A C E L E B R A T I O N
SOLO EXHIBITION: 21 February – 10 May 2024
For any information on Elisabeth Frink,
please do email us at the gallery: info@beauxartslondon.uk
or telephone us: 07917 405 747
Catalogue and Price list available on request
SOLO EXHIBITION: 21 February – 10 May 2024
For any information on Elisabeth Frink,
please do email us at the gallery: info@beauxartslondon.uk
or telephone us: 07917 405 747
Catalogue and Price list available on request
To Accompany A Celebration Exhibition At Beaux Arts London 2024 / The Royal Academy Memorial For DAME ELISABETH FRINK, C.H., D.B.E., R.A.
It seems to me no accident that in the last years of her life Lis became fascinated by the legend of the Green Man, that ancient and continuously re-appearing symbol of regeneration and birth.
It was always life and living she cared about, however difficult and distressing that might sometimes be. Death was certainly to be recognised, looked at, raged at, but not acquiesced to.
The Address Courtesy Of Brian Phelan Chosen For CatalogueHer Madonna at Salisbury is not a woman crushed by sorrow and death. She is not nobly suffering but strides forward affirming life, interested to see what lies in the future while the understanding of the past is etched clearly, and deeply, in the lines of her face.
For me her work is a celebration. A Hooley. A celebration of an extraordinary and unique person who has touched all our lives. A woman and an artist of great generosity, daring, bravery and phenomenal energy. She flung herself at life and at work. Her energy and love embraced us all and enriched our lives.
The first time I went with my family to spend summer with Lis in France we arrived at Corbes in the early evening after the long drive from Calais. Immediately the choice was pastis or champagne or, most likely, both. Then she was at the barbecue gesticulating with a collection of skewers that would have made Errol Flynn blanch. She had taken a house for us and as it got dark I worried how we would ever find it. It was simple, of course, we would follow Lis. She yelled for her dog Polux, they both dived into a battered vehicle and took off down the twisting road to the river. By the time she started across the bridge with no sides I was way behind her. Even in daylight when I had become familiar with it that bridge worried me, but arriving at it for the first time, in the dark doing 50 miles an hour, as her rear lights dis¬appeared was to experience Lis’s contradictory sense of time. Finding her again, on the track up to Madame Meyer’s meant saying goodbye to caution.
Seeing that French hill farmer’s wife greet Lis was to witness how she affected people. We were hours late, we had to go further up the hill to our rented home but Madame Mayer was only delighted and pleased to see and talk to Madame Lis.
The two women walked up the mountain, lit by my headlights and we watched Lis, listen with interest to the vagaries and difficulties of producing cheese from such a difficult and, yet, magnificent herd of goats that were Madame Meyer’s lot. Suddenly there was all the time in the world.
That was the first of many wonderful summers we spent at Corbes with Lis and Ted. She had the gift to make every occasion special. Shopping in Anduze with a cafe stop after was as memorable as the days of the grape harvest in the late summer. Whatever you shared with her became a heightened experience, ……. to be savoured because she was at the centre of it. She made you look and be aware, not by pointing things out but by the act of living it herself.
In her attitude to people she was the truest democrat I have known She did not respond to the fame or status of a person, or the lack of it. She looked at people, listened to them, then made up her mind. She played no games, she was herself with everybody and that is what people responded to and loved her for. She was created a Dame by her country but she was also a ‘DAME’ in the best American sense of that word.
Above all, the energy was in the work. To wake up after a late night in Corbes and see Lis, shortly after dawn, make her way across the track to her stone wall studio was to understand her fundamental urge and necessity to create.
I went into her studio one morning to find her staring at the work in progress with total concentration. She muttered, “It’s not right” picked up a two pound lump hammer and went at it like a Mayo navvy on piece work. Plaster flew all over the studio. It was the most unnerving and exhilarating thing to watch. I said ” I hope you know what you’re doing.” But of course she did. She mixed up some fresh plaster and I sat there watching her create a more perfect work of art. I consider it one of the most privileged mornings of my life.
She was wonderfully gregarious, equally delighted by new people as old friends. They were to be looked after, vitalled, wined, questioned, stimulated and encouraged. Most especially young artists. She gave them her time unstintingly. There are many artists working to-day who were given faith in themselves and their talent by her generosity, support and encouragement.
