppenheimer mosaics being cut and assembled by a Manchester workforce of men and women. It is likely, therefore, that the craftsmen working on St John the Baptist were British.
The whole building is full of surprising details of the highest quality.
Lit by simplest yet most effective stained glass.
This is an exemplary building, on entering one is filled with both calm and awe, an experience which is never diminished by subsequent visits.
The mosaic work is on local and international significance – it is unthinkable that it may ever be lost to us, or that funding was not forthcoming to secure its future into perpetuity.
I implore you to visit, whensoever that may be possible.
Please take a moment append your comments on this post and play some small part in ensuring the St John’s is preserved for generations to come.
Positioned above the entrance/exit and either side of the exit/entrance.
They have had over time various companions to keep them company.
They are currently friendless – the Kirkgate Market is to be closed, its future uncertain – and by inference Big Bill’s public art is under threat too.
The Council has announced to its traders in Kirkgate Market and the Oastler Centre that it will not be carrying out the proposed refurbishment of Kirkgate Market as the new market in Darley Street will now accommodate non-food sales on one trading floor with the other trading floor being dedicated to fresh foods and the 1st floor for hot food and beverage sales.
As per they are unlisted, largely unnoticed and as such very vulnerable, get it while you can, take a trip to Bradford real soon.
Mention must also be made of the tiled ceramic mosaics which adorn one wall and the three panels on the raised area above the stalls.
I was most intrigued by these tiles – I have not seen this type before – they have a resemblance to to Transform tiles that were produced in Staffordshire in the 1970s, but they are different in several ways.
The November 1973 T&A microfilm appears to have been stolen from Bradford Library so I can’t check reports and features from the time of the opening of the market on November 22 1973.
When World War II broke out, Hastings and St Leonards-on-Sea were considered vulnerable to attacks and invasion from abroad. On the night of Saturday 29 July 1944 a doodlebug was hit over the English Channel. Damaged, it nevertheless continued to fly towards the coastline of St Leonards-on-Sea. It was approaching Marine Court which was hosting a servicemen’s party – but it veered and crashed in front of the doors of St Leonard’s Church, making a deep crater. The tower fell into this, and the rest of the church was brought down as well. Although there were no casualties, the church was completely destroyed. Although the problem of rock falls and subsidence associated with the cliffs had continued throughout the life of the church, the War Damage Commission would only pay for it to be rebuilt on the same site. The architectural partnership of brothers Giles and Adrian Gilbert Scott were commissioned to design the new building.
Patrick Reyntiens stained glass
The unique features were inspired by Canon Cuthbert Griffiths, rector from 1929 to 1961. Following a dream, he went to Israel and had the prow of a Galilean fishing boat constructed to form the pulpit.
Marble work on the floor depicts locally caught skate and herring.
Beyond the communion rail are loaves and fishes set in different marble patterns bordered by scallop shells, a copy of the Byzantine mosaic in the Church of the Feeding of the Five Thousand in Galilee.
The structure set into shifting cliffs is subject to subsidence.
Procedures have been completed for St Leonard’s Parish Church on Marina to be closed for worship.
The service will be next Saturday August 4 2018 at 3pm.
Because the building cannot be used the service will be at St Ethelburga’s in St Saviour’s Road.
St Leonard’s has been called the church with an inbuilt message. Even the very stones cry out to those who have eyes to see, ears to hear and a heart to understand and accept the Good News of the Gospel.
The oyster shell houses, together with the homes on the Beachlands Estate, were a form of kit build, imported from Sweden by local builders Martin and Saunders. The original plan to build envisaged a choice from as many as twelve possible kits, built in four waves, the estate is now studied, photographed and mentioned by architectural historians from across the country.
It was decided to ask the RIBA to hold a competition to design the new building and the choice of judge was made by its president Sir Raymond Unwin. He selected Thomas S. Tait, who was respected by established architects but was also known to be sympathetic towards the ideals of new ‘modernist’ architects. The Bexhill Borough Council prepared a tight brief that indicated that a modern building was required and that heavy stonework is not desirable.The competition was announced in The Architects Journal of 7 September 1933, with a closing date of 4 December 1933. Two hundred and thirty designs were submitted and they were exhibited at the York Hall in London Road, from 6 February to 13 February 1934. The results were announced in the Architects Journal of 8 February 1934 and the £150 first prize was won by Erich Mendelsohn and Serge Chermayeff.
