Charles d’Orville Pilkington Jackson (1887–1973)
Prolific and influential sculptor who produced work in all major categories and on a wide variety of scales, including war memorials, free-standing monuments, portraiture, architectural decoration, fountains, inscription tablets, figurative reliefs and tableaux, and historical figurines. He was born in Garlenick, Cornwall, the son of a GP, but moved in 1898 to Musselburgh, East Lothian, where he attended Loretto School. In 1910 he graduated from Edinburgh College of Art with a travelling scholarship that enabled him to study at the British School at Rome, where he spent much of his time making measured drawings of Roman antiquities such as the Arch of Titus. After serving with the Ayrshire Artillery Brigade in the First World War, he returned to Edinburgh and set up a studio in a derelict stable in Church Lane, soon gathering around him a team of skilled assistants. In the 1920s he worked on large architectural schemes under Sir Robert Lorimer, including the Scottish National War Memorial and the restoration of the choir of Paisley Abbey (completed 1928), while in the following decade he developed a distinctive figure style influenced by the idealised modernism of the Swedish sculptor Carl Milles. This is best exemplified by his bronze fountain sculpture, Foam, exhibited at the Empire Exhibition, Glasgow, in 1938 (now at Greenbank Garden, Glasgow). His most important work is the colossal equestrian Monument to Robert the Bruce at Bannockburn, completed in 1964, while perhaps his most distinctive is the set of eighty-three painted oak statuettes illustrating the development of Scottish military uniforms in the Scottish National War Museum, Edinburgh Castle (1929–33).
Bibliography: Charles d’Orville Pilkington Jackson, unpublished ‘Memoir’, c.1968, n.p. (Jackson family private archive); R. McKenzie, Public Sculpture of Edinburgh (2 vols), Liverpool, 2018, vol. 1, pp. 99, 100, 104–06, 112–14, 118–20, 221–22, 276–79, 413, 414–16, 447–48, vol. 2, pp. 21–28, 215, 305–14, 473–74, 491, 497.
Ray McKenzie 2018
Charles d’Orville Pilkington Jackson, 1932 (photo: public domain, via Jackson family archive)
Philip Jackson (b. 1944)
Figurative sculptor born in Scotland. He attended Farnham School of Art and afterwards worked for Henry Moore. In 1989, he was elected FRBS, winning the Silver Medal in 1990 and the Sir Otto Beit Medal in 1991, 1992 and 1993. In 2009, he was appointed CVO. He lives and works in Cocking, West Sussex. A highly successful and prolific sculptor, Jackson’s public sculptures include statues of The Young Mozart, 1994, Ebury Street, Pimlico, London; Constantine the Great, 1998, Minster Yard, York; the Chelsea In-Pensioner, 2000, Royal Hospital Chelsea; Queen Elizabeth II (equestrian), 2003, Windsor Great Park; Queen Elizabeth the Queen Mother, 2009, The Mall, London; Mahatma Gandhi, 2015, Parliament Square; Joan Littlewood, 2015, Theatre Royal Stratford, East London; three commissions for the Manchester United Football Stadium: Sir Matt Busby, 1996, a group, The United Trinity (George Best, Denis Law, Sir Bobby Charlton), 2008, and Sir Alex Ferguson, 2012; monuments to Raoul Wallenberg in London, 1997, and Buenos Aires, 1998; the Bomber Command Memorial, 2012, Green Park, and the Korean War Memorial, 2014, Victoria Embankment Gardens, London.
Bibliography: T. Cavanagh, Public Sculpture of Kensington and Chelsea with Westminster South-West, Watford, 2023, pp. 79–80, 456–58; T. Cavanagh, Public Sculpture of South London, Liverpool, 2007, pp. 109–10; Philip Jackson website; J. Seddon et al, Public Sculpture of Sussex, Liverpool, 2014, pp. 98, 110–11, 111–12, 124, 126–27; P. Ward-Jackson, Public Sculpture of Historic Westminster. Volume 1, Liverpool, 2011, pp. xl, 42–45, 66–67, 146–49; T. Wyke, Public Sculpture of Greater Manchester, Liverpool, 2004, pp. 133, 396–97.
