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The British Society of Master Glass Painters is fortunate to attract many eminent speakers on stained and architectural glass from amongst its UK and international membership and beyond. Subjects range from modern to mediaeval, brought to life by the enthusiasm and expertise of historians, conservators and contemporary practitioners.

Lecture bookings: Sue Shaughnessy - general enquiries to publicity, ticket enquiries to lectures or telephone 0790 907 0739 


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2017 Lectures


Friday 10 March 6.15 pm for 6.45 pm start

Venue: The Art Workers Guild, 6 Queen Square, London WC1N 3AT

Michael Hall ‘Morris and after: G F Bodley and stained glass, 1860–75’

By 1870, the aesthetic lead in stained-glass design in Britain had passed from such High Victorian firms as Clayton and Bell to the new names who were to set the pace for the later Gothic revival, beginning with Morris, Marshall, Faulkner & Co. A key figure in this transition was the architect George Frederick Bodley (1827–1907). As well as being Morris’s first major ecclesiastical client, Bodley encouraged the creation of two important new firms, Burlison and Grylls and Charles Eamer Kempe. Drawing on research for his book George Frederick Bodley and the Later Gothic Revival in Britain and America, published by Yale University Press in 2014, Michael Hall examines the relationship between architecture and stained glass at a turning point in Victorian culture.

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Friday 26 May 9.45 am–4 pm

Venue: Glaziers Hall, 9 Montague Close, London SE1 9DD

Caroline Swash FMGP and others ‘Splendid yet intimate - stained glass for house and home’

Stained glass for the home once formed an important part of architect designed houses. In the Victorian and Edwardian eras, stained glass was used as a way of giving privacy to the entrance of a home as well as providing toned and coloured light for the interior. Style and saleability were undoubtedly an added attraction. These commissions were taken seriously by Victorian firms whose brochures included suggestions for personalized heraldic work as well as a range of popular subjects such as ‘Flowers in a vase’ or ‘Birds on a branch’ or ‘A country landscape’. A later burst of enthusiasm occurred in the 1920’s for staircase windows bringing individuality to a home set within a complex of buildings of a similar style. Today’s commissions tend to be far more interesting – combining considerable personal input from a lively client. With contributions from Associate members of the Society as well as specialists in this field, it is hoped that the whole area of ‘Stained Glass for House and Home’ can be approached with renewed enthusiasm.

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Friday 23 June 6.15 pm for 6.45 pm start

Venue: The Art Workers Guild, 6 Queen Square, London WC1N 3AT

Ardyn Halter ‘Painting and stained glass in the work of Ardyn Halter’

Ardyn Halter was born in London in 1956. He is known as a painter, print maker and designer and maker of stained glass. He has worked on large-scale projects in England, Israel and Rwanda.

Are painting and stained glass, for him, necessarily separate aesthetic activities? Do the different techniques involve mind-sets? What is the correlation between them? How do the different disciplines interrelate and nourish each other? And how has his stained-glass work influenced his painting and printmaking? Does one see and relate to translucent colour differently to the way one views and uses colour on paper or on canvas?

His principle stained-glass windows have been commissioned works.

To what extent has the very fact of their being commissioned affected their design?  Are there constraints in his stained glass work that do not apply in his painting or printmaking?

The lecture will track his work and reflect on the above questions. A sort-of chronology is promised. The artist promises personal insights but not definitive answers.

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Friday 6 October 6.15 pm for 6.45 pm start

Venue: The Art Workers Guild, 6 Queen Square, London WC1N 3AT

Diana Coulter IHBC ‘Zen and the stained glass art of Keith New’

25 years ago Keith New lectured in the Art Workers' Guild on ‘A view from the tightrope’. Diana Coulter's talk for the Society, of which New was a well-respected Fellow for over 50 years, is an opportunity to consider how he dealt with the tightrope of post-war stained glass design. Undoubtedly he had a well-developed sense of colour, as can be seen in the 28 surviving commissions, for the most part in England as well as further afield in Glasgow and Calgary. New was also an important innovator working with glass in revolutionary as well as more affordable ways, and sadly the losses from his modest oeuvre are the very windows one would most liked to have seen. This lecture will therefore concentrate on representative examples of his work - traditional painted and leaded glass, coloured leaded glass and appliqué work.

Why is his output so modest? Leaving aside student work, his career in stained glass spanned a mere 20 years from 1954-1974 with only three late appliqué pieces executed in the 1980s and all to be seen in Isleworth. For New each commission was invested with a passionate intensity

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