The Glass Painters Showcase
Online gallery
We love showcasing exhibition work by our glass painters. Our display stand, sponsored by Morris & Co, holds 24 outstanding panels. The nomadic stand is on a permanent tour. If you would like to host the exhibition at a venue please contact secretary@bsmgp.org.uk
Members can submit up to three panels for consideration to join the tour for display or as reserve panels. All selected panels will be included on this website.
Your panel can be made with traditional stained glass techniques or with contemporary and experimental methods. All panels for the tour MUST fit within an opening exactly 30cm square (maximum depth 14mm). We recommend all panels, including fused glass, are made 3mm smaller with a lead edge to protect the glass.
We will change the panels on display periodically and sold work will leave the exhibition so there will be an opportunity for new and reserve panels to be displayed.
Send your high-resolution image(s) to portfolio@bsmgp.org.uk. Please include your name, title, medium/techniques, price (including 40% commission) and up to 60 words about the inspiration for your piece.
There is a £20 joining fee payable when your panel is displayed for the first time. The fee ensures your work will be displayed for at least two months (unless it sells sooner). Once your panel has been approved you can pay here.
By paying the fee you confirm that your panel will fit the stand. Delivery and return costs of unsold panels are the responsibility of the artist. Please note that while we will take every care of your panel, each artist is responsible for insuring their own work against loss or damage if required.
Each artist is also responsible for delivering work to the relevant venue. The artist can collect their work from the exhibition by contacting the venue and arranging a mutually convenient time and notifying portfolio@bsmgp.org.uk.
The Glass Painters Showcase is only open to current members. To join click here.
To purchase a panel please email secretary@bsmgp.org.uk
The Glass Painters Showcase will be at St Helens Minster, near Liverpool, from Friday 28 August until the end of October. Check opening times before visiting.
Simon Dyer 'Hamlet' £2,000 (panel on display)
Coloured glass with paint, enamel and stain. Painted with brush, dip pen and sgraffito techniques. "The inspiration for this stained glass panel came from Hamlet, a play renowned for its dramatic themes, complex characters, and rich symbolism. I challenged myself to translate these ideas into stained glass, using colour, light, and composition to convey emotion and meaning. This project allowed me to refine my technical skills while creatively exploring Shakespeare’s timeless tragedy.”
Coloured glass with paint, enamel and stain. Painted with brush, dip pen and sgraffito techniques. "The inspiration for this stained glass panel came from Hamlet, a play renowned for its dramatic themes, complex characters, and rich symbolism. I challenged myself to translate these ideas into stained glass, using colour, light, and composition to convey emotion and meaning. This project allowed me to refine my technical skills while creatively exploring Shakespeare’s timeless tragedy.”
Rita Shimelfarb 'Annunciation' £1,250 (panel on display)
Fused, painted and plated glass including rippled, mottled, acid etched and Lamberts feathery flash. "This panel reimagines the Annunciation through a secular lens. Rather than being called to become a vessel for bringing the Son of God into the world, the protagonist is summoned into service to the world itself. It reflects a call many seem to be hearing now: to step forward, take responsibility, and offer what we can."
Fused, painted and plated glass including rippled, mottled, acid etched and Lamberts feathery flash. "This panel reimagines the Annunciation through a secular lens. Rather than being called to become a vessel for bringing the Son of God into the world, the protagonist is summoned into service to the world itself. It reflects a call many seem to be hearing now: to step forward, take responsibility, and offer what we can."
Claire Williamson 'Molly Moo and Me, and the Flowers That We See' £1,500 (panel on display)
Kiln-pressed Bullseye glass with contour-fused glass and hand-painted Reusche enamel details. “This panel celebrates two of my greatest passions: flowers and my Labrador, Molly. It features blooms grown in my own garden alongside wildflowers that Molly and I discover on our walks through the fields surrounding my workshop. I made my own glass to achieve a soft, watercolour-like effect before building layers of fused glass to add depth, contour and detail."
Kiln-pressed Bullseye glass with contour-fused glass and hand-painted Reusche enamel details. “This panel celebrates two of my greatest passions: flowers and my Labrador, Molly. It features blooms grown in my own garden alongside wildflowers that Molly and I discover on our walks through the fields surrounding my workshop. I made my own glass to achieve a soft, watercolour-like effect before building layers of fused glass to add depth, contour and detail."
