70-71 New Bond Street W1

It is easy to pass these ladies by as just another trio of artsy Edwardian allegorical figures, but they are exceptionally good. Two, Art and Commerce, are by Louis Frederick Roslyn (formerly Louis Fitz Roselieb, but as the date was 1916 one can understand his motives). The other, Science, is by Thomas Rudge.
Art hold a palette in one hand and a maquette of an armless classical figure in the other. Science stands in front of a globe standing rather precariously on a pile of books, holding a pair of dividers. In her other hand she holds a lamp (I think - it looks a bit like a dinosaur egg hatching a serpent).


But my favourite is Commerce with her armful of flowers. Her face is not the standard droopy post-pre-Raphaelite face of so much Edwardian sculpture but a real person, full of character.
The building was designed by Palgrave and Co.

Norway House, Cockspur Street SW1

When architects Metcalfe and Greig were designing 21-24 Cockspur Street as war broke out in 1914 there was no tenant for the building, so the carving on the front had to be generic Edwardian aspirational rather than illustrating the particular genius of the occupants. Louis Fitz (sic) Roselieb, the son of a sculptor from Hanover who had become a naturalised Briton, was brought in to do the job.
By the end of the War to End War, Roselieb had changed his name to Louis Frederick Roslyn and shortly afterwards the building got a facelift to transform it into Norway House.
Luckily, they left Roslyn's fine work untouched.
From left to right:

Commerce. A naked figure weighs out gold coins, with figures behind presenting goods to exotic foreign monarchs.

Transport. A substantially-built woman holds a steam locomotive, as ocean liners sweep over the waters behind.

Industry. A woman spins, sitting on a stool carved into a sphinx. Behind, a forest of factory chimneys belch smoke.

Communications. Mercury sits on a wall, holding a globe in one hand and his caduceus in the other. Behind, a Greek galley.
I will post the Norwegian alterations later.