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Friday 4 March 6.15pm for 6.45pm start

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

Oksana Kondratyeva - ‘New Light on Ukrainian Stained Glass’

Although Ukrainian stained glass has been terra incognita for many years, it appears to be a fascinating episode in the history of European art. This illustrated lecture traces the history of stained glass in Ukraine, focusing on the 19th-20th-century glazing.

At the turn of the 20th century, Ukraine witnessed a sudden renaissance in the visual arts echoing the Aesthetic Movement. It was a luminous age in the history of stained glass – the flourishing of ‘secession’ and art nouveau in Western and Eastern Ukraine respectively. Stained glass windows became frequent features in ecclesiastic and secular architecture, emphasising the visual and aesthetic qualities of Byzantine iconography and Ukrainian folk-art.

During World War I, the revolution of 1917, the civil war (1918-1920) and World War II, a great amount of stained glass was destroyed. The new soviet regime banned religion, extensively demolishing churches and devastating sacred art. The Soviet era left a complex legacy, which embraces the early avant-garde, grand avenues and megalomania in urban architecture. More than that, it produced an infrastructure of public space for a secular society, where monumental arts, stained and slab glass in particular, played a crucial role. Not always popular, it nevertheless, left traces of skilful experimental artistic approaches. The Soviet regime expanded monumental slab and stained glass in the decoration of universities, schools, hospitals, libraries, canteens, and underground stations – the genuine palaces for the people, dedicated to the ritual of commuting to work. To dismiss the Soviet Ukrainian public art, enriched by architectural glass, would be a huge mistake. A new period of stained glass development began with the independence of Ukraine.

Although Ukrainian stained glass has multiple connotations and cannot be understood in isolation from its historical context, it gives us an absolute and lasting legacy of variety and virtuosity in glazing, which glorifies the beauty of light.

The image shows a detail of the Archangel Gabriel window by Petro Kholodnyi, Dormition Church, Lviv, Ukraine (1928).



Wednesday 1 June 9.45am–4pm

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

‘Stained Glass in Contemporary Culture - exploring creative partnerships to generate and sustain new work'

Speakers: Andrew Moor, Sasha Ward, Teepee Glass, and Helga Reay Young

The annual BSMGP Discussion Day, whilst open to all, is particularly intended for stained glass practitioners; student, amateur and professional, giving an opportunity to meet and exchange ideas based on a program of topical presentations. This year the program, planned by Caroline Swash FMGP, herself an experienced teacher and practitioner, draws together a mix of speakers, all successful contemporary glass artists, who will explore the ways in which collaboration can enable and enhance new work. With the loss of so many large studios, increasingly artists work in isolation meaning that such relationships between artist and client, artist and a larger studio or affiliation to a group of likeminded individuals becomes pivotal to their success.

The day is kindly hosted by the Worshipful Company of Glaziers, the day after their annual Stevens Competition Prize Giving, in the hope that as many students as possible will take the opportunity to attend whilst in London. 

Tickets are £25 or for students and tutors £15 including sandwich lunch.   
Andrew Moor Associates, Architectural Glass Art specialists, work with different artists, designers and fabricators in the creation of new glass artworks.  In his talk Andrew will address the problems faced by young artists today by examining a number of key issues; an over view of the history of the medium over the last thirty years, the wider context of public art, the art world, and evolving technology.  What is the language of architecture and what is architectural art?  What as an artist do you need to learn?  What as a student do you need to learn?  With all that in mind, how might one achieve success in this field?

Sasha Ward has been working to commission for many selected spaces, since she left art college thirty years ago. In this illustrated talk she will look back at her career in architectural glass, showing examples of her enamelled glass panels in public buildings such as hospitals, schools and offices. From the start, she knew that her work would be influenced by the places that it was commissioned for, but was thinking more of the technical constraints of buildings rather than the opinions of the people who use them. By looking at a few of her key works she will show to what extent her artwork has been shaped by her commissioners and how, in the face of conflicting views from all those who get involved in a commission, she tries to keep hold of her own artistic integrity.

Teepee Glass are a group of eight glass artists, Lucy Batt, Andrew Boddington , Maria Fagan, Iain Gutteridge, Brett Manley, Alex R, Pippa Stacey and Wendy Stone. The group originally met in 2005 whilst studying at Central St Martins in London.  Having spent ten nights under canvas together at the Glass Biennale in Stourbridge, they decided to form Teepee Glass. Each member of the group practices glass individually, covering a wide range of areas including architectural commissions, installations, decorative panels, vessels and jewellery. Four of the group members are also involved in teaching glass. In addition to their individual practice, the group periodically come together to exhibit work. Venues for these  exhibitions have included the Stained Glass museum at Ely Cathedral, the De Morgan Foundation in Wandsworth, the International Festival of Glass in Stourbridge and the Cochrane Gallery in Holborn.   Also, as a result of their long term working relationship with Patch Rogers Arts and Crafts Design, examples of the groups work can regularly be seen on display in Liberty of London.  Such collaboration can provide a valuable support network for individual artists, creating excellent opportunities for exhibitions, alliances and career development.   Three members of Teepee Glass will share their thoughts and experiences on how working together as a group has enhanced their developing careers, and continues to provide ongoing openings in the glass world.

