Public Sculpture of Herefordshire, Shropshire and Worchestershire

Public Sculpture of Herefordshire, Shropshire and Worcestershire is the fourth and last part of George Noszlopy's great West Midlands sculpture project, following three former volumes: Birmingham and Sutton Coldfield (1998); Warwickshire, Coventry and Solihull (2003); and Staffordshire and the Black Country (2005). Fiona Waterhouse, an editorial assistant on Warwickshire has been his co-author in the last two volumes. Public Sculpture in Herefordshire, Shropshire and Worcestershire is...
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Public Sculpture of Herefordshire, Shropshire and Worcestershire is the fourth and last part of George Noszlopy's great West Midlands sculpture project, following three former volumes: Birmingham and Sutton Coldfield (1998); Warwickshire, Coventry and Solihull (2003); and Staffordshire and the Black Country (2005). Fiona Waterhouse, an editorial assistant on Warwickshire has been his co-author in the last two volumes. Public Sculpture in Herefordshire, Shropshire and Worcestershire is the eleventh volume in the Public Monuments and Sculpture Association series, which aims to disseminate research into the commissioning, execution, installation and reception of these important works of art in public spaces, significant parts of our cultural history and heritage. Each of the individual entries includes details about the condition of the sculpture or monument, which may prove helpful to those responsible for planning conservation projects.The volume begins with an introductory essay outlining the distinct features of public sculpture in the region and drawing the reader's attention to changes in the types of work commissioned over time. It is followed by the main body of the work, a catalogue of public sculpture and monuments dating from medieval times up to 2005. This is arranged alphabetically by town or village within each county. While all extant artistically and historically significant sculptures and monuments are included, judgement had to be applied for reasons of space. Moreover, the focus is on secular rather than ecclesiastical works, with the latter accounting for approximately 10% of the catalogue. A glossary of terms and short biographies of the artists are provided, as well as a bibliography of sources consulted in preparing the volume.