issue number 61 summer 2020 glaziers working stories...

The Glazier • Summer 2020

the WORSHIPFULC O M P A N Y ofGLAZIERS& PAINTERS OF GLASS

Those of us booked to go on the trip toWarwick and Lichfield had dusted downour glad rags and were all set for awonderful visit to the delights of LichfieldCathedral and Compton Verney when thevirus swept across the land and outingshad to be postponed. Disappointing but anecessary step to help to control thespread of the disease. It then fell to me, asTreasurer, to work out the financial impactthat the Covid might have on ourWorshipful Company.

Let me start by saying that this is not thefirst great crisis that the Company has had tolive through. We are gearing up to celebrateour formation almost 700 years ago. Within25 years of our formation the country wasswept by the Black Death which killedperhaps 50% of the entire population of theland. It had a profound impact on everyaspect of life including the building ofchurches and the production of stained glass.

I sometimes wonder how my predecessorfelt in 1666 when, having just got over theeffects of the Great Plague on themembership of the Company, he witnessedthe burning of London in the Great Fire. Butwe survived as a company and we will survivethe effects of the current crisis.

We are the custodians for this generationof our wonderful Worshipful Company. Andwe have to thank our predecessors for slowlybuilding up the financial reserves of theCompany. We are not rich like some of theGreat 12 but neither are we poor. We aim tobalance our books and look to ouraccumulated investments to build our wealth.

In recent years our quarterage receiptshave not quite managed to cover the entirecost of running the Company but surplusesgenerated by successful Masters’programmes have covered most of thebalance, with the investment performance ofour portfolio allowing us to generate small

surpluses in recent years. The arrival of thevirus brought about a significant fall in thestock market. We were not immune to thisdrop but our investment portfolio did not dropas far as the main stock market index (theFTSE 100). We thank our investment advisers,Vartans, for their sound judgment.

With lockdown came the cancellation of allour proposed trips. Disappointing for those whowished to attend but lots of hard work for ourMaster and Clerk who had to worry aboutdeposits paid and room bookings that had tobe changed. Delaying the Lichfield outing to2021 has given us greater bargaining powerwhen dealing with our suppliers.

Our Clerk then had to batten down thehatches, minimise our cash spend andsubscribe for an account with Zoom – ournew modus operandi. All in all the Master andClerk have worked miracles to make it feel asthough we are still in business even though itis not yet business as usual.

Fingers crossedThis financial year is bound to show a

loss and we will probably have to sell some ofour portfolio next year to pay those of ourbills not covered by our quarterage. I keep myfingers crossed (after all I am a superstitiousIrishman) that the epidemic dies away in thecoming months and the economic recoverygets under way enabling us to start rebuildingour financial strength.

Finally, I give a mention to Glaziers HallLimited, our single largest asset. As you canimagine, the team that runs the businesshave had to face a most difficult situationwhere revenues dried up completely but anumber of costs remained. We are fortunateto have a good team in place and we aregrateful to our colleagues who built acompany with a strong balance sheet – thevalue of the hall far exceeds the borrowingsused to develop it.

It is too early to say just when the hall willbe allowed to return to business and thesituation is being kept under close review.The worst case scenario could be quite bleakbut the team is working hard to see how thehall can operate as lockdown is slowly lifted.It is the strength of the GHL balance sheetwhich gives me confidence that we canweather the current storm. �

Issue Number 61 Summer 2020

GLAZIERS WORKINGTHROUGH CORONAVIRUSFinance in the time of coronavirusHon Treasurer PETER CLOKEY provides a briefing on the impact ofthe current epidemic on the Company’s finances.

Designed in London and destined for theUkraine – the art of Glaziers has no boundaries.

A favourite in the Stained Glass Repository –soon to find a new home.

Stories inside


DAVID STRINGER-LAMARRE writes: TheMaster and I had a nebulous discussionabout how to engage with members of theGlaziers in the wake of the Covid-19lockdown announcement. What about awebinar? After some trepidation, basedon limited knowledge of the technicalities,we agreed to “give it a go”. What could gowrong? Plenty!

Once the decision was taken we neededan agreeable and courageous guinea pig(or two) to be the first to appear oncomputer screens across the UK and as itturned out in 9 other countries around theworld.

The personal and corporate brand risksare considerable when launching somethingnew, especially involving technology, so I amindebted to the bravery of Helen Whittaker

and Kathy Jordan; the first webinar speakerssince 1328!

The Communication, Membership,Development and Social Committee teamwere quickly involved. We discussed thepossibilities of engaging with the Glaziers’followers on our various social media channels.This was a way of interacting with a trulyinternational audience in real time, and with theUK/USA double act we had ideal speakers!

Was the range of deliverables too wide?First ever webinar, shallow technicalknowledge of Zoom webinars, two artistsrather than one, speakers based in two timezones and marketing it to members andfollowers on social media. The fact that theinaugural webinar was oversubscribed wasway beyond my expectations. The actualwebinar itself seemed to pass by in a flashing

collage of speakers, slides, polls, Zoombuttons and chat comments!

The second webinar with Martin Donlinallowed us to build on our experience, butnot being content to quietly move forward wedecided to make this a paid ticket event fornon-members! I am very thankful for theinvolvement of the CMDS team andeverybody who posted, re-tweeted andgenerally contributed to marketing thiswebinar.

As a result it was fully booked and 69%of tickets were paid for. It was a pleasure towork with Martin and the Master in the weeksbuilding up to the webinar and during theevent itself.

I firmly believe that webinars have acentral role in the present and future of theGlaziers and our member and non-memberengagement. I thank the Master, Helen,Kathy and Martin for being true pioneers anddigital adventurers. �

FROM THE EDITOR: One of the excitingaspects of editing The Glazier is to havecontact with a great range of extremelytalented glass artists willing to share withreaders how they think about and producetheir work. It has therefore been a pleasureto go back to some of those artists whose

articles have appeared in the magazineover the last few years and hear from themagain – this time about how they havebeen working through coronavirus.

What is very apparent when reading theirstories is how the time spent at home has ledto a burst of creativity, sometimes linked to

other artistic activities or contexts whichsignificantly influence their glass work. It isclear from reading how these artists havebeen using lockdown that we can expect tosee their refreshed talent making a compellingimpact as the tempo of glass art demandgets back to normal. �

The two weeks before lockdown were verybusy for me as I was preparing for four2020 exhibitions, namely, Abbey HouseMalmesbury, Fisherton Mill Salisbury,Berkley Castle and Avebury National Trust.The first up was Abbey House whichincluded indoor and outdoor displays,opening to the public on 1 April. Theoutdoor pieces were set up around 12 Marchand consist of over 100 mixed mediasculptures. The internal installation was

scheduled for the end of March but willnow open on 1 August – 31 October.

During April I relaxed and took time outto concentrate on my garden which is nowlooking much better. When May started, Ireturned to my studio and continued tocomplete the pieces that were nearly finishedwhen lockdown started.

At the moment, I have various projectsin different stages of development and Icontinue to experiment with test samples,using various kiln temperatures, glasses andenamels to achieve different effects. Ongoingprojects include landscape panels plusmarine and fossil castings. I also have someabstract garden sculpture designs on thedrawing board ready to cast.