Today Monday 27th July 2015 – leaving Ilfracombe the royal we head south along the Tarka Trail, giving Cornwall a swerve.
Though first we feast on a slightly out of focus fry up at the digs.
Inspired by the route travelled by Tarka the Otter, this 180 mile, figure eight route traverses unspoiled countryside, dramatic sea cliffs and beautiful beaches. The southern loop incorporates the longest, continuous off-road cycle path in the UK. Walking or cycling, you can experience the best this beautiful area has to offer.
Then away we go following the former train line out of town.
The Ilfracombe Branch of the London & South Western Railway, ran between Barnstaple and Ilfracombe. The branch opened as a single-track line in 1874, but was sufficiently popular that it needed to be upgraded to double-track in 1889.
The 1:36 gradient between Ilfracombe and Mortehoe stations was one of the steepest sections of double track railway line in the country.In the days of steam traction, it was often necessary to double-head departing passenger trains.
Named trains such as the Atlantic Coast Express and the Devon Belle both started and terminated at Ilfracombe.
Despite nearly a century of bringing much-needed revenue into this remote corner of the county, passenger numbers dropped dramatically in the years following the Second World War, due to a massive increase in the number of cars on Britain’s roads, and the line finally closed in 1970.
Much of the course of the line is still visible today, and sections of it have been converted into public cycleways.
We leave behind – theshadowy world of secret handshakes, favours for friends and strange initiation ceremonies.
For the equally shadowy world of military installations.
The water tower at RAF Chivenor.
Originally a civil airfield opened in the 1930s, the site was taken over by the Royal Air Force in May 1940 for use as a Coastal Command Station. After World War II, the station was largely used for training, particularly weapons training.
In 1974 the station was left on care and maintenance, in 1994 7 FTS left Chivenor, merging with No. 4 Flying Training School RAF at RAF Valley, and the airfield was handed over to the Royal Marines.
A most delightful cycle path alongside the estuary of the River Taw.
The River Taw rises high on the slopes of Dartmoor and together with its tributaries, the River Mole, Yeo and little Dart, runs north through beautiful rolling countryside down to Barnstaple and into the Bristol Channel.
Passing under the Torridge Bridge at Bideford – a 650 metre long concrete structure built in 1987.
Three piers are in the river. Each of the piers in the water is protected by concrete fenders twenty four metres long by eight metres wide by eight metres high. The concrete piers of the bridge are around twenty four metres high.
It was designed by MRM Partnership.
Here we are in Barnstaple by the Civic Centre.
It’s described as an ‘iconic’ building, but not many locals would agree, this huge building widely considered to be one of the ugliest in Devon could soon be under new ownership.The council has confirmed that following a tender exercise, it is working with a preferred bidder to finalise the details of the sale.
In 2014Barnstaple based Peregrine Mears Architects believed the civic centre could provide up to 84 modern apartments.
Artist’s impression by Peregrine Mears Architects – looks a little too wobbly to me, Peregrine Mears Architects should get right back to the drawing board, where they started from.
The Neo-Classical facade restrained Deco of The Venue.
Formerly The Regal Cinema – opened on 30th August 1937
Architects – BM Orphoot
Revellers dancing at The Worx nightclub– as The Venue was to become.
The building in Barnstaple is for sale with Webbers estate agents for just £225,000. The striking building in a prime position on the town’s Strand was originally opened in 1937 as the Regal Cinema.
The building will probably be best known under the guise of Kaos, the name it was given during the 1990’s and at the height of its popularity.
Other nightclub incarnations at the premises included Babylon, Rockabillies, Coco, Club Tropicana and of course The Venue.
The Tarka Trail crossing the River Torridge, just south of Bideford, utilising the former railway bridge.
The old home town looks the same as I step down from the bike, and there to meet me is – well nobody.
And I realise, yes, I was only dreaming.
I’ll go to Okehampon then – take a look at the lovely tiled Post Office, whilst completely ignoring one of the oldest Norman castles in the country.
Walking around town in search of a B&B proved fruitless, though I was directed to an out of town Roadhouse aways away.
Welcome to Betty Cottles Inn – land of the lost apostrophe.
