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Issue 101 | Summer <strong>2023</strong><br />

Contents<br />

Martin Harrison lecture ‘Glass painters’<br />

Lectures: Christian Ryan<br />

‘Back to the future’ and<br />

Peter Cormack ‘Charles<br />

Connick’, p. 2<br />

From the Chairman<br />

Dear fellow members,<br />

There’s quite a lot to report, with a series of<br />

excellent events taking part through the<br />

Summer. Firstly, many of you will know about<br />

and been involved in the development of a<br />

dedicated apprenticeship for stained glass<br />

craftsperson. Well, finally it has been through<br />

all of the approval procedures and will be<br />

launched very soon , delivered by the<br />

Swansea School of Glass (University of Wales<br />

Trinity St David) with end-point assessment by<br />

Icon (Institute for Conservation). We are<br />

delighted that one of our members and a<br />

great friend, Christian Ryan, is appointed as<br />

coordinator for the apprenticeship.<br />

Christian will deliver a Webinar on the 20th<br />

July at 7pm explaining all about the<br />

apprenticeship structure and costs. I urge all<br />

artists and craftspeople to attend and to<br />

learn how this qualification can help you,<br />

whether you are a one-person operation<br />

looking to take on an assistant or a larger<br />

studio. This is the culmination of years of hard<br />

work, so please attend the webinar, and<br />

please get on board and support the new<br />

qualification.<br />

Our discussion day at Glaziers’ Hall on 22nd<br />

September, by kind permission of the<br />

Glaziers Company, brings together architects<br />

and stained glass artists to debate<br />

commissioning of new works in stained glass.<br />

This is part of our drive to promote the Art<br />

and Craft of stained glass more effectively,<br />

which you our members identified as<br />

something the Society should do more<br />

effectively. Sign up, and come and join in the<br />

debate!<br />

Later in the year, on the 20th October, Peter<br />

Cormack will deliver an in-person talk at<br />

the Art Workers Guild, on Charles J. Connick,<br />

to coincide with publication of his muchanticipated<br />

book on this superb American<br />

artist in glass. An event not to be missed.<br />

See the website for details.<br />

(CONT. P. 2)<br />

Walk & Talk: Stourbridge,<br />

Discussion Day, p.3<br />

Autumn conference ‘Leafy<br />

Surrey’, p.4<br />

Review, p. 5<br />

Martin Harrison ‘Open<br />

windows 4’, p. 7<br />

DIARY DATES <strong>2023</strong><br />

Thursday 20 July: Webinar ‘Back to the Future’ by Christian Ryan and Patrick Whife, 7 pm<br />

Saturday 19 August: Walk & Talk: Stourbridge, 10 am; 12 noon; 2 pm<br />

Wednesday 30 August--2 September: Touring Conference <strong>2023</strong> ‘Leafy Surrey’<br />

Friday 22 September: Discussion Day at Glaziers’ Hall, 10.30--4.30<br />

Friday 20 October: Lecture ‘Modern & Gothic: Charles J. Connick’ by Peter Cormack at the<br />

