The Bakers Of Widegate St
Next time you pass through Widegate St, walking from Bishopsgate towards Artillery Passage on your way to Spitalfields, lift up your eyes to see the four splendid sculptures of bakers by Philip Lindsey Clark (1889 – 1977) upon the former premises of Nordheim Model Bakery at numbers twelve and thirteen. Pause to take in the subtle proportions of this appealing yet modest building of 1926 by George Val Myers, the architect of Broadcasting House.
Born in Brixton, son of Scots architectural sculptor Robert Lindsey Clark, Philip trained in his father’s studio in Cheltenham and then returned to London to study at the City & Guilds School in Kennington. Enlisted in 1914, he was severely wounded in action and received a Distinguished Service Order for conspicuous gallantry. Then, after completing his training at the Royal Academy Schools, he designed a number of war memorials including those in Southwark and in Kelvingrove Park, Glasgow.
The form of these ceramic reliefs of bakers – with their white glaze and sparing use of blue as a background – recalls religious sculpture, especially stations of the cross, and there is something deeply engaging about such handsome, austerely-modelled figures with their self-absorbed presence, preoccupied by their work. The dignity of labour and the poetic narrative of transformation in the baking of bread is made tangible by these finely judged sculptures. My own favourite is the figure of the baker with his tray of loaves upon his shoulder in triumph, a satisfaction which anyone who makes anything will recognise, borne of the work, skill and application that is entailed in creation.
These reliefs were fired by Carters of Poole, the company that became Poole Pottery, notable for their luminous white glazes, elegant sculptural forms and spare decoration using clear natural colours. They created many of the tiles for the London Underground and their relief tiles from the 1930s can still be seen on Bethnal Green Station.
Philip Lindsey Clark’s sculptures are those of a man who grew up in the artists’ studio, yet witnessed the carnage of First World War at first hand, carrying on fighting for two days even with a piece of shrapnel buried in his head, and then turned his talents to memorialise those of his generation that were gone. After that, it is no wonder that he saw the sublime in the commonplace activity of bakers yet, from 1930 onwards, his sculpture was exclusively of religious subjects. Eventually Lindsey Clark entered a Carmelite order, leaving London and retiring to the West Country where he lived until the age of eighty-eight.
So take a moment next time you pass through Widegate St – named after the wide gate leading to the ‘spital fields that once were there – and contemplate the sculptures by Philip Lindsey Clark, embodying his vision of the holiness of bakers.
George Val Myer’s former Nordheim Model Bakery with sculptures by Philip Lindsey Clark
You may also like to read about
A Night in the Bakery at St John
Dorothy Annan’s Murals in Farringdon St
Thank you. Amazing figures.
A very interesting background!
I have walked past the building with the figures many times and have been impressed by them.
I hadn’t known that they were fired by the company who became Poole Pottery, I visited their factory for a tour years ago when I had relatives living in the Bournemouth area.
I’m so glad to see the final photo that provides a sense of size/scale. Kindred to the recent carved wooden door panels, I so appreciate seeing how this artist worked within a tight “frame” to create these wonderfully descriptive and narrative figures. I’m quite partial to the man using the paddle to put loaves into the oven. He seems lost in thought………doing an activity that he is so skilled at, and perhaps “far far away” in his private reverie. (“the holiness of bakers” — I love that phrase.)
Thanks for this daily infusion of optimism, history, and art. Whew! — I need that.
Gentle Author, waking to your narrative of these sculptures, I find myself humbled by both. The gestures of both strength and purpose of these creators of nourishment are mirrored in your ever-fine descriptions. The figures themselves are like those appearing on many holy façades, only more so, as they step beyond their niches as men among us. I wouldn’t have been able to imagine the artist’s path in life without your thoughtful bio. To think he lived to 88, another man among us!
His granddaughter Rachel is a London-based artist, and a colleague and pal of mine: https://www.rachellindseyclark.com.
What extremely handsome sculptures, and what a handsome facade. I will try to find other productions by these artists.
Makes one wonder how long it will be before this pleasant bulding is replaced by an out-of proportion glass box.