Rooms are not as photos/described on hotel booking sites, wi-fi hardly ever works. I prepaid/booked for nine nights, I checked out after two days. Needless to say I didnt receive a seven day refund. Owner with attitude problem, he had my money, and was not keen on helping with my concerns about the property. Musky smell to carpet in bar and restaurant areas. Not been cleaned for a long time. Rooms unsafe and not private, with curtains not long enough, lock on room doors inadequate.
Neil H – July 2109
You sneaked in a female into your single room without paying for her and got caught so obviously you have retaliated by way of a negative review. You were probably the most rude and hostile guest we have ever had and have had to report you to booking.com for guest misconduct and also banned you from being able to book here again.
Matthew owner at Betty Cottles Inn
I ate a reasonable meal in the Carvery and chatted amiably with a representative salesman on the move, whilst seeing off a few pints of Guinness – any port in a storm.
Commercial building with ground-floor retail units and offices to the upper floors, c1883, by W H Crossland with sculptural work by C E Fucigna. Sandstone ashlar, slate roof, substantial ashlar ridge stacks. C19 Queen Anne style with French influences and classical Greek sculpture. One of the ground-floor shop units was remodelled in 1935 by Sharp and Law of Bradford with Moderne shopfronts and interior fittings.
The cultural and visual collision is immediate – the pairing of Huddersfield’s grand Victorian manner with the latest of European Moderne.
Neaverson’s – purveyors of pottery and glass began life in 1893 in premises on Cross Church Street, before moving to the Grade I-listed Byram Street building in 1935.
Set to the ground floor of bay 4 is a 1935 Moderne shopfront by Sharp and Law of Bradford. The shopfront is of grey and pink/beige marble with unmoulded windows that are curved to eliminate reflection, and has a glazed door set within a recessed porch. Set below the top of the shopfront is a ribbon window with dark tinted glazing and slender vertical and horizontal muntin bars arranged in a geometric pattern. The original metal signage in stylised sans-serif relief lettering reads ‘NEAVERSONS’, ‘pottery’ and ‘four’.
Thought to echo Susie Cooper’s London shop and unswervingly now – the fascia must have been something of a shock to the taciturn Tykes.
The church built in 1965 is fan-shaped in plan. Concrete portal frame with yellow brick infill. Shallow-pitched sheet metal clad roof. The main rear wall is flat and blind, with a parapet, and extends across the building at full height. From this wall the main body of the church radiates, three facetted bays to either side, with a saw tooth eaves line, then a projecting square block which houses the narthex and west gallery. The saw tooth eaves continue just above the entrance block to complete the fan shape. Attached to the other side of the main wall are the low, square projections of the side chapels and sacristies and a concrete framed bell tower with shallow pitched roof. The entrance block is clad is artificial stone, has a wide, glazed screen with central doors and a thin flat canopy.
We had arrived some twenty five strong as part of Manchester Modernist’s Hull Mooch – we were very warmly welcomed and left more than satisfied by the riches both within and without.
My thanks to Deacon Rev. Robert Shakesby
Above this an inset panel of decorative mosaic by Ludwig Oppenheimer Ltdof Manchester -the firm ceased trading in 1965. The facetted elevations have large glazed areas set in a bold concrete grid of mullions and transoms, tripartite in the centre with a border of smaller divisions. The bell tower is placed in the centre of the east wall and has a port cullis-like bell-opening facing west.
The mosaic is surrounded by decorative abstract panels in light relief
Let’s take a look inside.
The interior is a light and spacious essentially single cell, with the shallow canted projection of the sanctuary – top lit by a row of seven small circular skylights, the low side chapels and the organ gallery. The concrete portal frame provides a dramatic grid radiating from the centre of the east wall. Sanctuary fittings in contrasting marbles, by Toffolo & Son of Hull, designed as a piece. Similar marble altar in the northeast side chapel. The chapels have subtle shallow-pitched arches. West gallery also with circular skylights. Organ pipes at either end arranged within a striking double-curve enclosure, like a grand piano in plan. Open-backed pews and original light fittings. Stained glass by Leo Earley of Earley & Co. of Dublin. Stations of the Cross, wooden relief panels set within integral frames, somewhat stark.
We were there at the behest of Esther and Leigh, gathering to say farewell to Alan Boyson’s Three Ships, as it transpired we were there to celebrate its reprieve, following their campaign for listing.