Helga Reay- Young.  Since 1989, glass artists from Iceland, Wales, Austria, Japan, Ireland, USA, New Zealand, Canada, Australia, France and Germany have met together every second year, exchanging ideas, travelling and exhibiting. These experiences have greatly enriched their own practise, inspiring new directions in their approach to glass.  Helga Reay- Young trained as an architect in Germany and in glass with Patrick Reyntiens at the Central School of Art.   In 1988 she initiated a show of ‘36 Women from 12 Countries’,  as a way of making space for  glass and emotion, 'hand-made original' work and beyond the confines of commissions, using contacts to colleagues made during her apprenticeship at one of Germany's oldest studios, and in London, at Pilchuck and studying with L Schaffrath in Stuttgart. Following the success of this first travelling exhibition – 10 venues from Berlin to Chartres, topped by the sale of the complete show to a private Museum in Japan – a hard core of by now friends + colleagues around Helga gave the group's activities a new form of  'workshops', consisting of selffinanced gatherings every two years in the home country of one of the members. Her responsibilities, as the host for the meeting, includes amongst many events an exchange with local glass artist and selecting a gallery for the show of  work influenced by the last workshop - of maybe a familiar country newly seen and experienced, visiting emotionally important places of culture and nature chosen by the host to be shared with the group. This pattern of showing and learning has proved a wonderfully successful and exciting experience for all the artists involved.

The image shows a detail from a window by Sasha Ward for the House of Lords multi-faith prayer room in Millbank House, London 



Friday 17 June 6.15pm for 6.45pm start   
AGM 5.30pm

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

Frédéric Pivet - ‘Stained Glass Windows of the Sainte Chapelle in Paris’

This illustrated lecture explains the recent conservation of the windows of the Sainte Chapelle and its contribution to the understanding of their original manufacture and aesthetic appearance.

In 1999, the French state started the restoration and conservation of nine of the fifteen windows from the thirteenth century and the fifteenth century rose.  It was thus a very important program working on several of these most remarkable stained glass windows.

Work began with the thirteenth century windows which had been earlier restored in the nineteenth century.   That work featured some very important alterations to the painting which had led to fragility and loss of grisaille.  This resulted in a phase of study and a methodology of intervention closer to painting conservation than the methods normally used for stained glass; X-ray, Infra-Red camera and selective cleaning layer by layer.

The restoration of the fifteenth century rose was conducted in 2014 /15. This stained glass is technologically and aesthetically different from the thirteenth century windows. The fouling and patinas were similar to those present on the thirteenth century windows but the high authenticity and the excellent state of conservation of the materials have allowed an aesthetic intervention with gluing and re-leading.

The restoration was completed by the use of different types of external protection. These aesthetic and technical choices will be described as well as the consequences for conservation of the metal structure.

As is common in an important restoration, these works have contributed a great deal of knowledge to the history of the stained-glass windows, the technology of the materials (original lead, glass and painting), the organization of the original works and a precise view of the glass painters’ aesthetic.   We will see which technical methods they used to realise this; shapes of the panels, use of different glass, painting techniques, etching and lead network.



Friday 7 October 6.15pm for 6.45pm start

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

Ann Sotheran - 'Stammers and Harvey - Modern Glass Painters of York'

Stained glass artists Harry Stammers and Harry Harvey both learned their craft before the Second World War, working then in what was to all intents and purposes a style virtually unchanged since the heyday of Victorian and Edwardian stained glass. This illustrated talk looks at the work of both men from the time they came to York in 1947 until the ends of each career. 

It could be argued that the work of neither man was particularly avant-garde, working as they did in the narrative, figurative tradition (that is to say recognisable figures doing recognisable things). However, within those constraints the designs sometimes push to the boundaries of abstraction and have on one occasion been described as wildly expressionistic. Their work is powerful and compelling and well worth closer scrutiny. The quality of the drawing, the exuberant use of colour in some schemes and the restraint in others, the ability to switch effortlessly from large scale to small and the total command of the medium can only win the admiration of the viewer. 
Taken in chronological order the lecture looks first at the work of Harry Stammers, then Harry Harvey so that it is possible to appreciate the developments in style and elaboration of techniques employed by both artists during the course of producing truly impressive bodies of work.

