Code of practice
The Code of Practice was set out by the founders of the British Society of Master Glass Painters and has been updated to reflect modern practices. All Fellows and Associates must abide by the Code or they can be stripped of their accreditation. The Code represents good practice for professional stained glass artists and all our members are urged to reflect it.
BSMGP members will:
I. familiarise themselves with, comply with and be subject to the Memorandum, Articles of Association and Byelaws of the Society.
II. conduct all work with integrity and within the law, accepting responsibility for their own work and for work subcontracted by them, demonstrating by personal example the conduct of a professional.
III. make every endeavour to ensure that all work is carried out to the highest standards, including any subcontracted work.
IV. submit estimates and endeavour to work within them or to explain and negotiate any necessary revisions in consultation with clients.
V. act honestly and ethically in all dealings and will take due care to respect the relevant interests of clients and fellow professionals.
VI. observe copyright law regarding art and artwork.
VII. observe those laws relating to the care and maintenance of ecclesiastical buildings (e.g. the Faculty Jurisdiction of the Church of England) and historic buildings in general (e.g. Planning regulations and legislation protecting DNH Listed Buildings).
VIII. be familiar with current Health and Safety regulations.
IX. eschew discriminatory behaviour on irrelevant bases of gender, race, disability, sexual preferences or cultural variations.
X. make clear in any public statement that they are acting in a personal capacity, unless authorized by Council to speak or act on behalf of the Society.
XI. do nothing to bring the Society into disrepute.
XII. cooperate with any investigations initiated by the Society arising from complaints against any member alleged to have infringed this Code.
Etched, fused and leaded flashed St Just glass. ‘The theme is abstract, but alludes to both boat shapes and the intersection of two overlapping circles in the Vesica Pisces.’
Antique glass, paint and silver chloride, diaper technique, staining, firing and plating. 'The panel evolved out of thoughts on climate change and coming across an article in which the elephant was referred to as an Environmental Engineer.'
Double layer glass with 6mm deep heart lead throughout. Sandblasted, flashed glass, painting. ‘Although there was no theme to this exhibition, with it being in celebration of the BSMGP centenary, birthdays came to mind. When using tallow I am always reminded of our craft's link to the past.’
Painted and leaded glass. 'You know that social distancing is getting to you when you look at some trees and imagine them dancing at a ceilidh. Longing for what will again be but far from possible at the time of making.'
Layered glass, stains and a blue enamel. 'The memory and heat of summer 2020 - Isolation spent within the confines of a wild garden filled with sunflowers. Waiting for the sunbursts of warm bright colours against blue to repeat the show this summer, as tall flowers spring forth from the fallen seeds hibernating on winter ground.'
Stained glass (painted and leaded mouthblown Polish glass) 'Inspired by the geese which fly in great skeins over the house every autumn and spring on their way to and from Morecambe Bay.'
Stained glass painting. ‘The theme is transmutation and the interwoven historical roots of glasswork and alchemy. The images were inspired by three pieces, the woodcut of glass workshops by Jost Amman (Frankfurt 1586), The Flammarion wood engraving and the oil painting of 'An old man holding a pilgrim bottle' in the National Gallery London (circa 1650's) both by unknown artists.'
Mainly Wissmach glass, glass paint and silver stain. 'Peter’s vision on the roof of a house near Joppa of ‘unclean’ animals descending accompanied by a voice saying ‘what God hath made clean call not thou unclean’.'
Hares
Angel detail 2
AGC_MakingMarks_Dec2019
Christopher Webb
