London Underground, 55 Broadway SW1

The last two 'winds' that are still visible from street level are the North Wind by A.H. Gerrard and the West Wind by S. Rabinovitch.
Gerrard's North Wind (on the west side of the south wing) is a busty girl holding her hair as it trails in geometrical waves behind her. 'Gerry' Gerrard was in a position to observe how hair waved in the wind, having been an airman in the First World War, but he has clearly rejected naturalism for formal composition. He was steeped in Art Deco, designing a lot for ocean liners at the time. After the Second World War he became professor of sculpture at the Slade, spending considerable time scouring bomb sites for good carving stone.
Samuel Rabinovitch studied in Manchester, the Slade and Paris: the West Wind (on the south side of the east wing) was his first major commission. She sweeps in from the Atlantic with a gull.
He went on to carve some heads on the new Daily Telegraph building in Fleet Street but then decided for some reason to abandon sculpture in favour of all-in wrestling and acting in films, under the nam Sam Rabin. He returned to art later, becoming drawing teacher at Goldsmiths' College.

London Underground, 55 Broadway SW1

A treat on BBC4 tonight - at 8.30 in Art Deco Icons, David Heathcote looks at London's first skyscraper, Charles Holden's London Underground building, built in 1927.

It was controversial enough to have such a tall building so close to Westminster Abbey and the Houses of Parliament, but Holden had to bring Jacob Epstein in to carve the lowest and most visible sculptures. Holden and his client Frank Pick knew what to expect - Holden had collaboarated with Epstein on the BMA building and had caused a mighty rumpus then.

And Epstein delivered. The figures, Day on the south face and Night on the north, are as powerful as anything he did, and attracted a storm of reactionary fury with all the usual newspaper leader columns advising men not to let their wives or daughters see these abominations.
The crime? The figure of Night shows a father being embraced by his son, who has a visible penis. In fact, his whole body is twisted round to make the penis visible. If he were simply giving Dad a hug he would be facing away from the public.
Just why this should be so offensive is not clear, considering the number of cocky cupids carved on any baroque church. It may have been its size - it is said that Epstein was forced to whittle the willy down to more acceptable proportions as the price of Frank Pick's survival in his job.
Removing the sculpture entirely would have been impractical - as with the BMA figures, they were carved in situ.

UPDATE David Heathcote said that Epstein had to remove an inch and a half off the poor boy's willy because rain ran down it and formed a perfect arc of water onto the pavement. I find this story entirely convincing.