Kilnhurst Achievers

Charles Sargeant Jagger – Sculptor

(c) Gillian Jagger; Supplied by The Public Catalogue Foundation

Charles Sergeant Jagger as painted by brother David.

He was born on the 17th December 1885 in Kilnhurst, the second child of the Kilnhurst Colliery manager Enoch Jagger and his wife Mary Sargent.  He became a prominent sculptor.  He served in the First world War and afterwards sculpted many works on the theme of war.

He is best known for his war memorials, especially the Royal Artillery Memorial in Hyde Park and the Great Western War Memorial at Paddington station in London.  He also designed several other monuments around the U.K and other parts of the world.

He attended the Sheffield Royal Grammar school.  At the age 14 he left school and was apprenticed as a trainee metal engraver with the Sheffield firm Mappin and Webb.

He also attended the Sheffield School of Art moving on to London to study sculpture at the Royal College of Art (1908–11).  He found employment with renowned Sculptor Edourd Lanteri.  He supplemented his income as an instructor in modelling at the Lambeth School of Art.  He worked on classical and literary themes himself.  His student work won him a travelling scholarship and he spent several months in Rome and Venice, here he studied various styles and took some influence from his findings.

In 1914 he won a scholarship at the the British School at Rome which was the U.K’s leading humanities research institution abroad.  Its mission was “to promote knowledge of and deep engagement with all aspects of the art, history and culture of Italy by scholars and fine artists from Britain and the Commonwealth, and to foster international and interdisciplinary exchange”.  It had been established in 1901 and granted a Royal Charter in 1912.  He had an obsession for the quality of detail.

The outbreak of war in 1914 saw Jagger give up his Rome scholarship to ‘answer the call’ and enlist in the army.  He joined the Artist’s Rifles until 1915 when he transferred with a commission to the Worcester Regiment 4th Battalion.  He saw active service at Gallipoli and on the Western Front.  He was shot and wounded three times.  At the end of the war he received the military Cross (M.C.) for gallantry.

After the War he returned to London and established his own studio at South Kensington.  The horrors of war were firmly etched in his brain and this influenced his works.

The emergence of War Memorials in 1921 meant that over the next seven years he was in great demand to produce memorials.  He completed works in;

Manchester (1921); Southsea (1921); Bedford (1921); Paddington Station (1922); Brimington (1922); The Royal Artillery Memorial (1921–5); Anglo- Belgian Memorial (1922–3); Nieuwport (1926–8); Cambrai (1927–8); and Port Tawfiq (1927–8).


Paddington Station War Memorial.

He married Evelyn Wade in 1925, she was the daughter of fellow sculptor Lilian Wade who Charles met while working for Edourd Lanteri.  She was considerably younger than he. 

The Royal Artillery Memorial in Hyde Park .

The Royal Artillery Memorial in Hyde Park .

His other commissions saw him completing statues of; The Duke of Windsor, Lord Hardinge, Ernest Shackleton, Alfred Mond (founder of I.C.I.) along with works for their London H.Q at mIllbank.

He also produced other works like Cast Iron decorative Fire baskets and he undertook some oil painting portraits.

He won the prize for ‘The Best work of sculpture exhibited in London’ in 1926 and 1933.

He subsequently died aged 59 of pneumonia at his home at 67 Albert Bridge Road, Battersea on the 16th November 1934. His estate was valued at £1,588.


Extract from Mexborough & Swinton Times May 1935

The memorial exhibition of the sculpture of the late Charles Sargeant Jagger, a native of Kilnhurst, the greatest of all sculptors in war subjects, was opened on Wednesday by Sir William Llewellyn, President of the Royal Society of Painters in Water Colours, in Pall Mall East.

Mrs. Jagger told me this afternoon the Queen has given permission for 25 replicas of the bronze statue of the Prince of Wales to be cast and sold.  This small statue, which shows the Prince in tennis kit with a racket under his arm – he was returning from playing tennis, not squash rackets, as has often been stated – was executed at a single sitting by Jagger in 1922 on the commission of the late Viscount Esher.  The Queen was so delighted with it that she asked for a replica to be made expressly for her.  The statue has been on exhibition at the Royal Academy this year.


The exhibition shows over 50 examples of Jagger’s war and peace sculpture, and viewed in the mass is a very impressive sight.  There is only exhibit that cannot be purchased, and that is an oil painting of Jagger as an artillery officer by his brother David.  This hangs in the vestibule, and has been lent by its owner, who intends to bequeath it to the National Portrait Gallery.  There are striking contrasts in the exhibition.  Tiny statuettes, only a few inches high, side by side with gigantic conceptions, such as the famous “No Man’s Land” panel, the original of which is in the Tate Gallery.