Rachel Mulligan 'Bloom' £3,900 (panel on display)
Engraved, painted and stained antique glass including flashed. "Carving out time to be creative can be a challenge at any time in life. Thankfully, the more you do, the easier it becomes to focus on what is important and ignore the mess. This is the middle panel of a triptych exploring creativity in different phases of life inspired by three generations of my family."
Engraved, painted and stained antique glass including flashed. "Carving out time to be creative can be a challenge at any time in life. Thankfully, the more you do, the easier it becomes to focus on what is important and ignore the mess. This is the middle panel of a triptych exploring creativity in different phases of life inspired by three generations of my family."
Andrew Taylor 'Tamara's Hand of Peace' £1,850 (panel on display)
English Antique Glass and St Just with extensive acid etching, traditional vitreus paint and silver staining. 'Inspired by a photograph of a handful of blossoms sent to me by a friend in North Ossetia, Georgia, a land occupied by Russia since 2008.'
English Antique Glass and St Just with extensive acid etching, traditional vitreus paint and silver staining. 'Inspired by a photograph of a handful of blossoms sent to me by a friend in North Ossetia, Georgia, a land occupied by Russia since 2008.'
Deborah Lowe 'On Bridge 30a' £950 (panel on display)
Painted, silver stained and leaded antique glass. 'Sometimes all you need is rain, Fizz Bomb trees in the spring and a yellow umbrella.'
Painted, silver stained and leaded antique glass. 'Sometimes all you need is rain, Fizz Bomb trees in the spring and a yellow umbrella.'
Grace Ayson 'I Am' £780 (panel on display)
Acid etched blue flash glass, hand painted, silver stained, kiln fired and plated. "William Morris’ poem ‘Day’ focuses on the duality of life and death and reflects the Victorian era’s fascination with mortality and the passage of time. The words of the poem are set within a backdrop of the acanthus leaf, often used in William Morris’s decorative designs, and a symbol of immortality and enduring life."
Acid etched blue flash glass, hand painted, silver stained, kiln fired and plated. "William Morris’ poem ‘Day’ focuses on the duality of life and death and reflects the Victorian era’s fascination with mortality and the passage of time. The words of the poem are set within a backdrop of the acanthus leaf, often used in William Morris’s decorative designs, and a symbol of immortality and enduring life."
Claire Orme 'Underwater Acanthus' £1,250 (panel on display)
Tatra glass, fish eye lenses, painted and leaded. "Inspired by one of Morris’s most iconic patterns ‘Acanthus’, this design reconsiders the layering, curves and scrolling foliage - and takes it underwater. Morris foresaw the catastrophic effects of industrialisation, and would very likely be outraged by the devastation caused by oceanbound raw sewage and agricultural run-off."
Tatra glass, fish eye lenses, painted and leaded. "Inspired by one of Morris’s most iconic patterns ‘Acanthus’, this design reconsiders the layering, curves and scrolling foliage - and takes it underwater. Morris foresaw the catastrophic effects of industrialisation, and would very likely be outraged by the devastation caused by oceanbound raw sewage and agricultural run-off."
Nicola Kantorowicz 'Water’s Edge' £1,200 (panel on display)
Antique glass, acid etched, painted and leaded. "In the water meadows at Kelmscott, the Agagallis Arvensis still grows. A small orange wildflower, now endangered due to the overuse of pesticides. A circle representing the globe is intersected by the curve of the water's edge, symbolising the Thames and reminiscent of the flowing lines found in many of Morris’s patterns. Seed heads and wild grasses drift across the landscape."
Antique glass, acid etched, painted and leaded. "In the water meadows at Kelmscott, the Agagallis Arvensis still grows. A small orange wildflower, now endangered due to the overuse of pesticides. A circle representing the globe is intersected by the curve of the water's edge, symbolising the Thames and reminiscent of the flowing lines found in many of Morris’s patterns. Seed heads and wild grasses drift across the landscape."
Rachel Phillips 'The Guardian' £2,000 (panel on display)
Painted, stained and enamelled stained glass. "Inspired by May Morris' embroidery. It celebrates women in the Arts & Crafts movement and the symbolic nature of the 'gardener' and 'warrior' as nurturer and protector to cherish creativity, the natural world or an individual's independence and self-determination."
