|
M McCartney
Sir Mervyn Edmund Macartney (1853-1932) was the son of a doctor in what became Northern Ireland. After study at Oxford, he became a pupil of R N Shaw before starting his own practice in 1882. He designed mainly public buildings and country houses in the Renaissance or Old English styles and was editor of the Architectural Review for 14 years. Despite his lack of experience in working on churches, he was Surveyor to St Paul’s cathedral from 1906-30 and thoroughly restored it in the 1920s when it was threatened with collapse. He was a founder-member and later President of the Art Workers Guild, though his preference for the Renaissance was ahead of his time in the later C19. Most of his work in later life on churches (mainly alterations and fittings) was also in this style. With, among others, Sir R Blomfield he briefly ran Kenton and Co, a furniture designing and manufacturing business founded in 1890.
Lit: BAL Biog file; Obit: The Times 29 Oct 1932
Restored: Winchelsea (1931)
G M McDowell
George M McDowell (1855/56-1907) was born in 1855/56 as a British subject in France, the son of an Irish naval surgeon, who with his family in 1861 was living in St Helier, Jersey. By 1891 he was an artist, painter and sculptor at 16 Red Lion Square, London. George Moore Macdowell (sic), of 23 Great Castle Street, London W and other addresses in the area, who exhibited at the RA as a stained glass painter between 1882 and 1885 (Graves) is probably the same.
Glass: Oving
F Mace
Frederick (or Frederic) Mace (born c1804) entered the RA Schools in 1818 and he is said to have been a pupil of Sir F Chantrey. He produced mainly busts that were exhibited at the RA, the last of them in 1838 and a number of monuments, the final one in 1843. There is no further record of him after this date.
Memorial: Westbourne
N McFadyen
Neil MacFadyen (born 1927) was a partner in Carden and Godfrey from 1951. During the time he was with the practice it also bore his name. He made a speciality of churches and also worked on several Oxford colleges and at least two cathedrals (one of them Ripon). See under Carden and Godfrey for further details.
See Blackheath Society Newsletter, Spring 2010 p6
I McFarlane
Ian McFarlane produced a design in 1978 for a window at Keymer church for the otherwise unrecorded Friars Glass Studios. He too is not otherwise known.
Glass: Keymer
J E M McGregor
John Eric Miers McGregor (1890-1984) was the son of Archie McGregor, a painter and sculptor who worked in the pre-Raphaelite style. He himslf became the partner of two Secretaries of SPAB, A R Powys and Thackeray Turner and was honorary technical adviser to the Society from 1933 to 1969. As this suggests, he specialised in the repair of old buildings, in which he was strongly influenced by the Arts and Crafts principles he had learned in his youth.
Obit: The Times 17 March 1984
Renovated: Elsted (1951)
Hugh MacIntosh and Partners L A MacIntosh
Founded by Hugh MacIntosh (1875-1950), the practice continued after his death at 33-35 High Street, Croydon. Without citing a source, Pevsner names the architect responsible for the work at St John, Carlton Hill as L A Mackintosh (sic) (LAM), who was the son of the founder and took over the practice.
Altered: Brighton and Hove, - St John, Carlton Hill (LAM - 1955-57)
Repaired: Salehurst (1952-57)
Sir B Mackennal
Sir Edgar Bertram Mackennal (1863-1931) was born in Melbourne, Australia, the son of an architectural sculptor, with whom he studied before he came to London in 1882. There, he attended the RA Schools before studying further in Paris, where he was influenced by the Symbolists. On return he designed pottery for a period, but reverted to sculpture. He came under the influence of the late Victorian New Sculpture, but his work, often on a large scale and to be found in both Britain and Australia, becomes progressively more derivative after about 1900 – in the words of the DNB he became a ‘reliable and efficient sculptor to the Edwardian and Georgian establishment’, producing many public statues and portrait busts. In this latter capacity, his best known work was the head of George V for his coinage. Perhaps surprisingly, he did not become a full Royal Academician until 1922.