Going forward, I plan to create a newwebsite and get better at marketing, and bythe end of the year I hope to have completedfurther projects concerning the environmentand conservation. Some good news: AbbeyHouse has now reopened its garden to thepublic, with restrictions in place, so ourexhibition will stay there until the end ofOctober. A beautiful garden to visit. �

Making a success of webinars

GLASS ARTISTS WORKING THROUGH CORONA

Reef 50cm circle from Geraldine McLoughlin –12ml clear glass with a central reef pattern frontand back.

Ocean from Geraldine McLoughlin –19 x 35 x 30cm – layers of cast glass on aPortland stone base.

Silver ammonite from Geraldine McLoughlin –39 x 44 x 5cm cast glass taken from a plaster mold.

How GERALDINEMcLOUGHLIN hasbeen busy


I am truly fortunate that my studio is athome and I can carry on pretty much asusual during the coronavirus lockdown.At first, I was working on a couple ofcommissions that were already inprogress. One is a small window for CorrieChurch on the Isle of Arran and the othera pair of stair windows for an Edinburghhouse. The stair windows require somesandblasting which I do elsewhere, so thisis on hold until that can be safely accessed.

The window for Corrie Church,Resurrection, is commissioned tocommemorate the life of a long-standingmember. It is only 83.5cm high x 23cm wideso when her daughter gave me a long list ofall the things her mother loved and would likeincluded, I was a little overwhelmed.

While I was looking round the outside ofCorrie Church last year, a red admiral butterflylanded on a nearby flower. Several othersflitted about and it seemed appropriate toinclude these in the design. A few weeks ago,it amused me when a small tortoiseshellbutterfly landed on the nearly finished windowon the studio bench. Now ready, I am waitingfor restrictions to lift sufficiently to enableinstallation.

While waiting I have made fused glassobjects and birds. One bird is the subject ofAnimated Glass, a short stop-motionanimation my daughter Amanda and I madetogether for theatre company Visible Fictions.

Lockdown has freed me from “the tyrannyof the next commission on the waiting list” andhas been an ideal time for developing drawingsand ideas for a large personal project. �

Creativity has never stopped for me butinevitably there were some shifts in mypublic activity: the lecture at theconference in Cambridge and a talk to

How EMMA BUTLER-COLE AIKENhas been working

How OKSANAKONDRATYEVAspent her time

Emma Butler-Cole Aiken’s “Resurrection”window in Corrie Church in progress – withfeatures including butterflies.

Another butterfly appears at the top of EmmaButler-Cole Aiken’s window in Corrie Church.

I have a studio in the garden so am usedto working from home, but lockdown hasspeeded up changes in working practicesthat were already beginning to happen. Iam used to working with Skype and Zoomon international projects but have alwayspreferred to do workshop meetings inperson. I am currently working on a projectfor Arlanda Airport in Sweden.

During lockdown we have had regularZoom meetings between people who are allat their respective homes in Stockholm, Osloand London.

The format has worked well and it’s beeninteresting to catch a glimpse of other people’sdomestic life in different countries as a backdropto our talks! Lockdown has convinced methat flying from London to Stockholm for aworkshop meeting is no longer necessary.

Thanks to the internet I was also able to

continue my research on another project,relating to the City of London. I was expectingto spend time in the City's wonderful librariesand archives, but this has not been possible.However, this has led me to appreciate andmake the most of the excellent resourcesoffered by the City of London that areavailable online.

Preparations for a solo gallery exhibitionof my work planned for September have,

inevitably, been impacted by the lockdown.This has proved challenging at times, assome of my key contacts have beenfurloughed. Discussions about how gallerieswill operate in the future are well underway.Visits to the gallery and private views arelikely to be replaced with a series of timedvisits.

I’ve accepted the need to be flexible andused the time to focus on making new piecesfor the show. With fewer distractions from theoutside world, for me this has been a positiveaspect of this extraordinary period oflockdown. �

How KATE MAESTRI met the challenges

For Kate Maestri’s solo exhibition in September –Lamberts stained glass plus Perspex wallsculpture, 1,200mm x 300mm x 150mm.

Also for Kate Maestri’s solo exhibition –Lamberts stained glass plus Perspex wallsculpture, 140mm x 150mm x 150mm.

Oksana Kondratyeva’s painting of the Universityof Bonn – oil on canvas.

Oksana Kondratyeva’s stained glass windowdepiction of St Michael in situ of a chapel inDemyanivka, Ukraine.

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the Art History Society at the UpperLatymer School in London were postponedto next year. Yet overall, the lockdown forme was a reflective and productive time.

Before the pandemic I had a feeling thatlife’s pace was increasing exponentially but myartworks need time and concentration. I alwayswork simultaneously on several paintings.During the lockdown I completed a dozen ofthe paintings that were on the easels or onmy mind for years.

One of the paintings is dedicated to theUniversity of Bonn. In 2018 it celebrated the

200th anniversary since its foundation and, beingan alumna, I endeavoured to shed light uponthe significance of this educational institution.This painting was in work for over a year!

Another artwork that I am completing isThe Space of Burne-Jones. It is a view from mywindow – a theme of varied interpretations byartists, particularly in times of confinement.One of my windows is facing the site whereEdward Burne-Jones, a key figure in thePre-Raphaelite art movement, lived andworked in London.

The Grange was demolished in 1962 and

today is a forgotten site. But it was herewhere Burne-Jones produced many of hisbest known works, including numerouscartoons for stained glass windows.

I also designed a very large work – astained glass window for a chapel in Ukraine.And finally, I wrote an article on stained glassiconostasis – relating to an ecclesiasticalinterior screen made by F. X. Zettler in Munichin 1905. This research was initially funded bythe Glaziers’ Company in 2016 when I won atravelling scholarship. I am delighted that thestudy is now complete. �

Since lockdown was imposed on 23 MarchI have been in the fortunate position of beingable to continue working on a number ofchurch conservation projects at my studioranging from simple repairs of damaged glassto very complex repainting work.

In particular, I have completed achallenging conservation project for St Peter’sChurch in Leicester which started several

months ago, involving a lot of repainting ofbadly damaged painted heads andbackground areas of a Ballantine & Gardinerwindow installed in 1891.

A lot of work goes into the research andpreparation stages of a project like this, todetermine how to repaint the damaged ormissing areas of glass, and to redraw andrepaint in a style to match the original design.

I have great respect for the artistry and skill ofH. L. Gardiner in his original paintwork. Thedetail, painting techniques and quality ofdesign made this project challenging and funto work on.

I also completed the conservation of abadly damaged 1876 Clayton & Bell stainedglass window from the magnificentSt Wulfram’s Church in Grantham, with

What DEREK HUNT has been doing

Derek Hunt’s St Peter’s Church project – before his work.

Derek Hunt’s St Wulfram’s Church project –before his work.

The St Wulfram’s Church project after DerekHunt’s work. The St Peter’s Church project after Derek Hunt’s work.

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grateful thanks for part funding from theGlaziers’ Company. The bottom section ofthis large north elevation stained glasswindow was vandalised during a break in,

resulting in damage to the drapery andbackground foliage which had to be carefullyrepainted in a style to match the missingareas.