Painted, stained and enamelled stained glass. "Inspired by May Morris' embroidery. It celebrates women in the Arts & Crafts movement and the symbolic nature of the 'gardener' and 'warrior' as nurturer and protector to cherish creativity, the natural world or an individual's independence and self-determination."
Debbie Copley 'Goldfinch and Blue Teasels' £550 (panel on display)
Kiln fired paints and silver stain on Lamberts, Oceanside and float glass. "I was inspired by notes made during the Morris Lecture… ‘that he was a noisy energetic, untidy man who wanted to make the world more beautiful’… and I wrote the word DISRUPTOR which I loved. And so, I made this panel from a tapestry of my hand painted glass samples, using lead as a graphic element and that Lamberts blue to disrupt."
Kiln fired paints and silver stain on Lamberts, Oceanside and float glass. "I was inspired by notes made during the Morris Lecture… ‘that he was a noisy energetic, untidy man who wanted to make the world more beautiful’… and I wrote the word DISRUPTOR which I loved. And so, I made this panel from a tapestry of my hand painted glass samples, using lead as a graphic element and that Lamberts blue to disrupt."
Glenn Carter 'Orchard' £1,050 (panel on display)
Antique hand blown and flashed glass. Silverstain and leaded. "Eluding to the Morris imagery of the fruit of the trees. This panel, depicting the apple tree, is full of fruit and bursting with expressionistic autumnal colour."
Antique hand blown and flashed glass. Silverstain and leaded. "Eluding to the Morris imagery of the fruit of the trees. This panel, depicting the apple tree, is full of fruit and bursting with expressionistic autumnal colour."
Kate Henderson 'The Offering' £600 (panel on display)
Painted and stained antique glass. "The hands symbolise and pay tribute to the skill of the craftsperson, they protect the stylized architecture which represents Morris’s work in establishing the Society for the Protection of Ancient Buildings which is still going strong today. The phrase “Not on one strand are all life’s Jewels strung” is penned by Morris and I feel so relevant in current society."
Painted and stained antique glass. "The hands symbolise and pay tribute to the skill of the craftsperson, they protect the stylized architecture which represents Morris’s work in establishing the Society for the Protection of Ancient Buildings which is still going strong today. The phrase “Not on one strand are all life’s Jewels strung” is penned by Morris and I feel so relevant in current society."
Hannah Ramsay 'Spring' £500 (panel on display)
Lamberts glass, hand-painted and silver stained. "This piece takes inspiration from Morris’s botanical designs and organic shapes, with leaves and flowers tightly woven together. I have taken a more unconstructed and free approach using colours drawn from nature. The yellows and rusty oranges, created by layering silver stain on pale yellow glass, are offset from the paint to give a lino-cut effect."
Lamberts glass, hand-painted and silver stained. "This piece takes inspiration from Morris’s botanical designs and organic shapes, with leaves and flowers tightly woven together. I have taken a more unconstructed and free approach using colours drawn from nature. The yellows and rusty oranges, created by layering silver stain on pale yellow glass, are offset from the paint to give a lino-cut effect."
Alisoun Howie 'Coral Garden' £1,200 (panel on display)
Antique glass, painted and leaded. "Morris' words 'Three qualities: beauty, imagination and order' seem as good a starting point for inspiration today as when he wrote them. Engage the eye and allow associations to follow."
Antique glass, painted and leaded. "Morris' words 'Three qualities: beauty, imagination and order' seem as good a starting point for inspiration today as when he wrote them. Engage the eye and allow associations to follow."
Julia Gonyou 'Nature Unsettled' £2,200 (panel on display)
Etched mouth-blown glass. "Troubled by the Industrial Revolution; visionary artist and environmentalist William Morris, sought to reconnect the general public with nature through his art and craft. Today we are at similar crossroads, with the choice to either steward our natural environment or completely destroy it and ourselves. I wanted to capture the same wonder of nature, but not without acknowledging our shortfalls."
Etched mouth-blown glass. "Troubled by the Industrial Revolution; visionary artist and environmentalist William Morris, sought to reconnect the general public with nature through his art and craft. Today we are at similar crossroads, with the choice to either steward our natural environment or completely destroy it and ourselves. I wanted to capture the same wonder of nature, but not without acknowledging our shortfalls."
