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Faith Craft Studios Faithcraft Faith Craft
Faith Craft was established in 1921 by the Society of the Faith with a view to providing fittings etc needed for Anglo-Catholic worship. At that time it was headed by W Lawson, who remained until his death in 1946. It soon acquired showrooms and offices in London, though its works were always in St Albans. Initially the London premises were in the Charing Cross area, but from 1935 until it was wound up in 1974, it shared the Society's premises in Tufton Street, Westminster, where some design-work was done. Particularly during the earlier period, design-work was also carried out in St Albans, where the art director, W Wheeler, was located from 1932-39; others working at St Albans included I Howgate. After Lawson died in 1946, the firm continued under George Beadle, who recruited staff from M Travers’s studio after he in turn died in 1948. From 1950 to 1974 the chief designer was F Stephens, who after Beadle's death in 1956 also became managing director. Though Stephens's work was not confined to glass, his interests led to a strengthening of Faith Craft's activities in this field. In addition to Stephens, other glassmakers worked from the studio in Tufton Street, notably T Randall, J Hayward and L Lee, though not necessarily working directly for Faith Craft. The business was especially active following World War II, when many churches had to repaired, mainly in the London area.
For its work see the various artists listed
Farmer and Brindley
William Farmer (1823-85) and William Brindley (1832/33-1919) both came from Derbyshire. Farmer was initially in business by himself as a stonecarver and their first known joint work dates from 1856. By the late 1860s they had premises in Westminster Bridge Road, London, producing architectural sculpture for many prominent architects. In particular, Sir George G Scott gave them considerable freedom in designing for his churches. After Farmer died Brindley became increasingly interested in work in marble and supplied that in Westminster cathedral. He spent his last years in Dorset and took up painting. The firm lasted until about 1930. Farmer’s death has been given as 1879, but an obituary in BA 24 p164 (1885) strongly suggests the later date is correct.
Lit: Obit of William Brindley, BN 116 p128; E Hardy: Farmer and Brindley: Craftsman Sculptors 1850-1930, unpublished dissertation in the NAL
Fittings: Arundel, reredos; Boxgrove, reredos; Little Horsted, font, reredos, pulpit and lectern
Architectural carving: Brighton and Hove, - St Anne, Burlington Street, (dem); Eastbourne, All Souls
F R Farrow
Frederic Richard Farrow (1856-1918) was originally articled as a quantity surveyor but trained as an architect under Clement Dowling of London. After a period as an assistant to several architects in succession, including J T Hanson, he started his own practice in 1882, three years before qualifying to become an ARIBA. He practised in London, though he had a Brighton private address in 1899 (KD/S). In 1884 he became a partner of N C H Nisbett and with him purchased in 1889 the practice in Winchester of the deceased C R Pink, which in 1897 J B Colson joined. Farrow continued alone after the practice was dissolved in 1907, but became editor of The Architect in 1910 and wrote on architecture, mainly its technical aspects. He continued to practise from an office in New Bridge Street, EC (KD/L) and at his death was in partnership with Ernest Runtz junior, having previously been with his father.
Obits: The Builder 114 (1918) p375, RIBAJ 25 pp204-05
Designed: Worthing, Emmanuel (old – later hall) (1911)
Restored: Bosham (1903)
C Faulkner
Charles Joseph Faulkner (1833-92) was a school contemporary of Sir E Burne-Jones in Birmingham, where he was born, and became a close friend of W Morris at Oxford. A mathematician and fellow of University College, he was interested in art and visited Italy with Burne-Jones. He also helped Morris on a number of projects, including the murals at the Oxford Union and the decoration of the Red House. In 1860, bored with university life, he started to train as an engineer in London and a year later was persuaded to become a founder-shareholder and bookkeeper of what was initially called Morris, Marshall and Faulkner, the later Morris and Co. In 1864, despairing of achieving proper financial management, he resumed his fellowship until resigning it in 1888 because of serious illness. In 1881 and 1891 he was living in Queen Square, London. He remained friendly with Morris – they visited Iceland twice and both supported radical politics – Faulkner’s involvement in the latter was something of a joke in Oxford. Though primarily concerned with the financial side when working in Morris and Co, he was a competent draughtsman and worked on decorative schemes. His sisters, Kate and Lucy, also designed tiles, furniture and textiles, both for Morris and Co and others.
Lit: DNB
Decoration: Brighton and Hove, - St Michael, painted roof
J F Fawkner
James Follett Fawkner (1828/29-98) was born in Plymouth and joined the practice of W G and M E Habershon in 1857, with a view to running a branch at Newport, Mon, though in 1861 he was actually living in Cardiff. When the Habershon brothers parted company in 1863, Fawkner went with W G Habershon and his new partner, A H Pite. He was initially managing clerk, but became a partner in 1870. By the following year, after moving to the practice’s London office, he was living with his sister in Bromley. After the almost simultaneous retirement of W G Habershon and Pite in 1877-78, he took sole charge, though he largely worked in South Wales, which is where most of his buildings are to be found. The practice was general in character and these were both secular and religious.
Designed: Partridge Green (1890 – as Habershon and F)
H Feibusch
Hans Feibusch (1898-1998) was born a Jew in Germany, where he was a successful Expressionist painter before coming to Britain in 1933, after the Nazis declared his works to be degenerate and some of them were burnt. He became a Christian and was taken up by Bishop George Bell of Chichester. Much of his subsequent work was religious and he produced a number of murals in post-war churches in London, particularly in the Diocese of Southwark, where he worked with T F Ford (see this section below). Towards the end of his long life he reverted to Judaism.
Lit: A Powers (ed): Feibusch Murals - Chichester and Beyond (Otter Memorial Papers No 8), Chichester, 1997
Paintings: Brighton and Hove, - St Wilfrid, murals; Eastbourne, - St Elisabeth, murals; Goring; Iden; Playden
C A Fellows
Catherine A Fellows produced a monument at Petworth which is dated 1875. No other work by her has come to light, though she exhibited at the RA almost every year between 1867 and 1872 (Graves). She must be Catherine Allison Fellows (1829/30-1912), described in 1871 as a sculptor, who was the daughter of a Superintendent Registrar in Wolverhampton, where she was born and appears in every census after 1851. There were a number of semi-amateur and usually well-born woman sculptors by 1875, but it is unusual to find one from a middle class background. On the Petworth monument she signs herself as from London, but this cannot have been her address for long as she was back in Wolverhampton by 1881 without stating an occupation.
Monument: Petworth
A R G Fenning
Arthur Richard George Fenning (1855-1937) was educated at Brighton and became a pupil and later assistant of W G Habershon, Pite and Fawkner in London. He moved to Eastbourne, where he had a wide practice and may have become partner of P D Stonham, with whom he worked on occasion, notably on Eastbourne, St Elisabeth, though it was only finished after his death. Before 1914, he divided his time between Eastbourne and London, where he had an office at 46 Lincoln's Inn Fields (KD/L).