Terry Cavanagh November 2022
Philip Jackson, 2005 (photo: © A.K. Purkiss)
Charles Sargeant Jagger (1885–1934)
Sculptor. Born in Sheffield, Jagger was apprenticed at the age of 14 to a metal engraver. After his apprenticeship he became a teacher of metal engraving at night school, whilst in the daytime studying sculpture. In 1907 the West Riding of Yorkshire awarded him a scholarship to the Royal College of Art, where he was taught by Professor Édouard Lantéri and in 1911 won a travel scholarship. On graduating he earned his living by becoming studio assistant to his former professor and by teaching at South London Technical School of Art. In 1914 he was awarded the Prix de Rome for sculpture, but instead of travelling to Italy to further his studies he joined the Artists’ Rifles. He was wounded at Gallipoli and in France. He was awarded the Military Cross. He drew on these experiences to produce a series of stylised bronze pieces which led to commissions for war memorials. These include Portsmouth (1921); West Kirby (1922); St Michael and All Angels, Birmingham; the Anglo Belgian Memorial; National War Memorial in Brussels; Royal Artillery Memorial, Hyde Park Corner; Tank Memorial, Cambridge; and Great Western Railway Memorial, Paddington Station. The intensity of Jagger’s war memorials is echoed in his crucifixion group, The Holy Rood (1927–29), made for the priory chapel of the Society for the Sacred Mission at Kelham Priory, Newark, though no longer in situ. For his relief, Scandal (1930), commissioned for the Mayfair home of the Mond family, Jagger adopted a light, erotic art deco style. He was also commissioned to produce public portrait statues: Sir Ernest Shackleton (1927–32, Royal Geographical Society, South Kensington), George V (1934–35, New Delhi), Lord Hardinge of Penshurst (1927–30, New Delhi) and the Marquess of Reading (1927–30, originally in New Delhi, now in Reading). Between 1928 and 1931, Jagger created an epic series of modern allegories for the parapet of Imperial Chemical House, Millbank. He died of a heart attack in 1934.
Bibliography: T. Cavanagh, Public Sculpture of Kensington and Chelsea with Westminster South-West, Watford, 2023, pp. 330–33; A. Compton (ed.), Charles Sargeant Jagger: War and Peace Sculptor (Imperial War Museum), London, 1985; A. Compton, The Sculpture of Charles Sargeant Jagger, Much Hadham, 2004; E. Morris and E. Roberts, Public Sculpture of Cheshire and Merseyside, Liverpool, 2012, pp. 245–48; P. Ward-Jackson, Public Sculpture of Historic Westminster. Volume 1, Liverpool, 2011, pp. 96–100; T. Wyke, Public Sculpture of Greater Manchester, Liverpool, 2004, pp. 121–22.
Philip Ward-Jackson 2011
Penelope Jencks (b. 1936)
American sculptor and teacher, specialising in the representation of the naked figure in bronze or terracotta, often placed in expressive poses in a landscape setting. Born in Baltimore, she studied at Boston University, and the University of Stuttgart, Germany, and has taught at various colleges throughout the USA. In addition to her studio sculptures, she has also carried out several public commissions, including a statue of Eleanor Roosevelt in Riverside Park, New York. Her half-length bronze portrait of Maggie Keswick Jencks (1977) is in the grounds of Maggie’s Centre, Western General Hospital, Edinburgh.
Bibliography: Berta Walker Gallery – Penelope Jencks; R. McKenzie, Public Sculpture of Edinburgh (2 vols), Liverpool, 2018, vol. 2, p. 490; Prabook – Penelope Jencks.
Ray McKenzie 2018
William Goscombe John (1860–1952)
Sculptor, born William John, in Canton, near Cardiff, the son of Thomas John, woodcarver to the Third Marquess of Bute. John began his training under his father, but in 1881 left Cardiff to work as a journeyman carver in Thomas Nicholls’ workshop in Lambeth. It was after his move to London that John added Goscombe (from his mother’s side of the family) to his name. During his five-year stay with Nicholls, John began evening classes at South London Technical School of Art, learning modelling under W.S. Frith. In 1884, on the recommendation of the head of the school, J.C.L. Sparkes, John gained entry to the RA Schools. In 1886, he left Nicholls to work in the studio of C.B. Birch, but in the following year won the Landseer Scholarship, allowing him to set up his own studio. In 1888, a commission for a portrait bust funded a visit to Italy and in 1889 he won the RA Gold Medal and Travelling Scholarship, visiting Sicily, North Africa, and Spain. He then rented a studio in Paris for a year, where he was strongly influenced by Rodin, John’s Morpheus, 1890, clearly owing much to Rodin’s The Age of Bronze, albeit suffused with a somnolent quality alien to Rodin but characteristic of British work by Lord Leighton and Alfred Gilbert. John continued to exhibit ideal bronzes throughout the 1890s and, in 1900, won a gold medal at the Paris Exposition Universelle for The Elf, Study of a Head, and Boy at Play. His public monuments include Sir Arthur Sullivan, 1902, Victoria Embankment Gardens, London; King’s Liverpool Regiment, 1905, Liverpool; Engine Room Heroes 1916, Liverpool; an equestrian statue of Viscount Wolseley, 1914–20, Horse Guards’ Parade, London; and the Port Sunlight War Memorial, 1921. John produced little architectural sculpture, his allegorical reliefs, c.1903, for Electra House, Moorgate, and the figures of Edward VII and Alexandra, 1906, for Aston Webb’s Cromwell Road V&A façade being rare examples. John also designed the regalia for the investiture of the Prince of Wales in 1911, the year in which he was knighted. He was a member of the Art Workers’ Guild from 1891, was elected ARA 1899 and RA 1909, and an RBS member from 1904. He was awarded the RBS gold medal in 1942 and continued to exhibit annually at the RA until 1948.
