The Philharmonic Dining Rooms, 36 Hope Avenue, Liverpool, L1 9BX
Grade I detailed
Checklist Entry Number: 1207638
Detail
History
The Philharmonic Dining Rooms was created in 1898 to the styles of Walter W Thomas for the Liverpool brewery Robert Cain & Sons. The interior decoration was carried out by a number of various craftsmen and artists, which include the renowned sculptor Charles John Allen (1862-1956) and the architect and designer Henry Bloomfield Bare (1848-1912). Other designers and craftsmen had been supervised by George Corridor Neale and Arthur Stratton of College College’s (afterwards the College of Liverpool) School of Architecture and Applied Arts.
Walter W Thomas (1849-1912) was a Liverpool architect who is greatest recognized for his public dwelling types, but who also produced types for Owen Owen’s department retail outlet recognized as Audley House, and properties all around Sefton Park. As very well as the Philharmonic Eating Rooms, Thomas also intended The Vines (1907, Grade II*) for Robert Cain & Sons, and rebuilt The Crown (1905, Quality II) for Walkers Brewery of Warrington, both on Lime Road.
Robert Cain (1826-1907) was born in Ireland but grew up in Liverpool. As a teenager he turned an apprentice to a cooper on board a ship carrying palm oil from West Africa and after returning to Liverpool in 1844 he set up himself initial as a cooper, and then subsequently as a brewer in 1848. Cain started brewing at a pub on Limekiln Lane, but before long moved to greater premises on Wilton Road, and eventually to the Mersey Brewery on Stanhope Avenue in 1858, which Cain prolonged in the late C19 and early C20. As very well as brewing Cain also invested in assets, developed pubs, and ran a resort adjacent to the Mersey Brewery. As his brewery business grew (acknowledged as Robert Cain & Sons from 1896) it acquired out more compact brewers and took command of their pubs, evolving into a company that owned more than 200 pubs in Liverpool by the late 1880s. In 1921 Robert Cain & Sons merged with Walkers Brewery to grow to be Walker Cains, and the Liverpool brewery at Stanhope Street was offered to Higsons in 1923. Right after a succession of proprietors from the 1980s onwards the brewery, which even now stays in procedure on web site in 2019, is currently being transformed for combined use.
Charles John Allen was appointed as a lecturer at the Liverpool Faculty of Architecture and Used Arts (later known as Liverpool College of Artwork) in 1894 and was a top figure in the New Sculpture motion, although Henry Bloomfield Bare was President of the Liverpool Architectural Modern society and also labored in the United States, editing an Arts and Crafts magazine there in the early 1890s.
Facts
General public home, 1898-1900, by Walter W Thomas for Robert Cain & Sons. Exuberant Cost-free Design and style.
Elements: generally ashlar with a pink and gray polished-granite plinth, slate roof coverings.
Program: the Philharmonic Eating Rooms has a rectangular system and occupies a corner plot at the junction of Hope Street and Hardman Street with principal elevations on to both of those streets. It is bounded by Hope Road to the east, Hardman Street to the south, and adjoining buildings to the north and west.
EXTERIOR: externally the Philharmonic is of three-storeys as well as an attic at the southern close, and has an asymmetrical composition with stepped and formed gables with obelisk finials, tall chimneystacks, turrets with copper ogee domes, and a corbelled balustraded balcony that wraps around the second flooring. The two principal elevations are of sandstone ashlar set upon a gray polished-granite plinth with a pink-granite band over that varieties a deep sill band to the ground-floor home windows. The home windows, which are mostly mullioned and have formed surrounds and heads, consist of a mixture of etched, leaded and stained glass to the floor flooring, and leaded glazing to the upper floors.
