It started with an article in The Week Junior magazine heralding the unveiling of Dorset’s Mary Anning Statue. https://www.maryanningrocks.co.uk/press. A sidebar stated, ‘In the UK, there are 82 statues of men named John and just 128 of named women’.
Only 128?? I could visit all of them! But initial enthusiasm for a new project soon turned to dissatisfaction. There were so few women statues that it was, in actual fact, feasible to visit them all. So who are the 128 immortalised women? What does it take for a woman to get a statue of herself? Money? Influence? Passion for a cause? I’m ashamed to say I was struggling to recognise some of the names when I started the research, but that was all part of the journey – learning more about women that have played a special part in our history.
So I have given myself a year to visit all of them to give them the recognition they deserve and to learn more about these special women. The start date is 29th July 2022. Please join me on this journey! Who knows, hopefully by the end of July 2023, the number of named women statues may be more than 128…..
The keen eyed amongst you will know that the above picture is nothing to do with Mary Anning. It is pilot Amy Johnson who I visited in Hull. I love her gaze and besides, I’ve yet to meet Mary Anning…
Foyer of Leeds School of Arts, Portland Way, Leeds, England
Are we allowing this here? I don’t mean because the statue is blue, but because it was produced on a 3D printer. So far so futuristic.
It was local artist Sarah Roberts who flagged this piece up, as, ashamedly I was unaware of it despite being a stone throw away from it. I’m even more ashamed that on my first visit I went to the wrong art place (I rocked up at the Leeds Arts University instead of Leeds School of Arts, surely everyone has made this blunder…)
The city of Leeds has around 850,000 inhabitants but there are no women statues, and PhD Art Student and statue creator Lara Rose highlights there are no statues of black people in the city. Pretty stark.
Geraldine was an ethnomusicologist, theatre director, singer, composer and performer. Born in London but raised in Trinidad, her studies and work spanned both places. She taught music in the 70’s and 80’s as well as working as a backing singer for stars such as Jimmy Cliff, Bob Marley and Tom Jones. She also sang on the original recording of Andrew Lloyd Webber’s Jesus Christ Superstar.
Geraldine moved north in 1990 as a lecturer at the University of Leeds. During her time there she composed and directed her most famous work, Carnival Messiah, fusing European classical tradition of oratorio – like Handel’s Messiah – with musical inspiration from the African diaspora. Over three decades Geraldine created or directed a number of theatrical and musical productions, whilst finding time to complete her Doctorate at the University of Leeds. Geraldine’s artist Lara Rose captures her wearing her graduation robes.
The Geraldine Connor Foundation (GCF) was established in Leeds a year after her death to continue her work and vision.
Two weeks after what I classed as my last statue visit, another one gets unveiled. Showcased on 14th December 2025, I consider the 10-hour round trip to make the unveiling. I don’t make it, but Sylvia gets a visit in the new year still looking shiny and new.
Novelist, short story writer and poet, Sylvia’s first collection of poems appeared in 1925, with debut book (Lolly Willowes) published a year later. She went on to publish six more novels as well as writing contributions to the New Yorker for over forty years, translated Proust’s Contre Saint-Beuve into English, wrote a biography of the novelist T.H. White and a travel guide to Somerset. Phew. Despite all this, her work has gone largely unnoticed. Her style and subject matter was no doubt seen as rather avant-garde at the time. Her work was re-published in the 1970’s by Virago, helping her reach a wider and perhaps more liberal audience. The Sylvia Townsend Warner Society also helps to publicise and promote her work.
The statue bench is situated in Dorset town centre where Sylvia lived most of her life with her partner and poet Valentine Ackland. Some of their writing is included in the sculpture as well as musical scores as a nod to Sylvia’s early passion and work as a musicologist.
Stop Line Way, Donyatt Halt Train Station, near Ilminster, Somerset, England
At the outbreak of the Second World War, 3 million people, mostly children, were evacuated from cities and towns for safer places in the countryside.
Doreen was just one of those children. At 7 years old she was sent from Bromley, along with her neighbour’s daughter June (aged 10) with the promise that they had to stay together, no matter what. And so, the pair were the last two standing at Donyatt Halt’s school hall before being taken in by a childless couple. It is hard to imagine what it must have been like for Doreen’s mother being separated from her child, who gave this letter to June to pass on to the foster family.
Thankfully this story ends well. Doreen went on to live a full life and visited the unveiling of her statue in 2009 after a station restoration project some 80 years after the station opened. An arson attack in 2015 saw the station burned and an appeal was swiftly organised to renovate the site, including a replacement Doreen.
The statue was sculpted by Ian Edwards whose grandfather was evacuated to Donyatt Halt at the same time as Doreen.
The Chard to Ilminster railway line was abandoned in 1962, leaving Doreen now waiting for a train that will never come.
For ages I thought access to Elizabeth inside the infamous law courts was near on impossible, given I am neither a criminal nor a barrister. However, it took a friend a quick google search to find out that the Old Bailey does regular tours for the public. I’m in.