As with all conservation projects, adetailed documentation of the entire processis made as a record of work carried out,including before and after photographs. �

What thesituation was forMARTIN DONLINAs an artist who has worked alone at ahome studio for a number of years now,it would seem like I’ve been practising forthis lockdown for many years. The mainaspect I miss is travel and meeting peopleface to face. My practice is inspired by therichness of meeting new people who will bedirectly influenced by the finished artwork.

Last year 2019 was a very quiet yearwork-wise, but I did travel extensively in theUK, Ireland and the USA. I have alwaysmentioned the fact that my practice issomewhat feast or famine – it’s not actuallythat bad, but it does have some quiet times

and some rather hectic.Ironically, 2020 has been my busiest year

to date and via a number of “virtual”presentations I am now working on probably

the largest project I have ever had, inOklahoma City. The USA still looks to be avery busy place for me and I look forward tovisiting again when the confinement is over. �

Oklahoma City Convention Centre, parking garage – public art proposal which Martin Donlin is working on.

What LUJAINRAZOUKI hasbeen working atAlthough my speciality is in glass, it hasbeen challenging to create anything duringthese extraordinary times and quarantine.Despite this, the time in confinement hasencouraged all forms of creativity, and asa result, has gotten everyone to appreciatethe simple things in life and nature.Keeping this in mind, my goal was toexplore primitive techniques in creatingcanvases out of organic materials towork on.

By combining clay with organic fibres,I achieved a textured medium on which toconvey abstract and contemporary

expressions of art, in the hope that people willbe reminded of the limited resources used byour ancestors, and how their art has survivedand lasted throughout the ages.

In addition, I hope that these piecesremind people of a slower paced life and theyfind beauty in the simple, yet complex

harmonies which can be found in nature.The combination of a humble material suchas clay with the element of gold representsnature’s dynamic resources.

I am hoping to execute the process inglass after this unforeseen era comes to aclose. �

Lujain Razouki’s mixed media – a combination of clay and organic fibres conveying expressions of art, 40cm.

How MEL HOWSEfocusedI have said over the last decade, and sincethe crash of 2008/9 that my portfolio hasthrived on change. I often focus onexperimental work and change has beena catalyst and inspiration that has led toa continual development of my glasswork.

During the lockdown I was aware thatthe world outside was changing, even if thestudio looked its usual chaotic self. I feltblessed to have a place to work, materials tohand, my own skill set, and a creative mindthat happily opens up into other worlds.

I am not alone in finding this solitudemeditative and a touch therapeutic. Howeverthe loss of freedom and outside referencesaffects the way one feels, leading to a focuson one’s immediate environment and nearfuture activities – making one’s sense of selfso much more acute.

This lockdown period allowed me toprogress my design work, which will berevealed in coming months and years.

I am imagining that in this moment of ashifting world, there will be new challengesand boundaries but also new opportunities to

drive how work is designed and made.We have in front of us a need to evaluate

opportunities, practical and creative, andalternative perspectives will doubtless unfold.Not necessarily an unhealthy or unexcitingproposition for contemporary art! �

Exploring new perspectives for the medium – two new glass vestries by Mel Howse in St Peter Ad VinculaChurch at Wisborough Green, and detail: the carved and textured surface flows from kiln formed, enamelledand toughened glass to oak panels, producing a surface that looks natural within an ancient space.


How PHILIP BALDWINand MONICAGUGGISBERG faredHere we are, in the heart of Wales, in auniquely desirable situation both in termsof geography and environment socially andculturally. We moved here over five yearsago and built a new studio in the frame ofan old 1950s Dutch barn. Whencoronavirus landed in civilisation’spathway, we have naturally wondered ifmaybe this was the end of the line –

especially for our work and survival asartists. It remains an open question.

But in the three months since lockdownwe have opened a new museum exhibition inDenmark (they opened public institutions on25 May) and now we are hard at work on agallery exhibition for August in Massachusetts.It has been remarkable how people in ourprofession, as well as our collaborators –museums, galleries, clients – have adaptedto the circumstances.

We’ve done virtual tours of the studio withour gallery in Toronto, live streaming fromDenmark, and Zoom talks with collectors andinterested people. In spite of the vicissitudes,

people are showing inventiveness, good willand a positive outlook. All crucial ingredientsfor getting through this trauma.

At the same time we are deeply mindfulof how lucky and fortunate we are. Asglassblowers over a certain age(!) we need tobe mindful. We invited our assistants to joinus on our farm and studio for lockdown sothat we could keep on working. It has, frankly,been a lovely experience with everyone takingturns cooking and essentially operating as aclose family with commitment and good will.We feel borderline guilty for our good fortune,recognising how incredibly difficult all this isfor so many people. �

Philip Baldwin and Monica Guggisberg’s“Monolithi Humanae” – from their Walking in theVoid exhibition at Ebeltoft Glasmuseum, Denmark.

Philip Baldwin and Monica Guggisberg’s “Destination Unknown” – also from their exhibition inDenmark, which runs until 4 April, 2021.

Big comebackfor the Master’sbadgeRenter Warden and Hon CuratorPHIL FORTEY tells the story ofthe Master’s badge and itsrestoration to a state of splendour.

“The badge which I am wearing is thesymbol of the authority by which thisCompany is governed.” So runs theexplanation given by the Master to everynew Freeman as part of their admissionceremony. There follows a description offeatures to be found in the Company’sarms which form the basis of the badge.Fortunately, at that stage, the newFreeman is at the opposite end of thecourtroom (or on a virtual link) otherwisesome discrepancies might be noticed. It’sall part of the history of the badge…

The Livery practice of wearing a Master’sbadge became widespread in the 1870s andthe first Master Glazier’s badge waspurchased for 14 guineas in 1875. That badge,

in 9ct gold, is still used in the Company and isnow worn by the Deputy Master.

The current Master’s badge is the gift ofBenjamin Scott Foster-McGough, Master in1900. The inscription on the reverse statesthat it was presented by him “on his

accession to office 30th Novr 1900”. It wasobviously intended to be superior to the firstbadge, being designed and manufactured bySpink & Son in heavy 18ct gold. Thecentrepiece is a fine oval enamel depictingthe Company’s shield of arms and furtherenamel banner scrolls carry the motto. Thewhole sits upon an enamel strap and buckleembellished with gold studs.

Unofficial armsThe discrepancies arise from the date of

the badge’s design, for at that time theCompany was using an unofficial coat ofarms. The most noticeable difference is thelion passant guardant, which is complete.The Company’s proper blazon of arms,certified by Garter King of Arms in 1925,shows a demi-lion (could it be that a herald,sitting through an over-long speech, felt thatGlaziers could talk the hind legs off a lion?).

The motto also differs from that usedtoday. Although the Company had historicallyused other mottos, including “Lumen umbraDei”, the badge shows “Lucem tuam da nobisO Deus” whilst the official grant omits the “O”.

In use, the badge has a hard life, clinkingagainst banquet tables, lecterns and lovingcups and was getting quite damaged so,earlier this year, a thorough restoration wasdone. It was dismantled into its many parts

The Master’s badge fully restored to its formerglory – currently worn by Master Suzanne Galloway.

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My first choice of window in the StainedGlass Repository is one that, strangely, Ihaven’t even physically seen yet! This is amemorial window to Captain Robert FalconScott which was installed in EmmanuelParish Church, Exeter in March 1924 as hewas born and bred in Devon. It was offeredto the Repository when the church wasdeconsecrated. However, due to a spellingerror, it was not linked to the explorer untilresearch done by Jasmine Allen, curator ofthe Stained Glass Museum at Ely, identifiedit correctly as a memorial to Scott.