Over a million tesserae glowed in the low winter sun – so did we.
As Helen Angell read her poem – Christopher Marsden and Esther Johnson recording the performance for posterity.
The Three Ships are attached to a former Cooperative Store – complete with a formerly working Cooperative Store clock – where we meet at four minutes to six – forever.
We had previously encountered Hammonds of Hull/House of Fraser – soon to be a food court, artisan everything outlet.
And this Festival of Britain style functionalist council building.
Onward to the Queens Gardens the almost filled in former Queens Dock – forever fourteen feet below sea level.
We encounter Ton Liu’s Solar Gate – a sundial that uses solar alignment to mark significant times and dates in Hull. The super-light innovative two-shell structure is place-specific, responding to pivotal historic events and to the cultural context of its location in Hull’s Queens Gardens adjacent to the ancient site of Beverley Gate.
Carved stone panels Kenneth Carter 1960 – Ken’s art career began as an inspiring teacher, first at his alma mater, Hull College of Art, and later as principal lecturer at Exeter College of Art.
A number of decorative fountains featured in the ponds; those at the eastern end designed as part of the sculptured panels of 1960, by Robert Adams, described by Herbert Read as belonging to:
The iconography of despair. Here are images of flight, of ragged claws, scuttling across floors of silent seas, of excoriated flesh, frustrated sex, the geometry of fear.
I have previously sought succour in your shady shelters, as unrelenting sheets of steel grey rain peppered the wind whipped Irish sea.
A concrete cornucopia of Californian screen block, glass, pebbledash, mosaic and crazy paving.
Municipal modernism under threat as the unstoppable force of coastal improvement lumbers on, a pantechnicon of shiny surfaces, sensitive planting, contemporary seating and laser-cut, contextually appropriate historical panels.
As Hardscape introduces a wholesome dose of CGI style medicine to the promenade
I for one will miss you all when you’re gone.
Next time I pass all this will seem as a dream, a tale told by a fool full of sand and fury signifying nothing.
In almost every town or city worth its salt stood a modern white tiled tailor’s shop, almost every man or boy wore a Burton’s suit.
Harry Wilson had become the company architect by the early 1920s, and was responsible for developing Burton’s house style. Montague Burton, however, maintained a close personal interest. The company’s in-house Architects Department was set up around 1932 under Wilson. He was followed as chief architect around 1937 by Nathaniel Martin, who was still in post in the early 1950s. The architects worked hand-in-hand with Burton’s Shopfitting and Building Departments, who coordinated the work of selected contractors. Throughout the late 1920s and 1930s they were kept phenomenally busy: by 1939 many of Burton’s 595 stores were purpose-built.
The very first made to measure gear I owned came from Burton’s in Ashton under Lyne – mini-mod aged fourteen in a three button, waisted, light woollen dark brown jacket, four slanted and flapped side pockets and an eighteen inch centre vent.
Topped off with the company’s distinctive logotype.
This example in Doncaster is one of the few remaining examples many having been removed – as the stores have changed ownership and usage.
This Neo-Classical Burnley branch is a rare example of a Burton’s which hasn’t gone for a Burton.
The group maintained a distinctive graphic style in labelling signage and advertisements.
Often including ornate mosaic entrances, ventilation covers and obligatory dated foundation stones – as seen in this Ashton under Lyne branch.
Stores often housed dance halls or other social spaces.
In 1937 Burton’s architect, Nathaniel Martin, collaborated with the architects Wallis Gilbert & Partners on a subsidiary clothing works on the Great Lancashire Road at Worsley, near Manchester. Conceived as a Garden Factory and built in a modern style, this was dubbed ‘Burtonville Clothing Works’. It opened in October 1938 .
Where machinists worked on Ashton built Jones equipment.
Time changes everything and the inception of off the wall unisex disco clothing saw the made to measure suit fall into a chasm of loon pants and skinny rib grandad vests.
The Ashton branch becomes a motorcycle then fitted kitchen showroom, topped off with a succession of clubs and various other modern day leisure facilities.
Currently home to the Warsaw Delicatessen and Good News Gospel Church
Formerly Club Denial.