The building is impressive and I wonder what Elizabeth would have made of it all. Prison and social reformer, as well as a philanthropist, if you think she looks vaguely familiar it could be because you spotted her as the woman on the old £5 note (the ‘other’ woman). First issued in 2002, the notes ceased to be legal tender 15 years later.
But back to the slums. On visiting Newgate Prison in 1814, Elizabeth was devasted by the conditions she found. Diseased, cold and dirty, even children were sent there if their mother was deemed a criminal. Often the prisoners were there for the least of crimes – stealing food to eat (see Sophie Constable) and areas were mixed, leaving women and children particularly vulnerable. Elizabeth set about changing this, launching education and skills into prisons, healthier warmer conditions and separate areas for male and female inmates including female guards for the women and children areas. In 1818 she became one of the first women to speak to a parliamentary committee with her proposals forming the 1823 Gaols Act.
Fun fact! Elizabeth’s mother, Catherine, was a member of the Barclay family, who were among the founders of Barclays Bank. Oh and she had 11 children- maybe a fact but maybe not so fun.
River Drive near the junction with Palatine Street, South Shields, England
Characters don’t come much more colourful than Dorothy (Dolly) Peel. The https://fabulousnorth.com/ website describe her as, ‘Fishwife by day and smuggler by night’. In short, she was your ‘go to’ lass for alcohol, tobacco, perfume and lace.
During her lifetime, the pressgang were active, forcing men into military service. Legend has it that she would hide local sailors under her petticoats to avoid conscription. However, this subterfuge only lasted so long, and her husband and son were forcibly enrolled in the navy during the Napoleonic Wars. Dolly stowed away on their ship, and when discovered took on a new career as an onboard nurse and was allowed to stay because of her exemplary efforts before eventually being pardoned and returned to shore.
Dolly was also said to have a great sense of humour and entertained the public in the market place, mocking the fake doctors trading dubious pills. Later in life she published poetry. Imagine her LinkedIn profile with her range of skills. The statue was commissioned by her great-great-great grandson Reginald Peel and based on a surviving photograph. It is also intended as a tribute to all working women. Made of ciment fondu (a fast setting, durable material – everyday’s a school day) the statue was unveiled in 1987.
I had visited Dolly initially last year but got there as the light was fading. Seeing as I was in the area this year visiting new statue Mary Ann Macham I decided to hop over the Tyne, practically opposite Mary Ann across the water to get a better pic. When I reach Dolly this time, the light too is fading, and I check when I first visited the statue. It was exactly the same day last year.
Riverside Embankment Walkway, Tyne Street, North Shields, England
Mary Ann’s story makes a harrowing read. Born in 1802, Mary Ann was sold at the age of 12 and taken to a farm along with 200 other enslaved people. There she endured 17 years of regular whippings and torture leaving her with the terrifying decision: die a slave or risk escaping. Mary Ann took her chance. Relating her story to the Spence’s – a Quaker family that took her in on her arrival in England, she recounted forcing her way out of a locked room in Virginia and hiding in the woods for weeks while slavers and dogs hunted her. From there she stowed away on a boat eventually arriving in North Shields in the early 1830’s. Settling into the town she married a local man and stayed there until her death at the ripe old age of 91.
I hear about her unveiling soon after it has happened. I’m happy but somehow dismayed there is another unveiling when I am so close to finishing my journey. I’m lucky though that this new statue is only a two-hour drive and I resolve to take it in at the weekend. It’s nearing the end of November and, with a short visit to the south planned the following weekend I’m nearing the end of visiting every named female statue in the UK.
Hot on the heels of the unveiling, when I reach Mary Ann I find I am not the only visitor. Local press has covered the story and several walkers stop by to take in the town’s new edition, which fits with North Shields 800 years celebrations. ‘I think it’s dreadful’ says one passer-by, pointing out the out of proportion hands and feet. Artistic representation of something deeper perhaps?
Grounds of Belfast City Hall, Donegall Square, Belfast, Northern Ireland
I have a little more luck with Winfred. She stands behind a stall that allows me access to the back (stall name is anonymous to protect any health and safety violations).
Partially boxed off, it’s tricky to get a good look round Winifred, hence I capture her thus. Your shots will be better.
The statue was unveiled alongside Mary Ann McCracken, with both being commissioned by Belfast City Council.
Winifred left school as a qualified secretary and shorthand typist and became involved in the Gaelic League (promoting the Irish language), Cumann na mBan (The Irishwomen’s Council) and the suffragist movement. She joined the Irish Textile Workers’ Union where she was introduced to the republican, politician and socialist James Connolly and together they wrote the manifesto, ‘To the Linen Slaves of Belfast’ highlighting the long hours and dangerous conditions workers were subjected to. Through sharing Connolly’s political ideas and revolutionary plans she became his personal secretary and confidante including the lead up and throughout the 1916 Easter Uprising and was with him at the surrender.
The statue has her wearing her 1916 uniform as Adjutant in the Irish Citizen Army with a typewriter and a revolver.