But above all she herself was the consummate artist. Her work was her life. Her turning down the historic offer to become the first woman President of the Royal Academy was because it would take time from her work. I can think of few people so centered.
She loved the men in her life She loved her family and she loved her friends. She was not one for over articulating this, she simply expressed it in everything she did. Except for her joy in Tully. At the drop of her hat or, latterly, her turban, she would talk about her grandchild.
She was outraged by injustice. Her feeling for the downtrodden, the tortured, and the cruelly treated, powerless people of our world was acute, deeply felt and totally unromantic. It is all there in the work, alarmingly, in the Goggle Heads and sadly, bravely and hopefully in the Tribute Heads done for Amnesty.
She also had a fine indignation about what happened to her own country in the Eighties, not just to artists but to the sensibilities of ordinary people.
She exhibited amazing bravery and grace in the last few months, always planning new work, thinking about the future and above all, the figure for Liverpool. To be with her while she worked on it, discussed it was to be with a person who was only interested in life. Although she did not make it to the unveiling she was there, in the work, and she will be there for centuries.
She loved Dorset and she loved country living and that she shared, for years of great pleasure with Alex, who loved his horses, his dogs, Wolland and, above all, his “Girl”.
I do not understand the scientific explanation of the black hole in space but I do, now, understand the black emotional hole that has appeared in my life.
But the hole is not so black. It is filled with colours and shapes, with running men and beautiful animals and above all it echoes with that wonderful bark and hoot of laughter that engulfed you when Lis was at her best and happiest.
Brian Phelan
Tuesday, 21st September 1993 at St. James’s Church, Piccadilly
Frink and the paradox of masculinity by Germaine Greer
For forty years, as fashions ebbed and flowed and isms rose and fell around her, Elisabeth Frink kept her eye fixed on her great theme, the paradox of masculinity. There are some who see in her Goggle Heads (1967) and Flying Men (1982) tin-pot dictators hiding behind dark glasses, and others for whom the selfsame figures are emblems of the heroic blindness of unquestioning bravery. Blind terror is the flip-side of blind courage; masculinity is the force field that holds them forever together. Frink’s male hero and male victim are one and the same. Her Birdman (1958) strains to fly but will never leave the ground.
All Frink’s images of male creatures, from Male Torso (1958) to her last great work, the Risen Christ in Liverpool Anglican Cathedral (1992) embody both heroic striving and inevitable defeat. Whether, with two or three strokes of a loaded brush, she is conveying the weight and heft of an old horse lying down, or piling plaster onto an armature to build up the massive form of a horseman, Frink achieves a kind of expressivity that goes beyond representation. This is not a matter of stylisation, as it is for some of her male contemporaries. Frink had no formula to protect her from the shock of realising that all the creatures she was looking at and thinking about were both doomed and irreplaceable. She might work the same vein again and again, making torso after torso or head after head or horse after horse, but she was not saying the same thing over and over again. She was looking for a way of expressing the inexpressible quiddity of her subject, why it was itself and nothing else.
Each of Frink’s creatures had to have its own centre of gravity, its own push and pull, its own orchestration of smooth and rough. All her life she was under the spell of Rodin, but in her work his sculptural rhetoric became something less booming, more compassionate. She rejected Rodin’s strenuous handling of clay and developed her own way of modelling the work in plaster and then abrading and cutting into it. She didn’t seek to tame her subjects by imposing her own ego on them; she wanted to keep them wild. No one has ever drawn animals with more respect for their otherness. ‘My horses are lifelike’, she said, ‘but they are not social horses – horses for jumping, horses for racing, for eventing’. Frink’s animals and birds live on their own terms in their own world.
Her human figures are equally untamed, deeply and disturbingly other. Eyes are often hidden or so deeply set that their look is as unfathomable as any wild creature’s. The eyes of Head (1969) are almost obliterated, the great mass and strength of the skull and jaw on its columnar neck are undirected, the parted lips bespeaking helplessness. The heaviest of Frink’s massive male heads contains its own contradiction, its own untold story of the boy’s separation from his mother and the lonely struggle towards manhood. When her large hands chipped and hammered and scratched the plaster into shape, they were leaving the marks of her creature’s suffering and endurance. Even when her subject is called RisenChrist, it is in reality an Ecce Homo. As she was wont to say, ‘My running men are not athletes: they are vulnerable, they are running away from something, or towards it’.