Bibliography: S. Beattie, The New Sculpture, New Haven and London, 1983; T. Cavanagh, Public Sculpture of Kensington and Chelsea with Westminster South-West, Watford, 2023, pp. 166, 168, 171, 172; T. Cavanagh, Public Sculpture of Liverpool, Liverpool, 1997, pp. 137–39, 140–43, 161–63, 177–80; T. Cavanagh, Public Sculpture of South London, Liverpool, 2007, pp. 228, 229; R.L. Charles, ‘John, Sir William Goscombe (1860–1952)’, rev. F. Pearson, ODNB, (2004), 2014; R. McKenzie, Public Sculpture of Glasgow, Liverpool, 2002, pp. 20–21, 354–55; Mapping Sculpture; E. Morris and E. Roberts, Public Sculpture of Cheshire and Merseyside, Liverpool, 2012, pp. 149, 150–52, 153–60, 253–54; F. Pearson, Goscombe John at the National Museum of Wales, Cardiff, 1979; Royal Academy of Arts website; J. Seddon et al, Public Sculpture of Sussex, Liverpool, 2014, pp. 50–51, 51–52; P. Ward-Jackson, Public Sculpture of the City of London, Liverpool, 2003, pp. 271–75; P. Ward-Jackson, Public Sculpture of Historic Westminster. Volume 1, Liverpool, 2011, pp. 67–68, 344–46; T. Wyke, Public Sculpture of Greater Manchester, Liverpool, 2004, pp. 427–28.
Terry Cavanagh February 2023
Simon Harmon Vedder, Sir William Goscombe John, 1901, oil on canvas, National Museum Wales
(photo: public domain)
Gerard Johnson I (living c.1567; died 1611)
Sculptor born Garat Janssen in Amsterdam. He moved to England c. 1567, it is presumed as a Protestant refugee from the wars of religion. Although he became an English citizen in 1568 (the probable date for the anglicisation of his name), the fact that he was not born in England debarred him from working in the City of London. Consequently, in common with many of his former countrymen, he set up a workshop just south of the river Thames, in Southwark. He married an Englishwoman and had five sons, two of whom, Nicholas (fl. c.1594; d. 1624) and Gerard II (fl. c.1612), also became sculptors. By the late 1580s two workshops dominated the English market for monumental sculpture, Johnson’s and that set up some years earlier by William Cure (also probably from Holland) and by then run by his English-born son, Cornelius Cure (living 1574; d. 1608/1609); these two workshops were the principal centres of the so-called Southwark school of sculpture. By 1591 Johnson’s reputation was sufficiently high for him to attract a commission from the 5th Earl of Rutland for two tombs, one for his uncle, the 3rd Earl (d. 1587), and the other, his father, the 4th Earl (d. 1588), to be erected in the chancel of St Mary’s church, Bottesford, Leics. Then in 1594, with his son, Nicholas, Johnson made a magnificent two-tiered tomb for the 1st Earl and Countess of Southampton (d. 1550 and 1574) and their son, the 2nd Earl (d.1581), for erection in the south chapel of St Peter’s church, Titchfield, Hants. And in 1595, Johnson made three tombs for the Gage family, to be erected in St Peter’s church, Firle, East Sussex: for Sir John Gage (d. 1556) and his wife; Sir Edward Gage (d. 1569) and his wife; and John Gage (d. 1595) and his two successive wives. On the basis of the style evidenced in these six documented works (an uncommonly large number for the period) numerous attributions to the Johnson workshop have been made, including the monuments to Thomas Hungerford (d. 1581) and Sir Thomas Lawrence (d. 1593) and their respective wives at Chelsea Old Church, London; William Thynne (d. 1584/85), Westminster Abbey; Roger (d. 1587) and Olyver Manneres, St Michael’s church, Uffington, Lincs; Sir William Dormer and wife, All Saints’ church, Wing, Bucks (dated 1590); and 1st Viscount Montagu (d. 1592) and family, St Mary’s church, Easebourne, West Sussex. Although Johnson is also known to have made garden sculpture and at least one chimneypiece, it was as a ‘tombemaker’ that he described himself in his will.