Lit: BAL Biog file
Designed: Eastbourne, - St Elisabeth (1935-38 with Stonham)
Restored: Barcombe (nd)
Extended/altered: Eastbourne, - All Saints (nd and 1927-29); - Holy Trinity (1909-10); - St John, Meads (1904 and 1911)
B Ferrey
Benjamin Ferrey (1810-80) was of Huguenot origin and a pupil of A C Pugin (on whom and on his more famous son he wrote a book), with whom he travelled in England and France. He then joined the office of William Wilkins, assisting with the drawings for the National Gallery, before going into practice in 1834. In his early years he was involved with laying out the new resort of Bournemouth and subsequently designed many country houses, mainly in the classical style, though his nearly 60 churches are gothic. He restored many more churches, later with his son (see immediately below). He was diocesan architect of Bath and Wells from 1841 and much of his church work is thus in Somerset. He was a Consulting Architect to the ICBS. His well built churches are mostly devoid of originality.
Lit: BAL Biog file; Obit: The Builder 39 pp281-83
Designed: Barcombe (1859 - unexecuted); Brighton and Hove, - St Anne, Burlington Street (1862 – dem); Eastbourne, - Christ Church (1859); Pett (1864); Slinfold (1861); Staplefield (1847); Treyford (new) (1849 - dem)
Restored/extended: Eastbourne, - Holy Trinity (1855); Funtington (1858-59); Harting (1854); Lewes, Southover (1847 – with J L Parsons); Mid Lavant (nd - doubtful); Westbourne (1864)
B E Ferrey
Benjamin Edmund Ferrey (1845-1900) was the only son of B Ferrey (see immediately above) and his name is also found as Edmund Benjamin. In 1871 was living with his father in Inverness Terrace, Paddington. They worked together, though the son also practised independently for a time, but afterwards continued with his father. He was known for his Ritualist principles. Most of the churches he designed are in London.
Lit: BAL Biog file; Obit: The Builder 78 p426
Altered: Framfield (1892-95)
Field, Poole and Sons
See Poole and Son.
W Figg
William Figg (1799-1866) was a founder-member of the Sussex Archaeological Society, who was born in Lewes, where from 1841-61 he is recorded as a land surveyor or agent. The William Figg, in LBPB from 1818, who surveyed roads in the Lewes area between 1807 and 1827, may be presumed to be his father – between 1830 and 1833 Figg and Son did similar work. The son became an FSA and wrote about Bishopstone church in SAC 2. This immediately followed a restoration by an unknown architect and Figg's close knowledge of it suggests strongly he was involved.
Restored: Bishopstone (1849 – attr)
J Flaxman
John Flaxman (1755-1826) was the son of a sculptor in Yorkshire of the same name who moved to London. He himself first exhibited at the RA aged 16. He was skilled in the Grecian style and made many reliefs, some for Josiah Wedgwood’s pottery. He spent from 1787 to 1794 in Rome, where he became famed as a draughtsman. He was held in high regard and in 1810 became the RA’s first professor of sculpture. The mechanical appearance of his work, for which he was criticised, resulted from the use of assistants to carve the finished product from his model.
Lit: D Irwin: John Flaxman, Sculptor, Illustrator, Designer, 1979
Memorials: Ashurst; Brightling (attr); Burwash; Cuckfield; Eartham; Petworth; Rye; West Grinstead; Withyham, - St Michael
P Fleming
Peter Fleming occurs as an architect between 1962 and 1977, with an address at Fern House, West Ashling, Chichester. He was a member of the RIBA.
Repaired: Burpham (1977); Felpham (1976); West Itchenor (1962)
F Floris
Frans Floris (c1517-70) was an Antwerp painter, who visited Italy where he saw the works of Michelangelo and other Mannerist painters and was greatly influenced by them after his return.
Painting: (Probably a late C16 product of his school) Lewes, - St John- sub-Castro
A S Ford
Alan Scott Ford was a partner in T F Ford and Partners (see below), who is found between 1959 and 1986. During his time the practice continued to be strong in south east London and Kent. His name suggests he could be a son or other relative of T F Ford.
For work given to him, see under T F Ford and Partners below.
E S Ford
Emily S Ford (1851-1930) was born in Leeds, the daughter of a prosperous Quaker lawyer, and was not baptised into the Church of England until she was 39. In the 1870s she trained at the Slade School in London and subsequently established herself with studios at 23 Glebe Place, Chelsea and her parental home at Adel, outside Leeds. Particularly after her baptism she specialised in religious art, both glass and painting. Her glass was mostly made by Lowndes and Drury. At an exhibition of her work in 1902 she showed, as well as glass and paintings, book illustrations and sculpture. Most of her work was destined for schools as well as churches, though her paintings also included landscapes and portraits. She was also active in the women's suffrage movement, particularly in Leeds. There is no known link with William Ford (b1858), an artist in stained glass (1881) and a glass cutter (1901) in St Pancras.
Lit: Emily Ford: Catalogue of Exhibition of Devotional Art, London, Continental Gallery, 1902
Glass: Boxgrove
H H Ford
Hugh Hubbard Ford (1898/99 or 1906-1980) trained under Sir Albert Richardson and then became Sir A Webb’s assistant. Thereafter he set up in practice in Eastbourne, which became substantial before being made formally a partnership in 1965. He was responsible for much post-war planning and housing in the town, though in 1974 the partnership also had offices in Brighton and London. Among the partners were Herbert Frank Wilson (HFW) and William Morling (WM) who worked on churches. There is conflicting evidence about Ford's date of birth, although the later one is more likely as the birth in question took place in Eastbourne and is as given in his obituary in RIBAJ.
Lit: BAL Biog file
Designed: Eastbourne, - St Richard, Langney (1956-58)
Completed: Bexhill, - St Augustine (1960-63)
Repaired: East Blatchington (1970-71 - as H H Ford and Partners, responsible partner WM)); Jevington (1963-64 as H H Ford and Associates, responsible partner HFW)
T F Ford T F Ford and Partners Ford and Harkess
Thomas Francis Ford (1891-1971) established this leading practice of church architects, now T F Ford and Partners and situated in Sydenham. Ford trained at the Architectural Asociation and RA schools and was in the office of W A Forsyth (see below) and briefly a partner, before starting his own practice in 1926 – most of his early work was commercial. By 1929 the practice was called Ford and Harkess at 12 City Road, though nothing of his partner is known save for his initial, W. The practice was still at this address in 1934 and 1938. Ford worked extensively in south east London (he lived at Eltham) from about 1930, specialising increasingly in churches in varied styles for the new suburbs, and became Diocesan Architect for Southwark. After World War II he rebuilt damaged churches and designed new ones, again mainly in south east London. Most are modest, reflecting the constraints of the period, though he used H Feibusch (see above) to paint murals. In more recent years, partners in the practice have included A S Ford (ASF - see this section above).