Frink’s way of seeing could be described as typically female, maternal even, if to do so would not be to imply that she belongs in some kind of sub-group of lesser, not entirely serious artists, easily seduced into sentimentality when her work is entirely free of any taint of sentimentality. Female sculptors are a select group; so few women have dared to work on a monumental scale that Frink’s oeuvre adds up to more than all their work put together. She worked as steadily and single-mindedly all her life as any man; her great theme held her enthralled for an entire lifetime. Such steadiness in concentration is not simply a product of self-discipline. Frink’s search for the perfect correlative for her tragic vision was never-ending; each day brought a new raid on the inexpressible.
Very few women artists have ever found a way of portraying men, let alone masculinity. Because most of them were responding to art rather than reality they remained fixed on the female figures they had seen in art, mixing the roles of maker and model. Even today a woman artist’s subject is far more likely to be femaleness than maleness. Frink believed that ‘Women artists who explore their femaleness through their art are being very introverted’. Impressed as she was by Rodin, she remained unimpressed by Rodin’s student, model and lover, Camille Claudel. Claudel did her best to work seriously, sculpting large-scale figures, both male and female, often nude and entwined. The theme of her best work is the vulnerability and suffering of women at the hands of men. As in the work of her master Rodin, her nude females are usually to be found in abject postures of supplication and submission. There is one small piece of evidence that she might have broken out of this destructive cycle. She left a small maquette of a walking man (called EtudeduJaponais) that looks forward to Frink’s larger than lifesize treatments of similar subjects. The figurative sculptures of Germaine Richier too could be thought to look forward to Frink, as they do to Louise Bourgeois.
We can only wonder what Claudel (who spent the last thirty years of her life in a madhouse) might have been capable of if she had been able to escape from her obsession with Rodin. Frink greatly admired Giacometti, but though she used to haunt a cafe where he often went for coffee, she didn’t make the mistake of falling in love with him, or imitating him, though she felt that their work, superficially very different, had much in common. Her subject was not a man, or her own relations with a man, but manhood itself. She was married three times, and each time she sensibly chose a man who was not himself an artist and did not seek to invade the zone of her creativity. Her first marriage lasted eight years, her second was dissolved after ten years and her third, with the businessman Alexander Csáky , lasted until her husband’s death a few weeks before her own.
It is sometimes said, usually by people concerned to refute the charge that Frink was a feminist and saw men as dangerous and threatening, that her subject is neither one sex nor another but humanity. This can only be true if we think of humanity as man-kind. Frink was as uninterested in the female form as both Richier and Bourgeois are interested in it. She said that she found men’s bodies more beautiful. She was after all motivated by the same feeling that drove men to paint women, by sublimated desire. That desire was directed not towards ladies’ men but towards the aloof men who live in a man’s world, soldiers, tyrants, huntsmen, fliers, and – that most secret of all female love objects – her father. Like Bourgeois Frink was fascinated and delighted by male genitals with their contradictory message of power and vulnerability; no artist male or female has ever given a better account of them. Even in an early and understated sculpture like Torso the fulcrum of the figure is the sea anemone-shape nestled between the thighs. If men choose to sculpt female figures because they are the desirable other, women may do the same, but so far only Frink has managed it.