Art Workers Guild, 6.15 pm for 6.30 start<br />

Members’ news, p. 8<br />

Exhibitions, p. 9<br />

Events and workshops,<br />

p. 11<br />


President<br />

HRH The Duke of Gloucester,<br />

KG GCVO<br />

Chairman<br />

Steven Clare FMGP<br />

c/o Registered Office<br />

bsmgpchairman@hotmail.co<br />

m<br />

Hon. Secretary and<br />

Newsletter Editor<br />

Chris Wyard<br />

PO Box 15<br />

Minehead TA24 8ZX<br />

secretary@bsmgp.org.uk<br />

news@bsmgp.org.uk<br />

Hon. Journal Editor<br />

Sandra Coley<br />

c/o Registered Office<br />

journaled@bsmgp.org.uk<br />

Hon. Librarian<br />

Sally Rush Bambrough<br />

Hon. Treasurer<br />

Jacquie Reid<br />

Events emails:<br />

events@bsmgp.org.uk<br />

conference@bsmgp.org.uk<br />

walks&talks@bsmgp.org.uk<br />

Registered Office<br />

6 Queen Square<br />

London WC1N 3AR<br />

Registered in England and<br />

Wales<br />

www.bsmgp.org.uk<br />

Follow us<br />

Contributions<br />

Contributions for the next<br />

<strong>newsletter</strong> to Chris Wyard<br />

by 10 August<br />

news@bsmgp.org.uk<br />

Every effort is taken to ensure<br />

the accuracy of the information<br />

in the Newsletter, but the <strong>BSMGP</strong><br />

cannot accept any liability for<br />

loss or damage of any kind that<br />

may arise from any errors.<br />

Opinions expressed are those<br />

of the individual contributors,<br />

and are not nexessarily endorsed<br />

by the <strong>BSMGP</strong>.<br />

Finally, you may have seen publicity<br />

regarding our major fundraising initiative<br />

‘The One Thousand Friends’ appeal. I will be<br />

contacting you all in the near future with<br />

more details in the expectation that you will<br />

support the initiative by disseminating<br />

details to all of your networks.<br />

Have a great Summer.<br />

Steve Clare MBE, FMGP, ACR<br />

Chairman<br />

What’s On<br />

‘Back to the Future: A Welcome<br />

Return of Apprenticeships’ by<br />

Christian Ryan and Patrick Whife<br />

20 July, 7 pm, Zoom webinar<br />

Given the recent ‘Red List’ inclusion for<br />

traditional stained glass makers and<br />

designers by Heritage Crafts, it is more than<br />

ever obvious that we need a stream of new<br />

professionals to maintain the vitality in our<br />

Art and Craft of stained glass.<br />

For decades, dedicated professionals have<br />

worked tirelessly to provide a solid basic<br />

training in the core skills that new and<br />

emerging craftspeople need to prosper, as<br />

individual artists or as conservators.<br />

We are delighted to announce that –<br />

through a joint effort by the British Society of<br />

Master Glass Painters, the Worshipful<br />

Company of Glaziers, volunteer senior<br />

professionals and the Institute of<br />

Conservation (Icon) – we finally have a<br />

dedicated apprenticeship for the stained<br />

glass craftsperson. The new qualification is to<br />

be delivered by the Swansea Glass School<br />

(University of Wales Trinity St David), with<br />

end-point assessment provided by Icon.<br />

It is essential that we put our support behind<br />

the team delivering the qualification, and to<br />

that end we are delighted to invite its<br />

coordinator Christian Ryan to explain the<br />

workings, aspirations and costs of the<br />

apprenticeship, with input from Patrick Whife<br />

from Icon. Other major contributors to its<br />

development will also speak.<br />

This is a highly significant moment – and as<br />

such this is an important and not-to-bemissed<br />

webinar – for aspiring professionals<br />

and for potential employers, whatever the<br />

scale of their operation.<br />

We urge the whole stained glass community<br />

to attend, and learn how experienced<br />

practitioners now have the means to pass on<br />

their skills for future generations.<br />

Join us on Thursday 20th July at 7 pm on<br />

Zoom. Members pay only £4.25 (£5.00 full<br />

price) so book now as tickets are limited.<br />

Cost: £4.25 (members) / £5 (nonmembers).<br />

Booking available on<br />

www.bsmgp.org.uk/events.<br />

Enquiries to the Secretary; email:<br />

secretary@bsmgp.org.uk<br />

’Modern & Gothic: Charles J.<br />

Connick’: autumn lecture by Peter<br />

Cormack<br />

20 October, 6.15 pm for 6.30 start , AWG<br />

Newtonville Library: R Frost Mending Wall (detail)<br />

When Charles J. Connick (1875--1945) began<br />

his stained glass career in the 1890s, America<br />

had become so besotted with the newly<br />

invented ‘opalescent’ windows of La Farge and<br />

Tiffany that the ancient traditions of the art<br />

form had all but been forgotten. Seduced by<br />

vulgar pictorialism, designers and<br />

craftworkers had ignored both the<br />

architectural dimension of stained glass and<br />

its essential qualities of light-infused colour.<br />

Reacting forcefully against this trend, Connick<br />

reasserted the values of the ancient craft,<br />

successfully persuading 20th-century<br />

Americans that the medieval tradition could<br />

inspire powerfully expressive modern<br />

windows.<br />

This lecture will trace Connick’s career from<br />

the 1890s in Pittsburgh, through to his first<br />

major commissions in the 1900s and the<br />

establishment of his own studio in Boston. It<br />

will demonstrate how Connick was profoundly<br />

influenced by Christopher Whall’s Arts &<br />

Crafts philosophy of stained glass, and how he<br />

collaborated fruitfully with leading architects,<br />

notably Ralph Adams Cram. It will illustrate<br />

many of Connick’s important commissions in<br />

some of the USA’s most impressive Modern<br />

Gothic buildings, such as Princeton University<br />

Chapel, San Francisco’s Grace Cathedral and<br />

New York’s Cathedral of St John the Divine.<br />

Connick’s regular visits to Europe, where he<br />

studied both medieval and modern glass,<br />

were a constant stimulus to his creativity, as<br />

were his friendships with major figures in<br />

other cultural spheres, such as the poet<br />

Robert Frost. This will be a comprehensive<br />

introduction to Connick’s life and work, the<br />

subject of Peter’s forthcoming book (to be<br />

published by Yale University Press in 2024).<br />

Entry from 5.30 pm; event ends at 9.30 pm.<br />

Lectures cost: £19 (£16.15 members);<br />

evening meal is £18 (£15.30 members).<br />

Booking on www.bsmgp.org.uk/events.<br />

Enquiries to Sue Shaughnessy, email:<br />

events@bsmgp.org.uk.<br />


Walk & Talk: Glassblowing at Stourbridge<br />

19 August, 10 am, noon or 2 pm<br />

We are offering a unique and exciting<br />

opportunity to visit the Historic Glass<br />

Quarter of Stourbridge to watch a<br />

demonstration of traditional cylinder<br />

flat-glass making in the Red House Cone<br />

hotshop. This technique of creating<br />

mouth-blown window glass has been<br />

used for centuries. The Conservation<br />

Working Group is focusing this year on<br />

the risks threatening the stained glass<br />

community. Sadly, <strong>2023</strong> has seen<br />

‘stained glass window making (historic)’<br />

added to the Heritage Craft Association’s<br />

Red List of endangered crafts for the<br />

first time. The risk of traditional skills<br />

and knowledge being lost is something<br />

which artists and craft workers are<br />

keenly aware of. Traditional glass<br />

blowing is one such craft.<br />

The demonstrations will be given by<br />

glass sculpture artist Elliot Walker<br />

(winner of the Netflix series ‘Blown<br />

Away’), and accredited conservator<br />

Laura Atkinson. They have been working<br />

on creating flat window glass, looking<br />

into preserving and evolving this art<br />

form for specialist use.<br />

Discussion Day: ‘Stained Glass and Architecture’<br />

22 September, 10.30 am-4.30 pm, Glaziers’ Hall<br />

We are planning an exciting Discussion<br />

Day on Friday 22nd September at<br />

Glaziers’ Hall around the relationship<br />

between stained glass and architecture.<br />

We will focus on overcoming the threats<br />

to stained glass window making and<br />

how to maximise opportunities.<br />

Participants will not only be treated to a<br />

live demonstration but will also have<br />

flexible entry to the Glass Museum and<br />

the Red Cone Museum. Stourbridge has<br />

been a major glassmaking centre in<br />

Britain for over 400 years. The two<br />

museums explore this fascinating<br />

history and showcase a variety of glass<br />

objects. There will also be an option of<br />

an afternoon guided canal walk. The<br />

Stourbridge Canal was built to transport<br />

coal from coal mines at Dudley to the<br />

fuel the kilns at Stourbridge, and to<br />

carry fragile glass to market. This chance<br />

to explore ‘the glass mile’ will follow the<br />

landscape which helped shape the glass<br />

industry into what it is today.<br />

There are three ticket options<br />

available:<br />

10 am or 12 noon: glass blowing<br />

demonstration, entry to both museums,<br />

guided canal walk. Members’ price<br />

£63.25/student member £46.75<br />

2 pm: glass-blowing demonstration,<br />

entry to both museums. Members’ price<br />

£55.25/student member £38.25<br />

Students need to bring proof of their<br />

course on the day. The 2 pm tickets<br />

exclude the afternoon canal tour, so<br />

would suit people who can’t participate<br />

in the walking tour owing to reduced<br />

mobility, or who are unable to arrive in<br />

the morning. Holders of a group 3 ticket<br />

will be welcome to visit both museums<br />

all day. The formal event will finish at<br />

16:30 pm but there will be a social event<br />

happening afterwards. Details will be<br />

shared with participants after booking.<br />

