Issue Number 45 Spring 2 01 5

Bill is a vice president of the Friends of Durham Cathedral (chairman 200 3-12) and a The new team steps out fellow and college tutor of St. Chad’s College at Durham University. His general interests are singing (church choir and Newcastle Bach Choir), art, antiques, architecture, music, railways (real and model) and travel. His sporting interests are rugby and golf. He is already enjoying his role as a Steward and, needless to say, he is looking forward in particular to the first ever Master Glazier’s visit to Durham.

Reserve Steward and Prospective Master’s Steward for the next year NIGEL REES was commissioned into the Army in 1973 and served for 17 years leaving with the rank of major. The last 10 years of his service, he specialised in ammunition and explosives and bomb disposal. On leaving the Army, he worked for a small plumbing and heating trade association for a couple of years, and then had a further couple of The Installation Court Dinner held at Glaziers’ Hall in November with its traditional Scottish orientation. years with the Confederation of British Apart from the piper accompanying the haggis, the Master addressed the haggis in the words of Industry. Robert Burns, while the Chaplain reflected all this in his grace. Above are the Stewards and Wardens Nigel joined the Glass and Glazing making their debut for their terms of office as follows, left to right: Steward Giles Willson, Steward Federation in October 1995, initially as the Elaine Burns, Upper Warden Duncan Gee, Master Alex Galloway, Renter Warden Alderman Sir David national secretary, then deputy director and Wootton, Master’s Steward Pauline Dunn, and Steward Bill Apedaile. he took over as chief executive in 2001. As the group of companies grew, he ultimately Introducing the new Stewards Language church interpreter for deaf became group chief executive. people and currently works within the Although the craft trade is only Steward ELAINE BURNS was educated in Sheffield Diocese. represented by a very small percentage of the St. Andrews and commissioned into the As Master’s Steward this year, she would GGF's membership, Nigel thinks it is vitally Royal Air Force, serving in various like to acquire a greater understanding and important to maintain a close linkage between locations including NATO headquarters in knowledge of the Glaziers’ Company, its the Glaziers’ Company and the flat glass Germany, retiring on marriage as a flight various committees and unique practices at industry. This is certainly the area of his lieutenant. Following marriage to John and social events. She would also like to make a interest during his term of office as the future the birth of two sons, she studied law and meaningful contribution to the Company and Master’s Steward. He hopes to build on the joined the legal team of Motorola Ltd. hopefully put more names to faces! linkage between the two organisations and After retirement as senior counsel, Elaine She enjoys walking in the dales, cycling, seek new members for the Company from his acted as a consultant to Transparency theatre and film. membership. It is a role he is thoroughly International, a charity which fights bribery looking forward to. I and corruption around the world, specifically to develop business principles for small and Steward BILL APEDAILE , apart from 13 years medium sized enterprises. Elaine now serves abroad in the US and Brussels, has always as a working friend and guide in St. Paul’s lived in the North East of England. He was Cathedral and as grandmother to three married to Mary for nearly 45 years until granddaughters and one grandson. she died in 2001. After serving articles with a consulting engineer, National Service (Royal Air Force) and various design jobs, Master’s Steward PAULINE DUNN , during he spent the last 30 years of his career her career in business administration, also with Procter & Gamble. His major worked as a voluntary advocate for deaf responsibility was essentially the design of people in the Sheffield/Doncaster deaf factory buildings in the UK, US and across If you thought stained glass could have communities. Some 15 years ago, which Western Europe, finally retiring in 1996 absolutely nothing to do with American was when her interest in stained glass after designing a new company , then you are wrong. See inside. began, she became a British Sign headquarters at Brooklands in Surrey.

The Glazier • Spring 2015 Page 1 Babes in the Wood or was it? Stained glass debuts for American basketball

SUZANNE GALLOWAY interviews American artist Victor Solomon who learnt how to make stained glass and then related his work to the world of basketball, which isn’t so far- fetched as it might seem.

In the second of an occasional series exploring ways in which artists established in other media have used stained glass A rollicking performance of Babes in the Wood in the Brick Lane Music Hall was met by greatly skills to realise their ideas, we talk to appreciative applause from an audience largely of Glaziers. Victor Solomon, California-based film PHILIP BROADLEY reports: If it were not the Wood or Cinderella, and I doubt any of the maker, multi-media artist and video jockey. for my wife Gillian’s enthusiasm for, and cast knew better. The script, with which they Last summer, Victor secretly apprenticed interest in, the work of the Victorian had varying degrees of familiarity, seemed at himself to a San Francisco stained glass architect Samuel Teulon, a champion of best an approximate guide to the running order. maker, cutting and soldering for several the Gothic Revival style, I would not have What we did see, having first enjoyed an months. The novice was intent on becoming found myself accompanying her to a excellent dinner, was a rollicking performance skilled enough to bring a passing vision to location far beyond Canary Wharf on a in the variety tradition with a dozen or so fruition with his own hands. The result was Friday evening in January. performers on a tiny stage, heartily indulging in Literally Balling . St. Mark’s Church, Silvertown, one of his singing, dancing, slapstick and bawdy humour. “It started as off an offhanded joke,” designs from the 1860s, is now the home of I have not laughed so much for a long time Victor explains, “a play on the word ‘glass’ the Brick Lane Music Hall, a paradox I shall but, as is typical of such shows, I could not tell in basketball terminology.” not try to explain. Vincent Hayes MBE and a you why in the cold light of day. Mr Hayes’s Sporting jargon regular troupe of energetic enthusiasts for the marketing is clearly effective: the full house Music Hall age perform unashamedly included two Ward clubs and the Constructors’ Understanding a little bit of US sporting traditional shows there all year round. The Company but, to coin a phrase, “chiefly jargon, and the place of basketball in US Master’s novel idea was that a company of ourselves”! culture, is to an appreciation of the Glaziers, some 19 strong, should enjoy the Alex and Suzanne are to be congratulated concept behind Literally Balling . “Using the annual pantomime, Babes in the Wood. on beginning their social programme with a glass” means scoring by bouncing the ball Frankly, I have no idea if we saw Babes in bang. I against the into the basket. Traditionally, backboards for professional and college games are made of toughened glass so as not to obstruct the spectators’ view. “Shattering the backboard” became an Installation Dinner grace elite tradition started by professional basketball players in the late 1970s. The The Honorary Chaplain Revd CHRISTOPHER KEVILL-DAVIES offered Harlem Globetrotters hold the world record grace for the Installation Dinner at “this St. Andrew’s tide” as follows: for shattering backboards. The tradition peaked in the 1990s with superstars like There’s a country north of England that tonight provides our theme . And it’s given us some saints whom we can hold in high esteem; Literally Balling comprises a series of There’s Columba of Iona, and there’s Margaret their Queen sculptures representing ostensibly And there’s Ninian and Kessog, and St. Andrew who has been functioning but wholly impractical stained glass basketball backboards ornamented Their patron saint who has his day when every Scotsman yearns with “nets” woven from gold chains and For the bagpipes and the Haggis and the verse of Robert Burns. chandelier strands, gold-plated rims, and But remember it was Andrew who brought Peter to the Lord sheathed in jewel-toned lizard And pray we too may listen, as those brothers, to his word. and ostrich skins. We see the Scottish saints in glass, each image is a sign Philosophical convergence To make us look beyond the glass and see the light divine. Victor rejected the idea of asking another For we think tonight of Scotland, where the pipes skirl, shrill and clear, glass artist make the work from his designs. Of Walter Scott and highland games, and Whisky, grouse and deer. “Where’s the fun in just hiring the work out? I really enjoyed learning a new craft and And are thankful for the heritage which we enjoy tonight having the experience of gaining a new skill .” And ask our God to bless us, and as Glaziers, give us light. He says that the more he applied himself to working with stained glass, “the more I found