Lit: BAL Biog file; Profile of the practice, CBg 42 (Nov/Dec 1996) pp31-33
Designed: Crawley, - St Alban (1961-62)
Restored/repaired: Storrington (1933 as F and Harkess); Worth (1974 - ASF)
J Forsyth
James Forsyth (1827-1910) was born in Kelso, Scotland, but moved to London early in his life and became one of the leading sculptors and carvers of the age. He produced many memorials and worked on various fittings for churches, but was best known in his earlier career for his work for architects, who included S S Teulon, W Slater, A Salvin and R N Shaw. Of his sons, James Nesfield followed him as an architectural carver, William Adam (see below) was an architect and John Dudley specialised in stained glass.
Obit: Building News 98 (1910) p199
Fittings and architectural carving: Angmering, carving, including capitals and pulpit; Chichester, - All Saints, Portfield, carving on reredos made for Chichester cathedral and subsequently in Brighton and Hove, - St Saviour; Etchingham, pulpit; Framfield, pulpit; Hastings, - St Leonard, Hollington, carving in chancel; Singleton, carving on reredos
(My thanks to Bernice Forsyth, who provided the above information about the Forsyth family).
M Forsyth
Moira Forsyth (1906-91) was the daughter of Gordon Mitchell Forsyth (1879-1952), a pottery designer, who appears also to have worked on stained glass. The family in 1911 was living in Salford, and despite suggestions to the contrary, was not related to J Forsyth and his family (see immediately above). Initially, she followed her father's example and trained and worked in ceramics in Stoke on Trent, with sufficient success to exhibit her work. However, in 1926 she went to the Royal College of Art, where she studied under M Travers. There she became familiar with the design and making of stained glass and it was to this that she was to devote her life. After the RCA she appears for the first time in 1933 as a stained glass artist with an address at 1 St Oswald Studio in Fulham (KD/L), where some years previously F G Christmas had also worked, though there is no known connection. At this time she also worked at Lowndes and Drury, particularly with W Geddes. Though a Catholic, she had close links to Sir E Maufe, for whom she worked at Guildford cathedral and elsewhere, and her glass for the rose window at Guildford was greatly admired. She spent her last years at Farnham, Surrey.
Obit: The Times 15 April 1991
Glass: Eastbourne, - St Mary, Hampden Park; Friston
W A Forsyth
William Adam Forsyth (1872-1951) was a son of James Forsyth (see above) and became a pupil of Sir R W Edis. He practised in London and was close to the Arts and Crafts movement. In his early career he designed houses in ‘heavy handed stripped variants of the Cotswold style’ (P Davey p109) and was known for his designs of gardens, but he became primarily involved with churches and schools – the latter included work at Eton. He advised Sir J N Comper on technical questions and was architect to Salisbury and Blackburn cathedrals; he produced the first and unfinished scheme for the enlargement of the latter after it became a cathedral. In 1897-98 he was in partnership with H P G Maule (Graves). He also designed memorials and other fittings.
Obit: The Times 13 Nov 1951
Repaired: Eastbourne, - St Elisabeth (1949-50)
Fitting: Boxgrove, memorial
E Fortescue-Bruckdale
See under E F Brickdale
M Holgate Foster
Margaret Holgate Foster has been credited with the design of the east window of 1878-79 at Ticehurst (BE p612). This has also been given to Lavers, Barraud and Westlake, which seems more likely, as Holgate Foster is for certain the person commemorated. However, though she is not otherwise known, she could be linked with Edward Holgate (b1827, York), a fine art painter (glazier) in St Pancras in 1881.
Glass: Ticehurst (attr)
Fouracre and Sons
The Plymouth based firm of Fouracre and Sons was established by John Thomas Fouracre (1844-1915) and most of its work is to be found in Devon. References to the firm as Fouracre and Watson, are found between 1880 and 1908, but the identity of the latter is not known. Confusingly, there are also references to Fouracre and Sons during this period, but after the death of J T Fouracre the firm seems generally to have been known by this title. References to the firm continue in Plymouth directories until at least 1948, latterly associated with Osborne and Phillips, another glassmaker there.
Glass: Rusper
P Fourmaintraux
Francois Pierre Fourmaintraux (always known by his second name) (1896-1974) was born in Northern France, where his father owned a ceramics factory, in which he initially worked. He married an English wife and settled in England, ultimately in Harrow. While in France he produced some conventional leaded stained glass, but he changed to a method of setting abstract designs, made of thick, small, dark pieces of glass, in concrete, known as dalle de verre. He produced such windows for J Powell and Sons; they were especially popular in Roman Catholic churches.
See under J Powell and Sons for his work
J Fowler
James Fowler (1825-92), though born at Lichfield and trained there and in Manchester, lived and worked after 1849 in Louth, Lincolnshire, where from 1851-59 he was partner of Joseph Maughan. He became known widely as Fowler of Louth, and was five times mayor. His extensive practice was concentrated in Lincolnshire, but extended to other parts of eastern England and further afield. He had a deep interest in theology and Christian history, so unsurprisingly for the most part he was a church architect, but he also designed schools and other buildings. He was also from 1871-86 Diocesan Surveyor for Lincolnshire.
Lit: BAL Biog file
Restored: Brede (1890); Pulborough (1880)
E R Frampton junior
Edward Reginald Frampton junior (1872-1923), son of the stained glass artist, E R Frampton senior (see immediately below), trained as a painter in Italy and France, though in 1891 he was helping his father and calling himself a stained glass artist - a few windows by him are known, but none in Sussex. During his training he was influenced by Symbolism and came to specialise in paintings with a religious subject. He was a member of the Art Workers Guild.
Decoration: Hastings, - All Saints, chancel walls
E R Frampton senior
Edward Reginald Frampton (1845-1928) was born in Woolwich and trained with Clayton and Bell. In the mid-1870s he worked briefly with Charles Hean and W F Dixon and set up in his own premises in Buckingham Palace Road around 1881. In 1891 he was living, described as an artist in stained glass, in Sutton, Surrey. In the same year his son of the same name (see immediately above) was assisting him, though he was better known as a painter.
Glass: Alfriston
Friars Glass Studios
This studio, which in 1978 produced a window at Keymer to the design of I McFarlane is not otherwise recorded.
Glass: Keymer
R Frogbrook
Roger Frogbrook was a carpenter, who with the mason T Pockyll contracted with the churchwardens of Bolney to built a new tower between 1536 and 1538. Unlike Pockyll there is no other record of him, but the name is common in the Bolney parish records in the later C16 and it is likely that he was local.
Carpentry: Bolney
J Fulleylove
Joan (also found as Jean) Elizabeth Fulleylove (1886-1947) was the daughter of John Fulleylove, a landscape artist, and trained under Karl Parsons and A J Drury. She was also closely linked to M Lowndes, whose suffragist sympathies she shared, so unsurprisingly her glass was made by Lowndes and Drury. She assisted M Esplin and completed her glass for Khartoum cathedral. Subsequently, she had her own studio in Hampstead until the 1930s, when she moved to Henfield, where she appears to have spent the rest of her life. It is not known what connection she had with Barnham church, where she designed a window, dated 1949, which was also a memorial to her.