Initially, the Repository accepted twolights of 475mm x 1,520mm which show inthe lower panels on the left the snow cairngrave under which is written “In memoriumCaptain RF Scott KCB, CVO, RN”, and on theright a portrait of Captain Scott under whichis written “Who gave his life in the cause ofscience/and for the glory of his country’s name”.

Above on the right is the Terra Nova withSt Nicholas of Bari with his attribute, threegolden balls, and on the left is St Bernard ofMenthon (1020-1081), the patron saint of theAlps, mountaineering and skiing etc. to whomthe St Bernard dog is attributed.

The maker was L&M Pownall of Falmouth,probably designed by Leonard AugustusPownall, and demonstrates good quality glassin the Arts and Crafts style. It suffered bombdamage in 1942 and was restored in 1948.

Later, the damaged tracery wasconsidered and the museum agreed to haveit restored and kept with the lancets. Whenphotographs were sent to Alex Partridge atthe Scott Polar Museum he identified thecentral motif, not as a star as he initiallythought, but as a “sun dog”, a phenomenontypical in the Polar Regions when the icecrystals in the atmosphere refract the sunlight.

The window is currently at Chapel Studios,awaiting the construction of a light box, beforeit is installed on the staircase in the ScottPolar Museum in Cambridge for us all to see!

My second choice of window is verydifferent. It is the huge east window of ChristEnthroned with Angels and Saints from StMark’s Church, Claughton, Birkenhead byChristopher Whitworth Whall (1849-1924),dated 1906.

The central light is 4,300mm in heightwhich gives some idea of the size of theentire window. The window is complete apartfrom one base panel. One of the directives ofthe Repository is that windows should beallocated in their entirety so finding a homefor such a work is going to be a challenge!However, the window is of exceptionalquality and Whall is widely recognised asbeing a leader in the Arts and Craftsmovement and a key figure in the history ofmodern stained glass.

Some panels of this window are ondisplay at the Repository in Welbeck onlightboxes and we would be delighted toshare it with you at the next Winter Weekendin November 2020. �

ODES AND GRACESPHILIP STURROCK reviews acollection of compositions by theRev’d Christopher Kevill-Davies.

Benedictus sit Deus in donis suisFor almost two millennia the Church,

or at least its largest communion,abandoned Aramaic and Greek in favourof Latin as the chosen mode of dialoguewith the Almighty. It took that time torealise, despite St Luke’s report, thatcommunication in the vernacular waspossible without accusation of earlymorning inebriation. But with theauthorised use of native languages a boldpoet stepped out to give thanks for foodand fellowship.

With eucharistic eulogy he encourageddiners to begin their meal with a smile on theirfaces and a lightness of heart. The Rev’dChristopher Kevill-Davies, horologist, snuffbox collector and honorary chaplain to theWorshipful Company of Glaziers, challengedthe supremacy of Latin in those mosttraditional of moments: the ante and postcibum prayers of thanksgiving. The Companydoes indeed have a splendid Latin grace thatis used from time to time.

In this delightful collection of Odes andGraces, published to give us the pleasure ofremembering his compositions and to raisemoney for the Glaziers’ Cutter Trust, theHon Chaplain reproduces graces written forfriends and family and for the Company.

As one might expect from an expert cox,the informative and wry introductions guideus carefully through his creative process andhis humanity. The explanatory notes addgreatly to the constructions and allow us tosmile knowingly at the allusions and socialcomment. Gilbert and Sullivan, hymnody,politics, Kipling and human foibles all inspirehis wit and invite our collusion.

But throughout it all is a kindness, acharm and, as befits a priest-poet, anunderstanding of God’s inscrutable yetmerciful ways. Anyone who peruses thiscollection will come away happier andhumbler and that is a great gift. One hundredand twenty five pages beautifully and stylishlyproduced, it is as immaculately turned out asits author. To gain possession of thiscollection, he invites us to make a donation,as large as we wish, to the Cutter Trust andas we do so may we say:

Quas decet Deo gratias agamus

FROM THE EDITOR: Rev’d ChristopherKevill-Davies’ compilation of verse waswritten in the hope that it “might bring a smileto your face, or lead to a bit of a giggle”.Definitely a book both for those emergingfrom lockdown or still having to adhere to itin any form. A book of its time! �

and each was cleaned and inspected. Newgold studs were manufactured to replacethose lost and other parts were fettled backinto shape (the projecting torches areparticularly vulnerable to distortion).

Some of the enamel was chipped ormissing and carefully matched re-enamellingwas done. After all was reassembled, some21st century technology was applied as theretaining pins were laser-welded into place

before the final gentle polishing.The badge now looks as good as it did

120 years ago and its first use afterrefurbishment was at the virtual Courtmeeting in April. �

Two stained glass favouritesVIVIENNE LESTER, secretary of the Stained Glass Repository, theLivery’s store of homeless glass, reflects on her two favourite works there.

The Stained Glass Repository’s memorialwindow to Captain Scott – destined for theScott Polar Museum, Cambridge.

Christ Enthroned with Angels and Saints – toremain in the Repository as a base panel is missing.


LIVERY NEWSCOURT MEETINGS VIA ZOOM. As hasbeen already mentioned, a key aspect ofSuzanne Galloway’s Mastership this yearhas been the use of Zoom and thisfacilitated the holding of the April and JuneCourt meetings as well as a “drop-in event”

where members spent a convivial eveningwith a glass in their hand chatting fromtheir own homes with music provided byMichael Broadway. All this having originatedfrom the technical expertise of Tim McNallywho, with infinite patience, organised theMaster and other members intounderstanding and using the Zoomtechnology.

NEW FREEMEN.Welcome to Marie Groll,Isobel Brunsdon, Grace Ayson, KateMaestri, Georgy Mordokhov and AndrewMarsden.

NEW LIVERYMEN. Congratulation toSonja Sabogal Ingmire, Peter Hildebrand,Marianna Cherry, Martha Halford-Fumagalli,Irene Randall and Kevin Buckley.

Facing past andpresent challengesAs current Clerk Alison Evanschanges her role back toAssistant Clerk, thusmaintaining her long-timeinvolvement in theadministration of the Company,both she and some of herpredecessors as Clerks (all ofwhom have afterwardscontinued to play an importantrole in the Company asmembers) reflect on the Liveryduring their clerkship and itsability to move forward out ofthe coronavirus crisis into whatcould be a changed world.

PETER BATCHELOR(1988-1998) remembersI have a very clear memory of the daywhen I took up my position as Clerk of theCompany. This was on the evening of theInstallation Court Dinner in November 1988,when Peter Moore, the Dean of St Albans,was installed as Master. The guest ofhonour was the Archbishop of Canterbury,Robert Runcie, an old friend of the Master.

He was an outstanding speaker, whowhen proposing the toast to his old friendsaid: “If you rang up Harrods and asked themto send you a dean, Peter is the sort of deanthat they would send you!” The speecheswere all excellent but the only problem wasthat they went on so long that I missed thelast train home and had to be put up for thenight by Stanley Cobbett, the Renter Warden!