Page 2 The Glazier • Spring 2015 a convergence of philosophy between this game and this craft: both require exquisite precision in execution and devotion. The sculptures evoke the pop catharsis of backboard shattering, the dazzling rain of glass that caps off only the most forceful slam dunks!” The sculptures, he believes, “celebrate the pomp of unbridled athleticism: altars to the church of basketball, sacred in their own right yet archly courting the very spectacle of desecration that inspired them.” Victor Solomon is part of the Los Angeles Art Collective (LAAC), working at the Big Arts Lab in Downtown, Los Angeles. After graduating from California State University in digital and fine arts, he specialised in video projection-based projects in live events around the world. He’s a member of Visual Symphony , a team of video artists who created live imagery for the Inaugural Ball for President Obama in 2009. The LAAC is a collective that represents the intricacy One of the sculptures in the Literally Balling series from Victor Solomon – literally “using the glass ”, and diversity of the Los Angeles culture. an American basketball term. http://www.laartcollective.com/ I

neighbours and the walking is “tremendous ”. of Southwark’s oldest charity, United Some of our Both couldn’t resist the friendly welcome they St. Saviours – and was introduced to the new Liverymen company by Philip Sturrock who chaired the As always, it is a pleasure to welcome new Liverymen, having served their time as Freemen. Here are brief details about some of them and why they wanted to become Liverymen.

NIGEL BULPITT was originally a chartered accountant with Price Waterhouse, worked Vivienne Lester – formerly a specialist dentist. Tim McNally – currently chief executive of a in the computer industry, then brewing and, computer consultancy. lastly, the tobacco industry – eventually met at the Glaziers; the solemnity of the becoming director of strategic planning at traditions; the charitable functions and the charity. Tim’s love of cathedrals – their Gallaher, with responsibility for retail wonderful social programme. stained glass and their organs – is what particularly attracted him to the Company. THOMAS BRENNAN was born and brought up in Hampshire and educated at Cardiff DAVID WILSON is a native of County University. He is a chartered marketer, Durham and he is sure that the city with its previously working in banking and insurance, cathedral, castle and unique geographical but today is a global marketing director for features will not disappoint attendees of the Master’s Visit. After graduating from Manchester University he joined the energy industry and worked in a wide variety of roles in both the UK and overseas for over 25 years Nigel Bulpitt – former company secretary. companies such as the opticians Dollond & Aitchison and the newsagents Forbuoys, and finally company secretary of Gallaher Group Plc. He retired in 2002 but remains chairman of the board of trustees for pension schemes. Thomas Brennan – currently a global marketing His ancestor was Master of the Clothworkers director. Company in 1707. Nigel was attracted by the friendliness of the Company and fascinated Unilever. His main hobbies are sailing David Wilson – formerly in the energy business. by the art and craft of stained glass. (preferably offshore racing), cycling, rugby, reading and the theatre. John Dallimore before establishing his own consultancy VIVIENNE LESTER was a specialist invited him to one of the Court Dinners and business in 2000. Almost three years ago he periodontist in the dental practices in then it all happened. decided to retire and has become involved Hertfordshire owned in partnership with with the boards of a number of charitable her husband David, and taught TIM McNALLY has worked in IT since organisations based in Bedford. After a Court undergraduates at Guys Dental School for graduating in the mid 1980s. He is chief dinner, a subsequent comprehensive briefing many years until retirement five years ago. executive of a computer consultancy which on all that the Company does in support of They down-sized to the South Downs assists charities and other non profit the arts and also its charitable activities National Park where sheep are their organisations with their IT. He is vice chair motivated him to join. I

The Glazier • Spring 2015 Page 3 The important role of glass and artistry in a hospital environment

CAROLINE BARNES , hospital arts coordinator at Yeovil District Hospital , describes how two artists, Sasha Ward and Fabrizia Bazzo, have used their creativity to enhance the care experience of patients.

Yeovil District Hospital has enjoyed a stable and successful history – trusted and respected by our patients, staff and commissioners, and well-rated by the Care Quality Commission and Monitor. We have been repeatedly rated as one of the top 10 healthcare employers in the country, a leading light in global stroke research and development, and have attracted national interest in our iCARE model, which has established the principles of exemplary patient care experience within our hospital. A significant part of the care experience is concerned with our environment – how the hospital looks and feels, from the pictures on the walls to the lighting, signage and outdoor spaces. Opened in 1973 the hospital is configured around a 10-story tower with later additions of connected wings and units. Highly recognised It is now highly recognised that art, colour and design can play an important role in supporting patient recovery in hospitals and Oncology closed, by Sasha Ward. other healthcare settings. They can act as a distraction when you are undergoing long For the past ten years the hospital has arts strategy is to support local and regional procedures or provide something to occupy employed a part time art coordinator to work talent through the commissioning of new site- your mind when you are feeling anxious. across teams and departments. The brief is specific artworks. Strategically placed artworks can support diverse and exciting from running a temporary Glass has been a particularly strong orientation around complex buildings or exhibition programme to liaising with project element of our commissioning programme. reconnect people with the outside teams and architects on capital developments. In any medical setting – be that a ward or environment through landscapes and consulting room, wall space is often limited photography. A bright, interesting and well- Talented artists with equipment, washbasins and signage cared for building also plays an important part Based in South Somerset, Yeovil has a obviously taking priority. in maintaining staff morale and welcoming wealth of talented artists, craftspeople and families and other visitors to the hospital. designers to collaborate with and part of our “A bright, interesting and well-cared for building also plays an important part in maintaining staff morale and welcoming families and other visitors to the hospital .”

This often leaves very limited wall space for pictures or artworks beyond larger public areas such as corridors. Windows and other glazed areas offer potentially unrestricted surfaces to site artworks in patient rooms, wards or other clinical spaces. In our Oncology Department patients are often sitting for long periods of time receiving their treatment. With limited space nurses are monitoring several patients at one time with treatment spaces that need to respect patient privacy but also enable staff to quickly see Yeovil District Hospital – Oncology screen open, by Sasha Ward. across the clinical area.

Page 4 The Glazier • Spring 2015 on specially prepared paper for transfer to glass) that adheres to the interior of the windows and is relatively inexpensive to produce and fit. The investment in this case was in the design that met a very sensitive brief. Staff and patients welcome the warmth and brightness as part of what can be a difficult stay in the unit. “Good quality design that is both beautiful and functional is important in areas where patients are at their most vulnerable .”

