Poppies at Slade.

Poppies at Slade

The story of this panel began a few years ago whilst I was visiting family in the UK. I managed a visit to Kansa Stained Glass where I was fortunate enough to purchase two sheets of Uroboros art glass which is hard enough to find at the best of times. The first sheet I pulled out of the rack was this one, code 10-16-5 Light & dark browns, turquoise with mini fractures.My first thoughts were I loved the colors and it would make a great background glass.

Poppies at Slade Uroboros Glass code 10-16-5
Poppies at Slade Uroboros Glass code 10-16-5

The next sheet I pulled out was this one 60-25-5 Red,orange & white at this point I thought “Poppy panel “. Over the next few years I made a few attempts at a pattern, which for various reasons I had to shelve. However in October 2018 a window of time opened up so I went for it. The colors of the two sheets gave me a feel of Liberty/Art Nouveau which strongly influenced the final design.

Uroboros Glass code 60-25-5
Uroboros Glass code 60-25-5
Top and Bottom background
Top and Bottom background

I have cut the top and bottom background here.The leaves ( Youghiogheny stipple 4117 Green, ice white & bluish grey ) and the soil ( Uroboros granite backed 65-17 Light & dark browns ). Ready to add the flowers now so hoping I’ve got it right.

Clematis foil and solder

Clematis foil and solder

Clematis part foiled
Clematis part foiled

I am now starting to foil the pieces, I do this by removing them one at a time and then replacing them as I proceed. I find this method works very well as you are able to make minor adjustments as you work across the panel.

Clematis fully foiled
Clematis fully foiled

Here is the panel with all of the foiling complete and I will now proceed with the first soldering. Once this has been completed the template can be removed and the first solder can be repeated on the reverse side. It is important to be very careful with the panel during these stages.

Clematis first solder
Clematis first solder

First soldering completed on both sides and the perimeter lead added, you can see the two pieces of black tape securing it to the panel until it is soldered into place.

Clematis soldered & patina
Clematis soldered & patina

The final bead solder can now be added to finish the panel. Bead soldering completed and patina added and you can clearly see the difference the bead solder makes to the panel, gives it a nice finish.

474 mm Clematis being cut

474 mm Clematis being cut

 

 Clematis cut 1
Clematis cut 1

One is never sure how a color scheme is going to pan out so I have started this panel by cutting a flower, some background and leaves.After having tried a few different colored centers for the flowers I have settled on Youghiogheny ” Laburnum ” glass. This may yet change as the panel develops.

 

Clematis cut 2
Clematis cut 2

I have added more of the background glass now which is Youghiogheny stipple glass, code NO 57 ” Neodymium Pink with Peach Gold & Bubblegum “.

 Clematis cut 3
Clematis cut 3

More background, and leaves now in this picture. Flower glass is Youghiogheny code N367 ” Neodymium Pink, Dark Purple and Blue”. Leaves are also Youghiogheny code 1431 ” Lime and Emerald Green “.

474 mm Clematis cut 4
474 mm Clematis cut 4

 

I have taken the background glass down the left hand side of the panel here and am thinking of introducing some fracture and streamer glass on the right hand side.

 

 

 

 

Clann Credo presentation.

Clann Credo Logo
Clann Credo Logo

Clann Credo recently celebrated their 20th anniversary as Irelands leading provider of community finance, Since 1996 they have supported over 800 projects with almost €80 million of social finance.

We were approached by the CEO to create a panel based on their logo for presentation to Sister Magdalen Fogarty, one of the founder members.

Clann Credo Pattern
Clann Credo Pattern

The panel was to be small enough to hang in a window and framed in wood, this was the first draft of the pattern which was the CEO’s idea.

Clann Credo cut and leaded
Clann Credo cut and leaded

The idea was agreed and the I made the templates and proceeded to cut the glass, the outside of the panel has been constructed using lead came. This seemed to work better with the design, the lettering will be wrapped in copper foil as it is fairly intricate.

Clann Credo with lettering foiled
Clann Credo with lettering foiled

Panel is now ready for soldering and framing.

Clann Credo panel framed
Clann Credo panel framed

Panel framed and finished, I used Wissmach glass for this project, finished size is 400 mm x 520 mm.

Glass Patterns Quarterly

Back in January we posted a small panel ” Scene with Poppies ” Shortly after we were contacted by GPQ , and as a result this design has been published in the current issue, along with a pattern and tutorial on how to construct this small panel.

Glass Patternshttps://www.glasspatterns.com/ Quarterly
Glass Patterns Quarterly

BD22

Scene with poppies GPQ
Scene with poppies GPQ

  Here is the finished panel .