www.bsmgp.org.uk/events.<br />

Primarily aimed at students and those<br />

in the early stages of their stained glass<br />

careers, the Discussion Day is open to<br />

everyone with an interest in stained<br />

glass, from traditional to contemporary<br />

and from conservation to innovation. It<br />

is a chance to see some fascinating work<br />

and hear directly from the speakers<br />

about their practice.<br />

There is an opportunity to network<br />

with other practitioners and attending<br />

the event can lead to useful contacts<br />

being made.<br />

Tea and coffee are provided but not<br />

lunch. There are many wonderful places<br />

to eat in nearby Borough Market.<br />

The British Society of Master Glass<br />

Painters is very grateful to the<br />

Worshipful Company of Glaziers for<br />

hosting the event.<br />

Tickets £34 for members, £40 for nonmembers<br />

for the whole day. Book on<br />

www.bsmgp.org.uk/events.<br />

Portfolio News<br />

Did you know that all Fellows and<br />

Associates of the Society are entitled to<br />

include six images of their work free of<br />

charge in the Portfolio section of our<br />

website? If you haven’t already done so<br />

we would love to hear from you.<br />

We are pleased to announce that<br />

professional practitioners can now<br />

showcase four images of their work on<br />

the Portfolio pages for an additional<br />

cost of £30 a year.<br />

If you are already a Member and want<br />

to join the Portfolio then you can submit<br />

your work and you won’t pay the<br />

additional £30 until your membership is<br />

renewed. So don’t delay, email<br />

secretary@bsmgp.org.uk to register<br />

your interest today!<br />

Another new feature is our ‘Past<br />

Fellows’ section. We would like to<br />

feature artists from our hundred year<br />

history. We are looking for volunteers<br />

with an interest in research to showcase<br />

some of our well-known Fellows and<br />

their work. Send your suggestions to<br />

secretary@bsmgp.org.uk and you will<br />

be sent guidelines of what we need.<br />

The Portfolio includes a search engine<br />

so viewers can find an artist by location,<br />

techniques and specialisms. The feature<br />

is used by potential clients and<br />

researchers so please help us to<br />

broaden the range of work we can<br />

showcase by getting involved.<br />

Publications<br />

Bronwyn Hughes ‘Lights Everlasting:<br />

Australia’s Commemorative Stained<br />

Glass from the Boer War to Vietnam’<br />

This is a major new study of<br />

commemorative windows, telling the<br />

story of Australian men and women at<br />

war, within religious buildings,<br />

hospitals, school chapels and civic<br />

buildings, describing its rich artistic and<br />

architectural heritage and the artists and<br />

firms who created it. It is available<br />

direct from Australia Scholarly<br />

Publishing. Pb; ISBN 978-1-922669-82-7;<br />

price AU$ 69.95; webpage:<br />

https://scholarly.info/book/lightseverlasting/<br />

Brian Sprakes ‘The Medieval Stained<br />

Glass of West Yorkshire, CVMA (Great<br />

Britain), Summary Catalogue 10’<br />

The latest full-colour volume in the<br />

British CVMA series, a catalogue of glass<br />

found in medieval glass from Wakefield<br />

Cathedral, churches, secular settings<br />

and museums, excavations, and other<br />

sources. Pub OUP, £150; c. 480 pp, 950<br />

images; ISBN: 9780197267097; webpage:<br />

https://global.oup.com/academic/product/<br />

the-medieval-stained-glass-of-westyorkshire-9780197267097?cc=gb&lang=en&<br />


Touring conference <strong>2023</strong> ‘Leafy Surrey’<br />

Wednesday 30 August - Saturday 2 September<br />

This is a final call to memmbers who<br />

wish to book for this year’s touring<br />

conference, which will be based at<br />

Surrey University’s campus in the<br />

historic town of Guildford. The<br />

organizers have also announced that<br />

there are now some day places<br />

available; see details below.<br />

During the late Middle Ages, Guildford<br />

prospered as a result of the wool trade<br />

and the town was granted a charter of<br />

incorporation by Henry VII in 1488. The<br />

River Wey Navigation between Guildford<br />

and the Thames was opened in 1653,<br />

facilitating the transport of produce,<br />

building materials and manufactured<br />

items to new markets in London. The<br />

arrival of the railways in the 1840s<br />

attracted further investment and the<br />

town began to grow. The town became<br />

the centre of a new Anglican diocese in<br />

1927 and the foundation stone of the<br />

cathedral was laid in 1936. The Surrey<br />

Hills Area of Outstanding Natural Beauty<br />

surrounds Guildford to the east, west<br />

and south so potential to expand is<br />

severely limited.<br />

Pevsner Surrey editions introduction<br />

states that Surrey doesn't have the set<br />

piece buildings (great churches, major<br />

country houses, cities) that are the<br />

normal diet of other counties. This is<br />

part of its appeal; what it specializes in is<br />

‘the small, the recherche' and the<br />

unexpected. Surrey was quite unique in<br />

England in being a county that had<br />

almost nothing to demand its inclusion<br />

in any national narrative of architecture<br />

until one extraordinary moment in the<br />

decades either side of 1900 when it<br />

would be possible to write the history of<br />

domestic architecture without having to<br />

refer to anything outside its border.<br />

Until the modern era Surrey, apart from<br />

its north eastern corner, was quite<br />

sparsely populated in comparison with<br />

many parts of southern England, and<br />

remained somewhat rustic despite its<br />

proximity to the capital.<br />

Communications began to improve,<br />

and the influence of London to increase,<br />

with the development of turnpike roads<br />

and a stagecoach system in the 18th<br />

century. A far more profound<br />

transformation followed with the arrival<br />

of the railways, beginning in the late<br />

1830s. The availability of rapid transport<br />

enabled prosperous London workers to<br />

settle all across Surrey and travel daily to<br />

work in the capital. This phenomenon of<br />

commuting brought explosive growth to<br />

Surrey's population and wealth. This<br />

resulted in many new neo-gothic<br />

churches being built in the towns and<br />

villages and with that a massive surge in<br />

the demand for 'medieval-type' stained<br />

glass. The middle of the nineteenth<br />

4<br />

century saw a huge increase in the<br />

number of firms producing such<br />

windows: Hardman & Co, Clayton & Bell,<br />

Heaton, Butler & Bayne, James Powell,<br />

Morris & Co, etc.<br />

The churches selected have a range of<br />

glass from these companies as well as<br />

others and offers the opportunity to<br />

examine, compare and contrast. The<br />

churches themselves are well regarded,<br />

with a number being listed Grade 1.<br />

There are also a number of sites with<br />

'ancient glass' including Abbot's<br />

Hospital, Stoke D’Abernon and Ockham.<br />

20-21st century glass includes windows<br />

by Moira Forsyth, Pippa Martin, Rachel<br />

Mulligan, Paul Woodroffe, Caroline<br />

Benyon, Lawrence Lee, Rosemary<br />

Rutherford, and Mark Angus.<br />

On the first evening there will be a<br />

keynote lecture. On the second evening<br />

we will enjoy an illustrated overview of<br />

new commissions from our artist<br />

members. The last evening will include a<br />

reception and our Conference Dinner.<br />

We look forward to meeting friends old<br />

and new on what promises to be an<br />

enjoyable and stimulating journey in<br />

Surrey. Our expert speakers will be our<br />

guides.<br />

Accommodation is at the Surrey<br />

University Campus. Each room is part of<br />

a flat and has ensuite facilities. The full<br />

conference price includes Wednesday &<br />

Thursday dinner, Friday Conference<br />

Dinner and reception, bed and<br />

breakfast, lunch on Thursday and Friday<br />

and all donations, entry fees and coach<br />

journeys.<br />

There are some day places available,<br />

as follows:<br />

Thursday 31 August only<br />

Cost £135 for members when paying by<br />

bank transfer or cheque. Online price<br />

£165 non-members / £140.25 members<br />

The one-day price includes lunch,<br />

dinner, evening lecture, expert guides,<br />

coach travel and entry into all venues.<br />

Friday 1 September only<br />

Cost £145 for members when paying by<br />

bank transfer or cheque. Online price<br />

£175 non-members / £148.75 members.<br />

The one-day price includes lunch and<br />

Conference Dinner, expert guides, coach<br />

travel and entry into all venues.<br />

Note that spaces for single day trips<br />

are strictly limited.<br />

To book your place, please complete<br />

and scan/print/cut out the form in the<br />

spring <strong>newsletter</strong>, returning it via email<br />

to: conference@bsmgp.org.uk<br />

or by post to: Richard Hennessy, 65<br />

Park Road, Woking, Surrey, GU22 7BZ.<br />

The form can also be downloaded from<br />

the Conference page of the society<br />

website. You can pay on our website, by<br />

BACS or by cheque. Spaces are limited<br />

so book early to secure your place. You<br />

must be a member to pay by BACS or by<br />

cheque. You can join the society at:<br />

www.bsmgp.org.uk/membership.<br />

We also remind members who have<br />

paid a £50 to reserve their place but not<br />

yet sent the balance that this is due by<br />

15 July, as we need to confirm final<br />

numbers with the university venue on<br />

that date.