Good quality design that is both beautiful and functional is important in areas where patients are at their most vulnerable. In the case of a new ward we were able to use etched glass to decorate but also define clinical and office areas. Dementia patients often find differentiating between spaces, colours and materials challenging. A clear glass door can present a genuine hazard whilst providing a very necessary sight line for staff. As a hospital built in the 1970s the present chapel space largely catered for a Christian community, but it now responds to the needs of all and no faiths. It is a beautiful space that acts as a quiet reflective space. The commissioning of “The River” by Fabrizia Bazzo for the chapel in 2009 aimed Detail from “The River” by Fabrizia Bazzo in the Yeovil District Hospital chapel. to visually embrace and celebrate all faiths and none. Through a complex process of acid Using existing glazed partitions, artist a local charity, the Snowdrop Group. In etching and painted flashed antique glass Sasha Ward produced for us a clever design designing the space staff were mindful of the laminated on toughened float glass, the panel that is transferred onto the double-sided sensitivity needed for parents and wanted to stands a few centimeters proud of an existing units. The design works equally well with the subtly incorporate the snowdrop motif, but at panel. screen either opened or closed. The designs the same time ensure that women having a The panel was commissioned to reflect are part of a wider brief to commission healthy delivery were not drawn to the motif. the important themes in spiritual care through flooring, textiles and wallpaper designs with the metaphor of a river flowing from source to a coastal theme for the department. Strong design sea through a variety of landscapes – Each year 1,600 babies are born in the Working with Sasha Ward we were able to peaceful valleys, dangerous contours, arid Maternity Unit and the current labour suites commission a strong design that works for tracts above subterranean streams. It speaks have just finished a major refurbishment with both patient groups. Graduating from intense to visitors who may come to the chapel in 9 individual rooms being completely lime to a powdery blue the six windows form hope, gratitude, fear or sadness. refreshed. The unit is themed and each room a graduated freeze across the length of the is named after wild flowers. room. In bright conditions the sun filters Numerous scripts One very special room is used for families through the colour and pattern to form a very Fabrizia responded to wording in who have unfortunately lost a baby and part soft glow that radiates into the whole room. numerous scriptures including Hebrew L of the refurbishment has been supported by The design is a high quality decal (picture scriptures, where the prophet Ezekiel

Glazing between the Lydford Ward and office spaces by Sasha Ward.

The Glazier • Spring 2015 Page 5 Detail from one of the labour rooms, Maternity and Women’s Health Unit, by Sasha Ward featuring the snowdrop motif.

Designs for labour rooms by Sasha Ward. speaks of the water flowing from the temple, the water of life and the Noble Quran speaks where we want to create a space that can where the leaves of the trees on the river of the creation of animals and man from water. comfort, stimulate and nurture some of the bank bring healing. In the Christian scriptures, Moving forward the hospital is now youngest patients we look after – decorative the Book of Revelation speaks of the river of fundraising for the Special Care Baby Unit glazing will be a key feature of our designs! I

A dinner with the First Sea Lord

To mark the beginning of what is hoped will be an enduring relationship with the Guild of Public Relations Practitioners, which has already been providing pro bono advice to the Livery for a while, David Stringer-Lamarre (left) and Duncan Gee were official guests of the Guild at its annual Homecoming Banquet in appreciation of members of the armed forces at Glaziers’ Hall, where the principal guest was Admiral Sir George Zambellas, the First Sea Lord. Duncan made a speech of welcome briefly describing the Company, while our own Clerk, Andrew Gordon-Lennox, appropriately ex-Navy, was on hand to help with the arrangements.

Page 6 The Glazier • Spring 2015 return. At the same time I always have a train of thought, expressed through sketchbook Making stained glass for patterns and drawings, that I want to weave into these site-specific designs. modern public buildings “I am in agreement with many people in thinking SASHA WARD explains her work, particularly how it continues to that a picture of a develop with hands on experimentation. landscape is better if it shows a particular place .” I can’t say exactly why I started saying to identify my particular strength to be painting I wanted to be a stained glass artist, but on glass to my own design in my own way. For example, the full height window “Dawn” partly it was because I thought it was an is an interpretation of that old favourite theme original choice of career. I selected the Unexpected delight of the sunburst, suggested to me by the title Central School of Art for my foundation I knew that my work would be influenced provided by the commissioning body. It is course because it had a stained glass by the places that it was commissioned for also based on an ink drawing from an earlier department and, of course, there I met and by the technical constraints of old and sketchbook of mine exploring blocks of lines people just as committed to the medium new buildings. But it was an unexpected and specks. as I was. delight to find how the people who used As I continued on my path through three these buildings were very interested in my Turning different art schools and into what proved to work and often wanted to get involved. It is one of my favourite pieces because it be my well-chosen career, I found glass The popularity of glass itself, the way that marked a technical turning point when, after enthusiasts everywhere. Some wanted to even the idea of stained glass draws people this commission, I decided that I wanted to make windows or investigate new glass in with its promise of pools of coloured light start making more of my work myself. I rebuilt techniques, some wanted to tell me about a made me remember the qualities – shiny, my studio and bought a large kiln that window they had seen and loved, and some hard, colourful and precise – that made glass allowed me to continue with experiments in wanted to commission work from me. so appealing to me in the first place. the use of enamel on glass and to realise the The whole process of going for It gave me a way to start a dialogue about handmade look I wanted to achieve. commissions (as opposed to making work to my public projects, with ideas enthusiastically I am in agreement with many people in show and sell) led me to analyse my work and received and opinions or suggestions given in thinking that a picture of a landscape is better if it shows a particular place. Like “Dawn ”, a “Sense of Place” may seem an obvious theme, but I have embraced subject matter that is all about the locality for many of my commissions. The screen that you can see being made in the photo of my studio is inspired by the chalk landscape of Maiden Castle in Dorset. “I have come to the conclusion that often it is my working methods, developed from playing with the properties of glass, that engage the public rather than the material itself .”

I have been drawing in the chalky South West for many years, but have struggled to find a way of turning my landscape sketches into a design that works for glass and evokes the characteristics of the area. In this work, I used some new techniques that I had just developed while restoring the enamelling on a window designed and made by Jan Juta in 1936 for the Bristol Airplane Company (now Airbus). Enamel applied There, the enamel was applied by spraying, and for this project it gave me the look I was searching for, where colours fade into each other and the land merges into the sky. I was particularly happy with the range of greens I achieved and with the balance between areas of transparency and opacity that makes the screen work from both sides. “Dawn ”, Maternity Department, Frimley Park Hospital, 1998. 2.4m x 1.8m – one of Sasha Ward’s When I return to work on larger factory L favourite pieces. made commissions, I feel my work has