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Bibliography: T. Cavanagh, Public Sculpture of Kensington and Chelsea with Westminster South-West, Watford, 2023, pp. 67–69; K.A. Esdaile, English Monumental Sculpture since the Renaissance, London, 1927, pp. 5–6, 16, 18, 20, 30, 117–19; J. Seddon et al, Public Sculpture of Sussex, Liverpool, 2014, pp. 60–61; M. Whinney (rev. J. Physick), Sculpture in Britain 1530–1830, London (1964), 2nd edn 1988, pp. 47–51; A. White, ‘Biographical Dictionary of London Tomb Sculptors’, The Volume of the Walpole Society, vol. 61 (1999), pp. 65–70; A. White, ‘The Johnson (formerly Janssen) family’, ODNB, 2004.
Terry Cavanagh November 2023
Phil Johnson (1942–2023)
Artist-blacksmith, and founder in 1974 of P. Johnson & Company, a family partnership based at the Ratho Byres Forge, Edinburgh. Employing a large team of blacksmiths, engineers and artists – including Shona Johnson, Mike Johnson, Pete Hill and Jois Hunter – the company combines traditional forging techniques with a contemporary design aesthetic, and has produced ornamental ironwork for public buildings and spaces throughout the UK, Europe and the USA. In addition to numerous functional designs for gates, railings, seating units, lamp standards and stairway balustrades, the company has also carried out many sculptural commissions, including the kinetic Aeolian Motion at Stockton-on-Tees, the Wind Vane Family in the Boulevard Roundabout, Livingston, West Lothian, and the Millennium Beacon on the Half Moon Battery, Edinburgh Castle, sponsored by Scottish Gas for the Hogmanay celebrations in 2000. In 2008 Johnson was awarded a silver medal and fellowship from the Worshipful Company of Blacksmiths, which conferred on him the status of an Eminent Master Blacksmith.
Bibliography: Anon., Ratho Byres Forge: artist blacksmiths (Ratho: P. Johnson & Company), 2009; R. McKenzie, Public Sculpture of Edinburgh (2 vols), Liverpool, 2018, vol. 1, pp. 434, 439, 441, 447, vol. 2, pp. 404, 406, 465–66, 478, 490–91, 497; Worshipful Company of Blacksmiths Newsletter, issue 33, December 2008, p. 9.
Ray McKenzie October 2023
Arnrid Banniza Johnston (1895–1972)
Sculptor and illustrator. She was born in Sweden but she and her parents moved to England while she was still a child. She studied, 1914–21, at the Slade School of Fine Art where she won the Feodora Gleichen memorial prize for sculpture; her tutor at the Slade was James Havard Thomas. She worked in stone, marble and wood, her principal subjects, animals and children. Kineton Parkes, in his The Art of Carved Sculpture, rated Obelisk, commissioned by the Duke of Westminster for Walden Court, Pimlico, and erected c.1930, ‘her most important work’. He also lists several other works of relief sculpture – Cats on a Chimney Cowl; Squirrels; Resting Horses; Milking; and Pastoral (this last in blue Belgian marble) – and three in the round – a cow and girl; a cat (in wood); and a St Francis (in mahogany). She exhibited at the Goupil Gallery, Chenil Gallery and Whitechapel Art Gallery, and took part in the Selfridge Roof Garden exhibition of the London Group, her contributions being a bird bath and a work entitled In Pasture (in green serpentine). Her first work as a professional illustrator, 1930–35, was for the Underground Group and London Transport, designing posters. Shortly after she began writing and illustrating children’s books, including Animal Families (Country Life), 1939; Fables from Aesop and Others (Transatlantic Arts), 1944; and Animals We Use (Methuen), 1948. She was compelled to give up illustrating in her later years following the deterioration of her eyesight.