HOPE Street ELEVATION: the 8-bay entrance elevation faces east on to Hope Road and incorporates the key entrance, which lies in just 4-bays to the ideal of centre, the initial floor of which jobs ahead with slender, corbelled two-storey octagonal turrets to the outer bays and a two-bay balustraded serpentine balcony to the centre. The most important entrance by itself consists of a huge spherical-arched opening with really ornate Artwork Nouveau gates of wrought iron and crushed copper by the architect and designer Henry Bloomfield Bare (1848-1912). The gates are ornamented with female heads and garlands and to the centre is a cartouche depicting a Liver hen flanked by gazelles (the emblem of the Cain’s Brewery) with a banner below with reduction lettering that reads: ‘PACEM AMO’ (‘I appreciate peace’), the motto of the Cain’s Brewery. To the suitable is a significant stained-glass lunette window, with the lower portion of the window projecting out in the form of a canted bay. The two-bay initially-floor serpentine balcony higher than is supported by grey polished-granite Ionic and Tuscan columns sat atop the building’s pink-granite plinth band. The central Tuscan column is shorter as it also supports a considerable pink-granite paired corbel that incorporates a recessed licensing plaque on the south facial area. The balcony incorporates two segmental-headed bays with limited, paired, polished-granite Tuscan columns separating the bays and doorways flanked by solitary lights. To the roof is a five-gentle dormer window. The two bays to the significantly ideal of the elevation are established beneath a formed gable and have two significant 9-light-weight home windows to the ground flooring with eared surrounds and spherical-headed upper lights, basic three-light mullioned home windows to the very first flooring, and doorways on to the second-floor balcony with glazed double doorways with an exaggerated triple keystone above. To the gable apex is the monogram ‘R C S’ (Robert Cain & Sons) in stylised reduction lettering set inside of a keyed surround. On the left of the elevation is a vast bay with a stepped gable incorporating a shallow bow-formed attic oriel window. On the ground ground is a huge 6-gentle window with an eared encompass and round-headed upper lights, and to the very first floor is a three-light mullioned window with an elaborate surround, which include flanking engaged columns. Main out onto the next-floor balcony are doorways in the same design as people to the formed-gabled bay. At the southern finish of the elevation is a large six-light window in the exact type as its neighbour. Occupying the two flooring higher than is a two-storey canted bay oriel window with carved frieze decoration that is mirrored on the building’s south elevation facing Hardman Road. The two windows on each elevation just about touch every single other at the south-east corner, forming an un-roofed turret or a huge polygonal oriel window. HARDMAN Street ELEVATION: the shorter a few-bay south aspect elevation on to Hardman Avenue has a tall ground-floor entrance doorway underneath the two-storey oriel window with a panelled and etched-glass doorway (no more time utilised), paired square overlights, and floating dentilled segmental cornice above set about a carved roundel exhibiting a guy in profile (musician or composer) and musical instruments. The two bays to the still left are set beneath a stepped gable and have equally styled windows to the corresponding stepped gable on the east elevation, and a even more doorway that is a broader edition of its neighbour to the appropriate.
Interior: internally the interior decoration and styling was concluded by designers and craftsmen supervised by George Corridor Neale and Arthur Stratton of University College’s (afterwards the University of Liverpool) Faculty of Architecture and Applied Arts, and it incorporates Arts & Crafts things throughout the ground flooring. Jacobean-model ceiling plasterwork exists to most parts of the floor flooring, alongside with intensely moulded cornices, mahogany woodwork, and mahogany fireplaces with marble inserts.
Principal ENTRANCE: the principal-entrance vestibule has a mosaic floor and is made up of an inner doorway comprised of a classical doorcase with a swan-necked pediment established inside of a glazed arched monitor with paired etched-glass side lights.
Most important Ingesting Lobby: the key entrance sales opportunities into a significant consuming lobby with an elaborate Jacobean-type ceiling with pendant drops, a ornamental patterned mosaic ground, and a huge horseshoe-shaped bar servery/counter with a mosaic-clad entrance, a brass foot rail, and an island bar again driving. Climbing from the bar counter and supporting the ceiling are fluted Corinthian columns incorporating carved bands. On the east facet of the foyer is a superior, patterned glazed-tile dado that proceeds into and all over the southern section of the ground ground, which is divided from the major ingesting lobby by a total-top panelled display with arcaded leaded-glazed clerestory lights with stained-glass protect motifs. A doorway in the south-east corner of the drinking lobby potential customers into a general public bar at the south end, although doorways in the south-west corner guide to the gentlemen’s toilets, a scaled-down drinking foyer and the Hardman Road entrance, and a stair accessing the 1st ground. On the west aspect of the most important drinking foyer is a massive inglenook lined with wall panelling and repoussé copper panels by Henry Bloomfield Bare depicting musicians. Curved bench seating flanks a central fireplace with a pink-marble insert and an elaborate mahogany chimneypiece incorporating a spherical mirror. Two stained-glass panels above depict Lord Baden-Powell and Field Marshal Earl Roberts KG VC who had been commanding officers battling in the 2nd Boer War, which was taking area at the time of the pub’s development.