The Glazier • Spring 2015 Page 7 Sasha Ward’s studio with work in progress for Dorset County Hospital, 2013 – inspired by the chalk landscape of Maiden Castle in Dorset. blossomed and loosened because of these It is an approach that I have taken into the hands on experiments. I like running the use of other materials to make features for Detail of corner window, Premier Inn, Hanover two working methods together, for example interiors including screens, wallpapers, floors Street, Liverpool, 2012. 80 sq.m total – just two using computer cut stencils in my studio and ceilings. printed enamels were layered to create textures work or rubbing paint on the factory panels I have come to the conclusion that often and tones. by hand. My panels for the Premier Inn in it is my working methods, developed from Liverpool used only two printed enamels, playing with the properties of glass, that Cotswold home. “Being” the artist in but these were layered to create textures engage the public rather than the material residence, engaging with thousands of and tones. itself. This view was reinforced by my members of the public and talking to them Trying things out just to see what experience last summer spent as artist in about art, craft and design, was as valuable happens has made my work interesting to do. residence at Kelmscott Manor, William Morris’ to me as the work I produced. I

remember them vividly; her passion is All about women – the Ladies infectious. Did you know that Emily Wilding Davidson’s purchase of a “return” railway ticket was made much of at her inquest as Lecture and Lunch showing that she had no intent to commit suicide? Go to the library, see that ticket and On Friday 6th March, with International archive will be open to everyone and this read Emily’s mother’s letters – personal Women’s Day fast approaching, how better chimes happily with the inclusive aspirations insights that bring her to life. to celebrate than by joining a gathering of of the Women’s Suffrage movement, records Mary Lowndes, co-founder of Lowndes women at Glaziers’ Hall to learn about the of which form a significant part (though far and Drury who established The Glass House Women’s Library for the Glaziers’ Ladies from all) of the collection. studio in 1906, also established the Artists’ Lecture and Lunch?, writes guest It says everything of Liz’s carefully Suffrage League. Liz showed us Mary AMANDA CLARKE. selected slides and anecdotes that I Lowndes’ designs for several banners made Our hostess, Suzanne Galloway, had for suffrage events; those designs and the enticed Elizabeth Chapman to speak. Liz has finished banners are part of the collection. recently overseen the acquisition by the Fascinating to see a stained glass artist’s London School of Economics and Political colour and design sense brought to vivid Science of the 38 truck loads of books, political effect. manuscripts, images and artefacts that make Katie Gliddon, imprisoned in Holloway as up the rich and wonderful collection known as were many suffragettes, took with her several the Women’s Library. pencils and an edition of Shelley’s works. That this is a renowned and valued We were shown images of pages from the collection is evidenced by the six other bids book covered with Gliddon’s diary notes. made to acquire it. Liz’s success in securing Her drawing of her cell is atmospheric but its future in the run up to her retirement as a glimpse of that Shelley made us curious to director of library services at the LSE is a read more. triumph. A fascinating hour was then perfected by How fitting that the collection should have generous hospitality. The Master offered us come to the LSE. Why so? In part, there is a fizz as a pre-prandial delight, before we historical coincidence. One of the images in floated into the magnificent River Room for a the collection is of a suffragette march beside Guest speaker at the Glaziers’ Ladies Lecture delicious lunch and convivial conversation – the railings of Clement’s Inn; those same and Lunch Liz Chapman (left), in 2014 welcoming tremendous! railings run beside the LSE library building today. former Irish President Mary Robinson at the A heartfelt “thank you” to our hostess, the More importantly, the LSE library’s opening of the Women’s Library at the LSE team at the Glaziers’ Company and Glaziers’ commitment to open access means that this Reading Room. Hall for a thoroughly enjoyable occasion. I

Page 8 The Glazier • Spring 2015 OBITUARY FOR PETER LONDON

Peter Stanford London, MBE, CStJ, FRCS. (1922 – 2015) “Father of the Company ”.

PAST MASTER ALFRED FISHER writes: He had a fascination for old post boxes, The unique title conferred on Peter in 2013 heraldry (for which I have cause to be grateful), when he was no longer able to attend the wild life, traction engines and of course Court and other Glaziers’ activities was a churches and stained glass. It is small demonstration of the very special esteem wonder that the family recall how a holiday in which he was held by all who knew him. journey to the West Country could take an At the time he had been a Liveryman for inordinately long time. He was a great family almost seventy years. His grandfather, man and adored by children and Sir Edgar Stanford London, was Master in grandchildren for whom his sense of fun and 1930 while his brother, Kenneth, was a very great humour were a constant delight. active member of the Livery and was Master in 1975. Peter’s reign in that Surprising twist position came in 1983 when his true Perhaps the most surprising twist was a character and personality became very return to involvement with railways. As a apparent for all to see. steam engine driver on the Leighton Buzzard Perhaps his appearance was slightly Railway in the late eighties I was one day Part-time steam engine railwayman Peter London – austere but this hid the greatest kindliness, presented with a list of those who would be to be honoured by a commemorative train with and modesty. He was initially working alongside me on the footplate. I lunch in June to which all Glaziers are invited. brought up in Chile where his father was noticed that a new recruit due to perform the building railways but he was not to follow an most menial duties was a certain Peter London , with lunch on a Saturday in June to which all engineering career and excelled instead in the causing me to comment that while I already Glaziers, family and friends are warmly medical world, training at St. Thomas’ Hospital. knew a certain man of the same name, it invited, and it is hoped that those who were He spent two years in the RAF on general couldn’t possibly be him. unable to attend the funeral will join in and medical duties and subsequently became However, at 0 7.00 one cold Sunday celebrate his life in a way he would approve. senior accident surgeon at the Birmingham morning my trainee fireman alias engine Details will be circulated nearer the time. Accident Hospital where for over twenty years cleaner appeared in the form of Past Master He was one of life’s great gentlemen he operated on serious casualties and saved London and was promptly delegated to clean who will be sadly missed. countless lives, much of his work involving out the firebox, the steam tubes and to polish victims of motorway accidents. Contemporaries the engine which he did with his traditional PAST MASTER PHILLIDA SHAW writes: who worked with him during this period speak fastidiousness. His usual immaculate I first encountered Peter London and his of the huge respect in which he was held. appearance had been exchanged for a boiler older brother Ken in 1981, a few years after suit, orange safety jacket, and a pork pie hat the Company had acquired and refurbished Precarious position with the front brim turned up. the building that became Glaziers’ Hall. In 1951 he was awarded the MBE In this guise, never without the hat, he I was engaged as a researcher to advise following his actions when a tank broke loose worked for a few years in his late sixties and the Glaziers’ Company on how it could from its moorings on a vehicle and ended up early seventies with obvious complete improve its knowledge of the craft of stained in precarious position, trapping and injuring a enjoyment, out the most humdrum glass and become a better patron. This man beneath it. In spite of the risk, Peter duties with glee, including holding up the involved 18 months of research, attending crept under it to attend to the victim for a traffic with a red flag at the many road Craft and Competitions Committee meetings perilous 45 minutes, though fully aware that it crossings. Inevitably when my own year as and interviewing senior members of the could fall further and crush them at any minute. Master occurred, we were able to run a Company as well as craftspeople at all stages He was fastidious in everything he special train for Liverymen and guests with of their careers. tackled and his impeccable appearance the engine crew provided by the Glaziers in Ken London was particularly active in reflected this trait. Fastidiousness was also the form of Master and Past Master complete promoting the craft within the Livery during evident at meetings of the Court where his with chains of office, an occasion the 1980s, and it was only gradually that I habit of finding corrections to grammar and remembered with great fondness by the 50 or realised that the quiet and somewhat severe spelling in the previous minutes became a so liverymen and guests who participated. looking person who was always listening as source of expectation and amusement. Past As a final tribute, the Leighton Buzzard discussions unfolded and plans developed Master Michael Broadway, during whose Railway will stage a commemorative train was Ken’s brother, Peter London. tenure as Master in 2013 his title of “Father of the Company” was conferred, tells of his own Insightful observations nervousness when confronted by Peter when This is how Peter remained for the next he was made a Freeman but was soon put at 30 years: always quietly in attendance at ease by his charm and graciousness. every meeting, ready with an insightful He remembers that his sense of humour observation or witty remark when called was razor sharp, and while seated next to upon. But more than that, when there was Peter at a dinner Michael mentioned that he practical work to be done, such as carrying had cycled to the event. Peter immediately panels at the Stevens Competition judging, asked if he “wore evening dress bicycle clips – Peter would be striding back and forth, diamante perhaps ”. On another occasion they helping the regular workforce effectively and discussed the correct manner of wearing without fuss. spats, i.e. whether the buttons should be on Peter was secretary of the London the inside or outside but without coming to a Stained Glass Repository for many years, and conclusion. A day later a letter arrived citing could regularly be found in the basement at Shepard’s drawing of “Owl” in “Winnie-the- Past Master Peter London – his MBE was for an Glaziers’ Hall, showing panels to prospective L Pooh ”, clearly showing the buttons on the inside. act of courage. recipients, or quietly and methodically