Event Reviews<br />

‘Glass painters’ lecture by Martin<br />

Harrison, AWG, 16 June <strong>2023</strong><br />

On June 16th more than forty <strong>BSMGP</strong><br />

members and friends were able to<br />

assemble at The Art Worker’s Guild to<br />

hear Martin Harrison, keen observer and<br />

renowned writer on so many ART and<br />

ART/Craft-connected subjects talking<br />

about ‘Early Victorian Stained Glass’.<br />

Almost all of us know him from the<br />

brilliant book he wrote about a young,<br />

relatively unknown artist (Brian Clarke),<br />

which he completed in 1981 thus<br />

enabling Brian to gain the interest and,<br />

indeed, the enthusiasm of architects<br />

who had previously regarded ‘Stained<br />

Glass’ as a hopelessly outdated craft.<br />

Martin’s ability to understand and<br />

portray artists and their art in a cogent<br />

manner also informed his later books,<br />

his most recent being ‘Inside Francis<br />

Bacon’.<br />

For us (about 50) members of the<br />

<strong>BSMGP</strong>, Martin’s lecture gave us the<br />

long-withheld enjoyment of physically<br />

existing for a while in the unique space<br />

of ‘The Art Workers Guild’, hearing and<br />

seeing the speaker and catching up with<br />

news while eating a picnic supper.<br />

Martin’s talk covered the early years of<br />

stained-glass window making in<br />

England, an area of expertise mostly<br />

controlled by conservators rather than<br />

historians. The glass is still there,<br />

someone commissioned it, but certain<br />

knowledge of its aesthetic history and<br />

construction is missing. ‘Who were these<br />

people?’ as Martin put it!<br />

His visuals were really very good. They<br />

were large and clear, beginning with the<br />

14th-century window by ‘Thomas Glazier<br />

of Oxford’ who had worked for William<br />

of Wickham making windows at<br />

Winchester and Merton College. Moving<br />

on, Martin mentioned several other sites<br />

where this early glass could still be seen,<br />

and these included Long Melford church<br />

in Suffolk, the Beauchamp Chapel in<br />

Warwick and Clopton Church in<br />

Northamptonshire with its Flemish<br />

influence. Helpfully Martin focused on<br />

the important personalities, the<br />

influencers of the crafts, among them<br />

Robert Braithwaite Martineau, Charles<br />

Winston, George Hedgeland and William<br />

Burgess who were closely involved in<br />

new work for ‘their’ Churches.<br />

Indeed, Burne-Jones worked out his<br />

own version of the ‘Spirit of Medieval<br />

Piety’ that he loved, for the windows at<br />

St Frideswide’s Church, while William<br />

Burgess loved the clarity of the 13th<br />

century vision. Artist Henry Holiday’s<br />

methods were quite different: a<br />

painter’s personal representation of<br />

Biblical scenes and his fabricators Lavers<br />

& Barraud worked with him under his<br />

own close supervision. However, the role<br />

of the craftsmen was very insecure and<br />

in 1889, at the height of the enthusiasm<br />

for Church embellishment, a ‘Glass<br />

Painters Union’ was formed. While the<br />

‘Georgian’ era was dominated by<br />

painters whose work could be rendered<br />

in glass (see Fulham Palace and New<br />

College Oxford), the High Victorian era’s<br />

(left) ‘Detail of the head of St John from a ‘<br />

Pieta ’ in the Church of St Peter and St Paul,<br />

East Harling, Norfolk (15th Century);<br />

(below) ‘Our Lady of Pity’ in The Holy Trinity<br />

Church, Long Melford, Suffolk (15th Century);<br />

images from ‘English Stained Glass’ Thames &<br />

Hudson 1960<br />

massive production of new work had<br />

been created by quite a limited number<br />

of ‘Firms’ who dominated the market, a<br />

burst of energy that had undoubtedly<br />

been encouraged by the fashion for<br />

stained glass ‘memorials’ for loved ones<br />

inside the church, rather than a stone<br />

memorial outdoors. Martin closed the<br />

story with some tales of female<br />

endeavour, as determined women<br />

began to create their own windows.<br />

These included Margaret Pearson (1743-<br />

1823) whose work can be seen in Fulham<br />

Palace and Emma Cons (1838-1912) who<br />

made windows with Powells’ studio,<br />

before assisting with the founding of The<br />

Ladies Co-operative Art Guild. This was a<br />

tonic of a lecture and a stimulating start<br />

to holiday adventures that must surely<br />

involve visits to several or at least some<br />

of these fascinating early works by our<br />

hard-working ancestors in the craft.<br />

Caroline Swash<br />

EAG glass stocks<br />

After publication of the new Red List of<br />

Endangered Crafts, with mouth-blown<br />

flat glass making listed as extinct and the<br />

knock-on effect on stained glass window<br />

making and conservation listed as<br />

endangered, we have since heard from<br />

English Antique Glass, who were keen to<br />

stress that they have a large stock of<br />

mouth-blown flat glass available. They<br />

have around 600 sheets of flat glass in<br />

stock with an average size of 0.35 m²<br />

comprising clear and creamy whites,<br />

streaky whites, streaky and flashed<br />

colours. The colour range includes<br />

amber, blue, green, pink, ruby, opal,<br />

white, aubergine, violet plus others in<br />

single colour or combinations. So<br />

members can avoid having to purchase<br />

from France or Germany at elevated<br />

prices.<br />

EAG melt glass from raw materials in<br />

pelletised batch form, and distribute the<br />

batch in the UK to around 40+ glass<br />

companies and can also produce madeto-order<br />

Norman slabs. Details are at<br />

www. englishantiqueglass.co.uk. You can<br />

order/enquire via email (orders@<br />

englishantiqueglass.co.uk) and request<br />

images of specific colours or make an<br />

appointment; open Monday to Friday,<br />

8.30 am to 5 pm. The address is:<br />

21–22 Avenue One, Station Lane. Witney<br />

OX28 4XZ.<br />

AURAVISIONS is recruiting<br />

Ashdon, Saffron Walden, CB10 2LZ<br />

Stained glass repairs, restoration,<br />

conservation & new designs<br />

A leaded light glazier is required to fit<br />

into our small but perfectly formed team<br />

Site work is a must. Other skills are a<br />

bonus but not necessary<br />

Entry levels of experience are required<br />

and training will be provided for<br />

improvement<br />

Salary is based on skills and experience<br />

Email your CV to Susan McCarthy :<br />

auravisions@gmail.com. Phone for a<br />

chat: 01799 584108 or 07747 773399.<br />


<strong>2023</strong> outreach initiative<br />

In January this year, members of the<br />

Society took time to complete our<br />

Centenary Survey. It was the perfect<br />

opportunity for us to take stock and to<br />

better understand individuals’ interests,<br />

challenges and vision for the future of<br />

the Society. We asked how we might<br />

ensure that, in 2121, the membership will<br />

say that our generation played our part<br />

in keeping the craft relevant in the digital<br />

age and protecting the skills handed<br />

down to us.<br />

The Survey provided us with<br />

information on what members value<br />

from their involvement and it also told<br />

us that the majority hoped that the<br />

Society would take the lead on<br />

promoting good practice and<br />

maintaining high standards of design<br />

and workmanship in stained glass.<br />

Notably, many respondents also said<br />

that they wanted the BMSGP to<br />

encourage more young people to<br />

choose stained glass as their medium of<br />

choice, so that it is not a dying art.<br />

Further, 70% of members said that they<br />

wanted to see the profile of stained<br />

glass art raised amongst the general<br />

public and amongst architects and<br />

interior designers who specify stained<br />

glass – increasing the number of<br />

commercial projects.<br />

As an incoming Council member with<br />

a background in marketing, I am<br />

passionate about the need for the<br />

Society to increase awareness of the<br />

craft and to inspire new generations to<br />

both join the profession and to drive a<br />

renaissance of stained glass<br />

commissioned in secular buildings. The<br />

vision is for a virtuous circle – more<br />

demand for the skills of stained glass<br />

artists encouraging more professionals<br />

to take on apprentices and more young<br />

people enrolling in courses. There<br />

should also be a shorter-term benefit for<br />

Society members from this activity on<br />

the pipeline of works and the value of<br />

those commissions.<br />

So, for the next two years, I have<br />

undertaken to start this outreach<br />

initiative for the Society. The start point<br />

being to better tell the story of where<br />

the craft is today – (declining) with 68%<br />

of practitioners over 40 years old and<br />

the potential that many of traditional<br />

skills will be lost as we retire. The<br />

initiative will therefore involve being<br />

more active and vocal on representing<br />

the BMSGP’s areas of expertise across a<br />

range of media and educational bodies.<br />

In <strong>2023</strong>, stained glass is seen by so many<br />

as an art of a bygone era and simply a<br />

medium for churches or doors in<br />

Victorian properties! My job therefore is<br />

to inspire professional specifiers<br />

(architects and interior designers) to<br />

look again at its potential. In this digital<br />

era, telling stories to inspire means that<br />

we need ready-made ‘content’ – assets<br />

to stimulate interest initially amongst<br />

features editors who decide what will<br />

appear in their publications/websites<br />

and the exhibition directors who are<br />

deciding what to showcase.<br />

There is also a plan to stage an Open<br />

Studio event where professional<br />

specifers can meet artists and learn<br />

more about the craft and its application.<br />

Rome will not be built in a day but I’m<br />

encouraged that there seems to be a<br />

hightened interest in traditional crafts<br />

almost as a counter to the digital age<br />

(much like the Arts & Crafts movement<br />

was motivated by the industrial age).<br />