SNUGS: a short corridor qualified prospects northwards from the main drinking lobby to the previous billiards space (now acknowledged as the Grande Lounge) and carries on the lobby’s mosaic flooring. The corridor is flanked on possibly facet by two sq. snugs (now humorously recorded as ‘Brahms’ and ‘Liszt’ higher than their entrances) with panelled partitions onto the corridor and drinking foyer, geometric patterned clerestory windows, and canted corners facing into the drinking lobby with classical doorcases with segmental pediments and six-panel doorways with trefoil-arched glazed higher panels with etched glass. The former smoke space (‘Brahms’) on the west side has wall panelling up to just earlier mentioned fifty percent-top in darkish and light veneers with diamond, cross and quatrefoil styles and developed-in bell pushes. To the top of the west wall is a Gothic-model clerestory arcade with stained-glass panels driving and on the north wall is a fireplace with an overmantle incorporating a broken pediment and a mirror. The previous information area (‘Liszt’) on the east facet of the corridor also has wall panelling up to just earlier mentioned half-top, which incorporates carved relief panels with many imagery, together with porpoises, and constructed-in bell pushes, and a hearth with a swan-necked pediment, fluted Ionic pilasters, and an overmantle incorporating a mirror. Lights the area on the east aspect, and overlooking Hope Street, is a large stained-glass lunette window depicting musical devices and St Cecilia, the patroness of tunes, and words that read: ‘Music is the Common Language of Mankind’.
Previous BILLIARDS Room: at the close of the corridor running off the major drinking lobby is a vast segmental-pedimented doorcase with modern gilded lettering that reads ‘Grande Lounge’ and a 4-panel doorway with glazed upper lights. The Grande Lounge is a large room at the north conclude of the floor floor that is a person-and-a-fifty percent storeys in height and occupies the full depth of the constructing, and is believed to have initially been a billiards home. The ceiling is coffered and is sprung from corbelled arches with two of the major coffers that contains skylights with floriated stained glass a third significant coffer at the east end of the area is solid with Jacobean-design and style used timberwork because of to the existence of rooms above. The home is lit by two significant 9-light-weight windows at the east finish with stained and leaded glazing, crystal chandeliers, and twin-arm wall lights, and has wall panelling up to image-rail top. The panelling incorporates vertical and horizontal repoussé copper panels by Henry Bloomfield Bare and Thomas Huson (1844-1920) the horizontal copper panels variety a band around the room and incorporate depictions of maritime landscapes, vegetation, animal and chicken life, and fish, although the vertical panels depict stylised thistles. Above the panelling is ornamental plasterwork by Charles John Allen (1862-1956), which includes elaborate, and tall, gilded thistles that operate close to the overall space in the model of a frieze. Over the room’s entrance door the plasterwork depicts the crowning of Apollo and above the main fireplace on the north wall is ‘The Murmur of the Sea’ the two are flanked by corbelled male and woman herms supporting the ceiling. The key fireplace has an overmantle incorporating a huge later on etched mirror and on the west wall is a further more hearth set in just a shallow inglenook. A doorway in the south-west corner of the room with a classical doorcase integral to the wall panelling potential customers into a pot-washing place and fireplace exit.
GENTLEMEN’S Toilets: the gentlemen’s toilets, found off the key drinking lobby, has a attractive patterned mosaic flooring and patterned glazed-tiled partitions incorporating Art Nouveau mosaic panels and frieze, and retains its initial sanitary ware, which is composed of pink-marble basins and pink imitation-marble urinal surrounds.
General public BAR: the public bar at the south finish of the ground ground has a doorway straight off Hardman Street, which is no lengthier in use. Off to the north-east corner accessibility through to the most important drinking lobby has been opened up by way of the removing of two doorways so that two linking areas now move into a person a further. The bar’s ceiling is a continuation of that in the ingesting foyer and is all over again supported by Corinthian columns soaring from the bar counter, and a high, patterned glazed-tile dado proceeds all around the space, even though the reduced aspect is panelled above in areas. The ground is carpeted, while it is possible that the mosaic-do the job obvious in neighbouring areas continues beneath, and modern-day flame lamps carried on brass rails sit across the window sills. Projecting out from the centre of the screen dividing the general public bar from the primary consuming foyer is an L-formed bar counter/servery that proceeds the line of the key ingesting foyer bar, but in this article it is plainer with a panelled entrance and a brass countertop. An etched-glass and mahogany bar back again incorporates swan-neck pediments and glazed arches that echo these of the primary entrance monitor. On the west aspect of the bar is a panelled screen with etched-glass higher panels that separates the bar from a vestibule and corridor off Hardman Road with a patterned mosaic flooring and decorative glazed-tile dado. The display screen has two doorways into the general public bar, just one of which kinds part of a lobby delivering entry to the services places at the rear of the bar counter. Off to the west facet of the corridor is a home in the south-west corner of the floor flooring that has been converted into ladies’ toilets. The corridor from the Hardman Street entrance potential customers to a small former ingesting lobby with a bow-formed counter on the east facet with a crested mahogany display screen sat atop that incorporates etched-glass sashes. A doorway in the glazed monitor separating the community bar from the relaxation of the ground ground prospects via to the first-ground stair and major consuming lobby.