The Glazier • Spring 2015 Page 9 recording new acquisitions and keeping of the craft itself, but also his expertise in meetings if I simply failed to appear. I knew detailed records. heraldry, history and ceremonial. In company I could rely on his sympathy and respect, as Peter’s interest in stained glass did not he had a wealth of amusing anecdotes, did all those in the Glaziers’ Company who stop with Glaziers’ events; he was frequently together with comprehensive knowledge of knew him. in attendance at events and weekends of the Alice in Wonderland, Winnie the Pooh and When I became Master in 2004, Peter BSMGP. He was well known at the Art various doggerels which he would recite with wrote to me of his great hopes for me as the Workers’ Guild helping dispense glasses of aplomb in the most serious of circles! Company’s first Lady Master. I was wine, always with a bon mot to the many Peter became a good friend and adviser privileged that this kind and modest man craftspeople who knew him. to me, always wise and caring. At a expressed a wish to give me his Past To engage Peter in conversation was to particularly difficult time in my life, it was Master’s badge on his retirement from the find not only his enthusiasm and knowledge Peter whom I asked to give my apologies to Court. I wear it with pride. I Outstanding success of Mansion House Banquet

The Worshipful Company of Glaziers’ Annual Banquet at the Mansion House was an outstanding success, mainly because of the warm, almost family, atmosphere, reports RICHARD BLAUSTEN. The principal guest was the Lord Mayor, Alderman Alan Yarrow, a Glazier himself. While indeed it was the Livery entertaining him in his own home, the way he committed himself to the occasion throughout with informality and friendliness, it appeared as if he were actually the host! Baroness Greenfield escorted into the Company’s annual banquet at the Mansion House by the Upper Warden Duncan Gee, in proposing Master’s Lady, Susanne Galloway, with Barbara Gee (left background) and the Honorary Chaplain the Civic Toast, made reference to one of Revd Christopher Kevill-Davies (centre background). Alan Yarrow's early predecessors as Lord Mayor who slew Wat Tyler. That kind of of the need to give time, and of a culture of (some 70) were from the London branch of hospitality was definitely not on the agenda, supporting people and volunteering. the Oxford University Society of which our Duncan mentioning the current Lord Mayor’s Adding to the friendliness of the occasion Master, Alex Galloway, is the president. Their promotion of the need for social responsibility, was the fact that so many of the guests presence was an element of the Livery's outreach programme currently being directed by the Master’s Lady, Suzanne Galloway. Mansion House grace Without doubt, the intellectual tone of the various conversations taking place at the The Honorary Chaplain Revd CHRISTOPHER KEVILL-DAVIES gave pre-dinner reception and over dinner itself the following grace at the Glaziers’ Mansion House Banquet, was considerably raised by the Oxford having first welcomed members of the Guild of Public Relations contingent. The distinguished former diplomat Sir Harold Walker dispensing his Practitioners and members of the London Branch of the Oxford wisdom to his neighbours on the top table University Society: was a case in point. There was also a smaller contingent from Praise God indeed! As Glaziers here we give our thanks tonight, the Guild of Public Relations Practitioners, For food, for wine, for company, for colour, glass and light. while other top table guests included Ian Watson, the Master of the Merchant We welcome here Practitioners – all experts in PR Company of Edinburgh; David Miller, Master And fill this great Egyptian Hall with people from afar, of the Merchant Taylors of York; Tony Wilson, Master of the Scientific Instrument Makers From Oxford where the sciences and arts can both reside, (and appropriately professor of engineering Where Isis and the Cherwell flow with green fields either side, science at the University of Oxford). Master Alex Galloway's introduction of Where intellects from Broad and High research in depth to find the principal guest, Baroness Greenfield – The subtleties and nuances that make the human mind. senior research fellow at Lincoln College, Oxford, and a very prominent neuroscientist, We thank our God for all our brains, our trades, our craft, our art writer and broadcaster – drew attention to And offer humble thanks tonight for what is à la carte. her additional background, and continued interest, in the classics, psychology and

Page 10 The Glazier • Spring 2015 philosophy. This prepared the Mansion House being environmental. One’s environment is a permanent and which tells a story. “Having audience for how she placed the importance very important factor in shaping who you are. time to reflect on the human condition is very of stained glass. Very important in an age when people can important and is something which is captured spend much of their lives in front of a screen in stained glass,” said the baroness. Environmental link without seeing another human being. The Glaziers departed the Mansion House Baroness Greenfield referred to what she Helping us with a desire to think, to feeling that one way or the other we had been saw clearly as the link between Oxford, dream, to be transported from reality – given something to think about, and at neuroscience and stained glass – that link stained glass is something which is perhaps a much higher level than before. I

Lots of new members’ benefits!