Favourite primetime TV includes Sewing<br />

Bee, Pottery Great Throw Down and the<br />

Repair Shop underlining this trend. The<br />

appetite for restoration and<br />

conservation is high – we need to<br />

encourage people now to create new<br />

work (just like Burne-Jones and Morris).<br />

This vision for our craft can only be<br />

realized with the help of active members<br />

of the Society providing the content<br />

assets that can be used for PR. I would<br />

therefore ask all those interested in<br />

helping with this drive to email me –<br />

projects@bsmgp.org.uk with<br />

stories/ideas and importantly to tell us<br />

whether you are happy to be part of an<br />

Open Studio showcase with professional<br />

specifers this year.<br />

Deborah Parkes<br />

‘Inspired by William Morris’<br />

William Morris c.1868 ‘Musician<br />

with Dulcimer’ Hessisches<br />

Landesmuseum, Darmstadt<br />

Following the success of the Centenary<br />

Touring Exhibition in 2021-22 and the<br />

‘Inspired by Burne-Jones’ exhibition in<br />

2019, we have decided to follow on with<br />

an exhibition of new stained glass panels<br />

that have been Inspired by William<br />

Morris.<br />

This new initiative will be part of the<br />

outreach programme of events that are<br />

planned following the announcement of<br />

the endangered craft status by Heritage<br />

Crafts. We are inviting all our Members<br />

to create an exhibition panel for a new<br />

online exhibition on our website. Entry<br />

for the virtual exhibition is free and all<br />

work should be new, created specially<br />

for the ‘Inspired by William Morris’<br />

exhibition. There is no restriction on<br />

techniques or materials, provided glass<br />

is involved, and any aspect of life and<br />

work of William Morris can inspire the<br />

piece. Each panel should be 30 cm x 30<br />

cm (outside size).<br />

Some of the panels will be selected to<br />

visit the Ruskin Centre in Stourbridge for<br />

the International Festival of Glass in 2024<br />

and a number of other venues (to be<br />

confirmed following discussions with the<br />

William Morris Society and Sanderson,<br />

which owns Morris & Co). There will be a<br />

hanging fee for any work selected for<br />

our flagship exhibitions.<br />

We will be launching the event with an<br />

online lecture about the life and work of<br />

William Morris in the autumn. The<br />

deadline for submissions will be<br />

announced then but it is anticipated that<br />

the touring exhibition will go live around<br />

March 2024. More details will follow.<br />

Deborah Parkes<br />

Prizes, Awards and Calls<br />

Woshipful Company of Glaziers<br />

The Company has announced that its<br />

<strong>2023</strong> Award winners are:<br />

Natasha Redina, Lever award<br />

Izzy Davies, Ashton Hill award<br />

The winners of the <strong>2023</strong> Stevens<br />

Competition for emerging glass artists<br />

are:<br />

First Prize, Design and Panel: £1300: The<br />

Brian Thomas Memorial Prize: Cathy Lee<br />

Second Prize, Design and Panel: £650:<br />

Hannah Gregory<br />

6<br />

First Prize, Design only: £1300: Polly<br />

Thomas-Colquhoun<br />

Second Prize, Design Only: £650: Bethan<br />

Yates<br />

The John Corkill Prize for Presentation:<br />

£650: Anne-Louise Sibley<br />

The Evelyn and George Gee Prize for<br />

Craftsmanship: £1000: Cathy Lee<br />

The Elaine Brown Memorial Prize for<br />

Best Entrant from outside the UK: £500:<br />

John Luka Doherty<br />

The commission for the <strong>2023</strong> Stevens<br />

Competition is by the Worshipful<br />

Company of Mercers, and the<br />

Commission itself was also won by Cathy<br />

Lee.<br />

Queen Elizabeth Scholarship Trust<br />

QEST awards fund scholars/apprentices<br />

working in a range of skills including<br />

stained glass by up to £18,000. In<br />

addition, it is launching Emerging Maker<br />

Grants this month to support earlycareer<br />

craftspeople in their training. The<br />

training can take many forms, from<br />

traditional college courses to vocational<br />

training with a master craftsperson, or a<br />

bespoke programme of short courses.<br />

Makers with up to 4 years professional<br />

practice can apply for up to £10,000. The<br />

next application round is open from 10<br />

July to 14 August. For details/form see<br />

the webpage: www.qest.org.uk/apply.<br />


Open windows 4<br />

Richard King, detail of Crucifixion, 1954–57, Our Lady<br />

of Mount Carmel, Faversham, Kent; photo Dan Barrett<br />

The strange world of Twitter<br />

occasionally throws up pleasant<br />

surprises. Recently ‘Dan B’ tweeted an<br />

image of a window by the Irish artist,<br />

Richard King, at Our Lady of Mount<br />

Carmel, Faversham (above). It is one of a<br />

series that King made for the church in<br />

1954–57. His work is scarce in England,<br />

and consequently he has been<br />

overlooked here; in her excellent<br />

monograph on King (2020), Ruth Sheehy<br />

redresses this, and incidentally<br />

acknowledges the crucial help of our<br />

lamented Hon Fellow, Nicola Gordon<br />

Bowe. King’s story is instructive. He<br />

joined the Harry Clarke Stained Glass<br />

Studios in 1928 and took over as chief<br />

designer on Clarke’s death in 1931. He<br />

stayed with the Studios until 1940, during<br />

which time his stained glass designs<br />

(though not his paintings) were<br />

conspicuously indebted to Clarke’s<br />

example, and perhaps also to Michael<br />

Healy. By 1949, when King returned to<br />

stained glass, he had evidently become<br />

aware of Mainie Jellett’s cubist paintings<br />

and Evie Hone’s stained glass. In the<br />

example shown here, the boldness and<br />

simplicity also recall Rouault, its intense<br />

colour the only residue of Clarke’s neo-<br />

Byzantine intricacy. It represents a<br />

radical departure from the style of his<br />

master, emphasizing how the abrupt<br />

hiatus of the Second World War acted as<br />

a watershed in stained glass in Britain<br />

and Ireland, a catalyst in the conscious<br />

striving for contemporary modes of<br />

expression.<br />

Recently, as chief editor of The Estate<br />

of Francis Bacon Publishing, I<br />

commissioned a book about John and<br />

Myfanwy Piper, by Tom Hanbury and<br />

Jessica Piper, young writers who will do<br />

justice to the creative spirit of the Pipers.<br />

It occurred to me that John’s first stained<br />

glass commission, for the three apse<br />

windows of Oundle School Chapel, was<br />

contemporaneous with Richard King’s<br />

windows at Faversham. The two<br />

John Piper and Patrick Reyntiens, detail of apse window,<br />

1954–56, Oundle School Chapel, Northamptonshire<br />

schemes differ in many respects – the<br />

sinewy frontality of Piper’s figures was<br />

mainly inspired by the Romanesque<br />

sculpture he admired, their vibrant<br />

colour by the early glass at Bourges and<br />

Chartres – but they share the ‘primitive’<br />

directness that had marked out one<br />

strand of modern art since Picasso and<br />

Derain. The stimulus of African art was a<br />

topic in a panel discussion on<br />

Modigliani’s sculpture in which I took<br />

part in April; did Modigliani’s elongated<br />

heads resonate, directly or indirectly,<br />

with Richard King?<br />

In issue 99 of Stained Glass, I<br />

mentioned Harry Stammers and his<br />

pupil Harry Harvey among significant<br />

post-war stained glass artists in Britain.<br />

Their ‘figurative modernism’ was quite<br />

distinct from that of Piper and King, and<br />

more acceptable to mainstream<br />

ecclesiastical patrons. It is difficult to<br />

describe their idiosyncratic drawing<br />

styles, in which the figures are semigeometricized,<br />

rather in the manner of<br />

playing cards, and frequently set on<br />

clear white grounds. Although<br />

Stammers and Harvey did not train with<br />

him, it can be traced back to certain<br />

modernistic elements that emerged in<br />

the work of Martin Travers in the 1930s.<br />

In Travers’s east window at Woodbridge,<br />

Suffolk, of 1939, the Magi, in particular,<br />

anticipate the graphic contours of<br />

Stammers and Harvey (above right).<br />

Playing cards were, of course, printed<br />

material, and Travers’s monochrome<br />

book illustrations necessitated economy<br />

of line, which informed his stained glass.<br />

In the <strong>BSMGP</strong> Journal, 1965, Travers’s<br />

long-serving assistant, John E. Crawford,<br />

posited a ‘Travers School’ of stained<br />

glass; certainly. the trajectory of his<br />

career places him at the origin of many<br />

of the modernist developments in glass.<br />

Travers taught stained glass at the Royal<br />

College of Art from 1925 to 1948. Among<br />

his pupils who achieved distinction in<br />

their own right were Francis Spear,<br />

Harcourt Doyle, Moira Forsyth and<br />

Lawrence Lee. In 1946, Lee became<br />

Travers’ assistant, and when Travers<br />

Martin Travers, detail of east window, 1940<br />

(fixed 1945), St Mary’s, Woodbridge, Suffolk<br />

died in 1948 Lee succeeded him as head<br />

of stained glass at the RCA; the windows<br />

made at the RCA by Lee, Keith New and<br />

Geoffrey Clarke for Coventry Cathedral<br />

would become influential milestones in<br />

the medium.<br />

Lastly, I want to revert to one of<br />

Travers’s least well-known pupils, Frank<br />

Barber (1904–1932). Barber’s oeuvre was<br />

inevitably tiny, for he committed suicide<br />

aged twenty-eight – it was said he was<br />

depressed by the lack of stained glass<br />

commissions. His St Michael, 1928<br />

(below), Romanesque/Byzantine via<br />

Picasso, is not currently on display at the<br />

V&A Museum and is probably unfamiliar<br />

to younger members. It helped secure<br />

an appreciative article in Arts and Crafts<br />

magazine, June 1929, and the support of<br />

Bernard Rackham (who oversaw the<br />

panel’s acquisition by the V&A), but<br />

scant patronage. The only other<br />

survivors I know of are four small panels<br />

in the crypt chapel at Newcastle<br />

Cathedral; as a sad postscript, they were<br />