1930 Born November 14 in Thurlow, Suffolk
1941-47 Attends Convent of the Holy Family, Exmouth Studies at Guildford School of Art
1949-53 Studies at Chelsea School of Art under Bernard Meadows and Willi Soukop
Exhibits with London Group
Tate Gallery purchases Bird
1953-61 Teaches at Chelsea School of Art
1953 Wins prize in competition for Monument to the unknown political prisoner Arts Council purchases Bird
1954-62 Teaches at St Martin’s School of Art, London
1955 First solo exhibition at St George’s Gallery, London Marries Michel Jammet
1957 First major public commission from Harlow New town (Boar)
Commission for Bethnal Green housing scheme, Blind beggar and dog
Contemporary Arts Society purchases Wild Boar Joins Waddington Galleries
Commission for London County Council (Birdman) Birth of her son Lin Jammet
1960 Commission for façade of Carlton Tower, London Felton Bequest purchases Birdman (National Gallery of Victoria, Melbourne)
Commission for Coventry Cathedral (Eagle lectern)
Commission for Manchester Airport (Alcock and Brown memorial)
Commission for Ulster Bank, Belfast, Flying figures Divorces Michel Jammet Eagle installed as J F Kennedy memorial, Dallas, Texas
Commission for Our Lady of the Wayside, Solihull (Risen Christ) Marries Edward Pool
1965-67 Visiting Instructor, Royal College of Art, London
1966 Commission for Liverpool Cathedral (Alter cross)
Moves to France Illustrates Aesop’s Fables, published by Alistair McAlpine and Leslie Waddington Awarded CBE
1971 Elected Associate of the Royal Academy of Arts First shows in Royal Academy Summer Exhibition Illustrats Chaucer’s Canterbury Tales, published by Leslie Waddington Separates from Edward Pool and returns to England Illustrates Homer’s Odyssey, published by The Folio Society
Commission for de Beers, trophy for King George VI and Queen Elizabeth Stakes Com mission for Dover Street, London (Horse and Rider)
Marries Alexander Csáky
1975 Commission for Paternoster Square, London (Paternoster)
Illustrates Homer’s Illiad, published by The Folio Society Elected to board of trustees, British Museum
1976 Appointment to the Royal Fine Art commission
Moves to Dorset Elected Royal Academician Awarded Honorary Doctorate by University of Surrey
Commission for Milton Keynes (Horse)
1980 Commission for Goodwood Racecourse (Horse) Appointed Trustee, Welsh Sculpture Trust
Awarded DBE Com mission for Brixton Estates, Dunstables (Flying Men)
Awarded Doctorate by Royal College of Art
Commission for All Saints Church, Basingstoke (Christ)
Illustrates Kenneth McLeish’s Children of the Gods, published by Longman
Awarded Honorary Doctorate by Open University
Awarded Doctorate of Literature by University of Warwick
1984 Solo Exhibitions: St Margaret’s Church, King’s Lynn, Norfolk; University of Surrey, Guildford Group Exhibitions: British Artists’ Books 1970-1983, Atlantis Gallery, London; Drawings, School of Art, Guildford, Surrey; Man and Horse, Metropolitan Museum, New York
1985 Solo Exhibitions: Royal Academy of Arts, London; Fitzwilliam Museum, Cambridge; Waddington Graphics, London
1986 Solo Exhibitions: Beaux Arts, Bath; Poole Arts Centre, Poole, Dorset; David Jones Art Gallery, Sydney; Read Stremmel, San Antonio, Texas Group Exhibitions: Menagerie, Yorkshire Sculpture Park, Bretton Hall, Wakefield; Barbican Centre, London; Chicago Art Fair
1987 Solo Exhibitions: Beaux Arts, Bath; Coventry Cathedral, Warwickshire; Chesil Gallery, Portland, Dorset (graphics); Arun Art Centre, Arundel, Sussex; Bohun Gallery, Henley-on-Thames, Oxfordshire Group Exhibitions: Abbot Hall, Cumbria; Royal College of Art, London; Albemarle Gallery, London; Kingfisher Gallery, Edinburgh; Summer Exhibition, Royal Academy, London; Salisbury Ecclesiastical Festival, Wiltshire; Thomas Agnew, London; Self Portrait, Art Site, Bath, Avon (touring)
1988 Awards: Honorary Doctorate, University of Cambridge; Honorary Doctorate, University of Exeter Solo Exhibitions: Keele University, Staffordshire; Ayling Porteous Gallery, Chester, Cheshire (graphics)