Now that in 2020 we have a lady Master,it is interesting to remember that in 1988, likemost of the other London livery companies,the Glaziers’ Company was still very maleoriented. It had accepted that ladies couldjoin the Livery but that was all. The Court wasstill exclusively male and the regular CourtDinners were only for members of the Courtand their male guests,

The Installation Court Dinner was open tothe Livery to attend but still only with maleguests. This had the unfortunate result that alady Liveryman could herself attend but couldonly invite male guests! From where it istoday it is clear that the Company has so far

adapted well to radical change and there isno doubt that it is also well able to adapt inthe future.

DAVID EKING(1998-2007) recallsWhen I took over from Peter Batchelor asClerk in November 1998 email was in itsinfancy, social media almost unheard of,websites by no means universal and it wasrumoured that some people were stillusing typewriters! The Company enjoyeda social programme more extensive thantoday, annual Master’s visits and days outwere well established, the Glaziers’ Trustpromoted and supported the craft, and theLondon Stained Glass Repository operatedin the dingy cellars of the hall.

But the great difference from now was thedegree of participation of individual membersof the Livery in the running of all aspects of theCompany. With some notable exceptions –Bob Lane, Peter London and Phillida Shawcome to mind – this was minimal.

Keeping everything going dependedalmost entirely on the Clerk and PamGoodwin. As a result activity was limited andoften far from the professional standards of2020. The Clerk took the minutes of almostevery committee, while the planning andrecces for visits almost always involved Pamand/or me. We coped after a fashion but wewould have done a lot better if we had thelikes of Michael Dalton to help us.

A final point, the emergence of GlaziersHall Ltd as a correctly robust commercialenterprise replaced the amiable but noteconomic regime of Michael Fussell and co.Maintaining a good relationship with GHL,whose needs and attitudes were often atdirect odds with the Company’s, occupied alot more of my time than I would have wished.

ALEX GALLOWAY(2007-2012) observesAs a former Clerk I see a distinctionbetween those changes that have beenforced upon us by the crisis which we willwant to undo as quickly as possible andthose which, though forced upon us, areactually worth keeping. Most fall into theformer category.

Virtual social events, for example, canonly be a pale imitation of the real thing, anda livery without face-to-face fellowship wouldlose one of its defining characteristics. Mymain worry is the length of time it will take

before distancing measures no longer preventus filling the hall, a coach or a hotel withenough people to make the event worthwhilefrom both a social and a financial point of view.

Among the changes that might be worthkeeping are remote committee meetings viaZoom. So far these have proved verysuccessful in enabling the Company’sessential business to be transacted, and(speaking as one who lives quite some way fromLondon) I think we could usefully continue touse them for at least some of our meetings.

Our hall, of course, relies on a vibranthospitality sector in order to flourish. Thatsector has been one of the biggest casualtiesof the lockdown, and we must hope for aswift recovery. During my time as Clerk (andindeed Master) I came to recognise andappreciate the many personal strengths andskills to be found within the membership.

To add to this we are recruiting newmembers at an encouragingly high rate, andI am confident that we have people who, ifasked, would be able to contribute effectivelyto getting the Livery and its hall up andrunning again.

ALISON EVANS(2017-September 2020)commentsI began my journey as Assistant Clerk inJanuary of 2008 with Alex Galloway, thethen Clerk, and from the early days theregrew a passionate commitment to theCompany and its members. Each Clerk hasbrought something new to the Companyand with them the chance to improve anddevelop systems and processes, whilst theAssistant Clerk role afforded theopportunity to provide consistency andcontinuity for the membership.

Being actively involved in the excitingevents and competitions gave me the skillsneeded to move seamlessly into the role ofClerk and bring the benefit of experience andknowledge to the post. Although I have decidedto revert to Assistant Clerk for personalreasons, I am excited about supporting a newClerk through their learning curve.

The enforced change in the way we workduring this pandemic has provided a greatopportunity to capture new ideas andthoughts on how we have changed our waysof working. This will help us to identify andintroduce activities and changes that will helpsupport the Company and new Clerk as wemove towards the “new normal”. It’s been achallenge to embrace new ways of workingand I have especially missed the social sideof the activities and all the happy faces. �


Swansea glassdepartment rebornSwansea University’s Architectural andStained Glass Department has revampedits provision and reformed its MA Glassprogramme, reports PETER CAMPLING.The university says the rationale behindthe change is to consolidate its currentand growing provision, but also to makespace for new training intentions for itsplanned apprenticeship training andcommercial work.

From a delivery perspective, there will belittle change to the specialist teaching that itoffers and it will continue to grow anddevelop the glass department, and “shape itfor a resilient and successful future”.

Stained glass undergraduate provision isnow delivered under the broader title of“Design Crafts”, ensuring the core skills in“practical making” remain the focus of thespecialist skills-based training.

“Traditional and contemporary techniquesin stained glass are taught within thisprogramme as we continue to share expertisein glass painting and decorative techniques,cutting, leading and kiln formed glass,” says

the university. “We aim to develop and integrate

education and commercial training within ourprojects, and continue to connect with andsupport glass studios, companies andemployers, ensuring high standards of skilland knowledge of architectural and stainedglass.

“The vision for the future of the glassdepartment is one of growth and our aim is tocreate a world-renowned centre for StainedGlass Excellence in Swansea by developingand building on existing provision andmaintaining the strong history and heritage ofSwansea Glass.” �

GREAT Britishstained glassartistryHELEN WHITTAKER of BarleyStudio describes how she got tobe featured on a UK internationaltrade poster which led to herwinning a project to commemoratethe famous home of one of HongKong’s business icons.

I am currently working on an internationalproject with collaborators in thePhilippines, Japan, China and the UK,designing six towering windows for thenew Lily Chapel in Manila. When thisproject came to the attention of theDepartment of International Trade, I wasinvited to a meeting at the Foreign Officein London. During the meeting I was verypleased to be asked to participate in theinternational “GREAT Britain” campaignwhich aims to present an integrated brandfor the UK overseas.

Three of my artworks were selected topromote GREAT British Design and Craft,and are currently featured on posters atManchester and Gatwick InternationalAirports.

My involvement in the GREAT Britaincampaign led to an invitation to submit ideasfor a glass art panel, based on the Haw Par

Mansion, for the deTour Creative Festival inHong Kong. The Haw Par Mansion was builtin 1936 by businessman Aw Boon Haw,creator of the famous “Tiger Balm” products,and has recently been reopened as Haw ParMusic. My proposal was selected, and Idelivered a presentation about my creativeprocess at the unveiling of the panel in HongKong in November 2019.

My new glass artwork, now on exhibitionat Haw Par Mansion, is called “Time andSpace”. The front elevation of the Haw ParMansion, with its famous Moon Gate, is thecentral focus of the design. The full moonsignifies the start of a new phase in the lunar

calendar, just as the mansionis entering this new phase ofits history.