unfinished when Barber died and were<br />

completed by Jane Gray and Lawrence<br />

Lee.<br />

Martin Harrison<br />

Frank Barber, detail of St Michael, 1928, Victoria & Albert Museum<br />


Members’ News<br />

From Nathalie Liege<br />

In August, St Mary’s Shrewsbury will<br />

host a festival ‘The past, present and<br />

future of St Mary’s stained glass’<br />

celebrating the history of the church and<br />

stained glass collection. It is part of the<br />

Shrewsbury Festival Arts Trail.<br />

Events include:<br />

Friday 11 August Stained Glass Painting<br />

workshops by Nathalie Liege: Four 5—<br />

minute sessions at 11 am, noon, 2 pm<br />

and 3 pm, ages 13+. Cost £10 p.p.<br />

Wednesday 16 August Stained Glass<br />

Festival Art Sessions: drop-in free<br />

sessions for adults and accompanied<br />

children (4 years+).<br />

From Surinder Warboys<br />

An invitation to see works by Surinder<br />

Warboys, on exhibition: not in a gallery,<br />

museum or cathedral ... but free<br />

standing in a wild flower meadow!<br />

The works in the meadow show how the<br />

stained glass panels interact with the<br />

surroundings. Light and its changeability<br />

fascinate me: the stained glass<br />

transmits, reflects and absorbs light that<br />

has travelled ninety-three million miles<br />

and that is continually being renewed.<br />

The panels are subtly faceted producing<br />

changing angles of refracted light.<br />

My back ground in fine art and the<br />

conservation of stained glass has given<br />

me a dual understanding and approach<br />

in my work in which I have adapted<br />

medieval techniques of painting and<br />

staining to explore new approaches to<br />

painting on glass.<br />

Since the 1990s I have been<br />

commissioned for a medley of buildings<br />

in the UK and USA, from Suffolk<br />

8<br />

churches, hospices, schools, country<br />

homes to a farm cottage on Sanday in<br />

the Orkneys. My large experimental<br />

paintings on glass have twice been<br />

selected for exhibition in t,he British<br />

Glass Biennale. However, all these<br />

works have been architectural projects,<br />

installed and experienced in a building.<br />

So when invited to take part in a group<br />

exhibition by Waveney and Blyth Arts, in<br />

the wild flower meadow, at Sandlings<br />

Sculpture Park in Suffolk, I accepted<br />

knowing that presentation of stained<br />

glass could be a challenge: to have<br />

dispensed with the supporting structure<br />

of buildings and to boldly stand in an<br />

open field alongside giant oak trees<br />

imbued with life-affirming qualities. I<br />

am delighted to present these works in<br />

the open, otherwise I would never have<br />

realised their full potential, embracing a<br />

new way of experiencing the science and<br />

poetry of stained glass.<br />

These are unique and complex works,<br />

with all the processes very carefully<br />

documented to the present day. The<br />

works were first started in 2004 with the<br />

support of the Arts Council of England<br />

and first modified to install out in the<br />

open in June <strong>2023</strong>.<br />

As a part of my practice I also provide<br />

courses in many aspects of stained glass<br />

at my studio in Mellis, Suffolk, where<br />

students come from many parts of the<br />

world; Mellis is a conservation area and<br />

has the largest grazing common in the<br />

country. A collaborative stained glass<br />

window with Rowland Warboys can also<br />

be seen in the East Window of Mellis<br />

Church; also it is where Roger Deakin,<br />

naturalist and author of ‘Waterlog’ lived.<br />

I will be there in person on Thursday<br />

13th and on Sunday 16th July <strong>2023</strong><br />

between 2 pm and 4 pm to welcome<br />

anyone who makes a visit.<br />

For further information please visit:<br />

www.myglassroom.com<br />

From John Corley AMGP<br />

My stained glass panel ‘The stormy sea’<br />

has been included in the Royal Academy<br />

of Art <strong>2023</strong> Summer Exhibition. This<br />

panel was previously included in the<br />

<strong>BSMGP</strong> Centenary Touring Exhibition. It<br />

is the first time a stained glass panel has<br />

been selected and exhibited in the Royal<br />

Academy Summer Show.<br />

From Caroline Swash<br />

Norman Atwood passed peacefully<br />

away on 5 May after a long, wonderfully<br />

active life in stained glass, chiefly as a<br />

freelance glass painter working with<br />

different firms and individual artists.<br />

Amanda Blair remembered that he’d<br />

worked with Burlison & Grylls, Frederick<br />

Cole and Ron Page as well as Goddard &<br />

Gibbs, retiring in 1992. He then worked<br />

as a freelance, helping others with their<br />

panels and windows. He never retired.<br />

Norman was renowned for the verve<br />

and accuracy of his rendering of other<br />

people’s drawings on the cartoons he<br />

worked from. While gifted with this<br />

capacity, he also had a lively, quite<br />

‘wicked' sense of humour which brought<br />

him many friends as well as enlivening<br />

the studio and people he worked with.<br />

This characteristic also fired his<br />

translation of the designer’s drawings<br />

into the irreversible clarity of the kilnfired<br />

medium of painted glass.<br />

It so happens that a rather splendid<br />

window, designed by John Lawson with<br />

Goddard & Gibbs, can be seen in St Giles<br />

Church, Cripplegate within the Barbican.<br />

It features the actor manager Edward<br />

Alleyn (1566-1626) along with details of<br />

the theatres he founded and the church<br />

(St Lukes) that he attended.<br />

In painting the glass depicting these two<br />

sites, Norman did a wonderful job of<br />

rendering the architectural features of<br />

the building (above). He also enlivened<br />

the foreground, in which two boys have<br />

been shown slouching along and a child<br />

chatting to her mother as they pass the<br />

church, each within single pieces of greygreen<br />

glass! Furthermore, ‘The<br />

Playhouse’ section of the window has<br />

been sharpened up, with Norman’s wellknown<br />

sense of humour enriching and<br />

individuating the people in the audience.<br />

This is Shakespeare’s audience. Here a<br />

group of bearded, pipe smoking,<br />

inattentive men are all very much alive<br />

through Norman’s quick wit and<br />

competence.<br />

Caroline Swash and Amanda Blair @<br />

Abinger Stained Glass

Exhibitions<br />

Labyrinth by Jonathan Cooke<br />

Journeys Teithiau<br />

Holy Trinity Church, Rotherhithe<br />

provided a further venue for this<br />

exhibition of small stained glass<br />

artworks by six stained glass artists,<br />

where they were joined by talented<br />

illustrator Sandra Doyle. It was planned<br />

to coincide with a special concert by<br />

Musica Antica on 17th June, when the<br />

stained glass also 'sang' in the glorious<br />

mid<strong>summer</strong> evening light through the<br />

clear glazed south windows.<br />

The concept and offer to curate this<br />

venture came in a rash moment back in<br />

2018: originally intended to begin in<br />

2020, it was interrupted by covid<br />

restrictions, went online, and in 2021 was<br />

invited to Ely's Stained Glass Museum,<br />

from there to St Mary's church in<br />

Barnard Castle, as part of a two week<br />

Windows to the World festival, and for<br />

the Open Heritage weekend that year, to<br />

St Helen's church, Denton, home to an<br />

important window by Henry Gyles.<br />

The logistics of working with our<br />

wonderful hosts and keeping six<br />

talented artists to ensure ongoing tight<br />

deadlines are met can be challenging -<br />

but the results are hugely rewarding<br />

and, perhaps remarkably, we remain<br />

friends!<br />

In late 2021, as part of the ongoing<br />

Journey, a piece of hand made aqua<br />

glass made by English Antique Glass,<br />

generously donated by Dennis Eckersley,<br />

was cut into six equal parts, and lots<br />

drawn to allocate a piece to each artist.<br />

They responded to the glass individually<br />

and separately, creating rich<br />

transformations, brought together and<br />

seen for the first time at Rotherhithe in a<br />

unique celebration. Rachel Phillips sums<br />

it up so well:<br />

‘It's so wonderful to see the personalities<br />

and creative voices of each artist in their<br />

pieces - from the beautiful response to<br />

aspects of glassiness and material to the<br />

painterly use of the tones in these<br />

wonderful pieces of glass. What a joy to be<br />

a part of this.’<br />

Ruth Cooke<br />

‘I would have preferred any of the other<br />

five pieces. I saw a huge L-shaped streak<br />

in my portion, whereas the others seemed<br />

to flow. Every time I looked at it, it<br />

appeared to thumb its nose at me. I had<br />

no ideas - and too many - simultaneously.<br />

Some areas within the glass were<br />

fascinating but I struggled with it as a<br />

whole. I resisted the temptation to cut it to<br />

mitigate the unwanted shapes. My ideas<br />

changed constantly; it was like picking my<br />

way through a maze. Chancing on Borges’<br />

‘Labyrinths’ around this time triggered a<br />

train of thought, the drawing process grew<br />

and then extended into the creation of the<br />

sculptural frame, an idea I had first played<br />

with over a decade ago.<br />

I wanted to retain an area of pure<br />

unpainted glass, but those straight lines<br />

dominated unhelpfully. Having considered<br />

modifying them with stain and enamel, I<br />

happened on a piece of Hartley Wood<br />

streaky which almost exactly achieved the<br />

desired effect. I took the decision to plate<br />

my piece. Having worked with a difficult<br />

piece of glass - rejection and failure to<br />

complete were not options! - I hope to<br />

explore further the 3D element in some<br />

more new work. The ‘collaboration in<br />

isolation’ aspect of the project was an<br />

additional interest - although I had<br />

collected other artists’ pieces to take to<br />

London before I completed mine, I did not<br />

unpack them to avoid being influenced,<br />

even unconsciously, so hanging the<br />

