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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]
Pages in category "British stained glass artists and manufacturers" The following 88 pages are in this category, out of 88 total. This list may not reflect recent changes .
Frank Lloyd Wright, Hollyhock House, Los Angeles, CA Theo van Doesburg, Leaded Glass Composition I. Came glasswork is the process of joining cut pieces of art glass through the use of came strips or foil into picturesque designs in a framework of soldered metal. Final products include a wide range of glasswork, including stained glass and lead ...
The British Society of Master Glass Painters (BSMGP) is a British trade association for the art and craft of stained glass. [1] Founded in 1921, it promotes the trade of glass painting and staining in Britain. [ 2 ]
However, in the case of stained glass, these efforts are complicated by the nature of the medium itself. This is because a stained-glass window is a 'complex object' in that it is made from more than one component material, each with its own inherent risks and conservation needs (Pye 2001, 80).
The firm of James Powell and Sons, also known as Whitefriars Glass, were London-based English glassmakers, leadlighters and stained-glass window manufacturers. As Whitefriars Glass , the company existed from the 18th century, but became well known as a result of the 19th-century Gothic Revival and the demand for stained glass windows.
While most of the work of Wailes' workshop is to be found in the North of England, other commissions came from further afield. The most significant window glazed by the firm, and one of the prize commissions of the industry, was the glazing of the west window of Gloucester Cathedral, an enormous window of c.1430 in the Perpendicular Gothic style, of nine lights and four tiers.
The thing that makes these "special effects" of Clayton and Bell the more remarkable is that they were achieved with little resource to painted glass and flashed glass and without the multi-coloured Favrile glass used by Louis Comfort Tiffany studios and the Aesthetic designers of the United States. In fact, they used little more than radiating ...