The idea of the mooninspired thoughts of the solarsystem, which is seen layeredover the architecturalstructure. Five planets aredepicted alongside the sunand the earth, in colourslinked to the five elements oftraditional Chinese culture:Jupiter (green-blue for wood),Mars (red for fire), Saturn(yellow for earth), Venus(white for metal) and Mercury(black for water). Theheavenly creature associated

with the metal element is the White Tiger,referencing Aw Boon Haw and Tiger Balm

The planets moving in their orbits aroundthe sun also link to the new use of the HawPar Mansion as a centre for music and musiceducation. The ancient Western philosophy of“musica universalis” regards proportions inthe movements of celestial bodies – the sun,moon and planets – as a form of music, the“harmony of the spheres”. In recognition ofthese universal proportions, the overall shapeof the panel has been determined by theGolden Ratio, which underpins so much ofnature, music, art, design and architecture.

Antique glassTechnically, the panel was created from

two pieces of “flashed” antique glass, one redand one blue, plated one on top of the other.The coloured flash layer of each piece wasetched away to reveal clear areas, and thesurface treated with coloured grisaille paintsand yellow silver stains.

I travelled with my artwork to Hong Kongfor the opening of the exhibition, where it wasgreat to be able to share my creative process.I was very impressed by the hospitality offeredand the positive and proactive attitude of allthose that I met. Culture and the arts are verymuch alive in the vibrant city of Hong Kongand I was pleased to be able to representGREAT Britain, encouraging people to visit,do business, invest and study in the UK. �

Helen Whittaker featured on a poster for GREAT British Designand Craft.

The front of Haw Par Mansion, with its Moon Gate, is the focal point of Helen Whittaker’s new glassartwork in Hong Kong.


Glaziers’ Trustworks throughcoronavirusMARIE GROLL, secretary of the Glaziers’Trust and awards coordinator, reports:Although the pandemic has undoubtedlyhad a detrimental impact in many ways onnormal life, and on the normal operationsof the Glaziers’ Trust, as far as is possibleit has been “business as usual”. In commonwith other professions, the stained glassindustry is likely to significantly contractas a result of the pandemic.

Now, more than ever, the advice andfunds offered by the Glaziers’ Trust areappreciated by applicants and byconservators, and it is this that has been amotivating force to adapt to the challengesposed by the pandemic. Already there havebeen many enquiries from intendingapplicants.

The committee ordinarily meets twice ayear in order to award grants (in April andOctober); and since the start of the pandemicthere has been no interruption to thisschedule. The committee has switched tocommunicating solely via email and videoconferencing. The very first online meeting ofthe trust was held in April, was well attended,and was extremely productive.

Since lockdown the trust’s onlinepresence has been significantly enhanced,and applicants have been encouraged to

continue to submit applications in the usualmanner.

While the trust has been able to acceptapplications as usual during the currentpandemic, the Work Placement Awards haveunsurprisingly been significantly disrupted.Out of the four students awarded an AshtonHill or Excellence Award for 2019-20, onlytwo out of the four were able to completetheir awards before the nation went intolockdown. Those who found themselvesmidway through intend to resume theirplacements as soon as they safely can.

Despite the challenging times, one of thecurrent work placement award holders hasalready reported the happy news that theyhave secured employment in the industry –no mean feat given the current climate!The Work Placement Awards for 2020-21are currently postponed, and will take placelater in the year, although shortlisting of thecandidates has now taken place, anddiscussions with potential host studios hasbegun.

Perhaps due to anxieties relating toCovid-19, there have unfortunately been noapplications for the Arthur and Helen DavisTravelling Scholarship for 2020-21. Thisaward may be re-advertised later in the yearwhen, it is hoped, the global situationbecomes more settled. A ContinuingProfessional Development Award was given,however, to a promising young Midlandsglass painter, who will receive tuition in glasspainting techniques in the autumn. �

My year as Master is due to commence on26 November 2020 and it is indeed anhonour and a privilege, to which I amlooking forward immensely. When I wasapproached about becoming Master I wasadvised by colleagues who know fromexperience that you can never startplanning too early, and you should haveeverything in place before the year startsso that you can really enjoy the year.Excellent advice, but I wasn’t told aboutthe Covid-19 pandemic! This has addedanother unanticipated layer onto myorganisation and planning.

Reflecting on the months since thelockdown was imposed on 23 March, manythoughts have gone through my mind, butfirst and foremost is the devastating impactthat the restrictions have had on our Master,Suzanne’s carefully constructed programme.I am sure that the whole Livery joins me inexpressing our sympathies to Suzanne withher imaginatively crafted plans having to bedismantled almost in their entirety as aconsequence of the pandemic.

She has shown great fortitude in dealingwith this and leading the Glaziers through

these unprecedented times. When in earlyMarch it became clear that livery halls wouldhave to be closed during the lockdown, andsocial distancing meant that there would beno gatherings together in one place for agroup however small, she had to find otherways of doing things.

The administration of the Company andthe Foundation relies on a committeestructure with regular meetings and reportingup the line, ultimately to the Court. Soon werealised that circulating agendas and papers,and relying on email exchanges forcomments, discussion and decision makingdoes not really work. The solution – videoconferencing using Zoom.

After a tentative start with small groups,we have now become very proficient atrunning large scale meetings on Zoom, insome cases with international attendance ofkey people who historically have never cometo London to attend a Glaziers committee.Our “virtual” Court meetings have beenattended by some 35 members, and we havesuccesssfully incorporated “virtual”admission ceremonies as part of theproceedings.

We have also held an online cocktail party,and very successful webinar lectures onlinewith international speakers on both sides ofthe Atlantic and well over 100 attendees.The message is very much that we continue toflourish, we are open for business, and we areadapting the ways in which we operate in orderto maintain contact with all our members.

Livery companies are social and friendlyorganisations and whilst we all look forwardto being together again when the virus allows,we are enjoying these new experiences in thevirtual world.

Social programmeSo, it is against this background that I

look ahead to my year, when it is still the casethat the only thing that is certain is uncertainty!I have to be ready to continue adapting oursocial programme and providing for ourmembers in new and innovative ways.Equally, I need also to plan for a return, partialor complete, to the traditional and much lovedways of the City, where we gather for banquetsand dinners, for receptions and lunches, forlectures and presentation ceremonies. We livein hope that we will be able to do all thesethings and more again, and soon

I hope to preside over three weekendtrips, two in England and one abroad; ourannual Glaziers’ Banquet; five other liverydinners; our annual prize giving for the craft; aselection of lunches, lectures and day trips;and various other occasions and events.

In conclusion, I thank Master GlazierSuzanne Galloway most sincerely for leadingthe way for our Livery during theseunprecedented times. �

Living with and hopefullylooking beyond Covid-19Upper Warden MICHAEL DALTON reflects on how the pandemichas impacted on the Livery, and in particular on him as he prepareshis own programme for his coming year as Master.

An obvious conservation job needed – a compositemedieval window in St Michael’s Church,Munslow, Shropshire where remedial work willbe supported by a grant from the Glaziers’ Trust.Pictures from Jim Budd of Jim Budd Stained Glass.


19 years withthe magnificentMaster GlazierTANZI FOULGER, captain of theall-women rowing crew of theMaster Glazier, reflects on hertime with the Company’s Thameswatermen’s cutter.

I have had the pleasure of rowing theMaster Glazier for the last 19 years andI have captained her for the last 15! Duringthis time she has had many adventuresand resided in a variety of places.

When I first joined the crew as a fresh-faced graduate it was housed at MillwallDock, which now hosts the start of the GreatRiver Race. In the early days of training webecame very good at about turns andsteering around tight bends due to the natureof the training ground.

