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One of the most prestigious stained glass commissions of the 19th century, the re-glazing of the 13th-century east window of Lincoln Cathedral, Ward and Nixon, 1855. A revival of the art and craft of stained-glass window manufacture took place in early 19th-century Britain, beginning with an armorial window created by Thomas Willement in 1811–12. [1]
In the mid-19th century, Lavers, Barraud and Westlake were among many young designers who responded to the growing market for stained glass windows. The partnership initially comprised Nathaniel Wood Lavers (1828–1911) and Francis Philip Barraud (1824–1900). [note 1] Both were originally employed at the workshops of James Powell and Sons.
William Holland's stained glass was exhibited at the Great Exhibition of 1851 which was held in Hyde Park, London, from 1 May to 15 October, and is found in the Official Catalogue . [9] The catalogue lists exhibitors and also a description of various methods used to produce stained glass windows. Glass is found in Section III, Class 24.
Charles Eamer Kempe (29 June 1837 – 29 April 1907) was a British Victorian era designer and manufacturer of stained glass.His studios produced over 4,000 windows and also designs for altars and altar frontals, furniture and furnishings, lychgates and memorials that helped to define a later nineteenth-century Anglican style.
[2] [3] They created large window for St Stephen Coleman Street, London. [2] James Henry Nixon worked on the restoration of the fa amous medieval stained glass at St. Neots in Cornwall as early as 1829. [4] The firm became a favourite of Charles Winston, which helped them gain prestigious commissions like the east window of Lincoln Cathedral. [5]
In subsequent years Moore seems to have worked on his own, operating as A. L. Moore, Glass Painters and Decorators from premises at 89 Southampton Row, London. [ 2 ] Moore was joined by his son Charles Eustace Moore (1880–1956) in 1896, when the company became known as A. L. Moore and Son.
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