NEWS FROM THE MEMBERSHIP DEVELOPMENT AND SOCIAL COMMITTEE: The Company is delighted to offer Glaziers (and spouses and partners) the chance to join the Royal Over-Seas League (ROSL) at a reduced rate. You will pay a 25% reduced entry, or joining, fee and the requirement to have a proposer and seconder is waived. ROSL offers its members a prestigious clubhouse in St. James that includes areas for relaxation and to entertain guests, plus bedrooms for members’ use together with an attractive programme of arts events. ROSL also has a clubhouse in Edinburgh. For further information, please go to www.rosi.org.uk or contact our Clerk on 020 7403 6652 or at [email protected]. Vintners Hall, on Upper Thames Street, has a small number of bedrooms available for use by members of other livery companies, on a first come, first served basis. Prices start from £60 (+ VAT) per night. For more on availability and An important detail of the window in St. Michael’s Hospice, Herefordshire by Stevens Competition reservations, contact the Vintners’ Company’s winner Nicolette Bromhead. General Manager, Major Steve Marcham MBE at [email protected] or on 020 7651 0748. Hospice window reflects both Team London Bridge has offered members (and spouses and partners) of the Glaziers’ Company the chance to obtain its poem’s message and memorial role DealCard . This is usually only available to those living and working in the area) which will HELEN ARTHUR describes a Stevens Competition winner’s window enable you to take advantage of a number of dedicated to her late husband. discounts and offers around the London Bridge area. As well as discounts in local bars and restaurants, at the moment DealCard offers include a free glass of champagne with adult In 2012 the Glaziers’ Stevens competition The new In-Patient Unit has been “walk up” ticket purchases at The View from was to design a window for the proposed designed so that all rooms have views out to The Shard , 10% off Neal’s Yard remedies new In-Patient Unit at St. Michael’s the surrounding countryside and the building products in its store at Borough Market, and Hospice in Herefordshire. The dream of is linked by a two-storey glass and wooden a third off travel with MBNA Thames Clippers building new purpose built facilities at the walkway to the original hospice. The three- for river trips and commutes. hospice created a huge challenge for the metre window had to be designed so that it To take advantage of this offer, go to the management and trustees. Herefordshire could be seen from both sides and provide a DealCard subscriber page at is one of the UK’s smallest counties with focal point between the existing building and http://www.teamlondonbridge.co.uk/ less than 200,000 inhabitants. It costs over the new build. subscribe.aspx. Fill in your name and email £4 million a year for St. Michael’s Hospice There were some 40 entrants and each address. In the “About You” section insert to provide its services free of charge; of them visited the site and heard how “Member” under Job Title. Insert “Glaziers’ approximately 90% of which is raised by St. Michael’s was run, its philosophy and Company” under organisation; and provide the the hospice’s supporters. visions for the future. The commission was address 9 Montague Close, London SE1 9DD . St. Michael’s was founded 30 years ago awarded to Nicolette Bromhead, a student Remember to tick the box marked DealCard. and since then has become a caring focus for at Swansea Metropolitan University. Our Clerk will forward your DealCard onto you. the community. It seemed impossible to Glaziers’ Hall continues to offer an consider that the county would be able to Tranquil surroundings attractive discount on Hall hire to members of raise an additional £8.4 million to provide Nicolette said: “When I visited the the Company. For more information about rates modern facilities. hospice, I was struck by the calm and caring and availability for this versatile venue with the atmosphere and tranquil surroundings, so I “view over the Thames” for parties, corporate Amazing generosity thought the design needed to be peaceful. events or meetings, contact Glaziers’ Hall on Yet three years on thanks to the amazing I was inspired by the leaves on an acer tree in 020 7403 3300 or [email protected]. generosity of benefactors large and small the the grounds and I also chose to bring some Remember to mention you are a Glazier. dream has been realised, and at the end of gilding into the design to represent the golden Additionally, Glaziers’ Hall Ltd shareholders March the new unit will open its doors to thread of the community which binds the L could have an enhanced discount. patients, families and the wider community. hospice together.”

The Glazier • Spring 2015 Page 11 The window was particularly intricate and difficult to complete and fire as it is in one piece. Nicolette had to use the kiln at a specialist glass maker which involved transporting the glass from Swansea to Bristol and back – no mean feat. The trustees chose Nicolette’s design as they felt it met the brief, but when I looked at it the window struck a chord with me and I resolved to try and sponsor the window. My sisters-in-law agreed with me as they too thought it would be a fitting tribute to my husband Dick who died at St. Michael’s in 1996. We had all been impressed at the time by the care Dick had received and I have been involved ever since, fundraising in one way or another – including it won’t be a surprise to members of the Livery holding whisky tastings and dinners. Golden thread Dick was passionate about trees especially those in the garden of our home Putley Court. Dick talked about becoming a tree surgeon when he retired from the Army – or an antiquarian book seller. The idea of the golden thread appealed to me as it also seemed to follow the course of the River Wye and also represented the journey of life. There was also a real piece of serendipity. Nicolette chose the words of a verse of a poem called the Song of the Lotus Eaters by Tennyson to form an integral part of the window. What Nicolette didn’t know was that this poem appears in Dick’s much thumbed book of English Verse which was always by his bedside. Gillian, Susan and I are delighted with the window and understand the importance of the contribution made by the Worshipful Company of Glaziers’ Stevens Competition. Turquoise blue The window is a vivid translucent turquoise blue with clouded leaves crossing the golden thread which runs from top to bottom. Additionally there are leafy outlines of varying sizes which tumble across the length and breadth of the glass. In some instances the leaves are complete in others they are in skeleton form creating an intricate pattern when viewed from either side. The words of the poem are:

Lo! In the middle of the wood, The folded leaf is woo’d from out the bud,

With winds upon the branch, and there Grows green and broad, and takes no care,

Sun-steep’d at noon, and in the moon,

Nightly dew-fed, and turning yellow, Falls and floats adown the air.

The window was blessed on the 28th January 2015, prior to the opening of the new In-Patient Unit at the end of March. Dick’s sisters and his closest friends were there to see Father Michael Evans of St. Francis Xavier in Broad Street, Hereford. The words of Song of the Lotus Eaters by Tennyson on Nicolette Bromhead’s window dedicated to the He did the blessing as a great friend of Dick’s late Dick Arthur. and his Catholic Padre. I

Page 12 The Glazier • Spring 2015 The appearance of stained glass in the synagogue

Dr SHARMAN KADISH, director of Jewish Heritage UK , tells the story of synagogue stained glass.

Stained glass does not appear in the soon to be followed in many other places. synagogue, in England or continental A Jewish community was not re-established Europe, until the second half of the in England for more than 350 years, until 19th century. There is some evidence for Cromwell. the use of stained glass in the medieval The synagogues built in England after synagogue but it is only indirect, found in the so-called “Resettlement” of 1656 were Fig 2 , Magen David (“Star of David”), east window rabbinical responsa. In ca. 1200 Rabbi originally lit by natural light through large at Reading Synagogue (190 0-1), artist unidentified. Elyakim ben Joel of Mainz objected to round-headed windows filled with clear glass. Photo Michael Hesketh-Roberts © English Heritage. “images of lions and snakes in the “Good English glass” protected by iron windows” of the synagogue in Cologne in bars was specified in the original building Two windows in the gallery are dedicated the Rhineland, at the very heart of contract for Bevis Marks Synagogue, the to the memory of the young Hannah medieval Ashkenaz in Europe oldest synagogue in Britain, opened in 1701. Rothschild, Lady Rosebery, who died in 1890 [German/Yiddish speaking Jewry]. The windows at Bevis Marks look much the and was buried in an imposing tomb in His objection was based largely on the same today, although those behind the Ark Willesden Jewish Cemetery. Middle Street is grounds of a strict interpretation of the have a dark blue margin, a Victorian addition. unusual in that stained glass panels were also Second Commandment: “Thou shalt not (Replaced with reproduction glass when inserted into the apse behind the Ark. make unto thee a graven image ”, with regard shattered in the IRA bombing of the City of At the New West End Synagogue in to art in the synagogue. However, the London in 1992.) St. Petersburgh Place, Bayswater (opened medium and artistic treatment, apparently, Round-headed windows filled with clear 1879), the east rose window, by the were not at issue. glazing were fashionable for contemporary Hungarian Jewish refugee glassmaker Erwin churches. The master builder of Bevis Marks, Bossanyi (1891-1975), was commissioned by No parallel Joseph Avis, was reputed to be a Quaker who Rozsica Rothschild, née Wertheimstein, a In Judaism, there exists no parallel to had previously worked for Christopher Wren fellow Hungarian, as late as 1935. theological debates within Christianity over on the Merchant Taylors’ Hall and St Bride’s the relative merits of stained glass, as in Fleet Street. “Few synagogue stained opposed to clear glass, within the church building. Unfortunately, no actual examples Nonconformist tradition glass designers, and even of medieval synagogue stained glass have The choice of round-headed windows fewer makers, in this come down to us. filled with plain glass persisted in the English Jewry was expelled by King nonconformist tradition into the 19th century. country have been Jewish .” Edward I in 1290, the first mass expulsion of Stained glass was introduced only in the Jews on the European continent, a precedent 20th century into the synagogues of the Unusually, this window, which incorporates Georgian and Regency periods such as a variety of traditional Jewish symbolism, is Plymouth (1762) and Cheltenham (1839). signed in the bottom right-hand corner. In Stained glass reappeared in England in fact, stained glass in synagogues is hardly the mid 19th century along with Pugin and ever signed by the designer or glassmaker, the Gothic Revival. It was a Victorian retro- sometimes making attribution difficult. fashion – which harked back to the great Another signed example was the pair of cathedrals of the High Middle Ages and in Art Nouveau windows that flanked the Ark at Jewish architectural history is associated Hammersmith Synagogue (Delissa Joseph, with the advent of the so-called “cathedral 1890-6), installed in 1911. Small brass plates synagogue ”. affixed to the sills beneath identified the Throughout Europe large synagogues designer as Percy L. Marks, who was Jewish, were built on prime sites to celebrate and the makers as Campbell & Christmas, Jewish emancipation from the ghetto. who obviously were not. (The windows were Building big was a statement that the Jews removed when the building was closed by the “had arrived ”. In England, synagogues could United Synagogue and sold to the Chinese now compete for attention with city churches, Church of London in 2002. Their fate is especially during the Victorian religious uncertain.) building boom that affected all Christian denominations. Historical reasons Few synagogue stained glass designers, Wealthy patrons and even fewer makers, in this country have Even so, few “cathedral synagogues” been Jewish. There are historical reasons for actually started life with stained glass. This this. From the Middle Ages Jews had was usually added later, donated by wealthy generally been excluded from the craftsmen’s patrons. In Brighton’s Middle Street guilds, undoubtedly an impediment to training Fig 1 , Hanukah window by David Hillman, 1953, Synagogue (opened 1875) the original as architects, builders or allied craftsmen, now at St. John’s Wood United Synagogue, windows were of plain cathedral glass, tinted including glassmakers (although Jewish Grove End Road, London, NW 7. It shows the and leaded in geometrical designs, some of glaziers were known in medieval German Menorah (seven-branched candlestick) which survives on the west front. The stained- Lands). associated with the “Festival of Lights ”. glass panels were introduced between 1887 By the late 19th and early 20th century L Photo Nigel Corrie © English Heritage. and 1912. well-to-do congregations could afford to