Another contrast is the grim war subjects, with satirical works such as “Scandal,” a green bronze and marble relief, executed for Lord Melchett, showing a man and woman embracing while dowagers and gossips whisper in the background.  Then there is Jagger in a mood of fantasy, as in the “Mocking Birds” executed for Freda Lady Forres, or the lovely “Nymph and Faun” at the fountain.


Mention must be made of the first sketch of the statue of the King for New Delhi, Jagger considered his finest work, and it was the most exacting he ever attempted.  He was engaged on it when he fell ill.  Models of parts of the famous Royal Artillery Memorial at Hyde Park Corner occupy practically the whole of one wall, and it is possible for the first time to see both sides of the memorial at once, as the panels have been placed side by side.

When the sculptor was at Gallipoli he made up his mind that if ever he executed a war memorial he would aim at showing war as it really was and these panels are the fulfilment of that promise. The soldiers on the panels, muddy, bloody, exhausted and dying, are real men.  Nothing is softened or toned down.  Jagger was one of the few English sculptors to execute a war memorials abroad.

It consists of two bas – reliefs in Brussels commemorating the British troops who fell in Belgium during the war and the Belgian peasants who succoured them.  Busts of the Marquis of Reading and Lord Hardinge, and a relief of the late Lord Melchett is chairman of the memorial exhibition committee, which includes Sir William Reid Dick, Sir Edwin Lutyens, Lady Forres, and Lady Melchett.​


It is an odd thing (writes the London correspondent of the ‘Daily Independent’) that although the work of Charles Sargeant Jagger is to be found in several countries as well as in London, he is not represented in either of the Sheffield art galleries or indeed in any Yorkshire collection.  I do not think his work is in any of the provincial galleries of this country.  After all, he received his art training in Sheffield – and it is queer to think that the greatest of the war sculptors began his career as an engraver of filigree silver – and became a master of engraving at the school.

If Sheffield does not have something to remind future art students of what the city can produce it will be a great pity and show a lack of imagination somewhere.


In his war sculpture (says ‘The Times’) he expressed realistically in sculptural form the passionate admiration that he shared with thousands of his fellow – countrymen and women for the private soldier in his fighting kit. Such figures as “The War Memorial – Paddington Station,” “The Sentry,” executed for Messrs. Watts, Manchester, the bronze figures on the Artillery Memorial, and “Wipers,” the Hoylake War Memorial, West Kirby, did for the War in sculpture what the Memorial Cross and the Stone of Remembrance did in architecture.

That is to say, they summed up, with the added advantage of a human symbol, the emotional reactions to the War of the great majority. Fortunately these figures are fully represented in the present exhibition by bronze replicas of different sizes, and so the opportunity for anybody who wishes to possess an example of Mr. Jagger at his best is obvious.  In Peace, except perhaps in the “Sketch Models for Thames House,” of industrial subjects, and the “Shackleton,” for the Royal Geographical Society, Mr. Jagger did not work with the same passionate conviction on the human side, and his purely artistic abilities were not enough to make up for the deficiency.


War seldom produces great artists.  It more often destroys them.  The Great War provided an exception in the case of Charles Sargeant Jagger, A.R.A., who died last November.  No artist has ever held up a mirror more ruthlessly to man’s ruthlessness.  No country has given the world a more uncompromising interpreter of the terrors that stalked in the trenches.  Important post – war undertakings, which had nothing to do with the representation of warfare all gained from the forcefulness Jagger had brought back from the battlefield.

His monument to the King for New Delhi, his “Christ the King” for the Liverpool Roman Catholic Cathederal, his “Shackleton” for the Royal Geographical Society are cases in point.  Directness and massiveness belong to them.  It can be safely be said, none the less, that it will be because of his bronze soldiers that Jagger’s name will live and be honoured.


Sir William Llewellyn, President of the Royal Academy, opening the exhibition said:

In this gallery many of the exhibits which were intended for broad, diffuse light, are seen in concentrated light, and in addition, occupy different levels than those for which they were designed.  But in spite of these disadvantages the lover of sculpture will recognise how strong and resourceful was the work of Jagger and how entirely sincere.  While he was a traditionalist he was not a slave to tradition and the knowledge to be gained from the great works of the past, he was constantly striving to evolve new methods of expression to keep in harmony with modern architecture and other activities of life”.