Natasha Redina 'Tree of Life' £750 (panel on display)
Lamberts blue flash, selenium orange flash, English antique streaky & Norman slabs. Hand drawn, painted, sand carved, etched, leaded and copper foiled. "Weaving together a pattern from the Great Mosque in Isfahan with a William Morris design. Within the arch we see a tree inspired by Morris’s tree of life tapestry with a Hoopoe bird (from the Conference of the Birds) in the branches and a river below as a nod to the Thames, in News from Nowhere. The small inner column is inspired from a medieval book of hours."
Lamberts blue flash, selenium orange flash, English antique streaky & Norman slabs. Hand drawn, painted, sand carved, etched, leaded and copper foiled. "Weaving together a pattern from the Great Mosque in Isfahan with a William Morris design. Within the arch we see a tree inspired by Morris’s tree of life tapestry with a Hoopoe bird (from the Conference of the Birds) in the branches and a river below as a nod to the Thames, in News from Nowhere. The small inner column is inspired from a medieval book of hours."
Rebecca Bingham ‘Verdant Legacy’ £850 (panel on display)
Traditionally painted and leaded glass. “My aim for this panel was to depict the ‘artist manifesting design’. A moment though sometimes fleeting, often navigates an entire project of work. Inspired by candid photos taken of Morris relaxing with friends and one of his most recognisable flora prints.”
Traditionally painted and leaded glass. “My aim for this panel was to depict the ‘artist manifesting design’. A moment though sometimes fleeting, often navigates an entire project of work. Inspired by candid photos taken of Morris relaxing with friends and one of his most recognisable flora prints.”
Zoe Angle 'Steps Forward' £850 (panel on display)
Glass paint, printed and fired onto glass. Leaded panel. "While researching William Morris I discovered Joyce Clissord and Footprints workshop, a community of female artists founded on Arts and Crafts principles in the 1920’s. They worked in Hammersmith, creating textiles using hand block printing. This piece uses positive and negative block printing in glass paint, exploring repeat patterns. The glass colours reference dyes found on the pages of the Footprints recipe book."
Glass paint, printed and fired onto glass. Leaded panel. "While researching William Morris I discovered Joyce Clissord and Footprints workshop, a community of female artists founded on Arts and Crafts principles in the 1920’s. They worked in Hammersmith, creating textiles using hand block printing. This piece uses positive and negative block printing in glass paint, exploring repeat patterns. The glass colours reference dyes found on the pages of the Footprints recipe book."
Steve Clare 'The Strawberry Thief' £2,750 (panel on display)
Antique and slab glass painted and fired including blue enamel. "I’ve had a fabulous ruby slab that I thought looked like a magical strawberry for more than 30 years. I’ve had a superb green slab that I couldn’t bear to cut for a similar time. I had a small amount of lovely but obsolete transparent blue enamel. I loved the accounts of Morris having permanently blue- stained hands from obsessive experimentation with Indigo. All these things came together. The image can simply be seen as a colour study, or other things may be read into it."
Antique and slab glass painted and fired including blue enamel. "I’ve had a fabulous ruby slab that I thought looked like a magical strawberry for more than 30 years. I’ve had a superb green slab that I couldn’t bear to cut for a similar time. I had a small amount of lovely but obsolete transparent blue enamel. I loved the accounts of Morris having permanently blue- stained hands from obsessive experimentation with Indigo. All these things came together. The image can simply be seen as a colour study, or other things may be read into it."
Veronica Smith 'Occupation' £1,400 (panel on display)
Painted, stained and leaded panel, made using English Antique and Lamberts mouth-blown glass. "This panel pays tribute to William Morris as a maker. It is inspired by Morris' belief in human occupations and his wide range of talents. I was always struck by Morris' fascination with, and obsessive attention to the processes of the creation of the various crafts he and Morris & Co. produced. A small selection of occupations are represented, set within an organic form denoted by the lead line. All have been represented by nature and wildlife, sometimes with a humorous twist. Representing these jobs with processes in nature and wildlife is something which I hope Morris would have appreciated!"
Painted, stained and leaded panel, made using English Antique and Lamberts mouth-blown glass. "This panel pays tribute to William Morris as a maker. It is inspired by Morris' belief in human occupations and his wide range of talents. I was always struck by Morris' fascination with, and obsessive attention to the processes of the creation of the various crafts he and Morris & Co. produced. A small selection of occupations are represented, set within an organic form denoted by the lead line. All have been represented by nature and wildlife, sometimes with a humorous twist. Representing these jobs with processes in nature and wildlife is something which I hope Morris would have appreciated!"