Vernon_Hill_(sculptor)

Vernon Hill (sculptor)

Vernon Hill (sculptor)

British sculptor (1887–1972)

For others with the same name, see Vernon Hill (disambiguation).

Vernon Hill (1887–1972), born in Halifax, Yorkshire, England, was a sculptor, lithographer, illustrator and draughtsman.[1][dead link]

Quick Facts Born, Died ...

He began his work in print-making and lithography, and branched out into other artistic forms, such as sculpture. He illustrated several works and created etchings. His more notable works were commissions from Sir Edward Maufe for interior and exterior architectural sculptures on Maufe's buildings, including Guildford Cathedral, the Runnymede Memorial and several churches.

He died in 1972.[1][nb 1]

Early life

Vernon Hill was born in 1887 in Halifax, Yorkshire. He began formal training in print-making at an early age; at the age 13 he was apprenticed to a lithographer. In about 1908, at the age of 21, Hill moved to London and took up poster illustration, working under John Hassall, a poster designer and illustrator.[1][4]

From 1909 to 1914 Hill received commissions for work as an illustrator on various projects. He created Art Nouveau illustrations for an Arcadian Calendar for 1910 in 1909, Stephen Phillips' The New Inferno in 1911 and for Richard Pearse Chope's Ballads Weird and Wonderful the following year. In 1912 one of his works was exhibited at the Royal Academy.[1][dead link][4] His etchings were described by Campbell Fine Art as follows:

The distinctive allegorical etchings of Vernon Hill are all now scarce. His highly evocative work appears to have evolved entirely independently from the trends of his time, although overtones of the mysticism which so influenced Frederick Carter and Austin Osman Spare can be traced in some of his works.[4]

Richard Pearse Chope commissioned Hill to create a series of designs for Roof Bosses at St. Nectan church, Stoke, Hartland c.1912. The bosses are in three sets; two sets are of plants and trees of which the first letter of each spell out the names of Chope's brothers (Dennis & Abbot Chope). The third set are of biblical associations. Hill is thought to have sculpted these bosses although some indicate they were done by Messers Reads of Exeter.[5]

Notable commissions

His most notable work as a sculptor is to be seen on various buildings by Sir Edward Maufe, who regularly commissioned Hill.

Guildford Cathedral

Some of Hill's finest work can be seen at Guildford Cathedral in Guildford, Surrey. Apart from the reliefs on the south door entrance he carved the angels on the sedilia inside the cathedral, as well as the tongues of flame on the pulpit and lectern. He also carved the arms of Bishop Greig over the inside of the sacristy door and the figure of Saint Ursula over the inside of St Ursula's Porch.[6][7]

At the east door of the south porch (on either side of the central buttress pier in the south transept) are two magnificent bronze doors set under two arches which feature Vernon Hill's reliefs.[8][9] These are depictions of various occupations, of both men and women. The men's occupations are on the right-hand door and include sowing, woodcutting, fishing, hunting, shepherding and ploughing; on the left-hand door are depicted women's traditional occupations including milking, spinning, and teaching.[6][7]

  • Teaching
  • Milking
  • Spinning
  • Sowing
  • Shepherding
  • Ploughing

Runnymede Memorial

Royal Air Force Memorial, Runnymede, Surrey. Hill's works appear above the entrance

Hill sculpted the Air Forces Memorial at Runnymede, designed by Maufe.[10] Overlooking the Thames Valley, the memorial commemorates the more than 20,000 Royal Air Force servicemen and -women who died during World War II and have no known graves. The panels of inscriptions bear their names.[11]

Among Hill's works are the architectural sculptures of Courage, Victory and Justice, which adorn the entry to the shrine on the north side of the triple arched portico by the cloisters.[12]

St Columba's Church, London

St Columba's Church: exterior and interior sculpture by Hill

Maufe was the architect for the re-building of St Columba's Church, Pont Street, London, which had been destroyed in 1941 during World War II. Hill provided interior and exterior stone sculptures for the construction between 1950 and 1955. Maufe described the finished work as "of an especial beauty."[13]

St John's College, Cambridge

Also commissioned by Maufe, Hill completed an architectural sculpture of the arms of St John's College, Cambridge, for the north side of North Court.[14]

Church of St Thomas the Apostle, Hanwell

Hill sculpted several works out of Weldon stone for Maufe's church of St Thomas the Apostle, Hanwell. These included a sculpture of doves over the north door and one of two birds eating a bunch of grapes, depicting the Communion, over the west door. He also carved a Virgin and Child and a font. The font includes symbols for Christ, such as the ΙΧΘΥΣ cypher and an image of a fish. He also made a sculpture of Saint Christopher.[15][16][17][18]

  • Hill's keystone carving of a dove over the north door
  • Virgin and Child, carved in Caen stone, in the Morning Chapel (Lady Chapel)

Works

More information Work, Year ...