Bibliography: T. Cavanagh, Public Sculpture of Kensington and Chelsea with Westminster South-West, Watford, 2023, pp. 464–65; I. Fraser, ‘The “English Independents”: some twentieth-century women carvers’, Sculpture Journal, Vol. 23.3 (2014), pp. 370–71; London Transport Museum website; Mapping Sculpture; K. Parkes, The Art of Carved Sculpture, 1931, vol. 2, p. 125 (and photo of Obelisk on page facing); Wikipedia.
Terry Cavanagh November 2022
Adrian Jones (1845–1938)
Sculptor and painter, born in Ludlow, Shropshire. Dissuaded by his father from becoming an artist, he followed his father’s profession, training as a veterinary surgeon and qualifying at the Royal Veterinary College in 1866. In 1867, he was gazetted to the Royal Horse Artillery, serving for 24 years, mostly abroad, in Ireland, India, Abyssinia, Egypt and South Africa. Jones sketched and painted in these years, but it was not until 1882 that he took up sculpture, persuaded by a new friend, the sculptor Charles Bell Birch, that, with his innate artistic sense and profound knowledge of equine anatomy, he should take up sculpture. In 1884, after some informal training with Birch, Jones achieved his first success with his showing at the RA of an equine plaster statuette, A Hunter, one of the right sort. In 1887, his bronze group, Gone Away, won first prize in the Goldsmiths’ Company’s competition (RA 1887). In 1891, he retired from the army, by which time he was living with his wife and son at 147 Church Street, Chelsea, next door to the Chelsea Arts Club, of which he became a member and, in 1906–08, chairman. In 1918, Jones was elected a member of the RBS and in 1935 awarded the society’s Gold Medal. His ambition to be elected to the RA was never to be fulfilled, despite his being nominated several times. Jones’s bitterness is clear in his Memoirs of a Soldier Artist (1933). He felt that his lack of formal training had not only led to his not being taken seriously by the art establishment, but that his detractors spread rumours that he used formally trained sculptors to ‘ghost’ his work, an accusation he devoted a large part of his autobiography to repudiating. His earliest commissions were mostly received through the influence of his military friends and the Prince of Wales (later Edward VII), who greatly admired his work. His principal public commissions were war memorials – Royal Marines, 1903, The Mall, London; Gloucestershire Yeomanry, 1922, College Green, Gloucester; the Cavalry of the Empire, 1924, Hyde Park; and Peace Memorial, 1924, Uxbridge; and equestrian statues – General Sir Redvers Buller, 1905, Exeter, and the Duke of Cambridge, 1907, Whitehall. His magnum opus, however, was his Peace Quadriga, 1912, for Constitution Arch, Hyde Park Corner, his hopes for a major unveiling ceremony (and perhaps even a knighthood) dashed by the death of his great advocate, King Edward VII, in 1910. Jones died at home in Chelsea aged ninety-two.
Bibliography: R.S. Burns, Triumph: the life and art of Captain Adrian Jones, 2010, Almeley, Herefordshire, 2010; T. Cavanagh, Public Sculpture of Kensington and Chelsea with Westminster South-West, Watford, 2023, pp. 6–8, 303–08; R. Cocke, Public Sculpture of Norfolk and Suffolk, Liverpool, 2013, pp. 141–42; S. Crellin, ‘Jones, Adrian (1845–1938)’, ODNB, Oxford, 2004; A. Jones, Memoirs of a Soldier Artist, London, 1933; F. Lloyd et al, Public Sculpture of Outer South and West London, Liverpool, 2011, pp. 97–98; Mapping Sculpture; G.T. Noszlopy and F. Waterhouse, Public Sculpture of Herefordshire, Shropshire and Worcestershire, Liverpool, 2010, pp. 65–66; P. Ward-Jackson, Public Sculpture of Historic Westminster. Volume 1, Liverpool, 2011, pp. 92–94, 134–36, 413–15.
