In an Appendix at the end of their Article Green et al (2008) list the known Windows designed by William Glasby. The John Collins' archive shows that Glasby designed more Windows than was known in 2008. This is because the sketches were with Diane Collins and unknown to the authors. The Collins' archive also reveals that some commissions were not taken up. Here we correlate the 2008 list with the Logs in the Collins and Henfield Museum archives. Appendix to Donald Green, Denn

These sketches are held by Henfield Museum. Henfield Museum - Home Our thanks to the curator, Alan Barwick for giving us access to the sketches. These sketches are in a much better condition than the ones in the John Collins' collection. They are beautifully preserved. They appear to be in lighter colours than the Collins' collection and also have very little information on the back. We do not know why these sketches are at Henfield. We presume that Lucie Bishop may have plac

Early Life William Glasby was born on 28 December 1863, in the Lying-in Hospital, Endell Street, St Giles, Camden. His father was William Henry, a carpet warehouse porter, and his mother was Rebecca. They lived in Waterloo Road, London. Richard Platell, who lives in Australia has carried out extensive research on the Glasby family. he writes to us in an email: "William Glasby was a nephew of my 2 nd -great grandmother, Elizabeth Sophia Glasby. I have built up an extensive

William Glasby was a prolific designer and painter of stained glass windows and creator of opus sectile mosaics for churches and memorials. Many examples of his work exist, not only in England, Wales [1], Ireland [2] Scotland, and the Isle of Mann, but there are also designs across the world, from Honolulu to South Africa, to India, the United States and Guyana. In his working life he was assisted by his wife, Constance, and by his two daughters, Barbara and Dulcima, who

How these sketches came into the possession of John Collins is a story in itself. William Glasby died in 1941 and his work was continued by his two daughters (Barbara and Dulcima) and Danks and Blackford. Neither daughter married, nor had children. When Dulcima died in a nursing home on 22 March 1975 there were many sketches and documents found in the attic and most were destroyed. But the Vidimus were saved but there appears to be some dispute over the ownership of the

Glasby’s career was enhanced by Henry Holiday, who commissioned stained glass windows from Powell & Sons made to his own designs. Holiday favoured Glasby for painting the most important sections of figurative work. Henry Holiday (1839-1927) was born in the Fitzroy Square area of London, where his father ran a private school, later he resided in Hampstead from the late 1860s. Holiday was trained as an artist by William Cave Thomas. Later, he attended Leigh's art academy (

Glasby started his apprenticeship at the age of twelve in October 1876 with the Whitefriars Glass Company. It was owned by James Powell and his sons and known as the Whitefriars Glassworks. [1] The apprenticeship wage was six shillings a week. James Powell (1774-1840) was a wealthy London wine merchant and a prominent Anglican layman. He had a large family, which included four daughters and four sons. The eldest son became a priest. James realised that the wine business w

Shortly after the end of WWI Glasby established a studio under his own name. His move from the Glass House studio was probably the result of the Henry Holiday deciding to collaborate with E. Liddall Armitage and operate from the latter's premises. Because the business records of Glasby are sparse it is difficult to pin point the exact date when he established his own studio. The move was possibly completed by 1919 and almost certainly no later than 1923 when Glasby ceased

Glasby designed some sketches for Windows before he was forced to embark on an independent career. From 1906 Glasby began to design and paint his own windows, made in the Lowndes and Drury workshop and marketed by the London firm of W.B. Simpson. As early as 1907 Glasby painted a figure of St Thomas for the parish church at Hyde, Cheshire, with regular work beginning in 1909 when he executed seven commissions. The windows at Knodishall, Suffolk (1910) and Sutton Courtenay,

The success of the stained glass industry led to stained glass being mass produced without the designer or artist being recognised. Henry Holiday (1839-1927) was particularly scathing, characterising the stained glass artists of the Gothic Revival as “mere tradesmen” who ‘defiled nearly all of our cathedrals with their stained glass’. [1] Designers were concerned that the process was no longer an art or indeed a craft. Inevitably this resulted in debates about the boundar

There is evidence that Glasby involved his family in the designs and glass-making business. Barbara and Dulcima completed the Peachtree commission and would not have been able to do this unless they had acquired the experise and techniques over a period of years. Writing to the Rev. Burns in Atlanta, Barbara states that the daughters worked closely with Glasby and that Glasby involved the family in discussing designs: Glasby's wife, Constance, [1 ] does not have a profession

In Spring 1906 Henry Holiday closed his Church Row workshop and rented a studio at Lowndes & Drury's newly built Glass House, Lettice Road, Fulham. Hadley et al (2008) found entries in Holiday's diary at this time showing that Glasby was so unhappy at losing his home and having to accept much inferior conditions of employment that he very nearly lost his job. But Glasby continued to paint stained glass for Holiday for another fifteen years. Holiday paid Glasby at the rat

William Glasby was probably in declining health when he moved from Putney to Horsham. He was ill before his death, for in Dulcima’s...

The Peachtree Church was added to the US Register of Historic places in 1984. The entry reads: "The church is significant in art for its large collection of English stained glass made by William Glasby. He flourished in the late-nineteenth and early- twentieth centuries as a glass painter and stained-glass designer in England. Such a large collection created by one artist or studio gives the glass a unity of style and subject matter that other churches do not have.”.

John and Erika had a useful and interesting Zoom Meeting with the Rev Dr Jarrod Longbons in May 2022. We were told that there is a rich archive of documents at the church, detailing the progress of the work. This includes some exchanges of letters where some disatisfaction is expressed with the way the Windows are being made. The first 8 Vidimus in the Collins' collection are of the Peachtree commission but these are missing. We presumed that they were with the Atlanta Church

We are very grateful to George Blau for his interest in our work and sending us the modern photographs of the Glasby Windows. (c) George...

The Parable of the Great Feast West Aisle WA-4 Dedicatory Inscription: "To the Glory of God and in memory of Jimellen Gottenstrater, the granddaughter of Dr. and Mrs Hiram W. Evans." [Jimellen was born June 21, 1939, and died June 16, 1945. This Window is interesting because a photo/portrait of the person to whom the Window is dedicated was used: Memorials in a Modern World Untitled Document "As late as 1945, the London studio of William Glasby included portrait likeness for

Dedicatory Inscription: "To the Glory of God and in Loving memory of walter Henry Battle, July 18, 1902 to february 15, 1946, Given by...