Scene with irises

Scene with Irises

Scene with Irises
Scene with Irises
Scene with Irises close up
Scene with Irises close up

Effort number three in my ” Tiny Tiffany ” series is another scene, this time using irises which just work so well in stained glass. Getting some small pieces of yellow in here was a bit of a challenge but like to think I managed it ok. I find using the water glass really adds another dimension even though the piece is so small. This design is now available in the Patterns Store as a downloadable PDF pattern.

Scene with poppies

Scene with Poppies

When using art glass you invariably end up with lots of different pieces of odd glasses that you simply don’t want to dispose of. After a while these start to mount up and take up space so some thing has to be done with them which leads to this panel. I have taken the idea from a ” Tiffany ” window, I’m not sure how large the original window is but my small panel is 12 inches in diameter, a Tiny Tiffany if you like.

Scene with poppies
Scene with poppies

I wasn’t sure how this would work out but I thought I would give it a go anyway, having seen the end result I may well try another one so watch this space.

Scene with Poppies Detail
Scene with Poppies Detail

Wilhelmina Geddes.

Wilhelmina Geddes

Wilhelmina Geddes
Wilhelmina Geddes

‘An extraordinarily rich, evocative and psychologically penetrating study of a powerful artist and the times she lived through. Nicola Gordon Bowe has restored Wilhelmina Geddes to a central place in the Arts and Crafts movement and drawn a vivid portrait of the difficult life and personality of an original and uncompromising talent …

Bowe’s beautifully produced and illustrated book is a major addition to the artistic history of the era, and the part played by women in it; it is also a labour of love’, R.F. Foster, Carroll Professor of Irish History at the University of Oxford. ‘This magnificent book restores an almost forgotten figure to the history of modern art. Working in a medium that presents huge challenges and which is invariably neglected by mainstream art history, Wilhelmina Geddes emerges as a great creative force, a major artist. What Geddes achieved was extraordinary and in Dr Gordon Bowe she has found the perfect biographer’, Tanya Harrod, design historian and co-editor of the Journal of Modern Craft. SetWidth210-geddes5 <;SetWidth210-geddes3 SetWidth210-geddes1  Nicola Gordon Bowe’s magisterial new biography landed in bookshops last week with the force (and some of the weight – it’s about 2.5kg) of a small meteorite .. [it] makes for a fascinating tale … the text is shot through, as it should be, by glorious colour reproductions of the artist’s work, illuminating the narrative as her windows did churches … [it is] an epic work of scholarship, now published as Wilhelmina Geddes: life and work. Thanks to that, the Ireland of 2015 AD has reclaimed a long-lost daughter’, Frank McNally, Irish Times (November 2015). ‘Dubbed the “greatest stained glass artist of our time” upon her death in London in 1955, the Leitrim-born and Belfast-raised Geddes has been terribly overlooked since.

This stunningly illustrated, exhaustively researched and engagingly written book is clever and beautiful enough to spark a revival of appreciation,’ Cristín Leach Hughes, Sunday Times (November 2015). ‘As this marvellous book demonstrates, Wilhelmina Geddes was a forceful, original, modern artist of internationally important stature. Beautifully written and sumptuously illustrated, the book not only celebrate the achievements of – arguably – Ireland’s greatest 20th-century artist, but also reveals the epic potential of stained glass as an art form, one that can be equally powerful on the most monumental or miniature scales’, Peter Cormack, author of Arts & Crafts Stained Glass (2015). ‘What a monument of a book! So well-made and well-printed it shows [Geddes’] vast oeuvre … excellent photos … A book to read in one shot for all interested in or studying stained glass, as Geddes is a serious inspiration for future generations’, Angela van der Burght, Glass is More (November 2015). ‘An excellent new book … Gordon Bowe’s meticulous recovery of original material parallels her rewriting into history of this dazzlingly talented artist who was always an outsider’, Medb Ruane, Irish Arts Review (Dec. 2015/Feb. 2016). ‘An immense work, richly illustrated and deeply researched … it is a revelatory work, a beautifully produced showcase of an artist’s work … the images in this book, often of strong saints and prophets, forceful and determined characters such as Ulster still produces, provide more than enough for the reader at home to realise that here indeed was a truly great religious artist’, Peter Costello, Irish Catholic (November

 

http://www.fourcourtspress.ie/books/2015/wilhelmina-geddes/reviews

Large Lantern

Large Lantern

Large Lantern
Large Lantern
Large Lantern ( oak leaf )
Large Lantern ( oak leaf )
Lantern and Koi
Lantern and Koi
Oak Leaf Lantern
Oak Leaf Lantern

This is a recent commission, I have never made a ” Lantern ” before but I always try to tackle anything that comes along. Spectrum glass was used for this piece, the red and amber are water glass and the blue top is rough rolled. The dark green oak leaf is a piece of Kokomo. Lead came was used to construct the four panels which were then soldered together, finally the finial was added to complete the project. © David Kennedy 2015