Group Exhibitions: Expo ’88, Brisbane; Harris Museum and Art Gallery, Preston, Lancashire; Angela Flowers Gallery, London
1989 Awards: Honorary Doctorate, University of Oxford; Honorary Doctorate, University of Keele; Retires from the board of Trustees of the British Museum Solo Exhibitions; Hong Kong Festival; Fischer Fine Art, London; Lumley Cazalet, London (prints); New Grafton Gallery, London (drawings) Group Exhibitions: President’s Choice, Royal Academy and the Arts Club, London; Sacred in Art, Long and Ryle, London; The National Rose Society, Lincolnshire; Grape Lane Gallery, York; Tribute to Turner, Thomas Agnew, London
1990 Award: Honorary Doctorate, University of Manchester Solo Exhibitions: The National Museum for Woman in the Arts, Washington D.C.; Compass Gallery, Glasgow
1991 Award: Honorary Doctorate, University of Bristol Solo Exhibitions; Galerie Simonne Stern, New Orleans; Terry Dintenfass Gallery, New York; Chesil Gallery, Portland, Dorset; Bohun Gallery, Henley-on-Thames, Oxfordshire Group Exhibition: Summer Exhibition, Royal Academy, London
1992 Award: Companion of Honour
1993 Dies 18 April
Exhibitions since 1993
Elisabeth Frink, Memorial Exhibition, Yorkshire Sculpture Park
Goodwood Sculpture Park, Chichester
1997 Salisbury Festival Exhibition (with the Edwin Young Trust, Salisbury and Dorset County Museum, Dorchester)
1997 Elisabeth Frink 1930-1993, Beaux Arts, London
1998 Kilkenny Festival Exhibition, Ireland
1998 Lumley Cazalet, London
Fifty Years of British Sculpture, Den Haag, Netherlands
Witley Court Sculpture Park Exhibition, Worcester
2000 Beaux Arts, London
2001 Elisabeth Frink, Djanogly Art Gallery, Nottingham University
2002 Beaux Arts, London Head On(Art with the brain in mind),
The Science Museum, London (Wellcome Trust)
Elisabeth Frink, Yorkshire Sculpture Park
Beaux Arts, London
2006 Beaux Arts, London
2009 Beaux Arts, London 2011 Elisabeth Frink, Beaux Arts London
2013 “Elisabeth Frink Catalogue Raisonné of Sculpture 1947-93”, published by Lund Humphries, to commemorate 20 years since her death Elisabeth Frink (catalogue), essay by Annette Ratuszniak, Beaux Arts, London
2015 Elisabeth Frink, Beaux Arts London
2015 – 2016 Elisabeth Frink: The Prescence of Sculpture, Djanogly Gallery Lakeside Arts, Nottingham
2017 Elisabeth Frink: Transformation, Hauser and Wirth, Bruton
2018 Elisabeth Frink, Beaux Arts London
2018- 19 Elisabeth Frink: Humans and other Animals Sainsbury Centre for Visual Arts, University
of East Anglia, Norfolk
2021 Man is Animal Gerhard Marcks Haus, Bremen, Germany
2023 A View from Within, Dorset Museum and Art Gallery, Dorchester
2024 A Celebration, Beaux Arts, London
Publications
1968 Gray, R., Frink, Bratby, Barnes, Jackson, East Kent and Folkestone Arts Centre 1
972 Mullins, E., The Art of Elisabeth Frink, Lund Humphries, London
1984 Elisabeth Frink, Sculpture, Catalogue Raisone é , Harpvale Press, Wiltshire
1985 Elisabeth Frink: Sculpture and Drawings 1952-1984 (catalogue), curated by Sarah Kent, Royal Academy of Arts, London 1989 Cameron, N., and Frink, E., Elisabeth Frink: Recent Sculptures and Drawings (catalogue), Fischer Fine Art, London
1990 Elisabeth Frink: Sculpture and Drawings 1950-1990 (catalogue), The National Museum of Women in the Arts, Washington, D.C. 1994 Elisabeth Frink (catalogue), introduction by Peter Murray; Yorkshire Sculpture Park, Wakefield
1994 Lucie-Smith, E., and Frink, E., Frink, a Portrait, Bloomsbury
1994 Sculpture and Drawings 1965-1993 (catalogue), preface by Edward Lucie-Smith, Lumley Cazalet, London 1994 Lucie-Smith, E., Elisabeth Frink: Sculpture since 1984 and Drawings, Art Books International
1997 Elisabeth Frink 1930-1993 (catalogue), foreword by Edward Lucie-Smith, Beaux Arts, London
1997 Elisabeth Frink: Sculpture and Drawings 1966-1993 (catalogue), Lumley Cazalet, London
