The Fothergill Project
It is nearly a year since the last piece on the Fothergill Project appeared in the Civic Society Newsletter, but in that time a great deal has happened, and it is pleasing to report that some components of the project proper might be functional before Christmas of this year!
Renovation of Fothergill's
Offices and Studios (15, George Street)
In order to achieve renovations of the highest quality, it was clear that
the day-to-day direction of the work needed to be masterminded by an experienced
builder who understood the nature of the job, and who was willing to accept
the challenge of meeting Fothergill's exacting standards! We were delighted
when Simon Broomhead agreed to bear this responsibility, as Simon had worked
with us on the first phase of the project, involving refurbishing the retail
unit at 17, George Street. Simon had proved remarkably adept at coping with
the many difficulties posed by sympathetic restoration of a listed building
of such importance, especially ensuring adherence to regulations and completion
of all formal processes. In retrospect, it is likely that Simon's willingness
to act as Project Director arose from the relative swiftness with which
the first phase was completed, and a blithe unawareness of the horrors ahead!
Before work started on the interior of 15, George Street it was damp, leaking in various places, and with no heating or lighting. However, even in this state, it was apparent that many of the original features (ceramic tiles, mosaic floors, hand-carved stair rails, stained glass windows, Doulton fireplaces, parquet floors, solid wood doors and their fittings, etc.) were still in place. Initially, it was possible to use Fothergill's office and the adjoining office (Summers') as storage areas, since these were dry and relatively clean, but, as soon as work began (with Simon aided by Peter Coupe), it became clear this was going to be a major undertaking that would generate a lot of mess in all areas of the building.
A particular problem related to Fothergill's building style, whereby the finished article looks just right, but this effect is achieved in a way that means nothing is as it seems! Thus, between floors, none of the walls are aligned, such that running power cables or central heating pipes through the offices and studios was as much a feat of navigation as it was a test of the ability of the plumber (Nick Swann) or electrician (Gary Wightman ) to finish their jobs with the minimum of disruption to the building's structure, while ensuring that the heating and lighting systems were as unobtrusive as possible. Although Fothergill could, in theory, have had electric lights in his offices, he opted for wall-mounted gas lamps. We have attempted to recreate his original effect by fitting appropriate electric wall lights.
The solicitors (Godfrey's) who occupied the building for many years had preserved many of the original features and, even where they had carried out major structural changes, such as moving the stained glass window from the first floor landing, they had made sure the changes were reversible. Thus, the window is now returned to its original position. However, at some stage, the magnificent wallpaper in Fothergill's office had been painted over, and it is unlikely we will be able to remove the paint without damaging the original. We intend, therefore, to investigate the possibility of having the wallpaper copied so that the office can be redecorated with a faithful replica. (If there is anyone with know-how in wallpaper restoration, we would be delighted to hear from them!).
The fireplaces had fared better, since they were either covered over, or painted, in such a way that the originals were "easily" exposed and renovated. Likewise, the floors had been boarded over and covered with tiles or carpet, but were relatively intact. They are all now returned to the state they would have been in when new.
We have confined the decoration (John Taylor and Graham Walker) to sympathetic, plain colours, matching what might have been original. In the larger of the two offices on the top floor we have left several panels of original plasterwork exposed since, when the recent wallpaper was stripped away, some sketches and notes that are clearly by Fothergill were revealed. For example, there is a drawing of a stylised rose, very similar to the one over the porch of Fothergill's public house (The Rose of England, 1899) at the bottom of Mansfield Road, and a list of occasions when the windows were cleaned, beginning in 1901. It is not clear if this was the first occasion when the windows were cleaned after Fothergill moved into his new offices (1895), but we can assure readers that, having had first-hand experience of this job, it is not a task that would have been undertaken lightly!
Another major problem was the making good of missing skirting boards and architrave around some doors (joinery by Paul Swinburn and Peter Toder), since the original woodwork was done in such a way that all parts fitted together with extremely crafty joints, holding adjoining items in such a way as to prevent warping, whilst ensuring the carved designs were uninterrupted.
Renovation of
the exterior
Passers-by will have noticed that we have not neglected the outside of the
building. A replica (made by Nigel Pinn) of the long-lost finial, originally
surmounting the turret, is, once again, in position. In addition, the roof
(carefully repaired by Simon Bell), and the whole face of the building,
have been sympathetically cleaned (Gary Dickman). Thus, on the façade,
the medieval architect, together with Augustus Welby Northmore Pugin and
George Edmund Street are looking much as they would have done, one hundred
and seven years ago, contrasting beautifully with the ornate brickwork,
the fretted bargeboards, and the glorious windows.
Director of Works
Simon Broomhead not only acted as director of works, but also carried out
much of the heavy building work, repointing, plastering, floor sanding and
sealing, and tiling himself. Simon is justly proud of the job he has done
and, in spite of the sleepless nights he spent worrying about how the work
was progressing (and particularly how to get the finial back on the turret),
has now got the Fothergill bug. So, anyone with a Fothergill building that
would benefit from Simon's expert attention is invited to contact him!
The Future
The Fothergill Project (http://www.fothergillproject.com)
declares it is "a unique concept in a unique building." Incontrovertibly,
the building is unique, but what is the concept?
We intend to use the space as a cultural tourist centre; configured to support academic research (particularly school projects), a business venue with cutting-edge IT support, and a gallery exhibiting artworks and furniture, with all these elements intermingled. Space will be available for various events (e.g., exhibitions of all kinds, business meetings, wedding receptions, etc.), and we are very keen to show items relating to Fothergill and his contemporaries, particularly illustrations of Nottingham, as Fothergill would have known it. So, colleagues with anything that may be of interest, please get in touch.
The first exhibition will be recent photographs of Fothergill's buildings taken by Nick Pautrat.
Codicil
Some of you will be aware that we commented a while ago about the failure
of Nottingham to properly acknowledge Fothergill's importance to the cultural
development of the City, and pointed out the stark contrast with the recognition
given to Gaudi by Barcelona. We mused, then, about the theoretical possibility
of links between the two architects. Reading Gijs van Hensbergen's biography
of Gaudi,* it seems such speculation was not completely without grounds,
since it is clear that Gaudi was overtly influenced by Norman Shaw, and
by AWN Pugin, both of whom are acknowledged on the front of Fothergill's
Offices. Moreover, the sunflower motif was much used by Gaudi, and by the
Arts and Crafts Movement, and is a major feature of the magnificent ceramic
tiling in Fothergill's lobby, which you are very welcome to come and see
for yourselves - along with the rest of the building!
Terry Bennett
* This biography is now out in paperback, price £9.99 (Seen in Waterstones).
More information about Watson Fothergill can be found in the booklet published by the Society.
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