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Christopher Rahere Webb (1886-1966) was an English stained glass designer. His unusual second name was derived from that of the founder of St Bartholomew's Priory in London where his father, Edward Alfred Webb and his uncle, Sir Aston Webb carried out restoration work. Webb was educated at Rugby School and at the Slade School of Art and then ...
A suncatcher or light catcher is a small reflective, refractive, and/or iridescent ornament. It may include glass or nacre pieces and be hung indoors near a window to "catch" sunlight. A suncatcher is like the optical equivalent of a wind chime. Some designs are simple and abstract with perhaps some mobile -like chained elements, while more ...
The stained glass windows of Chartres Cathedral are held to be one of the best-preserved and most complete set of medieval stained glass, notably celebrated for their colours, especially their cobalt blue. They cover 2600 square metres in total and consist of 172 bays illustrating biblical scenes, the lives of the saints and scenes from the ...
Geoffrey Fuller Webb (5 August 1879 – 20 January 1954) [1] [2] was an English stained-glass artist and designer of church furnishings, based for most of his career in East Grinstead. He was a nephew of the architect Sir Aston Webb and a pupil of Charles Eamer Kempe and Sir Ninian Comper. His work, which draws on the Gothic Revival tradition ...
The coloured glass is crafted into stained glass windows in which small pieces of glass are arranged to form patterns or pictures, held together (traditionally) by strips of lead, called cames or calms, and supported by a rigid frame. Painted details and yellow stain are often used to enhance the design.
Watkins Stained Glass Studio. Mary Fraser Wesselhoeft. Nina Barr Wheeler. Sarah W. Whitman. Willet Hauser Architectural Glass. William Willet. Frederick Wilson (artist) Rodney Winfield. Karl Wolfe.
The primary aim of conservation is to slow the rate of deterioration, caused by various factors, to the point where the loss of significance, such as historic information and/or aesthetic value can be kept to a minimum (Pye 2001, Ch. 5). However, in the case of stained glass, these efforts are complicated by the nature of the medium itself.
Jake Mintz and Jordan Shusterman break down Shohei Ohtani’s historic night that saw him establish the 50-50 club, look at some compelling upcoming series and give their picks for The Good, The ...
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