He was not the only artistic member of the family, both his elder sister, Edith, and his younger brother, David were painters.


Mail on Sunday article – 30th March 2014.

Peter Hitchens- I am pleased to see Charles Sargeant Jagger’s superb Paddington war memorial playing a part in the first World War commemorations. It is one of the greatest and most moving sculptures of the 20th century, depicting a mud-encrusted Tommy reading a letter from home.


David Jagger – Artist

Self Portrait of David Jagger.

Self Portrait of David Jagger.

David Jagger also went to the Sheffield School of Art along with his sister and his brother.  After his education, he became a leading member of the Royal Institute of Oil painters.  He was a successful artist and and exhibited regularly at both the Royal Academy and the Royal Society of British Artists. In 1940, Jagger exhibited together with his sister and brother (posthumously) in a special exhibition at the Rotherham Art Gallery and Museum, under the title The art of the Jagger Family.

He died in 1958.

Terrence Mullaly wrote of Jagger in his obituary: “Jagger will be remembered as a fashionable society portrait painter who combined the ability to catch a likeness with meticulous craftsmanship.  Even if future generations do not rate him highly as an artist, they will value his numerous portraits of well known sitters.  Among the most striking of them was one of Queen Mary, exhibited in the Royal Academy exhibition of 1930.  But Jagger was at his best in the many portraits he painted of distinguished businessmen.”


David’s Works of Art Included;

  • Portrait of Robert Baden-Powell painted 10th August 1929.  Numerous copies of this portrait have been created, and are displayed on Scouting premises worldwide.  A significant copy is displayed in the office of the Secretary General of the Geneva headquarters of the World Scouting Association.
  • Portrait of Queen Mary (exhibited in the Royal Academy exhibition of 1930).
  • Portrait of Winston Churchill.
  • Portrait of the artist Robert Fowler.
  • Portrait of the physician Dr Thomas Forrest Cotton (1926).
  • Portrait of business man J G Graves.
  • Portrait of Mrs Thelma Bader, wife of Wing Commander Douglas Bader (1942).
  • Portrait of LadyMIllicent Taylour.
  • Portrait of his brother Charles Sargeant Jagger (In national Portrait Gallery).
  • Portrait Of An Officer Of The Raf During World War II (1941).
  • Portrait of an architect holding plans (unk date).
  • Portrait of a woman (1945).
  • Corfe Castle.
  • Mountain road, Majorca.
  • Meissen porcelain parrot.
  • Mother & Child by Stream (1912).
J G graves

J G graves

David Jagger 2

Edith Jagger- Artist

Attended Sheffield School of art along with her brothers.  She became an accomplished artist in her own right with noted pieces in Still life and landscapes.

Edith jagger Still Life

Edith Jagger Still Life


Edith Jagger Landscape

Edith Jagger Landscape


Samuel Broadhead 


Samuel Broadhead was born on 16 September, 1818 and was well known by many of the miners in the area.  Before 1858, coal miners in the area.  Before 1858, the coal miners of the region made various attempts to organise themselves against unscrupulous and unsympathetic conditions of employment and the effects of trade recession and hazardous working conditions. 


As the miners were poor, their attempts were all thwarted and the miners’ lot was that of poverty.  In 1858, the South Yorkshire Miners Association came into existence.  It came under great attack but withstood all assaults upon it.  A similar organisation also operated from 1863 in West Yorkshire.  In 1881, the two associations merged and became the Yorkshire Miners Association which became the start of long and hard negotiations on behalf of the mining community. 

The new offices for the Association opened on 4 November 1874 on Huddersfield Road, Barnsley and the premises are still in existence for the same use today.

Samuel Broadhead was one of the first trustees for the Yorkshire Miners Association.  Previous to this, he had been the Treasurer for the South Yorkshire Miners Association.  He had to manage the Association through many troublesome periods as the organisations funds would diminish rapidly during disputes when support had to be made for the miners and their families.

He also managed the finances of the Association through a very difficult period when the Association was persuaded to take over the running of Churland Colliery and operating it without the real funds needed to manage such a task.  The operation was not successful for various reasons but the main problem being the fall in the price of coal from 1874 to 1885.  Samuel Broadhead was greatly esteemed by his colleagues.  He was highly regarded and it was fitting that the Yorkshire Miners Association erected a monument headstone as a mar of respect for his achievements.



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