exhibition at Rotherhithe was a very<br />

special event.’<br />

Archangel Raphael helps a Traveller<br />

in Trouble by Catrin Davies<br />

‘I loved the subtle movement the glass<br />

conveyed from the moment I held my piece<br />

to the light. I might have chosen that<br />

particular piece myself!! It is airy and<br />

subtle, with a bit of variation, evoking<br />

action, movement and poignancy.<br />

It took a while for me to decide that I<br />

would more or less halve the piece in order<br />

to give balance to the movement within the<br />

glass. For me the two pieces were asking to<br />

frame the wings of the Archangel Raphael. I<br />

used an ink drawing as the basis of this<br />

design. I like the immediacy of the<br />

drawings, and I strive - but often fail - to<br />

retain this immediacy in the glass.<br />

I also knew that I wanted to incorporate<br />

complementary colour as well as subtle,<br />

varying shades of the turquoise to my<br />

panel (and that I would always want the<br />

glass to retain its glassiness). I engraved<br />

the glass in a basic way with a drill,<br />

polished it in the kiln and then added<br />

pigment; I fired the finished piece in the<br />

kiln with some silver stain. Such challenges<br />

as the aqua glass project are always<br />

positive. It’s a balance…material and art.<br />

One hopes it works but it’s not always the<br />

case! NOW I might have thought twice<br />

about breaking the piece! I love that<br />

everyone in the group approached their<br />

glass it in such differing ways. What holds<br />

the collaborative work together is the one<br />

medium …one sheet of lovely glass.’<br />

Aqua Spring Buds by Nicola<br />

Kantorowicz<br />

‘The pieces I’ve been making recently have<br />

been inspired by garden themes,<br />

landscapes, abstract seed heads, petals<br />

and leaves. This delicate aqua antique<br />

glass is a little out of my comfort zone<br />

colour wise; so initially this seemed like a<br />

rather daunting project.<br />

I wanted to maintain much of the glass<br />

character, its streaky lines and soft tones<br />

and at the same time weave into the<br />

surface my characteristic painted details.<br />

Continuing the garden theme, I began<br />

with a very sketchy idea. I developed the<br />

cutlines to flow with the streaky texture of<br />

the glass, introducing a few small accents<br />

of red and yellow. I adapted my design as I<br />

cut each piece, responding to the curve<br />

and flow of the glass. The irregular<br />

finished shape was the result of trying to<br />

use as much of the glass as possible.<br />

Seeing the six finished pieces all back<br />

together at Rotherhithe was really<br />

inspiring. It’s amazing to see how different<br />

each piece of glass looks and the variety of<br />

techniques being used. A brilliant project!’<br />


Across the Sands by Elizabeth Lamont<br />

Fan of Life by Rachel Phillips<br />

Seek his Face by Christian Ryan<br />

‘As glass itself is often a starting point for<br />

my work and I enjoy exploring variations<br />

on a theme, Jonathan Cooke’s idea of<br />

presenting the six artists in the ‘Journeys’<br />

group with a piece of glass to interpret in<br />

their own way was a dream project for me.<br />

I had originally planned to paint a<br />

fountain on my piece of glass, making the<br />

most of the bubbles and the flow of colour,<br />

but I soon realized that the structure of the<br />

fountain was too static. Mesmerized by<br />

the aquamarine, watery depths and the<br />

very unusual oval bubble at the base of<br />

the glass, I recalled a short sequence<br />

captured by a film-maker friend – footage<br />

of his little girl Mira, half-running, halfdancing<br />

across shining wet sands.<br />

I revisited the film and faced the<br />

challenge of translating a lyrical but<br />

starkly graphic, photographic image into a<br />

glass painting. The concentric arcs of<br />

pigment around the oval bubble jarred<br />

with me so I created a pattern of wave<br />

ripples in sand, which cut across and<br />

camouflaged the challenging areas. These<br />

undulating, textured lines enabled me to<br />

reveal as much light as I could find<br />

throughout the glass and to create a<br />

setting for a gleaming pool. And so the<br />

scene developed with its own perspective<br />

and mystery; the variations in the glass<br />

itself helped me to capture something of<br />

the atmosphere and dynamism of a<br />

moment of pure joy caught on film in a<br />

very different medium.’<br />

‘A Great Light’ Brian Clarke exhibition<br />

Newport Street Gallery, SE11 6A J<br />

This amazing exhibition of Brian Clarke’s<br />

recent work can be seen in the<br />

magnificent space of the Newport Street<br />

Gallery just a short walk away from<br />

Lambeth Bridge. Previously occupied by<br />

a carpentry and scenery production<br />

company (since 1913), the building was<br />

converted into an Exhibition site by<br />

Damian Hurst in 2013. Situated on two<br />

10<br />

‘I love streaky English Antique Glass and<br />

aqua tones, so I was very happy and totally<br />

enamoured with the premise of this project.<br />

I struck lucky with a lovely whorl, like a big<br />

fingerprint. I wondered if I could do<br />

anything to improve on what was already<br />

an entrancing piece of glass and I left it<br />

alone for some time. I eventually<br />

abandoned that paralysing feeling and<br />

responded to the glass by using the thicker<br />

flash layer to create deep, low-relief<br />

sandblasting and adding stains and<br />

enamels to modulate the original colour<br />

with their own subtleties.<br />

The ‘Tree of Life’ theme has interested me<br />

for many years. This piece was inspired by a<br />

19th-century painted example in the form of<br />

a fan, with gilded arches holding a<br />

wondrous array of flowers. It reminded me<br />

of a scene from the opening of The Muppet<br />

Show and mosaics from Ravenna all at the<br />

same time and that heady mix was enough<br />

to make me want to translate it into glass.<br />

I wanted to communicate a sense of joy<br />

and verdant life. I cut the original<br />

rectangular piece square to allow the<br />

design to run off each edge unchecked into<br />

ever-greater fruitfulness. I sandblasted and<br />

engraved the glass in a low-relief, sculptural<br />

way, as I like my glass to be felt as well as<br />

seen. Nearing completion, I realized that I<br />

wanted to add visual breathing space and<br />

used some beautiful amber and deep-blue<br />

antique glass to add calmness. This is<br />

authentic to how I work, so I don't feel I<br />

wasted this beautiful piece of glass. Phew!’<br />

floors, it’s a perfect space for large scale<br />

work, enabling the stupendous range of<br />

Brian’s work to be comfortably<br />

appreciated and his passion for colour<br />

enjoyed. His vision is far from cosy. While<br />

‘life’ is here in glorious abundance, so is<br />

‘Death’. Brian’s unique and enthusiastic<br />

way with colour can be appreciated here<br />

and he has positively revelled in the<br />

sumptuous ‘Liney Gold Pink’ and ‘Flashed<br />

Blue’ glasses, along with the super<br />

verdant ‘Green’ glass pioneered by that<br />

great artist and teacher Christopher<br />

Whall in the 1900s. These tints are<br />

enjoying a revival today, largely thanks to<br />

Brian and his commissions. While<br />

influenced in youth by the vision of those<br />

two great Post War German artists,<br />

Ludwig Schaffrath and Johannes<br />

‘The piece for the exhibition is a<br />

continuation of the ‘Journeys’ theme from<br />

our previous exhibitions, where my<br />

personal theme has been concerned with<br />

conveying a spiritual journey. My panel<br />

uses symbols and text from scripture to<br />

explore the passage between the seen and<br />

unseen, the journey from darkness to light<br />

and links between the physical and the<br />

spiritual world.<br />

On seeing the aqua glass, I decided to<br />

use my collage approach that allows<br />

spontaneity and surprise in its<br />

composition. This is a technique I use<br />

when creating some of my smaller pieces<br />

which gives a certain freedom when<br />

compared with creating a design and<br />

cartoon that is usual for commissioned<br />

work. I cut the aqua glass into squares and<br />

started to work on various motifs from my<br />

sketchbook by etching through the aqua<br />

layer and painting on each piece<br />

individually. I also started to introduce<br />

other coloured pieces, to modulate the<br />

colour and add contrast. When I felt happy<br />

that I had enough pieces to work with,<br />

which conveyed the theme clearly enough<br />

for me, I began to collage on the light box,<br />

layering the glass and assessing each<br />

piece’s relationship to each other until I<br />

was pleased with the composition.<br />

This resulted in all of the pieces being<br />

plated, which is a technique I’ve sometimes<br />

used, more so for technical reasons.<br />

However, having made this small panel, I’ll<br />

be looking to use this approach more<br />

widely in my work, having seen the<br />

potential for creative spontaneity!’<br />

Schreiter, Brian has his own vivacious<br />

way of working in this beautiful medium<br />

and his own story to tell in this spacious<br />

gallery. Don’t miss it. Check the opening<br />

times and go. Closes 24th September.

Events Diary<br />

nr Bristol, Warm Glass UK<br />

24 Aug ‘Spatial Perception: A New Visual<br />

Language in Glass’ - Live Online Seminar by<br />

Helen Slater Stokes. 5:30-7 pm. £25.<br />

Details/booking on website:<br />

https://www.glassschool.co.uk/courses/helen-slater-stokes-sp<br />

acial-perception-seminar-august-23.<br />

Ely, Stained Glass Museum<br />

Until 1 Sep Petri Anderson exhibition:<br />

‘Woodland scenes’.<br />

Details tel: 01353 660347; email:<br />

admin@stainedglassmuseum.com; website:<br />

www.stainedglassmuseum.com.<br />

Ireland, Dublin,<br />

Until 20 Aug ‘Ireland Glass Biennale <strong>2023</strong>. .<br />

Coach House, Dublin Castle. Dublin. IRL.<br />

Website: https://visualartists.ie/advert/opencall-national-college-of-art-and-design-irelan<br />