1997 Elisabeth Frink – A certain unexpectedness – Sculpture, Graphics and Textiles (catalogue), foreword by Canon Jeremy Davies; ‘Elisabeth Frink’ by Edward Lucie-Smith, ‘A certain unexpectedness’ by Annette Downing; ‘Man and the Animal World’ by John Hubbard, Salisbury Festival with the Edwin Young Trust, Wiltshire County Council and Dorset County Museum Gardiner, S., Frink, The official biography of Elisabeth Frink, Harper Collins Wiseman, C., Original Prints, Catalogue Raisonné, Art Books International 2002 Elisabeth Frink, Sculptures and Drawings (catalogue), foreword by Edward Lucie-Smith, Beaux Arts, London
2004 Elisabeth Frink (catalogue), foreword by Elspeth Moncrieff, Beaux Arts, London
2006 Elisabeth Frink (catalogue), foreword by Brian Phelan, Beaux Arts, London
2009 Elisabeth Frink (catalogue), essay by Germaine Greer, Beaux Arts, London
2011 Elisabeth Frink (catalogue) essay by Julian Spalding, Beaux Arts London
2013 “Elisabeth Frink Catalogue Raisonné of Sculpture 1947-93”, published by Lund Humphries, to commemorate 20 years since her death Elisabeth Frink (catalogue), essay by Annette Ratuszniak, Beaux Arts, London
2015 Elisabeth Frink (catalogue), essay by Andrew Lambirth, Beaux Arts, London
2015 – 2016 Elisabeth Frink: The Prescence of Sculpture, Djanogly Gallery Lakeside Arts, Nottingham – Illustrated catalogue to to accompany by Annette Ratuszniak (Curator, Frink Estate) with Neil Walker (Head of Visual Arts Programming).
2018 Elisabeth Frink (catalogue) essay by Andrew Lambirth, Beaux Arts London
2018- 19 Elisabeth Frink: Humans and other Animals (catalogue) Sainsbury Centre for Visual Arts, University of East Anglia, Norfolk
2021 Man is Animal (catalogue), Gerhard Marcks Haus, Bremen, Germany Introduction by Arie Hartog, ‘From Hero to Zero (and back again) About the heads of Elisabeth Frink’ by Feico Hoekstra, ‘In their Nature’ by Peter Murray,
‘A Very personal look at Antiquity: The Riace Warriors by Elisabeth Frink ‘ by Veronika Wiegartz
2023 A View from Within, (catalogue) Dorset Museum and Art Gallery, Dorchester. Introduction by Elizabeth Selby, ‘Elisabeth Frink: A View From Within’ by Annette Ratuszniak, ‘Remembering Frink’ by Lucy Johnston, ‘In Search of Humanity: The Early Career of Elisabeth Frink’ by Wilfrid Wright, ‘Elisabeth Frink at Dirset Museum & Art Gallery’ by Elizabeth Selby and Emma Talbot.
2024 A Celebration, (catalogue) Beaux Arts, London
Public purchases since 1993
1997 Dying King
1963 Torso
1958 Goggle Head
1968 Riace I (Walking Man)
1987 Tate Collection Public Collections
Great Britain Arts Council, London Atkinson Art Gallery, Southport Birmingham City Museums and Art Gallery Bolton Museum and Art Gallery British Museum, London Dorset County Museum, Dorchester East Haydock Branch Library, St. Helens Fitzwilliam Museum, Cambridge Ipswich Museums and Galleries Leicestershire Museums Middlesbrough Art Gallery Oldham Art Gallery Portsmouth City Museum and Art Gallery Royal Academy of Arts, London Royal Air Force Museum, Hendon, London Salford Art Gallery Salisbury and South Wiltshire Museum, Salisbury Scottish Gallery of Modern Art, Edinburgh Sheffield City Art Galleries Sutton Manor Arts Centre, Winchester Tate Gallery, London Walker Art Gallery, Liverpool Whitworth Gallery, University of Manchester
United States of America Carnegie Institute, Museum of Art, Pittsburgh Chrysler Museum, Provincetown Joseph Hirshhorn Collection, Washington Museum of Modern Art, New York
Australia Brisbane Art Gallery National Gallery of Victoria, Melbourne
South Africa South African National Gallery, Cape Town
Public Places Yorkshire Sculpture Park Royal Opera House, London Warwick University Grosvenor Square , London Outside WHSmith headquarters, Swindon, Wiltshire K & B Plaza, New Orleans, USA Dorchester Hospital, Dorset King’s College, Cambridge Exchange Square , Hong Kong Bristol Museum The Montague Shopping Centre, Worthing Royal College of Physicians, London Chatsworth House, Derbyshire Fitzwilliam Museum, Cambridge West façade, Anglican Cathedral, Liverpool