Early one morning – just as the sun was rising.
I took to the sunny Sunday October streets of Sheffield, bound I knew not where.
In search of something and nothing, which I possibly never ever found.
Following secret signs, symbols and words, doors and gates shut in my face.
Before I knew it I was back where I started.
190 Wilmslow Rd, Heald Green, Cheadle SK8 3BH
The original Long Lane Post Office is still there but not here:
However – I digress.
One fine day, some time ago there popped into my consciousness a Sixties retail mosaic in the Heald Green area – I tracked down its precise whereabouts online, in the modern manner.
Thinks – one fine day, just you wait and see I’ll pay a visit to the Heald Green area.
So today I did, it started off fine and finished up less so.
Jumped the 368 from Stockport Bus Station alighted at The Griffin.
Walked aways up the road and there it was, almost intact – it’s original name obliterated with lilac exterior emulsion – did it once read healds?
Why of course it did – the local dairy and retailers were the shop’s original owners.
A few tesserae are missing otherwise the piece is as was – a wobbly jumble of text, shape and colour.
Self service – at your service.
London Road Fire Station is a former fire station in Manchester, England. It was opened in 1906, on a site bounded by London Road, Whitworth Street, Minshull Street South and Fairfield Street. Designed in the Edwardian Baroque style by Woodhouse, Willoughby and Langham in red brick and terracotta, it cost £142,000 to build and was built by J. Gerrard and Sons of Swinton. It has been a Grade II* listed building since 1974.
Manchester Local Image Collection
Despite its listing and prominence, opposite the rear corner of Piccadilly Station, this honeyed and red ochre delight has suffered nought but the indignity of abandonment since its closure in 1986, changing hands as quickly and venally as a worn deck of cards
The finest fire station in this round world stands empty.
The first mission in the Fitton Hill, a post-war housing estate, was due to the work of Fr Buckley, an assistant priest at St Patrick’s Oldham. He arranged for the purchase of land in the Fitton Hill area in 1940, before the new housing was built. Once the estate had begun to be developed, Fr Buckley said Mass in an upper room in Maple Mill. The foundation stone of Holy Rosary was laid by Bishop Marshall on 2 October 1954 and the church was officially opened by Mgr Cunningham in July 1955. The presbytery was built in about 1970. The first campanile blew down and had to be rebuilt. In 2009, the parishes of Holy Family and Holy Rosary were merged.
Taking Stock told me so and will tell you even more.
Architect: W and JB Ellis who were also responsible for Our Lady of The Assumption in Langley.
I first passed by one sunny day in April 2016 – happily snapping the exterior of this ever so pleasingly prosaic Italianate brick building.
Following a cue from pal Tim Rushton, I was alerted to the significant decorative work within.
The mosaic and fresco work of Georg Mayer-Marton – born in Hungary 1897, died in Liverpool 1960 was one of Britain’s very few experts in the art of face or facetted mosaic.
Sadly the fresco is no longer visible – painted over with emulsion when thought to be too tatty – a tiny fragment has been revealed by conservators.
There is currently a campaign to restore and preserve these important works.
The church is now closed, but we were ever so fortunate to have Bernard Madden on hand to open up and show us around, a warm welcoming space once full to overflowing.
Now sadly silent.
We all deserve better.
We here in Stockport have our own BHS murals, happily so does Newcastle.
The work of acclaimed artists Joyce Pallot and Henry Collins, they worked on a large number of murals and exhibition designs for amongst others, Jamestown Festival, USA; Brussels Exhibition; Expo 70; Japan; Shell Centre; GPO Tower, London; Grosvenor House, London; Ind Coope Ltd; Philips Business Systems; Sainsburys; British Home Stores; Cwmbran Arts Trust; Essex County Council and IBM, London.
They never worked on the site itself, but used a regular contractor Hutton’s Builders Ltd Colchester, who cast the concrete in panels around four feet square. There are two relief panels, depicting events in the history of Newcastle. Highly stylised, the relief is moulded to a depth of 5cm and features some charming Geordie characters.
The left panel contains the following inscriptions and images Monkchester with Roman head and Newcastle coat of arms. Roman ship and golden coin. Collier Brig 1704-1880 with ship. Oceanus with anchor and seahorse with trident. The right panel contains the following inscriptions and images: Jupiter Fortuna with two figures. Engineering; Davy and Stephenson; coal mining ship building with images of same. G & R Stephenson; Armstrong Whitworth; Rocket 1829 with image of first steam engine. Armstrong 12 Pounder RA with image of gun. 1878 J.Swan Pons Aelius with bridges depicted below. Turbinia and image of ship. Various churches with names carved about including Grainger Dobson 1865; 1838 Green Stokoe; Bewick with a swan; a figure and Brigantia. Final section on far right has Geordie over two figures, then the Keel Row with a loading boat at the bottom.
Information from – PMSA
The building was originally developed by C&A and it is thought that funding for the reliefs might have been provided by the store and/or Northern Arts. It became BHS which subsequently closed last year, the building is now occupied by Primark, C&A estates still own the site.
The mural illustrated the cover of the 1975 Newcastle Festival.
All towns have ghosts, none more so than Scarborough.
High atop a castle topped, wind whipped promontory, lies Anne Bronte, overlooking the harbour below, wayward Whitby whalers wail, lost fisher folk seek solace.
Its walls ache with traders past, scissors that no longer snip, click-less shutters, unlettered rock and loaves that no longer rise.
Layers of sun baked, peeling paint on brick, rendered almost illegible.
As Alan Resnais would say Scarborough, mon amour!
The three concrete totem sculptures of 1966 by William Mitchell, which stand in the courtyard of the Allerton Building, University of Salford, are recommended for designation at Grade II for the following principal reasons: * Historic Interest: as a good representative example of the commissioning of public artwork as an integral element of the design of new higher education colleges and universities in the post-war period, here succeeding in imbuing a distinct identity and image on an otherwise relatively plain complex.
So it seemed appropriate to cycle to Salford early one sunny Saturday morning, in an otherwise relatively plain manner in order to see the three totems.
William Mitchell was a leading public artist in the post-war period who designed many pieces of art in the public realm, working to a high artistic quality in various materials but most notably concrete, a material in which he was highly skilled, using innovative and unusual casting techniques, as seen in this sculptural group. He has a number of listed pieces to his name, both individual designs and components of larger architectural commissions by leading architects of the day.
Historic England says so, they loved them so much they listed them Grade II.
I loved them so much I listed them lovely, especially in lowish spring light, set against a clear blue sky and framed by the surrounding academic buildings.
Further info here on Skyliner
Go take a look.