d-glass-biennale-<strong>2023</strong>/.<br />

London, Burlington House<br />

Until 20 Aug ‘Summer Exhibition <strong>2023</strong>’<br />

mixed media svent, Royal Academy Of Arts.<br />

Tel: 020 7300 8000; website:<br />

www.royalacademy.org.uk/exhibition/summ<br />

er-exhibition-<strong>2023</strong>.<br />

London, Truman Brewery<br />

Until 16 Jul ‘The Show’, MA Glass & Ceramics<br />

degree student exhibition.<br />

Details tel: 020 7770 6001; email:<br />

events@trumanbrewery.com.<br />

Stourbridge, Red House Glass Cone<br />

Dudley<br />

19 Aug Glass-blowing demo, entry to Glass<br />

Museum & Red Cone Museum, & canal walk<br />

along the ‘Glass Mile’; 1 2 noon and 2 pm.<br />

Details on p. 3.<br />

Suffolk, Buckenham Galleries, Southwols<br />

Until 15 Jul ‘Sumptuous <strong>summer</strong>’, CGS open<br />

members exhibition. Tel: 01502 725 418;<br />

email: admin@cgs.org.uk; website:<br />

buckenhamgalleries.co.uk.<br />

Sunderland, National Glass Centre<br />

Until 3 Sep National Glass Centre collection;<br />

Until 10 Sept ‘Confluence: ceramics–glass’.<br />

Details tel: 0191 515 5555; email:<br />

sarah.rothwell@nationalglasscentre.com;<br />

website: www.nationalglasscentre.com.<br />

Sussex, NHS Sussex Prairie Gardens nr<br />

Henfield<br />

Until 15 Oct ‘Expressions of nature’, mixed<br />

media external exhibition. inc: Isobel<br />

Brunsdon, Emma Butler-Cole Aiken, and<br />

others. Details tel: 01273 495 902; website:<br />

www.sussexprairies.co.uk/art-exhibitionexpressions-of-nature/.<br />

Wales, St Elvans Church Aberdare<br />

12 Aug, 26 Aug, 9 Sep, 23 Sep Deanne<br />

Mangold AMGP stained glass<br />

demonstrations & solo mixed media<br />

exhibition. Tel: 07951 536 372; email:<br />

deannemangold@gmail.com.<br />

Belgium, St-Jean-Geest, The Enchanted<br />

Garden<br />

Until 15 Oct ‘E)Motion’, exhibition inc: Emma<br />

Butler-Cole Aiken. Tel: 00 32 10810614;<br />

website: www.the-enchanted-garden.info.<br />

France, La Verrerie De Biot<br />

7 Jul–31 Dec ‘Verriales <strong>2023</strong>: Focus’. Galerie<br />

International Du Verre À La Verrerie De Biot.<br />

Biot. Tel: 0033 493 650300; email:<br />

serge@galerieduverre.com; website:<br />

www.galerieduverre.com.<br />

Luxembourg, Asselborn<br />

17–20 Aug ‘10th International Glass<br />

Festival/Glass Symposium Biennale,<br />

Contemporary Art In Glass’. Atelier D'Art Du<br />

Verre. Heppchesgaass 2, L9940 Asselborn. L.<br />

Tel: 00 353 997 458; email: remering@pt.lu.<br />

Switzerland, Romont Vitromusee<br />

Until 27 Jan ‘Dans le Labyrinthe: un voyage<br />

liminal’. Vitromusée Romont. Romont. CH.<br />

Tel: 00 41 26 652 1095; email:<br />

info@vitromusee.ch; website:<br />

vitromusee.ch/en/exhibitions/upcomingexhibitions.html<br />

Online<br />

Richard Meitner: ‘Magic-Alchemy (Science +<br />

Art + Magic)’. Details on website:<br />

https://talkingoutyourglass.com/richardmeitner/<br />

Courses and workshops<br />

Berks/Bucks/Oxfordshire, Reading/High<br />

Wycombe/Henley /Wantage/Maidenhead<br />

Stained glass and glass painting classes with<br />

Nicola Kantorowicz FMGP.<br />

31 Jul–5 Aug Summer school, Oxford;<br />

Sept (tbc) Stained glass, Maidenhead;<br />

21–2 Oct (tbc) Stained glass leaded panels,<br />

Wantage;<br />

24 Nov, 25 Nov Stained glass lanterns,<br />

Wantage.<br />

Details: www.nicolakantorowicz.com;<br />

www.adultlearningbcc.ac.uk;<br />

www.ardingtonschool.com.<br />

Bristol, Creative Glass Guild<br />

Workshops in stained glass, glass painting,<br />

enamels, fusing, slumping and frit:<br />

6–7 Jul Stained glass 2-day;<br />

13 Jul, 15 Sep Stained glass 1-day;<br />

13–14 Jul Fusing/slumping 2-day;<br />

20 Jul Stained glass painting 1-day;<br />

21 Jul, 1 Sep Fusing 1-day;<br />

27–8 Jul, 21–2 Sep Stained glass painting 2-<br />

day;<br />

7–8 Sep Fusing 2-day;<br />

14 Sep Copper foiling 1-day;<br />

18–20 Sep Masterclass with Opal Seabrook.<br />

Details tel: 0871 200 3389; email:<br />

info@creativeglassguild.co.uk; website:<br />

www.creativeglassguild.co.uk.<br />

nr Bristol, Warm Glass UK<br />

Live online masterclasses and personal<br />

tuition days (up to 2 people):<br />

3, 10, & 17 July ‘Collage in glass’ online<br />

masterclass w. Silvia Levenson;<br />

12, 19, & 26 July ‘Powder potential’ online<br />

masterclass w. Morgan Madison;<br />

Learn at your own pace projects (video<br />

learning courses) – ‘Powdered landscapes’,<br />

‘Feather pattern’, ‘Bullseye reactions’ and<br />

‘Metal inclusions’ w. Megan O’Hara; Artist<br />

Course w. Evelyn Gottschall Bakers ‘Glass<br />

leaves with pate de verre bowl’/<br />

Details/booking tel: 01934 863344; website:<br />

www.warm-glass.co.uk.<br />

Cambridge, Art Makers.<br />

Glass courses with Jill Fordham:<br />

15 October Traditional fired-on glass<br />

painting cost £70 approx. materials incl.<br />

6 Lintech Court, Linton, Cambridgeshire.<br />

Details: tel: 01223 890 308; email:<br />

cambridgeartmakers@gmail.com; website:<br />

www.cambridgemakers.org/ cambridge-artmakers/art-courses-overview/glass/.<br />

Cheshire, Frodsham<br />

Stained glass /fusing short courses.<br />

Bradley Farm, Bradley Lane, WA6 7EP.<br />

Details tel: 07950 004452; email:<br />

info@cheshireschoolofglass.co.uk; website:<br />

www.cheshireschoolofglass.co.uk.<br />


Dorset/Somerset/Yorkshire<br />

Stained glass short courses w. Jackie Hunt.<br />

Details email:<br />

jackiehunt083@btinternet.com.<br />

East Midlands<br />

1-day glass painting workshops. Details<br />

email: jane@janelittlefieldglass.co.uk;<br />

website: www.janelittlefieldglass.com.<br />

Ely, Stained Glass Museum<br />

Workshops:<br />

7–8 Jul, 27–8 Oct Stained glass 2-day w.<br />

Claire Hart;<br />

14 Jul, 2 Sep, 6 Oct Glass painting 1-day w.<br />

Derek Hunt FMGP;<br />

27 Jul, 21 Oct Leading and glazing w. Claire<br />

Hart;<br />

1 Sep, 28 Oct Fusing 1/2-day w. Louise<br />

Haselgrove;<br />

14 Sep Copper foiling w. Claire Hart;<br />

15 & 16 Sep Screenprinting w. James<br />

Cockerell;<br />

23 Sep Fabulous feathers w. Jane Fellows;<br />

20–1 Oct Glass painting 2-day w. Derek Hunt<br />

FMGP.<br />

Cost: £190 2-day/£95 day/£49 1/2-day/£10–15<br />

children’s 1/2-days. Details tel: 01353 660347;<br />

email: admin@stainedglassmuseum.com;<br />

website: www.stainedglassmuseum.com.<br />

Gloucestershire, South Glos & Stroud<br />

College<br />

10–14 Jul Stained glass design in nature,<br />

<strong>summer</strong> school w. Ruth Adams.<br />

from 7 Sep Stained glass mosaic;<br />

from 28 Sep Stained glass weekly various<br />

levels w. Ruth Adams; AIM award stained<br />

glass. Details from Claire Bagnall-Hunt tel:<br />

01453 761213 ext: 1213; website:<br />

www.sgscol.ac.uk/study/art.<br />

Leicestershire, Limelight Studios<br />

Day courses w. Derek Hunt FMGP.<br />

In-person courses: 29 Jul, 28 Oct 1-day glass<br />

painting £195;<br />

23 Sep, 25 Nov 1-day leaded glass £225.<br />

Online courses: glass painting 101. £135.<br />

Details tel: 07795 262342; email:<br />

derek@limelightstudios.co.uk; website:<br />

www.limelightstudios.co.uk/courses.<br />

London, Adult Learning Lewisham (ALL)<br />

Day and weekly classes w. Jane Ross and<br />

Pippa Stacey:<br />

from 17 Jul ‘Alice through the looking glass’;<br />

from 19 Sep Glasswork – ‘inspired by The<br />

British Museum’<br />

from 19 Sep Glasswork – introduction –<br />

beginners;<br />

from 21 Sep Glasswork – build a sketch book<br />

or portfolio of ideas for glass;<br />

from 21 Sep Glasswork – workshop;<br />

from 25 Sep Glasswork – drawing with glass<br />

- tell a story;<br />

from 2 Oct Glasswork – screen printing<br />

12<br />

onto glass.<br />

100 Granville Park, SE13 7DU; email:<br />

maria.turner@lewisham.gov.uk; website:<br />

www.lewisham.gov.uk/cel/subjects/<br />

glasswork.<br />

London, Morley College<br />

3–7 Jul Summer class: fusing intro;<br />

from 12 Sep Stained glass evening<br />

workshop;<br />

from 21 Sep Advanced glass workshop;<br />

from 22 Sep Intro – stained glass;<br />

from 22 Sep Stained glass intermediate;<br />

from 25 Sep BTEC Level 2 Certificate in Art &<br />

Design: Glass;<br />

from 25 Sep BTEC Level 3 Certificate in Art &<br />

Design: Glass;<br />

from 9 Oct Evening glass – explore & make.<br />

For details email the Head of Glass:<br />

Maria.Zulueta@morleycollege.ac.uk;<br />

website: www.morleycollege.ac.uk.<br />

London, Perivale / Brent<br />

Stained/kilnformed glass weekly classes:<br />

Details tel: 07963 416 407; email:<br />

info@brettmanley.co.uk; website:<br />

www.glassacademy.london.<br />

London, Richmond and Hillcroft Adult<br />

Community College<br />

Stained and fused glass, contemporary and<br />

traditional beginners/intermediate advanced<br />

weekly courses:<br />

from 20 Jul Studio glass <strong>summer</strong> school;<br />

from 12 Sep Stained and fused glass –<br />

traditional and contemporary intermediate;<br />

from 15 Sep Advanced practice workshop;<br />

from 19 Sep Contemporary and traditional<br />

stained glass – beginners;<br />

from 20 Sep Creative glass – beginners;<br />

from 20 Sep Creative glass – intermediate;<br />

21 Sep Creative glass – intermediate/<br />

advanced workshop;<br />

21 Sep Creative glass – kilnforming<br />

masterclass w. Monette Larsen;<br />

from 22 Sep Beginners mosaics.<br />

Art School, Parkshot TW9 2RE; tel: 020 8891<br />

5907; email: info@rhacc.ac.uk; website:<br />

www.rhacc.ac.uk.<br />

London, South Thames College<br />

Weekly evening classes, all levels, in stained<br />

and fused glass, traditional and<br />

contemporary, professional skills:<br />

From 18 Sep LE stained and fused glass –<br />

traditional and contemporary, all levels;<br />

from 18 Sep Stained and fused glass –<br />

traditional and contemporary professional<br />

skills.<br />

Wandsworth High Street, SW18 2PP; tel: 020<br />

8918 7741; email: james.yorke@stcg.ac.uk;<br />

website: stcg.ac.uk/south-thames-college.<br />

London, Working Men’s College<br />

From 18 Jul Glass art: stained and fused<br />

glass techniques and projects (mixed level);<br />

from 24 Jul Glass art: kiln fired glass fusion<br />

techniques and projects (mixed level);<br />

from 19 Sep Glass art: stained and fused<br />

glass techniques and projects.<br />

44 Crowndale Road, NW1 1TR; tel: 020 7255<br />

4700; email: enrol@wmcollege.ac.uk;<br />

website: www.wmcollege.ac.uk.<br />

Suffolk, Mellis<br />

Architectural stained glass/painting/staining<br />

courses with Surinder Warboys. Tel: 01379<br />

783412; website: www.myglassroom.com.<br />

Sunderland, National Glass Centre<br />

3 Jul, 13 Aug, 18 Sep Stained glass and<br />

copperfoil;<br />

9 Jul Stained glass leaded technique,<br />

beginners.<br />

Details tel: 0191 515 5555; email:<br />

sarah.rothwell@nationalglasscentre.com;<br />

website: www.nationalglasscentre.com.<br />

Surrey, Godalming<br />

Day and weekend classes in engraving and<br />

painting techniques:<br />

1/2 day classes: 11 Aug<br />

1-day classes: 5 Jul, 7 Jul, 15 Jul, 17 Jul, 14 Aug.<br />

Details tel: 07970 052104; website:<br />

www.rachelmulligan.co.uk.<br />

Sussex, West Dean College<br />

3 Jul Glass engraving intro w. Tracey<br />

Sheppard;<br />

4 Jul Stained glass beginners w. Carole Gray;<br />

16–21 Jul Mosaics w. Emma Biggs;<br />

4–10 Aug Stained glass – inspired by West<br />

Dean w. Carole Gray;<br />

24 Aug Make a fused glass panel w. Martin<br />

Cheek;<br />

24–7 Aug Mosaics for beginners/improvers<br />

w. Martin Cheek;<br />

31 Aug–3 Sep Flame and fused glass – torch<br />

and kiln crossover w. Katrina Beattie.<br />

Details tel: 01243 811301; email:<br />

short.courses@westdean.org.uk; website:<br />

www.westdean.org.uk.<br />

Wales, Swansea UWTSD Architectural<br />

Glass Centre<br />

Masterclasses w. Jonathan Cooke ACR in<br />

Glass painting and Silver stain & enamel:<br />

19–22 Sept Glass painting £310<br />

23–5 Sept Silver stain & enamel £330<br />

Architectural Glass Centre, UWTSD, The Alex<br />

Design Exchange, Swansea College of Art,<br />

Alexandra Road, SA1 5DX. Booking tel: 07769<br />

210127; email: agc@uwtsd.ac.uk.<br />

Wiltshire, Trowbridge<br />

Classes in stained glass painting,<br />

enamelling, leaded work and copper foil.<br />

Details tel: 07716 331656; email:<br />

annie@anniemulholland.com; website:<br />


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