Glass: Barnham
T and E Gaffin R Gaffin
According to Roscoe, Thomas (1780-1855) and Edward (1819-1869) Gaffin (EG) were father and son, who owned a long-running business of statuaries and masons, known at various addresses in London and which lasted until the early C20; in particular they could afford premises in Regent Street. However census records consistently give Edward as having been born in County Mayo, Ireland in 1780/81 and Thomas as born in various years between 1814 and 1819, also in County Mayo - his death in 1869 is well attested. Hence it would seem that the entry in Roscoe has them the wrong way round. None of the census entries includes R Gaffin (RG) (found once at Hartfield and also said to be of Regent Street) and this is likely to be an error of some kind. Most of their work consists of routine tablets and the like.
Memorials: Ardingly; East Grinstead, - St Swithun; Hartfield (also RG?); Salehurst (EG); Trotton; Wartling
R Gane
Richard Gane (1839/40-1877) was the son of a builder of the same name in Trowbridge who around 1853 was articled locally to C E Giles (see this section below). For reasons unstated Gane completed his articles in London, but then returned to work with his father in Trowbridge, where he was still to be found in 1871. However, two years previously he had bought a share of Giles's practice when the latter's health started to give way. In 1873 he took over the rest of the practice, which also had an address in London, at 6 Mecklenburgh Square and in 1875-77 at Furnival’s Inn. For much of his time in practice in England Gane retained the name of Giles in the practice, but appears to have worked on his own. Gane designed a variety of buildings and his best known one is the former Abbey Cloth Mills, the most conspicuous building in Bradford on Avon (1875). Sadly, he proved unable to cope and took to drink until he moved to Australia by 1877, the year in which he died there.
My thanks to Julian Orbach for most of the above information on both Gane and Giles. Lit: BAL Biog file
Restored/extended: Storrington (1876)
W J Gant
William John Gant (1823/24-1906) was a pupil of T L Donaldson and then an assistant of Sir William Tite and W Moseley. He was in practice in Hastings from 1852, where he was primarily surveyor to several large estates and designed houses on them. Late in life, in 1892, he was elected FRIBA.
Designed: Hastings, - Fishermen’s Church (1853-54)
T Garner
For Thomas Garner (1839-1906), see under G F Bodley.
T Garratt
Thomas Garratt (1851/52-after 1911) was articled to E F Low and Son of Northampton, near his place of birth, and was an early student of the RIBA. By 1873 he was at 15 Prince’s Row, Buckingham Palace Road London and won several prizes, including in 1875 a medal of merit for drawing (Proc RIBA). After becoming ARIBA in 1879, he moved to Shepherds Bush. In 1882 and 1883 he was at 19 Queen Anne’s Gate, Westminster (KD/L and B 45 p9), but was back in Shepherds Bush in 1891 and 1895 at 110 Percy Road. In 1908 he was living and practising in Kingston Hill, Surrey and in 1911 he is recorded as working for HM Office of Works. Unless it was by virtue of this employment, his resignation from the RIBA in 1911 may have been caused by ill-health, in which case he is likely to have died soon afterwards. His name was sometimes misspelled ‘Garrett’ but he is not to be confused with Thomas Garrett or Garratt of Ship Street, Brighton (see below).
Fittings etc: Bexhill, - St Peter (1892-93); Lewes, - St Thomas (1888); Seaford (1908)
J Garrett
John Garrett who altered Southwick church in 1835 is little documented, to the extent of being omitted from Colvin after the first edition. He appears to have worked in an unspecified way with J Butler on this project. Interestingly, the only other definite reference to Garrett links him with W Ranger, of whom a little more is known and who had produced an earlier design for Southwick in 1833, but nothing is certain. A possible candidate is John Garrett or Garratt (1799/1800-after 1871), who was born in Lewes and first appears in the records in 1851 when well into middle age, as Superintendent Architect at the dockyard at Sheerness, Kent. In 1861 he was in Portsea as a civil engineer (it is a reasonable guess that he was connected with the dockyard there as well) and by 1871 he had retired to Northwood. He does not appear in any directories for Kent or Hampshire for the relevant periods. A possible alternative is the John Garrett who was a builder at 16 New Road Brighton in 1832 (Pigot's Directory).
Rebuilt: Southwick (1835)
T Garrett
Thomas Garrett (1865-1942) of 34 Ship Street, Brighton lived at 2 Hanover Crescent, Brighton. He was a pupil of Henry Branch in London before settling in Brighton in 1889, where his practice was extensive – among the housing projects on which he worked was South Moulsecoomb. By 1931 he was in partnership with his son, S C Garrett and the practice lasted as Thomas Garrett and Son until around 1969 (KD/Brighton). In 1907 (KD/S) Garrett also had an office in Haywards Heath, near Scaynes Hill. His name in the 1891 census and in WWA 1914 is given as Garratt. Described as 'architect of Hove' (Clarke papers), the architect named only as 'Garrett' who extended Scaynes Hill is probably the same, particularly in view of his second office in Haywards Heath. He is not to be confused with Thomas Garratt of Shepherds Bush (see above).
Extended: Scaynes Hill (1913 - probably)
Restored: Pyecombe (1913)
W Geddes
Wilhelmina Margaret Geddes (1888-1955) was born in Belfast, where she studied drawing, before joining An Túr Gloine Co-operative in Dublin, where she was taught by A E Child. Her early glass was often intense in colour and heroic in scale. Her contemporaries remarked on the inconsistency of such work being produced by a small and often sickly woman. In 1925 she moved to London and acquired a studio in the Glass House, where she advertised herself as a separate business from 1934 (KD/L). Because of her health, combined with high standards, her output was small, with only 13 windows identified, though their characteristics changed little from her earlier work. Some display a diffuseness of design, but this does not detract from overall standard of her work, which was well above that of most of her contemporaries. She was also famed for her graphics including illustrations and needlework.
Lit: DNB
Glass: North Chapel
N di P Gerini
Niccolo di Pietro Gerini (c1340-1414) was a prominent Florentine painter of the late gothic period, whose works are widely found in Tuscany and in galleries outside Italy including the National Gallery, London. His earliest known work dates from 1368.
Paintings: Withyham, - St Michael (formerly; now at Leeds Castle)
J G Gibbins
John George Gibbins (1843-1932) was an architect of Brighton and Hove, who was articled to W G Habershon and Pite, like Sir W Emerson and worked in W Burges’s office. He became a prolific designer, mainly of hospitals and public buildings and from 1867-69 was partner of Horatio Nelson Goulty (1830-69), whose name the practice retained at least until 1887 – Goulty was a nonconformist and, among other things, a successful designer of chapels. In 1883 and 1889 Gibbons had a professional address in London (BN 56 p300) as well as Brighton. By 1899 the Brighton practice bore his name only and in 1907 was known as Gibbins and Son (KD). He died in Hurstpierpoint and is buried at Ditchling.