The Glazier • Spring 2015 Page 13 because his cycle was later replaced and went unrecorded. (The current 1960s windows are by Maurice Sochachewsky).

“The most prolific stained glass maker produced by Anglo-Jewry was David Hillman (1894-1974) .”

The most prolific stained glass maker produced by Anglo-Jewry was David Hillman (1894-1974). Born in Latvia and brought to England at the age of 14, he was the only son of Rabbi Samuel Isaac Hillman, minister of the South Portland Street Synagogue in Glasgow and afterwards a Dayan [judge] on the London Beth Din [ecclesiastical court]. Descended from a long line of rabbis, against the wishes of his father he was amongst the first intake of the Glasgow School of Art. Fig 3 , “Ruth and Naomi” by Charles Lightfoot, 1953, at Manchester Reform Synagogue, Jackson’s Row. Traditional education Photo Bob Skingle © English Heritage. This was tolerated on condition that he continued his traditional Yeshivah [Talmudical commission the best English glassmakers. college] education and, in fact, David Hillman Most of the stained glass at the New West End Synagogue was commissioned from Fig 5 , Lyre of King David by David Hillman, 1968, Nigel Westlake and installed between 1905 at St. John’s Wood United Synagogue. and 190 7, so was not part of the original Photo Nigel Corrie © English Heritage. scheme. did qualify as a rabbi. He was brother-in-law Human figure of Rabbi Isaac Herzog, Chief Rabbi of Ireland Hardman Studios of Birmingham, well- and then of Palestine under the British known for their association with Pugin, made Mandate, and thus also uncle of the late windows for Birmingham’s Singers Hill (1856) President Chaim Herzog of Israel. and Coventry Synagogue (1870) as late as the 1960s. These windows have a “church-like” Family connections quality because they broke with Jewish His family connections may well have tradition by their use of the human figure helped him land commissions for stained (albeit with faces obscured) to illustrate glass at prestigious London synagogues built Biblical narrative scenes. by the United Synagogue before and after the By and large, the content of English Second World War, including the Central, synagogue glass has confined itself to the Cricklewood and St. John’s Wood. symbolic, employing well-established David Hillman was a highly skilled symbolism, such as the Menorah [seven practitioner of his art and utilised traditional branched candlestick], Fig 1 , Magen David symbolism in an original way. His work, [“Star of David”], Fig 2 , Luhot [Tablets of the especially domestic settings, Fig 4 , is very Law], or ritual connected with the Jewish distinctive, very much of its period, evoking calendar or the Twelve Tribes of Israel. comfortable London suburbia in the 1930s Only a very small handful of Reform and 1950s. His windows repay close scrutiny. synagogues experimented with figurative He loved naturalistic detail of flora and glass after the Second World War, such as fauna, landscapes and townscapes, both of Manchester Reform, rebuilt at Jackson’s Row, England and of an imaginary Jerusalem, whose Biblical narrative windows were made featuring domed Arab houses and tall palm by the local firm of Charles Lightfoot, to the trees à la Bezalel. (The Jewish national art designs of John Bradshore, and daringly school founded in Palestine by Boris Schatz included full-frontal representations of female in 1906.) Musical instruments were a recurring heroines, Fig 3 . theme, Fig 5 . Too daring Biblical quotes Nevertheless, the Jewish painter Solomon Always his images are accompanied by J. Solomon experimented in stained glass at apt Biblical quotations, often from the Psalms Hampstead Synagogue, designed by his and also from the liturgy, testifying to the fact brother-in-law Delissa Joseph in 1892. that, with his background and rabbinical (Delissa’s wife Lily, herself an artist and training, Hillman was steeped in the suffragette, was Solomon’s sister.) However, traditional Jewish sources and mined them his stained glass cycle based on the Creation for inspiration. However, he dared to push at story was apparently too daring even for the the frontiers of what was permitted in the progressive-minded members of Hampstead Fig 4 , Havdalah [end of Sabbath ritual] window: synagogue context by partial depictions of because it offended “Orthodox” tradition. domestic and human imagery in stained glass by the human form. Presumably it included the human figure, David Hillman, 1966, at St. John’s Wood United Perhaps 20th century abstraction was perhaps even nudes. We don’t know for sure Synagogue. Photo Nigel Corrie © English Heritage. more suited to synagogue art. Erwin Bossanyi