Upper Floors: the stair to the very first floor is narrow with turned newel posts and balusters, and a ramped handrail. The higher flooring retain moulded doorway architraves and four-panel doorways, whilst some afterwards doors have been inserted on the 1st ground. At the southern conclude of the very first floor is a large and simply specific dining place with simple moulded cornicing and a later on inserted bar counter and bar back again that now conceals a smaller house in the southern Hope Street turret. A chimneybreast survives, but the room’s fireplace has been eliminated and an adjacent doorway has been inserted to generate accessibility into a neighbouring space, which has entry out onto the initially-floor balcony overlooking Hope Road and includes a timber and painted solid-iron fire. The rest of the initial ground is comprised of contemporary professional kitchens and former domestic rooms at the north close that are now employed as places of work and storage at the very least just one of which retains an first hearth. The rooms are accessed by a small stair from a person of the kitchen parts because of to the bigger height of the previous billiards area below them. A now boxed-in stair flight leads up to the second floor, which has a corresponding huge room above the very first-floor dining space that is now disused, but was almost certainly also originally one more eating place. The area retains accessibility to its turret house and also retains its chimneybreast, but has misplaced its hearth. Three other rooms occupy the ground at this end, which include former bathrooms. The second-flooring rooms at the north close of the building, which are now a personnel flat, have been not obtainable for inspection. The attic at the southern close has a collection of plain rooms and a disused drinking water tank.
CELLAR: the beer cellar, which lies beneath the southern finish of the making, has concrete flooring and retains its unique barrel chute.
historicengland.org.uk/listing/the-listing/list-entry/1207638
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Philharmonic Eating Rooms
36 Hope Avenue, Liverpool
Constructed: 1898.
Quality II* mentioned
The Philharmonic Dining Rooms is a public home at the corner of Hope Street and Hardman Avenue in Liverpool, Merseyside, England, and stands diagonally opposite the Liverpool Philharmonic Corridor. It is frequently acknowledged as The Phil. It is recorded in the Countrywide Heritage Checklist for England as a selected Grade II* listed making.
Background
The community dwelling was constructed in about 1898–1900 for the brewer Robert Cain. It was intended by Walter W. Thomas (not to be baffled with Walter Aubrey Thomas the designer of the Royal Liver Making) and craftsmen from the University of Architecture and Applied Arts at College Faculty (now the University of Liverpool), supervised by G. Hall Neale and Arthur Stratton.
Paul McCartney performed at the Philharmonic when he was a younger musician, and all through an impromptu live performance in 2018.
Architecture
Exterior
The creating is built in ashlar stone with a slate roof in an “exuberant free of charge design” of architecture. It has a combination of two and a few storeys, with attics and cellar. There are ten bays alongside Hope Road and a few together Hardman Street. Its exterior features contain a wide variety of home windows, most with mullions, and some with elaborate architraves, a two-storey oriel window at the junction of the streets, stepped gables, turrets with ogee domes, a balustraded parapet over the second storey, a serpentine balcony (also balustraded) previously mentioned the key entrance in Hope Road, and a lower aid sculpture of musicians and musical devices. The main entrance incorporates steel gates in Artwork Nouveau design and style, their style remaining attributed to H. Bloomfield Bare.
Interior
The interior is adorned in musical themes that relate to the close by live performance corridor. These decorations are executed on repoussé copper panels designed by Bare and by Thomas Huson, plasterwork by C. J. Allen, mosaics, and products in mahogany and glass. Two of the more compact rooms are entitled Brahms and Liszt. Of unique interest to site visitors is the substantial high quality of the gentlemen’s urinals, created in rose-coloured marble.
Appraisal
Pollard and Pevsner, in the Buildings of England series, state that it is the most richly embellished of Liverpool’s Victorian community homes, and that “it is of fantastic excellent in nationwide terms”. The Grade II* listing indicates that it is bundled between “especially vital structures of much more than particular desire”. Pye describes it as a single of Liverpool’s “architectural gems”.
en.wikipedia.org/wiki/Philharmonic_Eating_Rooms
Posted by Glass Angel on 2019-08-13 10:55:47
Tagged: , Liverpool , Merseyside , Quality I mentioned , England , Good Britain , United Kingdom , EBB , GB , Uk
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