Lit: BAL Biog file; Obit: The Builder 143 p568
Altered/restored: Brighton and Hove, - St Luke Prestonville (1882); Patcham (1898 - attr)
A Gibbs
Alexander Gibbs (1832-86) was one of three sons of Isaac Alexander Gibbs (1802-51), who first appears as a maker of stained glass in 1849 at an address in Hampstead Road (KD/L), shortly before his death. Confusingly, all three sons were named Alexander and the youngest also shared the name of Isaac (see below). Alexander (with no other name) inherited his father’s business with Charles Alexander (see immediately below), but by 1857 he had established his own business with two addresses in Bloomsbury (KD/L), which was called Alexander Gibbs and Co. Among those working for him was Isaac Alexander junior (see below). Alexander was willing to conform to W Butterfield’s requirement for clarity and lack of clutter and worked with him for the rest of his life. After his death, the firm continued the association and it is said not to have closed until 1915, though the company disappears from KD/L after 1908.
Glass: Arundel; Battle; Boxgrove; Brede; Brighton and Hove, - St Patrick; Copthorne; Cowfold (posthumous); Guestling; Iford; South Malling
C A Gibbs
Charles Alexander Gibbs (1825-77) was a son of Isaac Alexander Gibbs and the eldest brother of Alexander Gibbs (see immediately above), with whom he carried on their father’s business after his death - in 1854 it was still known as Isaac Gibbs, but by 1855 it was Charles and Alexander Gibbs (KD/L). Alexander set up his own business in 1857 in Bloomsbury, whilst Charles Alexander remained in what had been his father's premises in Marylebone Road, London and the firm continued after his death. Like Alexander he appears to have worked for W Butterfield. There are also other stained glass companies with the name Gibbs, including William Gibbs of Brunswick Place, City Road in 1865 and 1866 only (ibid). There is also James Gibbs and Watson of 32 Gloucester Road, Regent's park which makes an equally brief appearance in 1875 and 1876, but it is not known whether either is linked in any way to the main family.
Glass: Angmering; Arundel; Brighton and Hove, - St Patrick Designed by Butterfield); Hastings, - All Saints; Iford (?); Pett; Worthing, - St Mary, Broadwater (probably)
I A Gibbs W W Howard Gibbs and Howard
Isaac Alexander Gibbs junior (1849-99) was the youngest son of Isaac Alexander Gibbs senior and appears to have assisted his brother, Alexander (see above). His partnership with William Wallace Howard (1856-after 1915), the son of a banker, is first found at 64 Charlotte Street in 1879 (KD/L), though it is stated to have started in 1873. They moved to Great Portland Street, where Howard continued alone until about 1915 after Gibbs's death (KD/L). The firm also made tiles.
Glass: Herstmonceux; Seaford
J Gibson
John Gibson (1790-1866) started as a cabinetmaker. Whilst still an apprentice in Liverpool, he took up marble carving. He went to London and then Rome, where he was taught by Canova and then the great Danish master Thorvaldsen. He spent the rest of his life there, living frugally and carving mostly works inspired by the classics. Many of these he sent back to Britain, which he visited only fleetingly. Nevertheless, his reputation was high and he became a Royal Academician in 1836. He continued to work in a neo-classical idiom after most sculptors had abandoned it and started in 1846 to use colour in his work.
Lit: Eastlake, Lady: Life of John Gibson, 1870; DNB
Memorial: Pulborough
C E Giles
Charles Edmund Giles (1822-1881) was born at Frome, Somerset, but at the age of 14 he was articled to a London architect, Henry Shaw. This proved highly unsatisfactory and though he transferred to another architect, one Alexander, he was no better. Thus in 1842 Giles returned to Frome, where he purchased a ten-year partnership with Richard Carver (c1792-1862) of Taunton, a prolific designer of churches and county surveyor of Somerset. This partnership was yet another cause of dissatisfaction and in 1849 Giles gave it up prematurely. After this he worked on his own, mostly in the county, and by 1853 was taking pupils, including his later partner R Gane (see this section above). Giles worked on churches and other buildings, many of them in or near Frome, but in 1856 he moved his main residence to London. He appears to have worked mostly from here thereafter, but his work was still largely in the West Country. He did however design churches and other buildings closer by, including in London itself and a church at Ventnor, Isle of Wight. In 1865 he took his former assistant Walter Robinson as a partner, since his health was starting to give way, and in that year they restored Chewton Mendip church, Somerset. Giles moved his place of residence to Shenfield, Essex in 1866 and resigned from the RIBA in 1868, but he remained professionally active and in the following year Robinson, who was said to be a drinker, was replaced as partner by Gane. In 1873 Giles's health caused him to retire altogether, handing the practice over to Gane, though it continued to be known as Giles and Gane, e g in 1875 when Gane worked on a church at Midsomer Norton, Somerset. After retirement Giles travelled extensively on the continent and died at Rome.
My thanks to Julian Orbach for most of the above information about both Giles and Gane. Lit: BAL Biog file
Restored: Storrington (1872)
E Gill
Arthur Eric Rowton Gill (always known as Eric) (1882-1940) was born in Brighton, the son of a clergyman. After initial training at Chichester, he was apprenticed to W D Caröe as an architect, but even before he left Caröe’s office he was mainly interested in letter-cutting and design and never practised. Later he was also famed as a sculptor and draughtsman and his work is in Westminster cathedral and on public buildings in London, including Broadcasting House. He was a member of the Art Workers Guild and while living from 1907 at Ditchling Common, he was instrumental in establishing the Guild of St Joseph and St Dominic, an association of independent Roman Catholic craftsmen. Under Gill's pupil J Cribb, this survived his move to Wales in 1924 and was only wound up in 1989. He wrote extensively and was the elder brother of M Gill (see immediately below).
Lit: F McCarthy: Eric Gill, 1989
Memorials: Amberley; Bognor Regis, - St Wilfrid; Harting, war memorial; Poling; Walberton
M Gill
L Macdonald (or Max) Gill (1884-1947) was born in Brighton. He was Eric Gill’s (see immediately above) younger brother and trained as an architect in Bognor. He assisted Sir C Nicholson and H C Corlette from 1903 to 1908 and later lived at West Wittering. In 1924 his practice was in Chichester (KD) and he was a member of the Imperial War Graves Commission. Like his brother, he was a member of the Art Workers Guild and also like him devoted himself increasingly to lettering and the graphic arts. In his lifetime he was best known for his maps and prospects of areas and buildings, which were often decorated with figures and other graphics. He also painted murals.
Obit: The Times 16 Jan 1947
Designed: Findon Valley (first church - 1935-36)
Restored: Chichester, - St Bartholomew (1921-29); Southbourne (1925)
T Gilliam
Tony Gilliam is a glass engraver whose studio is at Alresford, Hampshire. He has designed quite a few types of objects, including windows in various techniques. He first trained as an illustrator and only became a self-taught engraver after some 30 years. Since 1990 he has been a Fellow of the Guild of Glass Engravers.