Belfast City Hall 1st Floor and Grounds, Donegall Square, Belfast, Northern Ireland
My second visit to Belfast’s statues does not start well. Fresh off the plane, I head straight to City Hall where not one, but two new statues were unveiled on International Women’s Day in 2024. But I’m struggling to find either of them. Ah. That’s because there’s a Christmas market on and the grounds are jammed packed with hot dog stands, fudge stalls, mulled wine outlets, beer tent… you get the picture.
And it’s absolutely rammed. Good for the Belfast economy, not so good for a culture visit to tick of what is essentially the last few statues of my project. I circle round. And again. Desperate I hop on a bench near where I feel Mary Ann should be. And there I spot a flash of her bonnet. She is cornered in behind makeshift stands and inaccessible. I go to the nearest stall to her and ask to sneak round the back (obviously leaving out the ‘sneak’ adjective). No can do. My culture tour isn’t cutting it. Desperate, I find a man in a high vis to reason with. I’m a grown adult, I just want a picture, I’ll be sensible. Access denied. Health and safety. Come back another time.
And so, I end up to resorting to the only thing I have available to me at the time. I have a meltdown somewhere between the frankfurters and the olive stalls. Don’t get me wrong, I have enjoyed my project, I’ve learned about wonderful women and seen beautiful places, but it all calls comes at a cost, not just time, but money. And I’ve already spent over one grand on the weekend, transport and accommodation all told. This isn’t a ‘pop back’ journey for me and I don’t know when or if I could afford to do it again. My two sons, possibly out of respect or more probably embarrassment, shield round me, with my youngest being the adult here, suggesting we could visit the City Hall inside – at least they may have some info on the statue.
Cruise forward twenty-four hours and I get to meet Mary Ann, or at least her head and shoulders, on a brilliant City Hall tour.
Mary Ann’s plaque on the base of the bust describes her as fervent campaigner for the rights of Belfast’s women, children and poor, for the abolition of slavery and the revival of Irish music, language and poetry. Not a bad accolade. Not bad at all.
Born into a Belfast family supporting an independent Ireland, she too fought for independence, although her brother Henry Joy McCracken was executed for his part in the failed United Irishmen rebellion in 1798. Still, Mary Ann continued fighting for this cause and many others. Unusual in the fact that she ran a factory (making muslin cloths) her duty for championing the poor meant that when business took a downward trajectory, she still kept all workers employed despite diminishing profits to ensure families were financially supported. She was a strong abolitionist, even refusing to eat sugar due to the American slave plantations. Accounts report her leafleting emigrants at Belfast docks into her 80’s about the wrongs of the slavery trade while the boarded ships to the US.
The City Hall grounds statue depicts McCracken handing out an abolitionist leaflet and wearing an anti-slavery brooch with the words ‘Am I not a man and brother’. Of course, I was unaware of any of this seeing as I couldn’t get to see it. I hope you can. Safe travels.
Imagine having the opportunity of being able to look at your future and know everything turns out fine.
In 1985, sculptor Kevin Atherton set out to capture 3 ordinary folk of Brixton in a public art formation entitled ‘Platform Piece’ which would stand at Brixton train station. Joy was one of the three. Juliet Rix’s book, London’s Statues of Women’ tells the story of Joy.
At that time working at the local leisure centre, Joy later remarked that she only agreed to take part to get out of a 7.30am pool side shift. What followed was a ticket office repurposed as a studio as Joy’s body was smothered in wet plaster and Vaseline in preparation for bronze casting. An event in itself no doubt, but Joy’s statue was the first public statue of an individual woman of colour in London. The three-piece installation was unveiled at Brixton station a year later.
Fast forward 30 years and Kevin discovers ‘Platform Piece’ missing a figure, with Joy almost hidden behind a safety fence. Time for a revamp he thinks. Kevin contacted Joy, who had recently finished cancer treatment. This time no petroleum jelly was involved, just a 3D scan. Rix’s book quotes Joy on what would become ‘Joy II’ – ‘Making the statue was a real tonic – it makes me feel I’m still in the game’.
And so, Joy I gets to gaze at Joy II, across the station platform, 37 years apart.
CalthorpeCommunity Garden, Gray’s Inn Road, London WC1X 8LH
Standing 160cm tall in the gardens at Calthorpe Community Centre is Mary Woolaston, aka ‘Black Mary’. Creator Marcia Bennett Male is the only black female classically trained stone carver in the UK, so it is fitting that her design for ‘Black Mary’ was chosen for Calthorpe.
But what’s Mary’s story? In the 1600’s century she ran a healing well in the King’s Cross area of London. Known for its chalybeate properties (meaning water rich in iron salts – you’re on your own for the pronunciation though). The healing well was prized for its health benefits for various cures and ailments, and such places were popular in the 17th – 19th centuries.
The spot of Mary’s business (known as ‘Black Mary’s Hole’) became largely forgotten over time and there is little information about it, although history does seem to suggest the well was a stone’s throw from where Mary now stands.
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