Lit: DNB
Memorial: Arundel (Fitzalan Chapel)
D Mackintosh
David Mackintosh (c1800(?)-1858/59) was a native of Greenock, Scotland, who was in London by 1823, when there is a record of his marriage there. He was still there when his younger daughter was baptised in 1828, after which there is a long gap in the records until the 1840s, when he was in Exeter. However, he did not sever his links with the capital, for in 1847 he signed himself as ‘Architect of Exeter and London’ on the plan of Ifield church submitted to the ICBS and on geographical grounds it seems more likely that it was from the latter that he worked on Ifield church. In 1850 his address was 11 Verney Place, Exeter (White’s Directory of Devon). The 1851 census lists only his wife, Christina (born in 1801/02 in Scotland) there, but a surveyor and builder of the name in lodgings at Barnstaple (born in Edinburgh), must have been the same man on his travels - he had designed Holy Trinity church there in 1846. There is some uncertainty about his date of birth, for in this census he is said to have been aged 36, making him born about 1815, an impossibility in view of his marriage date. The approximate date of birth given above is based on reasonable guesswork and is liable to change. It is clear that by the 1850s Mackintosh was effectively a Devon architect only and he worked extensively there for the rest of his life. Most of his work consisted of the restoration or reconstruction of churches, one of them in the romanesque style, but he also designed at least one large house. He died in Exeter at his home.
Restored: Ifield (1847)
My thanks to Robert Cutts for providing further information about Mackintosh, including that about his family circumstances and likely birth date.
F Madox Brown
Ford Madox Brown (1821-93) trained in Belgium and Paris as a painter and was also influenced by the German Nazarenes. After returning to England he became close to the Pre-Raphaelites, though he was never a member of the Brotherhood. He was also close to William Morris (see below) and was one of the founders of Morris and Co. He designed glass and furniture for the company, but ceased to be involved with it after 1874. His subsequent career was uneven and included several years in the 1880s spent in Manchester, where he worked on murals for the new town hall.
Glass: Brighton and Hove, - St Michael; Haywards Heath, - St Wilfrid
G Maile and Son Maile Studios
The firm of George Maile and Son, later known as Maile Studios, was originally founded in 1785 as monumental sculptors at 367 Euston Road, London. By 1925 they were making ecclesiastical metalwork at the next-door premises and by about 1931 called themselves simply ‘ecclesiastical craftsmen’. They subsequently specialised in glass, the earliest known of which dates from 1941. They moved first to Bayham Street, NW1, where they had previously had a workshop and then to Canterbury. A S Walker (AW) was their chief designer of glass, though they also used outsiders like R Baldwin and the shadowy F Baker (FB). They are said to have closed during the 1990s.
Glass: Ashington; Burgess Hill, - St Andrew; Crawley, - St Peter (AW); Crawley Down (AW); Eastbourne, - Holy Trinity; Fairwarp; Forest Row; Hastings, - Emmanuel (FB); - St Helen, Ore; Newhaven; West Firle
J Malcott J Malcot
John Malcott or Malcot (c1777-1851) was the son and grandson of London masons of the same name; both variants of the name are known. As a sculptor and carver, this John Malcott was working in the family business by 1809 and during his time there the firm produced many monuments and tablets. He was equally known for his architectural sculpture and worked on buildings such as the new National Gallery and the restoration of the Temple church. In 1841 he was described as a mason and lived in Streatham. The family firm existed until at least 1862, probably under his son.
Memorial: Rye
S Manning
Samuel Manning (1786-1842) was closely related (most probably a brother) to Charles Manning (1776-1812), who in 1808 became partner of J Bacon junior. In turn, Samuel Manning became Bacon's partner by 1819 and after a period of working jointly, took over the extensive business almost entirely. Though the name of Bacon survived for commercial reasons, Bacon himself left London in 1823 and played little part thereafter. Much of Manning's work consisted of fairly routine tablets.
Memorials: Chichester, - St Mary, Rumboldswyke; East Lavington; Rye (jointly with Bacon); Trotton (two); Wartling
F O Marchant
Francis Oliver Marchant (1887-1961) was first a pupil and then assistant of Ernest Newton in London. He later settled in Eastbourne and worked on local authority housing projects in Kent and Sussex. He also designed private houses and worked with Sir Giles G Scott.
Restored: Etchingham (1937-38)
R Marchant
Robert Marchant (1871-1945) was an architect of London - successive editions of WWA give his address as 2 Bedford Square, WC1. He did an extensive amount of work on churches, of which he also produced drawings.
