In our Local Sculptures series of articles, when we published the article Local Sculptures - ‘Airman‘ we originally attributed the sculpture on Wallis House, Brentford to Eric Gill, as a result of seeing a reference to it in a Wikipedia article. It seems we may be wrong on that.
The Eric Gill Society contacted us and advised us that this sculpture is probably not by Eric Gill as they have no knowledge of this. Gill kept meticulous records of his work and rarely made a sculpture without recording it.
We contacted Barratt Developments company, who now own the building and asked them who the sculptor was. They contacted their architects Assael, who are renovating the building, who have inferred that it is by Eric Gill from certain references on the Internet.
I relayed this to the Eric Gill Society and after studying our photos of the ‘Airman’, they are convinced it is not the work of Eric Gill or any of his associates. They have contacted the Victoria & Albert museum to see if they can recognise the sculptor’s work.
The Eric Gill Society will let us know if they uncover who the sculptor was. They have also posted an entry on their Eric Gill Society Facebook page about our ‘Calvary’ by Eric Gill article.
Carolyn Hammond, Editor of The Brentford & Chiswick Local History Society has pointed us to who is the sculptor, Donald Gilbert. See Carolyn’s feedback below.
Carolyn passed on to us the results of previous research done by Joseph Mirwitch of the Twentieth Century Society and published in the Summer 2007 edition of the Twentieth Century Society Newsletter. We have reproduced this here, accompanied by his photographs.
Donald Gilbert’s “Inspiration to Flight “1940 at Wallis House, Great West Road
Wallis House, (originally The Simmonds Aero-accessories Factory,) on the Great West Road at Brentford is unique amongst the buildings designed by the architects Wallis, Gilbert, and Partners in that it incorporates a major piece of public sculpture. At the very top of the buildings central tower, 140 feet above the ground, is a monumental architectural sculpture, a famous landmark on the western approach to London, affectionately referred to by local people as ‘The Airman-Angel’? Until now the identity of the artist who designed this clearly major work has been a complete mystery.
This is a large work, probably 250% life size. (The head and torso fill a complete section of scaffolding walkway – see photo.)
From the ground, the sculpture appears to be a winged figure – an ‘airman angel’. In fact the wings belong to an eagle, whose head is located above the airman’s right shoulder.
There is a double ambiguity – additional to the angel / airman one. The figure is also that of Icarus. (Note the parachute harness appears as straps by which the wings are attached.)
Note also the complete RAF kit. Irvin flying jacket and trousers, sheepskin lined flying boots, and ‘Biggles’ flying helmet. This is an art work of 1940, and must surely have been inspired by “the first of the few” – the pilots who fought the “Battle of Britain.” It is historically significant as well as being an absolutely brilliant design.
Only a schematic indication that a sculpture was intended was shown in drawings of the architect’s original scheme for the building, which were exhibited at the R.A. in 1938.
The Simmonds Aero-accessories Factory was completed in 1940. There were no contemporary reviews of the building – understandably, as this was a “bombproof factory’ where aircraft electrical components were made, vital to the war effort. (The first review of the building was published in 1949 (A.J. 13.11.1949).
We know from contemporary photos that the sculpture was installed about the time when the factory became operational in 1940.The sculpture was cast in reconstituted stone. This work was done in the local yard of Emerson & Norris.
Back in 1994/5, in connection with C20’s successful campaign which saved the building from demolition, I researched the architectural and design history of the building and tried to ascertain who was the sculptor of the ‘Angel –Airman’? Despite an exhaustive search, including of all subsequent reviews and mentions of the building in the architectural press, but could find no mention anywhere of the sculptor designer. I also consulted Dr. Joan Skinner, the leading authority on the work of Wallis Gilbert who sadly died early last year. She did not know the attribution.
The building is now in process of being restored and converted to new use. On a recent close inspection of the sculpture, made possible by the scaffolding now installed, Jon Wright, the C20 caseworker, found the signature inscription “Gilbert Sc. 1940“– incised low down. (This detail is shown in a photo.)
There appears to be what may be another initial letter inscribed within the “G” of Gilbert. This maybe a “D”, but due to the decay of the surface I am not sure of this. ( “Sc.” Can be presumed to be an abbreviation for ‘sculptor’).
On finding this signature, my initial hypothesis is that the sculptor was Donald Gilbert (1900-1961). Although probably best known for the pottery figures he designed and his bronze portrait busts, Donald Gilbert did also undertake monumental architectural sculpture. (One of the sculptures at the Adelphi is his work.) He was also mainly a molder, who worked various in materials, and therefore could have done work cast in re-constituted stone. His dates are of course right. He was also based in West London at the relevant time. The inclusion of the eagle could also be possibly significant, as Donald Gilbert did animals.