Glass window: Clayton
L J Ginnett
Louis John Ginnett (1875-1946) was born in Leamington, but was raised mainly in Brighton. After study in London and Paris, he became a successful painter, whose portraits were particularly esteemed. For nearly 40 years he lived at Ditchling where he was a leading member of the artistic community that developed there; among those with whom he was closely associated was C Knight, initially a pupil. Ginnett taught for many years at the Brighton School of Art and was responsible for the large series of murals at the former Brighton and Hove Grammar school. In style, his many of his paintings show the rather hard light and almost exaggerated realism of contemporaries like Meredith Frampton. He also designed stained glass, some of it made by the Wareham Guild and Cox and Barnard.
Glass: Burgess Hill, - St Andrew; Sayers Common; Steyning
Paintings: Hove, - St Patrick (stations of the cross - designed)
W Glasby
William Glasby (1863-1941) was the son of a warehouse-porter and spent his youth in Battersea. He was apprenticed to J Powell and Sons in 1876 and rose to be their chief painter. H Holiday insisted that he be used for his own work for the company and in 1891, when living in Hampstead, he joined Holiday’s new workshop after he left Powell's. By about 1897 Glasby was producing his own designs in a style heavily influenced by Holiday and also worked for Morris and Co as a painter, particularly after Holiday had closed his business in 1906. He was in business on his own account around 1919, making other fittings besides stained glass. He used addresses in Kensington and later Putney, but in 1939 he moved to Horsham. Amongst the media in which he worked, was a form of mosaic. Before starting his business he made designs for W B Simpson (e g Herstmonceux) and otherwise generally used Lowndes and Drury to make his glass. After his death, the business was carried on for a while by his two daughters, who moved in 1946 to Henfield.
Lit: D Green, D Hadley and J Hadley: The Life and work of William Glasby, JSG 32 (2008) pp91-107
Glass: Brighton and Hove, - St Matthias; Dallington; Herstmonceux; Pulborough; Worthing, - St Matthew
Memorial: Eastbourne, - St Philip, war memorial (attr)
Glass House
See Lowndes and Drury.
I L Gloag
Isabel Lilian Gloag (1865-1917) was born in London, the daughter of parents said to have been Scottish, though her mother was born in Australia. She studied in London (at the Slade School among others) and Paris. She had her own studio in London by 1893 and her work is largely pre-Raphaelite in inspiration. Particularly around 1900, she also produced designs for stained glass, which were mostly for M Lowndes, so her glass was made by Lowndes and Drury. She suffered from ill-health for most of her life and in 1911 was living with her widowed mother, but she became a popular book-illustrator, whose works are still available in reproduction today.
Glass: Henfield (attr)
Goddard and Gibbs
The firm was formed in the 1930s by the merger of two older companies; one of them was Walter Gibbs, founded in 1868 and formerly at Shoreditch, and the works of the merged company are now at Stratford, E15. The older firm of J Hardman and Co is today part of the group. After World War II they were much involved in repairing war damage. For 24 years A E Buss (AEB) was chief designer, followed from 1970 to 1997 by John Nicholas Lawson (1932-2009), son of W Lawson. Under Lawson, the firm under took a number of major projects including the west window of Henry VII's Chapel at Westminster Abbey and several in the Middle East, both religious and secular. Other designers have included G B Cooper-Abbs, D Smart and C Swash.
Lit: J Lawson: Faith Craft Works and Goddard & Gibbs Studio Ltd, JSG 23 (1999) pp55-61
Glass: Crawley, - St Alban; Eastbourne, - St Elisabeth; Felpham; Lewes, - St Anne; Lodsworth; New Shoreham; Ninfield; Pevensey Bay (AEB); Wartling; Worthing, - St Matthew
A Godfrey
Angela Godfrey (b1959) studied in Newcastle and since 1964 has been active as a sculptor and teacher. Much of her work has been for churches, in Ireland as well as England. She now lives in Roydon, Essex.
Sculpture: Horsham, - St John, Broadbridge Heath
W E Godfrey
Walter Emil Godfrey (1913-82) was the son of W H Godfrey (see immediately below) and lived for many years in Lewes. He studied architecture at the Regent Street Polytechnic and after World War II went into partnership with Andrew Carden, with a particular view to undertaking the restoration of war-damaged churches and other buildings. In addition, his father was involved with him in some projects of this kind, such as the restoration of the Temple Church. Like his father, he specialised in restoring and adapting historic buildings, including Fishbourne Roman Palace and the Bishop’s Palace at Chichester, though the practice has also done a relatively small amount of new work. Between 1951 and 1982 N McFadyen (N McF) was also working for it. Carden and Godfrey still exists in Clerkenwell (see R Andrews and R James) and the works listed below are certainly not all the practice has undertaken.
Lit: BAL Biog file; Obit: The Times 16 Aug 1982
Designed: Brighton and Hove, - St Richard, Hangleton (1960-61)
Restored/Repaired: Beddingham (1957-58); Bishopstone (1952-54 - with father); Brightling (1966); Etchingham (1962-67); Hammerwood (1963); Lewes, - St Michael (1982 - N McF responsible); Poynings (1963); Rodmell (1950-51); Southease (1949-50); Tarring Neville (1957)
W H Godfrey
Walter Hindes Godfrey (1881-1961) is today best known as a historian, a writer about Sussex churches and the town of Lewes and as founder of the National Buildings (now Monuments) Record. He was a pupil of James Williams, the surviving partner of George Devey, and he and another pupil, E L Wratten took the practice over and renamed it in 1905. Initially, they continued to design large houses. Even after Wratten died in 1925 his name was retained and in 1938 the practice was at Church Lane, Lewes (KD/S), where he lived at Bull House. Before founding the NMR Godfrey was active in the London Topographical Society. Increasingly he became known for his restoration and conservation work. In the 1930s this included Herstmonceux Castle and in later years many bombed buildings. Some of these were carried out in conjunction with his son, W E Godfrey (see immediately above) and they also worked together on some church restorations, though not formally partners.
Lit: BAL Biog file; Obit: The Times 18 Sept 1961
Restored/altered: Bishopstone (1952-54 - with son); Boxgrove (1931); Friston (1920s); Hamsey (1928 - attr); Keymer (nd); Lewes, - St Anne (1927); Plumpton (1932); Seaford (1938); Up Marden (1924 - attr); Westham (c1937 – attr); Worthing, - St Symphorian, Durrington (1941); Yapton (1939-41)
Fittings: Alfriston (choir stalls - with Wratten)
C R B Godman Godman and Kay
Charles Richard Bayly Godman (1879-1946) was from 1907 partner of F Wheeler and his son in Horsham (KD). By 1921 both Wheelers were in London and the partnership was dissolved. From then until his death Godman’s partner was Claude John Kay (1878-1969), Wheeler’s former assistant. They built many banks and houses and the practice still exists at Cowfold. The practice has continued to be active in the field of churches. In 1949 the partner concerned with such work was E W Owen (EWO) and in the 1960s and 1970s L H Parsons (LHP) and N F Gossage (see this section below) (NFG) were both active. In 1994 S Reid was the responsible partner for work at Findon church.