We soon moved to Victoria Dock at theDocklands Sailing and Watersports Centreand enjoyed the racing straights with ourgood friends in Trinity Tide into the AlbertDock and back again. It was a fabulous placeto row and train.

However, organising the tows to thevarious events on the river were not withouttrial. On many occasions the boat had to beleft on precious mooring in the middle of theriver waiting a tow. On one such occasion shewas sunk and was retrieved from the bottomof the Thames!

Our time at Victoria Dock came to an endand we moved to a temporary mooring atTrinity Buoy Wharf, not ideal as she had to bekept on the water. With little protection from theelements over the next two years the MasterGlazier was battered by tide, wind and rain.

Even so we did find being on the Thamesa great advantage during the racing season –it was quite easy to organise tows up the riverwithout having to navigate the Thames Barrierand various locks.

In 2010 we finally found a permanent homeat the AHOY Centre in Greenwich. Not greatfor the travelling crew but a much neededchange for the Master Glazier which by nowneeded some serious TLC.

She was towed into the slipway of theAHOY Centre (the watersports charitysupported by the Livery) following one very

tough Lord Mayor’s Row, in which we rowedfrom Hampton Court Palace in a ceremonialprocession with full regalia and only four onthe oars.

Since being at the AHOY Centre she hasbeen well looked after by the crew and thecentre staff, not only used by the crew fortraining and the many Thames TraditionalRowing Association events but also by thecentre giving disadvantaged children in thearea the experience of rowing on the river.

The Master Glazier has recently had amakeover with the addition of some muchneeded brand new carbon fibre oars. She was(until lockdown) once again flying on the river.

Last year in the Great River Race werecorded our fastest ever time of 2hr 43min22sec. We were the third fastest female boaton the river, only beaten by an eight-ladyoutrigger and a Cornish pilot gig, making usthe fastest ladies cutter and in the top 10 ofall the cutters irrelevant of category.

Times can vary greatly from year to yeardue to tide and wind but positions cancertainly be measured. I was a very proudcaptain after that row.

Over the years we have had the honour ofrepresenting the Glaziers’ Company in many

amazing historical eventsincluding many Great RiverRaces, Tudor Pulls, Frost Fairsand Lord Mayor’s processions,but the two most memorable andspectacular of them all were theQueen’s Jubilee and the Olympicopening ceremony.

The Queen’s Jubilee was afantastic event with crowds ofpeople and a very closeencounter with Her Majesty, anevent which will be very hard toreplicate. The event itself wasemotional and the crew and I willalways be grateful that we were

able to experience and be part of thewonderful celebration.

Over the past 18 years there have beenblood, sweat and tears shed in the boat. It hasbeen an absolute pleasure to captain thecrew for so long and I have found a veryspecial family not only in the crew but in theWorshipful Company.

One of my proudest moments was whenwe joined the crew of Trinity Tide to completea combined row of 56 miles for a variety ofcharities. I did get a few tremendous blisters(and not just on my hands) but it was worth it.

Stephen Shaw has been a rock, helpingto organise events, and supporting the AHOYwith various charity events. I think walking thelength of the Thames will be hard to beat. Hehas ensured the funds are available to keepthe Glazier maintained and water worthy.And, of course, there has been the continuedunwavering support of our first Bargemaster,David Eking.

It has been a privilege and an honour tobe able to experience many of the historicalmoments in London over the past 19 years andI can truly say not being able to row this yearhas left an empty space in my soul whichhopefully will be replaced very soon. Thankyou all for your support over the years. �

Stern view from theMaster Glazier coxFrom CHRISTOPHER KEVILL-DAVIES:I am writing this to add to the above pieceby Tanzi about the Master Glazier. As wellas the many events Tanzi refers to, theMaster Glazier has been on the river forseveral ceremonial events, such asArmistice Day 2018, the RunnymedeMagna Carta, Boat Race Day etc! And Ihave had the privilege of being the cox andshouting at members of the Court andLivery manning the oars.

The Master Glazier thus has two specialroles for the Company; a ceremonial boat toenhance river processions, and a boat for thetraining of young people, includingdisadvantaged, in boat skills, skills on theThames, boat maintenance and the teamwork that evolves from all of these. In boththese roles, it is therefore a wonderful focusfor the Worshipful Company to have, and oneto be proud of.

Last winter, my little book of “Odes andGraces” appeared and donations for it haveraised money for the Cutter Trust, whichprovides funds so that the Master Glazier canbe maintained. Tanzi has been an inspirationand I have enjoyed the occasions when shehas been rowing and I have been cox. Also,as she says, Stephen Shaw, as HonoraryBargemaster, and his predecessor DavidEking, have been responsible for keeping thewhole enterprise literally afloat.

Long may the Master Glazier continue tobe a significant part of the life of the Company!

EDITORIAL NOTE: “Odes and Graces” maybe purchased direct from the Clerk for just£10. Cheques to the Glaziers’ Companymay be sent to her at Glaziers’ Hall. �

Tanzi Foulger leads her crew facing the late Master DavidIngmire and his lady Sonja Sabogal as the boat is rowed awayfrom Putney for the Diamond Jubilee event.

Demonstrating their new oars courtesy ofGlaziers’ Company donors – Tanzi Foulger andfellow crew members display the Company’semblem on the blade of each oar.


SONJA SABOGAL reports: On the eveningof 21 May the Glaziers experienced theirfirst webinar symposium with our ownleading artist Helen Whittaker, and joiningher from across the pond the equallyeminent Kathy Jordan. We wereentertained and informed by twocraftspeople at the top of their profession,

who gave us an insight into the process ofcreating artwork in the medium of stainedand architectural glass art. The event wasa great success with an attendance of over120, many from overseas particularly the US.

Proceedings were led by DavidStringer-Lamarre who was responsible forthe concept and implementation – and

explaining to all the participants howeverything would work! Not only would thespeakers be answering questions alreadysent in but there would be audienceparticipation. Master Suzanne Gallowaywarmly welcomed everyone, speaking ofthe privilege of hosting the first webinar inthe Company’s history.

David introduced the two speakers.Kathy Jordan, who had been accepted asArtist Freeman in a virtual ceremony justbefore the event, is a professional glass artist.Her well-respected career has included herbeing a studio owner, consultant, designerand practitioner for new and historicallysignificant glass projects across the US. Sheis regarded as one of the top glass painters inthe USA.

Helen Whittaker is also a renowned artistand designer, Glaziers being very familiar withher work.

Engaging formatThe discussion was set out in a question

and answer format which was very engagingand gave a clear structure to the evening,allowing each artist to air their thoughtsconsecutively on various points.

The two artists were engagingly openabout their work, talking about the influenceswhich shaped it, revealing some interestingaspects of their early development. Forinstance, Helen did a Master’s degree inVisual Islamic and Traditional Art while Kathytrained classically in figure drawing, which isthe basis for a lot of her artwork, and nowteaches classical painting.

Helen’s personal creativity is driven by thetask in hand. She explained to the audience:“I love working to commission as it presentschallenges. It is not only about the windowand the client but the building as a whole.You have to put it in context – the relationshipbetween the stained glass and the works ofart in the building too. It is more of a holisticapproach to the designing.”