Page 14 The Glazier • Spring 2015 mounted in bronze cames, which gives a bold, chunky feel. Israeli designer Nehemiah Sharman Kadish’s Azaz (1923-2008) provided striking abstract designs in dalle de verre technique, to cover latest book, the walls of Tom Hancock’s modernist “The Synagogues of synagogue (1963-4) at the former Jewish public school, Carmel College in Oxfordshire Britain and Ireland: (the first post-war synagogue in the country An Architectural and to be listed), Fig 6 . Social History ”, which Most celebrated contains a chapter on Why was it that the most celebrated Jewish artist of them all, Marc Chagall, saw stained glass, was fit in the 1960s to design an exquisite published by Yale in 20 11. Crucifixion series in glass for the tiny church of Tudely in Kent, but never worked on a The second edition of British synagogue to compare with his world her best-selling English famous Twelve Tribes of Israel windows in the Hadassah Hebrew University Hospital Heritage guidebook, Synagogue in Jerusalem? “Jewish Heritage in His patrons down in Kent were the Fig 6 , Abstract glass by Nehemiah Azaz, 1960s, D’Avigdor-Goldsmids, heirs of one of the England: An Architectural at former Carmel College Synagogue, Oxfordshire, leading families of Victorian Anglo-Jewry, Guide” (2 00 6), is due out detail of west wall. Photo James O Davies who had deserted to the Anglican Church. © English Heritage. One may speculate about British Jewry and in May (2015). its relationship with the arts. I had arrived in the 1930s as a refugee from Nazi persecution in Hungary. Roman Halter (1927-2012) was a child survivor of the death Supporting the Master Glazier’s crew camps. His work can be seen at the North Western Reform Synagogue at Alyth Gardens in Golders Green, a congregation with many central European refugee members, and whose building was designed by German refugee architect Fritz Landauer (1883-1968), responsible for important International Style synagogues on the continent. (Now irreversibly compromised by the addition of a new frontage.) Vertical panels Halter’s 1983 cycle of vertical panels utilised both stained glass and pot glass,

THIS SPACE COULD BE YOURS The Glazier is now taking advertisements from members of the Livery, and the firms which they are connected with. There are two sizes of advertisement space: the size within this box taking up the width of a column, or a larger size taking up the same depth but going across two columns. The Clerk has details (prices, The all-women crew of the Master Glazier want to be able to toast their next effort having measurements, etc.) while other details had your support. about copy and any pictures can be had from the editor. In principle, the smaller Master Glazier participation in Thames Thurs 23rd July – Port of London Challenge Traditional Rowing Association (TTRA) Start: HQS Wellington 19.00hrs (6 oars) space will probably be suitable for just remaining events for 2015: words, and the larger space can include Sat 12th Sept – Great River Race a logo and picture if required, but it Sat 16th May – Tudor Pull Greenwich to Ham House Details TBC depends. Hampton Court to Tower of London As we develop the concept, (Full regalia – 4 oars) Sat 14th Nov – Lord Mayor’s Flotilla assuming people do want to advertise, Westminster Boating Centre we will all learn as we go along. June 13th-15th – Magna Carta Celebrations 0830 hrs to RNR HMS President We have developed a pricing Finish: Runnymede Meadow – Egham (Full regalia – 4 oars) Glaziers’ Hall structure which we hope is not only Further details TBC approx. 0915 hrs TBC competitive but is as friendly to our members as possible. We are also Wed 24th June – Admiral of the Port Race The Great River Race is not a TTRA event but happy to consider advertising from Start: Westminster Bridge 19.00hrs the Master Glazier has taken part annually organisations unconnected with the Victoria Sailing Centre and last year put up a very good time Livery. (Full regalia – 4 oars) equalling the crew’s best ever performance.

The Glazier • Spring 2015 Page 15 PURCHASE OPPORTUNITY. Your opportunity to own a genuine early sixteenth century French stained glass panel of convenient size. The panel measures 420mm x 420mm and depicts the risen Christ with two angels. One of these is an eighteenth century substitute of the same style as is one arm of the main figure. The face of Christ is particularly sensitive. There is some corrosion as with much work of the period. Beautifully conserved and reglazed in new lead. Price £1,850. Safe delivery can be arranged. Please contact Past Master Alfred Fisher on 01923 770891 or by email to [email protected]

Work in progress – Helen Whittaker (right) checks the positioning of her cartoons for one of the panels of the wall hanging to be donated to the Livery as it begins to take shape, while prisoner training social enterprise Fine Cell Work’s Katharine Paton-King looks on. Vibrant and colourful – stained glass in stitches

PETER and JANET DOE write: This is to Bridge to the Palace of Westminster, and ask you to save the evening of Monday 6th includes river traffic, particularly the Glaziers’ July 2005 when the triptych wall hanging cutter. Helen’s stunning design is colourful Liverymen on sheep drive commissioned by us, to a design by and vibrant and will be a wonderful asset to Assistant Helen Whittaker and stitched by the Company. prisoners for Fine Cell Work, will be The unveiling will take place at 5.30pm unveiled by the Lord Mayor, Alderman Alan followed by a reception with sparkling wine Yarrow, and dedicated by our Chaplain, and canapés. In addition a Fine Cell selling Revd Christopher Kevill-Davies. event of stitched work by prisoners will be The wall hanging, which measures 2 1n x 4 n held in the Court Room until 9pm. There will (three panels 7 n x 4 n) for the upstream wall of be a charge of £25 to cover costs. We very the River Room depicts iconic landmarks and much hope that many Glaziers will support buildings along the Thames from Tower this unique event. I

LIVERY NEWS LIVERY DINNER SERENADE. The informality of a very enjoyable January GLAZIERS’ FAIR 27th and 28th OCTOBER Livery Dinner was concluded by Past 2015 – CALL FOR EXHIBITORS. Glaziers’ Hall Master Roger Shrimplin and the will welcome the public to the first Glaziers’ assembled diners singing Happy Birthday Art Fair on 27th & 28th October. The call for to his wife Tina. Earlier Master Alex artists and exhibitors is now open. For more Galloway had welcomed the presence of information and to apply for an exhibitor’s Kevin Moore, Master of the Guild of Public On a brilliantly sunny day on 5th October, place visit the fair’s dedicated website at Relations Practitioners. Liverymen Phil Fortey and Andy Rogers donned http://tauzuc.typepad.com/glaziersfair/ their Livery gowns to exercise their privilege to NEW LIVERYMEN. Kevin Kiernan, Hamish drive sheep across London Bridge. The sheep CONGRATULATIONS. Liveryman David Doe McArthur and Michael Stevenson have were successfully driven, assisted by some (son of Past Master Peter Doe and Liveryman become Liverymen. young “helpers ”, towards Glaziers’ Hall, much Janet Doe) and his wife Anna had a baby to the amazement of tourists and passers-by. daughter (Emily Charlotte) on 14th March NEW FREEMEN. Kenneth Byass and Richard The event was organised by the Worshipful in Amsterdam. Smith have been admitted as Freemen. Company of Woolmen.

Facebook: The Worshipful Company of Glaziers & Painters of Glass Contributions or advertising enquiries should be sent to the editor: Twitter: Twitter.com/WorshipfulGlaziers Richard Blausten [email protected] 0 1460 24 1106

Published by the Worshipful Company of Glaziers and Painters of Glass. © Glaziers’ Company. Andrew Gordon-Lennox, Clerk, Glazier s’ Hall, 9 Montague Close, London Bridge, London SE1 9DD. Telephone/Fax: 020 7403 6652; www.worshipfulglaziers.com; e-mail: [email protected] Printed by Deltaprint, Sudbury, Suffolk. All pictures copyright of the person or organisation attributed to or the Glaziers’ Company, or on application.

Page 16 The Glazier • Spring 2015