The image shows a detail from a window by Harry Stammers (1958) in Lincoln Cathedral



Friday 13 January 2017 – reception 6.30pm

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

In aid of the Artists General Benevolent Fund




  • Leonie Seliger ACR - ‘Into the 21st century – Canterbury Cathedral’s post -Victorian stained glass’
  • Discussion Day with Caroline Swash ' Stained Glass in London'
  • Peter Cormack MBE FSA Hon FMGP – ‘Exploring Arts & Crafts Stained Glass: a 40-year Adventure in Light and Colour’
  • Dr Nicola Gordon Bowe Hon FMGP– ‘Behind the Mask: stained glass in the art and life of Wilhelmina Geddes (1887-1955)


  • Judith Schaechter - 'Nothing Personal'
  • Steve Clare ACR FMGP 'An under-appreciated masterpiece: conservation of the great Jesse Tree window in Wells cathedral'
  • Dr Nicola Gordon Bowe Hon FMGP - 'Harry Clarke (1889-1931): inimitable modern-medieval Symbolist'


  • Alan Brooks - 'Francis Spear - A Student of Art and Symbolism'
  • Discussion Day - 'Challenges in contemporary glass practice and a meeting with English Antique Glass (EAG)'
  • Amber Hiscott -  ‘Paint, Paper, Glass................’
  • Michael Peover & Elise Learner - ‘The renewal of the painted glass at Strawberry Hill’


  • Keith Barley FMGP - ‘Perhaps the finest specimens of pictorial glass-painting in the world’: the Herkenrode windows of Lichfield Cathedral’
  • Discussion Day - ‘Issues in professional practice and a discussion with Lamberts Glass’
  • ‘Swansea’s best kept secret’ – a presentation by the staff from the Swansea School of Glass, Swansea Metropolitan University.
  • Dr Douglas E Schoenherr - 'Two Burne-Jones Manuscripts: The Account Books and The Cartoon Book'
  • Peter Cormack - 'A Stained Glass Family Album: the life of Christopher Whall and his Circle in photographs'


  • Anna Eavis - 'An 18th-century recusant's collection; the windows of Milton Chapel, Oxfordshire'
  • Chris Chesney - 'The wonderful worlds of Photoshop and Coral Draw'
  • Pippa Martin - 'Lawrence Lee: master stained glass artist of the twentieth century'
  • Mark Angus - 'Between Heavens: angels' journeys in glass'


  • Jo Nuttgens - 'A Working Argument: How I survived my father and became a stained glass artist'
  • Glyn Davies - 'Leading and Light Boxes; Conserving the stained glass in the V&A's medieval and rennaissance galleries'
  • Tom Denny - 'Recent windows in extraordinary buildings'


  • Roy Albutt - 'The Bromsgrove Guild'
  • Andrew Rudebeck - 'On the trail of John Thornton'
  • Leifur Breidfjord 'New Work'


  • David King - 'Personalities, Politics and Plays': The stained Glass of east Harling Church, Norfolk
  • Ellen Mandelbaum - 'Light Listened', a review of the work of this contemporary glass artist.
  • Geoffrey Robinson FMGP - 'Windows into the life of a Stained Glazier'


  • Kate Baden Fuller - 'Contemporary stained glass artists and how to write a book about them'
  • Sarah Brown MA FSA Hon FMGP - The Judge, the traitor, his wife and her lover - the medieval glass of Tewkesbury Abbey'
  • Doris Rollinson, Andrew Taylor and Caroline Swash '- 'Fifty Years of Glass - amongst other things'. A celebration of the life and work of John Hayward FMGP'


  • Tim Lewis – 'The importance of the teacher in stained glass'
  • Ginger Ferrell – 'A new bag of tricks': the use of kiln formed glass in new work
  • Dr David O'Connor – 'Mediaeval stained glass in Scandinavia: Gotland's gothic glass'
  • Tony Benyon, Peter Cormack FSA and the Rt Revd Graeme Knowles AKC, MLC – 'Alan Younger, focus on an artist's life: three perspectives'
  • Peter Gibson - 'The Christmas Story in Stained Glass'



  • Dr Michael Peover - 'Sleeping Beauty : unseen stained glass at the Soane Museum'
  • Linda Lichtman – ‘Little and large: keeping the personal in public commissions'
  • Ruth Taylor Jacobson – ‘Marc Chagall’


  • Dr Tim Ayers FSA – ‘Glazing the English Medieval cathedral:the East End of Wells c1320-1340’
  • Graham Jones – his work in stained glass
  • Dr Nicola Gordon Bowe – ‘The most exacting of masters, the most ruthless scrapper of imperfect heads: the art of Wilhelmina Geddes 1887–1955’

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