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Came glasswork includes assembling pieces of cut and possibly painted glass using came sections. The joints where the came meet are soldered to bind the sections. When all of the glass pieces have been put within came and a border put around the entire work, pieces are cemented and supported as needed. [1]
After completing his training, Nuttgens worked at Mary Lowndes and Alfred Drury's Glass House in Fulham under Karl Parsons and Martin Travers. [7] In addition to having the talent and skill to create whole works of his own, he was also able to adapt other people's drawings for translation into works of stained glass, [3] to produce designs for other glassmakers, including James Powell and Sons ...
The stained glass students, who work in beautifully lighted classrooms on the top floor, are carefully instructed in the technicalities peculiar to their branch of the arts, and are required, in addition, to devote a sufficient time to drawing from draperies, plant forms, and the life. —
In 2001, the studio received the monumental commission to design and create the entire stained glass fenestration for St. Martin’s Episcopal Church in Houston, Texas. The 36 window project, completed in May 2004, is the studio’s largest-ever one-time commission. Over 100,000 individual pieces of hand-cut glass make up the clerestory windows ...
There was a great demand for stained glass. The designs for many windows were based directly on the work of famous engravers such as Albrecht Dürer. Original designs often imitate this style. Much 19th-century German glass has large sections of painted detail rather than outlines and details dependent on the lead.
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]
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