This is the tale of the modern high street grand ideas, architectural grandeur, entrepreneurialimmigrants, style and fashion – disappearing in a cloud of vinyl signage and fly by night operations. Though if you look carefully the pale white shadows of Burton’s are still there in one form or another, however ghostly.
Piecing together photographs and the distant reminiscences of those that lived, breathed and drank in their pubs beneath the streets in the sky.
The Link on Park Hill had some colourful characters.
If you want any info on the Link next time you are in town see the man selling fishing tackle outside Castle Market ,he is called Chris Hardy his dad ran the link in the 60’s they used to have the Sun Inn on South St before Park Hill was built, tell Chris that Alan Betty’s cousin told you about him.
I once did a job outside the Scottish Queen and had a lump of concrete thrown at me! it landed about 2m away, that made me jump!
Joe Fox used to be the landlord in the George in the 70s, didn’t stand for any messing about.
Earl Francis! Of course! That was driving me mad; I was just going to ring my mum and ask her if she could remember what it was called. I think it closed in the early 90s, at the same time as the renovations of Hyde Park Walk and Terrace – 1990/1991, if I remember correctly.
The Earl Francis was still open in 1994 – the last time I went in there, but was dying on its feet.
Park Hill is empty, and due to be refurbished.
It’s amazing to think that each complex had all these pubs and people actually went in them!Drove past Park Hill a few months ago at night and it didn’t look like a soul lived in them.
Not surprised the Tavern has closed down. Don’t know whether people are happy or sad about it…They looked like an absolute dive, but I’ve always wanted to go and have a look around them to see what they’re like close up!
The flats and in particular the Parkway Tavern were used in the 2014 film ’71 – which was set in Northern Ireland. So this photograph showing the bar with a packet of crisps is actually slightly misleading because the crisp bag was only a printed film prop and what looks like broken glass on the bar is fake! – Mr C
A new pub could open on the site of what was once voted Britain’s second most dangerous watering hole. The Scottish Queen at Park Hill was notorious for violence, with only the most hardy drinkers brave enough to cross its threshold.
April 2015 saw the launch of a new exhibition space in Sheffield, housed within the former Scottish Queen pub at the Brutalist icon that is the Park Hill estate. The Scottish Queen hosted a temporary programme of exhibitions, events and residencies in partnership with a range of artists and organisations from across Sheffield supported by S1 Artspace.
Possibly the second toughest art space in Britain.
A city once awash with industry and ale – a myriad of pubs slaking the thirst of the thirsty steel workers.
A liquid equilibrium flowing and flowering for over a century.
The Lower Don Valley once home to a wealth of boozers, tells a different tale today.
A fall in production produced a proportionate reduction in consumption.
The clatter of clogs on cobbles, metal on metal is but a distant memory, along with the sound of pints pulled and hastily glugged.
The architecture of ale still prevails – now purveying pleasures and delights of a different stripe, whatever takes your fancy, as long as it’s not too fancy.
And doesn’t involve taking a drink.
The Gower Arms – 47 Gower Street Burngreave Sheffield S4 7JW
I drink down there – top pubs methinks. They are old fashioned pubs with some real characters. Will be there Friday night in the Staff first, Royal Oak, Gower, Grapes and back to the Staff till I drop.
Blade Bloke 2007
From top pub to closed corner supermarket in two shakes of a monkey’s tale.
The Norfolk Arms Hotel – 195/199 Carlisle Street Sheffield S4 7LJ
Club Xes is a nightclub in Sheffield described as a vibrant and thrilling, and full of Sheffield’s young and trendy crowd. The DJs are renowned for providing the newest funkiest records.
Premises Type – This place does not serve real ale.
Premises Description – Gay nightclub.
The Corner Pin – 231-233 Carlisle Street East Sheffield S4 7QN
First licensed to sell beer in 1840. One of 26 public houses serving the steel industry along a three- quarter mile stretch of Carlisle Street. It is said to have a ghost who likes to turn the lights on in the middle of the night and footfalls can be heard.
The Corner Pin was the last of the Steelmakers pubs in Sheffield and was one of my favourite places to visit for a real good pint! I would come over from Melbourne once or twice a year, still do, and meet up with Chris Payling and many others still left over from the days of Sheffield Steel, but now all gone.
They even took away your window frames, along with your dignity once a pale green shadow of yourself, stripped back to brick.
Stop dreaming of a foaming pint right now – you’re an office.