Terry Cavanagh November 2022
Adrian Jones, c. 1918 (photo: public domain)
Allen Jones (b. 1937)
Painter, printmaker and sculptor, born at Southampton. After studying at Hornsey College of Art, 1955–59, he entered the RCA in 1959, but was expelled in the following year for ‘excessive independence’. He subsequently taught in Germany, Canada, the UK, and the USA. Jones first came to prominence in the 1960s as a Pop artist, producing work notable for its erotic content derived from mainstream and fetishist sex magazines; his best known work in this line being the group of fibreglass figures of women in bondage gear, Hatstand, Table and Chair, which provoked moral outrage at its first showing in 1970. Jones’s first international exhibition was at the 1961 Paris Biennale where he gained the Prix des Jeunes Artistes. His first solo exhibition was at Arthur Tooth and Sons, London, 1963, and his first exhibition in the USA was at the Richard Feigen Gallery, New York, 1964, since which date he has had frequent solo exhibitions worldwide. He has had retrospectives in 1978 (graphics; ICA, London, then tour); 1979 (painting; Walker Art Gallery, Liverpool, then tour), 1998 (print; Barbican Centre, then tour) and 2014–15 (Royal Academy). He was elected ARA in 1981 and RA in 1986. His public sculptures include Tango, 1984, Festival Gardens, Liverpool (commissioned for the Liverpool International Garden Festival); Dancers, 1987, Cotton Centre, Hays Lane, Southwark; Acrobat 1992, Chelsea and Westminster Hospital; Two to Tango, 1997, Swire Properties, Hong Kong; Dejeuner sur l’herbe, 2000, Chatsworth; Acrobat, 2001, GlaxoSmithKline, Brentford; and Head in the Wind, 2019, Greenwich Peninsula.
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Bibliography: D. Buckman, Artists in Britain since 1945 (2 vols: A–L, M–Z), Bristol, 2006; T. Cavanagh, Public Sculpture of Kensington and Chelsea with Westminster South-West, Watford, 2023, pp. 48–49; T. Cavanagh, Public Sculpture of Liverpool, Liverpool, 1997, pp. 62–63; T. Cavanagh, Public Sculpture of South London, Liverpool, 2007, pp. 199–200; A. Lambirth, Allen Jones. Works, London, 2005; The Sculpture Factory; Royal Academy of Arts website; Royal Academy of Arts, Allen Jones, 2014 (exh. cat.; 13 November 2014–25 January 2015); Who’s Who (online).
Terry Cavanagh November 2022
Karin Jonzen (1914–1998)
Sculptor and teacher, born Karin Löwenadler of Swedish parents in London. In 1944 she married artist and dealer Basil Jonzen (d. 1969) and then in 1972 the Swedish poet Ake Sucksdorff (d. 1992). As a child, her comic drawings impressed her father sufficiently for him to send her to the Slade School of Fine Art (1933–36). She won both the painting and sculpture prizes and in 1936 was awarded a scholarship for a fourth year, which she spent at the City and Guilds of London Art School, Kennington. In 1939 she was at the Royal Swedish Academy of Fine Arts, Stockholm, and in the same year won the Prix de Rome, although the Second World War – in which she served as an ambulance driver – prevented her from going to Italy. She was invalided out with rheumatic fever and during her recuperation became convinced that modernism – which she believed ‘did violence to the human form’ – was not the way forward, subsequently adopting a classicising style. Jonzen was both a fellow of the Royal Society of British Artists and FRBS (RBS silver medal 1983). She had a solo exhibition at the Fieldbourne Galleries, 1974, exhibited at the RA from 1944, and also showed in various group and mixed exhibitions. Examples of her work are in the National Portrait Gallery; V&A Museum; and the Bradford, Brighton, Glasgow and Southend art galleries. Public commissions include Ascension, 1956, Selwyn College, Cambridge; and The Gardener, 1971, Brewer’s Hall Garden; Beyond Tomorrow, 1972, Guildhall Piazza; and Bust of Samuel Pepys, 1983, Seething Lane Garden, all City of London. Jonzen and her first husband set up a short-lived, but highly successful, gallery in the house they purchased in South Bolton Gardens, Kensington, after the war. In her later years, Jonzen purchased a studio in Gunter Grove, Chelsea, in which she lived and worked for the remainder of her life.
Bibliography: D. Buckman, Artists in Britain since 1945 (2 vols: A–L, M–Z), Bristol, 2006; T. Cavanagh, Public Sculpture of Kensington and Chelsea with Westminster South-West, Watford, 2023, p. 62; T. Cavanagh, Public Sculpture of Leicestershire and Rutland, Liverpool, 2000, p. 329; T. Cavanagh, Public Sculpture of South London, Liverpool, 2007, pp. 380–81; The Independent, 2 February 1998, p. 16; Karin Jonzen Sculptor (intro. by Carel Weight CBE, RA), London, 1976; Mapping Sculpture; J. Seddon et al, Public Sculpture of Sussex, Liverpool, 2014, p. 166; The Times, 31 January 1998, p. 25; P. Ward-Jackson, Public Sculpture of the City of London, Liverpool, 2003, pp. 192–93, 236, 391–92; Who Was Who.
Terry Cavanagh November 2022