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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 


2018 Programme

Download 2018 Events Info/Booking forms


Friday 16 March 6.15 pm for 6.45 pm start

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


Speakers: Ray Bradley & Denise Basso

Ray Bradley established his own architectural glass art studio in West London during 1964. In the succeeding years he has designed and made many works in an expanded use of glass techniques for a large range of situations in the UK and overseas, always from a contextual position and working collaboratively with architects, designers and clients. In 2004 he invited Denise Mt Basso to join him as a partner to create Bradley+Basso. With a family background of mosaic and terrazzo, close contacts with current Venetian mosaics, a Bauhaus influence from one of her early tutors in Italy and the addition of an MA in Fine Art with Architecture from UEL, her skill sets have resulted in an extended approach and range of commissions on offer from a wider and more varied clientele. Ray and Denise will talk about their personal approach to glass and attempt to describe how their very different talents have coalesced so successfully in their new work.

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Friday 25 May 9.45 am-4 pm

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

‘Running your own studio’

Contributors: Caroline Swash, Jane Gray, Zoe Angle, Andrew Taylor, Peter Berry, Sophie Lister-Hussain

One of the joys of working in glass is its surprising flexibility. The material can be melted, flattened, cut, glued, painted, acid etched, sandblasted. It’s a really weird medium, so dangerous, fragile and easily broken, yet it can be handled and manipulated to become this amazing colourful, architectural material. Coloured glass is also such a powerfully transformative substance. The smallest piece of glass against light instantly alters the viewers’ perception of space. It is also very democratic: coloured glass works just as well installed either in the toilet or in the cathedral. It is indeed a magical substance and, like all magical substances, very addictive.

Lots of people have been drawn by these qualities into spending much time and effort working to achieve the special effects that they’ve desired. Today we are going to hear from a few of those who work in glass – in their OWN STUDIO! We shall hear something about their journey, their triumphs and disasters and be shown some of their work and learn how they have been best able to negotiate a viable market for themselves in increasingly difficult times.

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Friday 15 June 6.15 pm for 6.45 pm start

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

‘500 Years of Stained Glass’

Speaker: Martin Harrison

In Suffolk I have been trying to identify workshops, other than the well-known ones in Norwich, responsible for the region’s stained glass in the 15th century. This connects to local glass-painters in the early 19th century whose restorations of medieval glass have seldom been identified. I shall also look at some remarkable windows designed by Richard Rivington Holmes in the 1860s, before he became Queen Victoria’s librarian. I am currently editing a book on modern stained glass, and will show some overlooked German expressionist panels. And I shall return to a theme I essayed to the Victorian Society in November: the status of the stained glass designer.

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Friday 12 October 6.15 pm for 6.45 pm start

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

‘The Peacock Lady – Theodora Salusbury (1875–1956)’

Speaker: Andrew Loutit

As a pupil of both Christopher Whall and Karl Parsons, Theodora Salusbury's work is predictably colourful but it is also characterised by her excellent drawing skills to produce particularly lifelike figures in her stained glass. She remains a relatively unknown artist and Andrew, her great-nephew, is seeking to establish a reputation more deserving of these skills.

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