Edward Carter Preston 1885-1965: Sculptor, Painter, by Ann Compton

By Ann Compton

Edward Carter Preston was once an important determine in Liverpool’s paintings scene from the 1st global battle via to his loss of life in 1965. In 1931 he bought a fee from Sir Giles Gilbert Scott to arrange an enormous sculptural scheme for the City’s huge Anglican Cathedral. Over the subsequent thirty years Carter Preston made fifty sculptures, ten memorials and several other reliefs for the Cathedral. along his public achievements he pursued his own creative pursuits, sculpting on a extra intimate scale, portray in watercolors, making prints and designing quite a number decorative and utilitarian items. This exhibition catalogue has a foreword by way of Ann Compton and comprises 4 essays.

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Extra info for Edward Carter Preston 1885-1965: Sculptor, Painter, Medallist

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13 Despite the numerous successful designs for the two world wars and the Korean campaign, his relationship with the Mint and their advisors was not without controversy and compromise in this field. The minutes of the Royal Mint Advisory Committee record the anxiety that a number of the members felt about using potentially offensive images – an early example of official political correctness. ’14 An alternative design for the Korea medal, 1953, – a medal commissioned specifically from Carter Preston, the design not being open to competition – showed a lion subduing a dragon, a type that symbolised unequivocally the triumph of Britain over an oriental foe; the final design – presumably echoing the criticisms of thirty five years earlier – employed the less offensive classicism of Herakles and the Hydra.

In 1916, the Government had set up a committee to oversee the production of a memorial plaque for the families of those killed in action in the First World War. The committee required the subject matter to be a ‘symbolical figure... 6 As a result of this prescription, in Carter Preston’s winning design, ‘the subject of sacrifice, death and loss, the essence of the memorial, is dealt with very indirectly,’7 and there was considerable subsequent criticism of the distancing effect brought about by the use of mythological (ie.

H. Paget was chosen. Ironically, Carter Preston’s depiction paid homage to a well-known piece by the Renaissance master, Pisanello, long regarded as one of the chefs d’oeuvre of fifteenth century medallic art for the bravura of its foreshortened view of the Samaritan’s horse – a connection of which the Mint’s own Committee would have been aware, but presumably not the Committee on the Grant of Honours and Medals. Classical types and allusions provide the bulk of the iconography of Carter Preston’s work for the Mint and other commissioning bodies and manufacturers.

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