Kathy is more a creative director in acorporate environment but always valuing thepeople she works with. She explained: “Peopleto me are most important. I have met some ofthe most extraordinary and influential peopleover the past 30 years that have shaped andformed how I have approached this medium.”

Kathy explained her transition from runninga small studio with a boutique dress shopapproach to her current role as art director atWillet Hauser Architectural Glass where thereis a department store approach. Although

Glaziers’ first-ever webinardraws international audience

All the design components of a project in the studio overseen by Kathy Jordan.

Kathy Jordan doing her own glass work.

Helen Whittaker at Judson Studios, Los Angeles, with glass artist Narcissus Quagliata and componentsof her new window for Hovingham Church in the UK.

�


Stevens Competitionlooks ahead

CLIVE OSBORNE, newchairman of the Craft andCompetitions Committee,describes how the StevensCompetition is moving forward.

I feel very privileged to have been asked tochair the Craft and CompetitionsCommittee. As a lawyer, I have absolutelyno background in stained glass, but I hopethat this will provide an opportunity for meto learn more about the craft.

The first decision we had to take, in mid-March, was whether to postpone the running ofthe Stevens Competition. It became clear thatthe closure of Glaziers Hall and the lack ofstaff could make it impossible to conduct thecompetition in the normal way. Our initialfeeling was that Stevens, as a craft competition,could not properly be judged virtually.

However, the professional members ofthe committee set about establishing how thelatest technology could be harnessed toenable the competition to be judged largelyremotely. This year’s competition is to designa panel for Morden College. Liveryman BrianGreen has helpfully amended the competitionrules to provide for two categories of entry:Design and Craftsmanship. All entries will beconsidered by Morden College.

If the college were to choose an entryfrom the “Design Only” category, the entrantwould be interviewed by a panel of seniorpractitioners and asked to provide a smallsample of the work.

Additional prizesFirst and Second Prizes for Design Only

have been added this year. The closing datefor entries is 17 July; and the prizegiving hasbeen scheduled for Monday 6 October – atGlaziers Hall, if practicable; virtually, if not.The commission for the competition in 2021will be to design a panel for the reception areaat Haberdashers’ Ask’s School for Girls, Elstree.Preparations are progressing well, eventhough the school is currently in lockdown.

The Competition is named afterLt Col T. H. G. Stevens, who was Master in1938. On his death in 1971, he left £1,000 to theCompany for a contemporary architecturalglass competition, which was established in1972. It is now recognised as the premiercompetition for stained glass in the UK andattracts 40-50 entries each year. Entries inrecent years have also come from Europe;and we hope in future to encourage entriesfrom further afield – particularly from the USA.

From 1987 the competition was linked toa specific commission – initially a panel for acorridor at St Thomas’ Hospital. Other morerecent commissions have been for UniversityCollege Hospital; Churchill College,Cambridge; Leeds City Art Gallery;Birmingham University Library; St Mary’sChurch, Southampton; and the RoyalAutomobile Club.

From 1993 the First Prize has been calledthe Brian Thomas Memorial Prize, following abequest. In 2003 the John Corkhill Prize forBest Presentation was established, to befollowed in 2004 by the George and EvelynGee Prize for Craftsmanship.

In the 50 years before the establishmentof the Stevens Competition in 1972, the craftwas supported by the Livery through theaward of annual Glaziers’ CompanyScholarships. In 2022 the StevensCompetition will itself be 50 years old. Thecommittee is considering suitable ways ofmarking this anniversary, and anysuggestions from members of the Companywould be most gratefully received. �

Glaziers’ Trust backsstudent fundFrom STEVE GRAHAM, chairman of theGlaziers’ Foundation: Responding to anapproach by the Royal College of Art, thetrustees of the Glaziers’ Foundation havejust awarded a grant from its Charity forRelief in Need of £2,500 to support thecollege’s Emergency Student Fund – Backon Track.

The effects of the Covid-19 pandemichave hit students of the college as hard as ithas other sections of society. For example, atpresent a large number of the college’sstudents have lost jobs vital to supportingthem living and studying in London, have hadto buy the additional necessary technology toaccess online teaching and there arepresently far fewer external opportunities tostart their professional careers.

The college had asked for £5,000.Anticipating that there are likely to be calls onthe CFRIN fund from glass artists and othersemployed in stained glass as studios begin tofeel the effect of the pandemic lockdown, thetrustees agreed to release £2,500immediately and keep the position underreview in the weeks and months ahead.

The trustees hope that respondingpositively to the college’s cry for help will helpestablish a good relationship with the RCA,which has a worldwide reputation in arteducation and includes in its programme a2-year course in ceramics and glass. �

she is surrounded by a team of 70, people arestill at the heart of her focus.

She said: “Now I realise that all the peoplewho make up the department store are likeme, very talented and they bring their heartsand souls to it. What it allows me to do is tofocus on what I do best. I can serve the clientfaithfully, report it to the design team, so thereis no disconnect between a typical salessituation and what happens in the studio.”

In response to the audience asking fortips for the upcoming generation of stainedglass artists, Kathy observed: “I wouldencourage any young artist to do anapprenticeship and seek out the best in theindustry; keep your mind open.

“There is a lot of innovation happening, alot of creativity. I would say learn about thepast, glass and history because that speaksto what we are doing today. Have theopportunity to do conservation work so youcan work directly on some of those works ofart. Seek out education, and share – don’thold things secret, close to your heart. Go outthere and learn.”

Helen was unequivocal: “You have tobelieve in yourself and aspire to be the best.The journey through our profession can be aninteresting ride. You’ve got to have conviction,believe in what you do, and have a goodsupport team of people around you.” �

Webinar noteMARTIN DONLIN observes: I was invitedby this year’s Master to give a talk back inApril at the Glaziers, however confinementrequired this to be in the form of a webinar.I think the webinars are a wonderful ideaand we can get to participate on one levelor another, whether it’s by simply askingquestions or indeed making a presentation.

I have made a number of presentationsover the years and they usually run over timewhich never seems to be a problem. However,the clock ticking and being “live” doesinevitably have a rather nerve wracking effect.

David Stringer-Lamarre and MasterSuzanne Galloway made the whole processgood fun and relaxing. I like David’s philosophythat a few glitches make things much moreenjoyable than everything clear-cut and slick.

I have had a large number of good wishesfrom friends and colleagues who have beenenjoying the webinars and have been able toget together and see one another again.David did ask one question about how Ibecame involved with the Glaziers and Iforgot to mention it was Michael Holman’svisit to my studio to ask me to be a judge forthe Stevens Competition – and one thing hasled to another – Thank you Michael! �

Published by the Worshipful Company of Glaziers and Painters of Glass. ©Glaziers’ Company 2020.Alison Evans, Clerk, Glaziers Hall, 9 Montague Close, London Bridge, London SE1 9DD.

Telephone: 020 7403 6652; www.worshipfulglaziers.com; e-mail: [email protected]

Printed by Stable Print & Design, Stoke sub Hamdon, Somerset.All pictures copyright of the person or organisation attributed to or the Glaziers’ Company, or on application.

Facebook: @GlaziersLiveryCoTwitter: @WorshipGlaziers

Contributions or advertising enquiries should be sent to the editor:Richard Blausten [email protected] 01460 241106

issue number 61 summer 2020 glaziers working stories...

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