Exhibitions

Hill exhibited:[1]

1927 - Multiple works at Leicester Galleries: Sculpture, Drawings and Etchings by Vernon Hill
1928 - Multiple works at Leeds City Art Gallery, Yorkshire Artists' Exhibition
1930 - The Awakening at Leeds City Art Gallery, Yorkshire Artists' Exhibition

Notes

  1. [N 1]
    Wolseley Fine Arts exhibition catalogue also gives 1972 as his date of death.[2][dead link] According to Christie's, however, he died in 1953.[3]
  2. [N 2]
    Hill's artistic talents were described by Chope in the Foreword to Ballads Weird and Wonderful as follows: "[he] is an artist who is not limited to the actual things of life, whose fancy is not confined within the limits of a green field or a marble column - who, indeed, can see visions - whose inner life is not of our life but of a strange occult devising, is impelled irresistibly towards the supernatural."

References

  1. [1]
    [dead link]Vernon Hill. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  2. [2]
    The Etchings Revival in Britain 1850-1950. Wolseley Fine Arts. p. 25. Retrieved 23 August 2012.
  3. [3]
    Lot Finder - Vernon Hill. Christie's. Retrieved 23 August 2012.
  4. [4]
    Vernon Hill: Biography. Campbell Fine Art. Retrieved 23 August 2012.
  5. [5]
    Hobbs; Question of a Seat. Pub. 2005 on the seating and artefacts within St Nectans church
  6. [6]
    Exterior Guide Guildford Cathedral.. Retrieved 16 August 2012
  7. [7]
    Cathedral Church of the Holy Spirit, Guildford. British Listed Buildings. Retrieved 19 August 2012.
  8. [8]
    Guildford Cathedral, east door of south porch, Elemental Male Occupations Ploughman. Work of Vernon Hill. Exploring Surrey's Past. Archive record Reference Number: PC 00072 ALB00300149. Retrieved 24 August 2012.
  9. [9]
    Historic England. "Cathedral Church of the Holy Spirit (1377883)". National Heritage List for England. Retrieved 24 August 2012.
  10. [10]
    Runnymede Memorial. Commonwealth War Graves Commission. Retrieved 23 August 2012.
  11. [11]
    207 Squadron Royal Air Force Association, The Air Forces Memorial, Coopers Hill, Runnymede. 207 Squadron (Royal Air Force) Association. Retrieved 24 August 2012.
  12. [12]
    The Air Forces Memorial, Runnymede. Commonwealth War Graves Commission. p. 4. Retrieved 24 August 2012.
  13. [13]
    02 20-39 Chelsea Old Town Hall to Knightsbridge. Royal Borough of Kensington and Chelsea. p. 19. (item #39) Retrieved 24 August 2012.
  14. [14]
    Pevsner, Nikolaus. (1970). Cambridgeshire, Second edition. Pevsner Architectural Guides. Buildings of England. Yale University Press. ISBN 0-300-09586-4. pp. 154-155.
  15. [15]
    Cherry, Bridget and Nikolaus Pevsner. (1991). London 3: North West. Yale University Press. p. 184. Retrieved 23 August 2012.
  16. [16]
    Our Building St Thomas the Apostle, Hanwell. Retrieved 24 August 2012.
  17. [17]
    St Thomas the Apostle. London Open House. Open-City the architecture education organisation. Retrieved 24 August 2012.
  18. [18]
    Historic England. "Church of St Thomas the Apostle (1244068)". National Heritage List for England. Retrieved 24 August 2012.
  19. [19]
    A girl decked with leaves The British Museum. Retrieved 24 August 2012.
  20. [20]
    Air Maidens. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  21. [21]
    Back of Hand-mirror. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  22. [22]
    The International studio, Volume 48. John Lane Company, 1913. p. 346.
  23. [23]
    Blind. The British Museum. Retrieved 24 August 2012.
  24. [24]
    Crescent Moon. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  25. [25]
    Dawn with Trumpet The British Museum. Retrieved 24 August 2012.
  26. [26]
    Day joy. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  27. [27]
    Door Knocker. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  28. [28]
    Elfin Crown. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  29. [29]
    Evening The British Museum. Retrieved 24 August 2012.
  30. [30]
    Fire The British Museum. Retrieved 24 August 2012.
  31. [31]
    The Guardian The British Museum. Retrieved 24 August 2012.
  32. [32]
    Mermaid. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  33. [33]
    Moon Maidens. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  34. [34]
    Moon Maidens. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  35. [35]
    Morning Gladness. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  36. [36]
    Night. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  37. [37]
    Nymph. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  38. [38]
    Rapture. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  39. [39]
    Roaring flame. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  40. [40]
    Sea Frolic. The British Museum. Retrieved 24 August 2012.
  41. [41]
    Sorrow. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  42. [42]
    Nairn, Ian and Nikolaus Pevsner. (1971). Surrey, Revised and Enlarged. Yale University Press. p. 232. 0-300-09675-5.
  43. [43]
    The Awakening. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  44. [44]
    The Chase. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  45. [45]
    The Flower of Silence. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  46. [46]
    The Mask. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  47. [47]
    The Messenger The British Museum. Retrieved 24 August 2012.
  48. [48]
    The Moon Chariot. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  49. [49]
    The Spirit that destroyed Rheims The British Museum. Retrieved 24 August 2012.
  50. [50]
    The Sun God. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  51. [51]
    The Wave. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  52. [52]
    The Wheel. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  53. [53]
    The woman-wind asleep. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
  54. [54]
    Bookseller and stationer, Volume 57. Princeton University, 1922. p. 30.
  55. [55]
    Wind Helmet. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 23 August 2012.
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