At the 1938 RA exhibition that Thomas Wallis showed his design for the building, Donald Gilbert also exhibited various pieces, including the Coronation Medal commissioned by TM the King and Queen.
This sculpture is very different in style and conception from his formal bronze portrait busts. However, I am of the view there is a distinct stylist affinity with his ceramic figures, particularly the deco statuettes he designed for Denby.
I investigated whether any other designer or sculptor with the name ‘Gilbert’ could be associated with this work. From available information I was able to exclude the possibility that ‘Gilbert’ refers to the Wallis Gilbert and Partners. (The ‘Gilbert’ in the firm’s name referred to a prospective partner when the firm was formed back in 1919, and left shortly thereafter.)
I also considered the possibility that this sculpture could be the work of Gilbert Ledward. I consulted Catherine Moriarty, (the leading Authority on that sculptor) as to whether the ‘signature’ I have found could be that of Gilbert Ledward. She advised me that Gilbert Ledward invariably signed his sculptures “Gilbert Ledward RA and that after 1937 he always insisted on ‘RA’ being included.
Stephen Gilbert (another grandson of Sir Alfred, and Donald Gilbert’s cousin) can be ruled out on obvious stylist grounds. In any case I am informed he only turned to making his metal abstract sculptures post war.
Final confirmation of the attribution of Donald Gilbert came thanks to English Heritage’s records. Donald Gilbert included in his list of principal works (published in ‘Artist’s Who’s Who’) a sculpture titled “Inspiration to Flight”. (Entries in that publication in the 1950’s were compiled by the artists concerned.) There is no description or location given. However the title would certainly fit the ‘Airman-Angel’ very well.
I was advised by English Heritage that they have a record of Donald Gilbert’s “Inspiration to Flight” being located in Brentford. I am inclined to regard this as providing the final conclusive proof. It would be too remote a coincidence to contemplate that there could be another Brentford sculpture by Donald Gilbert and of a design that fits this title.
I have had invaluable assistance with my researches from: Diane Bilbey, Department of Sculpture V&A; Catherine Moriaty of Brighton University; and Ian Leith of the Public Monuments and Sculpture Association. My grateful thanks to them and to Jon Wright who spotted the inscription.
The ‘Airman’ sculpture isn't by Eric Gill, it's by Donald Gilbert (1900-1961) - if you Google his name you will find out all about him.
I can claim no credit for knowing this - the credit should go to Joseph Mirwitch of the Twentieth Century Society who wrote up his research for the Twentieth Century Society Newsletter, and kindly donated a copy to the Library.
As you know the identity of the sculptor has long been a mystery - Mr Mirwitch became interested when the Society was campaigning to save the building from demolition in the 1990s but despite an exhaustive search of all descriptions of the building from the first plans onwards he could not find the answer. The breakthrough came when the scaffolding was up on the tower and it was possible to get close to the sculpture - the Twentieth Century Society's caseworker spotted an inscription "Gilbert Sc. 1940" low down on the sculpture, invisible from the ground. Assuming Sc stood for 'sculpsit' or maybe 'sculptor' Mr Mirwitch investigated sculptors with the name Gilbert and Donald Gilbert seemed to be the most likely - he then found a list of Gilbert's works which included one called "Inspiration to Flight". The clinching evidence came from English Heritage's records which stated that Donald Gilbert's sculpture "Inspiration to Flight" was in Brentford - no precise location was given - but it seemed too much of a coincidence for it not to be the Airman. Quite a detective story!
Up close apparently you can see the wings belong to an eagle whose head is above the Airman's left shoulder, and he is wearing the full flying kit of a 1940's pilot - perhaps a tribute to the Battle of Britain pilots. However the straps of his parachute harness could also be attached to the eagle's wings so he could also be Icarus who flew too near to the sun, in Greek mythology.
After looking through Gill’s ‘List of Works’ from 1935 to 1937, I can find no mention of this sculpture, the architect or the owner of the building. The sculpture is very ‘Gill-like’, however there were a number of sculptors working at this time in a similar Art Deco style. The form of this one (from what I can see) could relate to the work done by Edward Bainbridge Copnall for the RIBA, Portland Place. Though it is less abstract, the comparison does illustrate the ways in which many sculptors, including Gill, were working on architectural commissions at this time.