Lit: BAL Biog file
Designed: Littlehampton, - St James (1908-10 - with Wheeler; alterations in 1949 by EWO)
Restored/altered: Brighton and Hove, - St Luke, Prestonville (1968-69 by NFG); Coldwaltham (1923-25 - as G and Kay); Itchingfield (1962 - LHP); Lower Beeding (1949 - as G and K, but Godman was dead); Patcham (1970 - LHP); Petworth (1935 – as G and Kay); Slinfold (1974-75 - LHP); Southwater (1909-10 and 1974-75 - as G and Kay - the latter repairs were by LHP)
J Goldsmith
Joseph Goldsmith, is known only from a single reference of 1810, which calls him ‘the younger’,and is presumably connected with James Goldsmith of Lewes, joiner, who is listed in the Universal British Directory (1793) and presumably also with James Goldsmith senior (LBPB 1826). Both, in turn, are probably related to T Goldsmith (see immediately below), also of Lewes.
Renovated: Beddingham (1810)
T Goldsmith
Thomas Goldsmith (1805-75) is in LBPB from 1826 (called ‘junior’) to 1847 at Spring Gardens, Lewes. He was described as a carpenter, except in 1841, when he was a yeoman. However, in fact he carried on a wheelwright’s business at various addresses in Southover. Joseph (see immediately above) and James Goldsmith, the latter a joiner, are probably related.
Refitted: Lewes (Southover) (1845)
H Goodall
Herbert Goodall (1852-1907), who is almost certainly the artist who designed a window at Alfriston, was a member of an artistic family, specifically the son of Frederick Goodall RA (1822-1904), a successful artist who was particularly known for his Orientalist works. The son trained as an architect in G E Street's office, where he was afterwards an assistant for a time. He also studied at the RA Schools, but spent most of his life as a painter. He specialised in watercolours, especially of landscapes and there is no indication of his having designed stained glass - that at Alfriston is in a pre-Raphaelite idiom. Nevertheless, he is a far more plausible candidate than the only alternative, the firm of Herbert A Goodall and Co, who were in Shoe Lane, City by 1902, though there is also no suggestion that they were involved in stained glass. Until the 1920s they called themselves ‘manufacturers and merchants’ and by 1930 they were in Vauxhall Bridge Road and were brush manufacturers and hardware merchants. They disappear from directories after 1934.
Source: www.goodallartists.ca
Glass: Alfriston
H S Goodhart-Rendel
Harry Stuart Goodhart-Rendel (1887-1959) was an architect of private means, who after studying music at Cambridge and under Andre Messager in Paris, was articled briefly to Sir C Nicholson, but was otherwise largely self-taught, setting up his own practice in 1911. His father died young and he added his mother's name Rendel in recognition of the life interest in a substantial estate that he received from her father. He wrote perceptively about Victorian architecture when it was deeply unfashionable, principally, as regards Sussex, in a series of articles in the Architectural Review in 1918 on C19 Brighton churches. His card index of Victorian churches (now in the BAL), remains a valuable source. He also wrote on church design and belonged to the Art Workers Guild and the Committee of Consulting Architects of the ICBS, before becoming a Roman Catholic. Many of his churches combine a generally traditional approach to planning with more contemporary detailing; Elain Harwood has summed it up by saying that he used every device of the gothic except the pointed arch. His secular work reveals his interest in contemporary Scandinavian and Dutch architects. Despite his declared aversion to the Modern Movement, some of his larger works in the 1930s, such as the Hays Wharf building on London's south bank, show its influence. He never entirely lost a reputation for frivolity, as shown in his musical interests, which inclined towards Victorian light music. Pevsner in his preface to Some Architectural Writers of the Nineteenth Century, deploring his failure to produce a promised fuller study to follow his much admired English Architecture since the Regency, remarks that he lacked stamina. In Pevsner's eyes that would have been demonstrated by Goodhart-Rendel's attitude to the Modern Movement. However, he was sufficiently esteemed among his fellow-architects to be elected President of the RIBA in 1937-39.
Lit: T Devonshire Jones: Romanesque Renewal, CBg 118 (July/Aug 2009) pp56-57; A Powers (ed): H S Goodhart-Rendel 1887-1959, 1987; DNB
Designed: Brighton and Hove, - St Wilfrid (1933-34 – secularised and altered); Hastings, - St John Upper Maze Hill (1951-58)
Restored: Nuthurst (1951); Stansted (1925 and 1947)
Fitting: Winchelsea, reredos
A Goodman
Ann (or Annie) Goodman is first recorded as a glass-designer in 1982. She trained at Goldsmiths College, London and in Brighton and is also a painter, as well as producing books. Much of her work is in the area round Steyning.
Glass: Brighton and Hove, - St Mary; Steyning; Sullington; West Itchenor
A Goslett and Co
Alfred Goslett and Co were founded in 1835 as glass merchants and Goslett's Yard, off Charing Cross Road, still commemorates them. In 1880 they are described as glass merchants in Soho Square, which is very close by, so it is quite possible that they had not moved when in 1903 they were referred to as builders merchants in Charing Cross Road. There they remained until at least 1941. Like other later C19 London glass merchants, they dealt in glass for churches, though this was probably bought in.
Glass: South Bersted
N F Gossage
Neil Frederick Gossage (1908-72) was one of at least two members of the long-established practice of Godman and Kay (see this section above), who were responsible in the 1960s for church work.
Repaired: Brighton and Hove, - St Luke, Prestonville
L M Gotch Gotch and Partners
Laurence Mursell Gotch (1881-1964) was a pupil of his uncle, A J Gotch of Kettering, before spending four years in Canada. He later worked for the Midland Bank and with Lutyens on major projects. After 1945 he founded Gotch and Partners in Brighton and London, which still existed under this name in 1969 (KD/Brighton), though its work after he retired in 1955 is by others. In about 1972 it was renamed Wells-Thorpe and Partners. This recognised the fact that since the late 1950s, the practice had effectively been led by J Wells-Thorpe (J W-T).
Designed: Brighton and Hove, Resurrection, South Woodingdean (1958-59 - J W-T)
Repaired: Patcham, All Saints (1967); Pyecombe (1970-72 - completed as Wells-Thorpe and Partners)
A D Gough
Alexander Dick Gough (1804-71), after travel on the continent, became a pupil of Benjamin Wyatt and worked with him on several major projects in London, including Apsley House and the Duke of York’s column. He remained as Wyatt’s assistant until 1836, when he went into partnership with his fellow pupil, R L Roumieu (1814-77), after whom his third son, Hugh Roumieu Gough, was named. Despite their classical grounding, they designed gothic churches many of which are of wilful originality, along with schools, houses and other public buildings. There are grounds for suspecting that many of the less conventional aspects of these were thanks to Roumieu. After 1848, A D Gough was on his own until he was joined by his two sons, who in due course took over the practice. He lived in Islington and was surveyor to several small railway companies.
Obit: The Builder 29 p749; DNB
Designed: Hastings, - Christ Church, Ore (1858-59)
Restored: Winchelsea (1850 - plans)
D Grant
Duncan James Corrowr (sic) Grant (1885-1978) was of Scottish descent and after a conventional schooling studied painting in Paris. Back in London he became closely involved with the Bloomsbury group, notably with V Bell, with whom he lived for the rest of his life and had a daughter, despite many homosexual relationships. As an artist, after a period before World War I close to the avant garde, he reverted to figures and landscapes for the rest of his long life. He and Vanessa lived at Charleston Manor and are buried at West Firle.
Lit: R Shone: The Art of Bloomsbury, 1999; DNB
Paintings: Berwick
W L Grant
William Leonard Grant (1850-1942) was born in Wiltshire, where he was articled to Henry Weaver (d1886), who was county surveyor and surveyor to the diocese of Salisbury. By 1881 Grant had a practice at Sittingbourne in Kent where he was still active in 1914 (WWA) and spent the rest of his long life. He worked on a number of churches in that area and was active in local public life, as surveyor and sanitary inspector, churchwarden and school manager. It is not known what his professional relationship to C S Spooner was, with whom he worked on the completion of Rye Harbour.
Lit: BAL Biog file
Altered: Rye Harbour (1911-12)
G K Gray
George Edward Kruger Gray (1880-1943), who was born Kruger, took his wife’s maiden name on marriage in 1918, possibly because of anti-German prejudice, though his father came from the Channel Islands and he was born in Kensington; his name is also found with a hyphen. His studies culminated at the Royal College of Art, where he was taught by W R Lethaby. An accomplished watercolourist, he also designed stained glass which showed his technique, called somewhat ‘hard and insensitive’ in his obituary, to best advantage. Though interested in liturgical development, he came increasingly to specialise in heraldic designs. In addition to seals and other heraldic devices, he designed coins for Britain and several other countries of the Empire. A member of the Art Workers Guild, he lived mostly in London, but died at Chichester and there is a memorial window to him in Fittleworth church.
Obit: The Times 4 May 1943; DNB
Glass: Upper Dicker
J Gray
Jane Campbell Gray (b1931) trained at Kingston School of Art and then the Royal College of Art under L Lee. She was his assistant for a total of eight years at his studio at New Malden, including the time in which he was working on the glass he was commissioned to make for Coventry cathedral. She then opened her own studio and now lives and works in Shropshire.
See under J Ross for her works.
F E Green
Francis Ernest Green (1902-73) was born in London and became an architect in Hove. There is no record of him in a professional capacity beyond the two below and the circumstances of his training are not known.
Completed: Lancing, - St Michael (1958-59)
Repaired: Clayton (1963)
H J Green
Herbert John Green (1850/51-1918) was born near Ipswich and was a pupil of Sir A W Blomfield before joining his office. By 1881 he was in independent practice in Norwich and Lincoln’s Inn Fields, London and became Diocesan Surveyor of Norwich. In 1894 he was judged bankrupt (BN 64 p335), but references to him as an architect continue thereafter and he was living in the same house in Norwich in 1901 as in 1891.
Extended: Forest Row (1877)
T Green
Thomas Green (c1659-c1730?) was a leading statuary in Camberwell by 1697. He was responsible for some of the largest and most elaborate early C18 church monuments, which are widely scattered through England. However, he also worked in a simpler vein, as his only work in Sussex shows. Mainly in his final years, he was also noted as a heraldic carver, especially of the Royal Arms for public buildings.
Memorial: Ticehurst
T Greenshields
Thomas Greenshields (1798/1803-c1845) initially practised in Reading, but moved to Oxford, where he lived in St John’s Street in 1841. He designed a number of vicarages and rectories in the south of England, but otherwise most of his surviving work is in Oxford and he restored several churches in Oxfordshire.
Rebuilt: Iping (1840)
R Grimshaw
Rosalind Grimshaw (b1945) trained with J Bell and Son of Bristol and worked for them until the company closed in 1996, though she also made glass herself. Subsequently she went into partnership with Patrick Costeloe, with whom she shares a studio in Clifton.
Glass: Balcombe; Scaynes Hill
J Grist
James Grist (1809/10-76) is described in 1841, 1851 and 1855 (KD/S) as a builder and stonemason of Midhurst and in 1861 was also High Bailiff. In 1867 he was a surveyor, but in 1871 a master mason, and in that year and 1874 KD/S calls him a builder. At Lodsworth he was working with A Brown, who was described as surveyor, and Grist was said to have been the builder, but in view of his later career, it is possible that he was involved in the design.
Reconstructed: Lodsworth (1840-42 and later)
L Grossé Ltd
Louis Grossé Ltd, a firm of church suppliers, is found in England from 1911 to its closure in 1980, but can be traced back to a business established at Bruges, Belgium in 1783. It became a leading importer and supplier of fittings, mostly in the Italian, Spanish and French styles. Their vestments and altar-frontals were especially renowned, though glass by the company is also known (it was possibly bought in). The name is often found without the accent and in 1911 they had premises in Baker Street, London. They moved twenty years later to Manchester Square, their address in 1939, and thence to Manchester Street.
Fitting: Crawley, - St Peter, West Green, rood; Eastbourne, - St Saviour, statue
J T Groves
John Thomas Groves (c1761-1811) was the son of a builder in London, who became one also. However, it would appear that he had artistic interests, for he exhibited views at the Royal Academy and visited Italy. On return, he was appointed Clerk of Works for St James’s, Westminster and Whitehall. Such an appointment brought him into contact with the Surveyor, J Wyatt, whose cavalier conduct of official business was matched by Groves. He also had an extensive private practice, mostly domestic in nature.
Lit: DNB
Completed: East Grinstead, - St Swithun (1811)
H Grylls
Harry Grylls (1873-1953) took over the family business of Burlison and Grylls after the death of his father, Thomas John Grylls. The firm was to close on his death. He may also have worked on his own as a designer. The firm had a final upsurge of activity after World War II, when Grylls corresponded with leading church architects and artists.
Glass: East Grinstead, - St Swithun
Guercino
Francesco Barbieri (1591-1666), known as Guercino, was born near Bologna, where he was trained. He worked extensively there and in Rome, producing large altarpieces and mythological works. The latter were especially prized in C18 England.
Painting: Netherfield (after)
F Gunby
Francis Gunby was a Yorkshire craftsman, who is found during the 1630s. To him are attributed the fittings of St John, Briggate, Leeds (1632-34) and a ceiling at Temple Newsam house, now on the outskirts of the city..
Fitting: Rotherfield, pulpit
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