Lit: BAL Biog file
Repaired: Ewhurst Green (1926-27)
F Marrable
Frederick Marrable (1818-72) was the son of Sir Thomas Marrable, an official enjoying the title of Secretary to the Board of Green Cloth. He was articled to E Blore and then went abroad. On return he went into practice and designed churches and public buildings, mainly in London, but he did not prosper and in 1856 became superintending architect to the Metropolitan Board of Works when it was established. Much of his work consisted of planning new streets, including Garrick Street in Covent Garden. In that street he designed the Garrick Club, probably his best known building. This was after he had resigned his post in 1860 in a dispute over pay, but in the last years of his career he specialised manly in arbitration cases and dealt in property. The statement that he painted a stained glass window for St Mary Magdalene, Hastings (probably no longer extant) is ambiguous, since it does not reveal whether he was also the designer, but suggests that he had at least some skills in this specialised area.
Lit: BAL Biog file; Obit: The Builder 30 pp500-01; DNB
Designed: Hastings, - St Mary Magdalene (1852)
Glass: Hastings, St Mary Magdalene (probably destroyed)
T Marsh
Thomas Marsh, of whom little is known, produced numerous tablets from a workshop at 20 New Road, Fitzroy Square, London (LPOD 1829). They are dated between about 1820 and 1854 and the owner of a marble and stone works in Upper Fitzroy Street, New Road in 1856 (Post Office Directory) of the same name is probably the same.
Memorials: Ifield
E Marshall
Edward Marshall (1597/98-1675) was apprenticed to a mason. At various times he worked in Westminster and the City, though his earlier monuments show the influence of the Southwark sculptors, who were mostly of Dutch origin; some later ones incorporate busts and other classical features. One of the main workshops for brasses is associated with him and one brass is certainly by him, whilst the workshop undertook the alterations to the Bartelot brasses at Stopham. Later in life he worked primarily a mason on buildings and appears to have designed at least one. After the Restoration he was Master Mason in the Royal Office of Works and worked especially at Windsor.
Source: DNB
Brasses: Ardingly, brass (attr); Stopham (alterations)
Memorials: Cuckfield (attr); Eastbourne, - St Mary; Horsham, - St Mary, attr); Ringmer, (attr)
J Marshall
John Marshall (1816/17-90) was born at Boxgrove and was initially a builder and surveyor at Oving. He worked for Sir George G Scott as clerk of works during the reconstruction of the tower and spire of Chichester cathedral. In 1874 he was a builder of St James, Chichester (KD), but by 1878 (KD) he was in business at Midhurst, as confirmed in 1881, and he died there. Though mainly a contractor, e g for the restoration of St Pancras, Chichester (B 27 p354), he appears to have acted as architect at East Dean (W).
Restored: East Dean (W) (1870-71)
Joshua Marshall
Joshua Marshall (1628-78) was the eldest son of Edward Marshall (see above) and was probably trained by him. He succeeded his father as Master Mason to the Crown. Before the great fire of London in 1666 he was chiefly a maker of monuments, but he then became active in the rebuilding of the City. He is known to have worked on six churches and the new Temple Bar, all in close collaboration with Sir Christopher Wren.
Memorial: Cuckfield (attr)
P P Marshall
Peter Paul Marshall (1830-1900) was the son of an Edinburgh artist who became a surveyor and sanitary engineer in London. By the late 1850s he was close to the pre-Raphaelites as his father-in-law was an early patron. He was introduced to W Morris (see below) by F Madox Brown (see above) and has been credited with making the first suggestion of founding a decorative arts firm that became Morris and Co, of which he was one of the first partners. He was an amateur painter who exhibited quite widely, so he must have been of some competence. Certainly, he produced some designs in the initial years of the firm. He is known to have produced at least one design long after he quarrelled with Morris over the dissolution of the original firm in 1875, though in 1877 he moved to Norwich as city engineer. He continued to paint for the rest of his life, particularly after his retirement to Teignmouth in 1894.
Glass: Brighton and Hove, - St Michael
T and G Marshall
Nothing is known of this firm of masons and statuaries except that their workshop was in Deptford and that though only seven monuments are known, they are spread over a period of more than 40 years, from c1790 to c1832.
Memorial: Lindfield
J Marten
John Marten (1728-1814) came from Tenterden, Kent, where he is buried, and his works are found in churches between there and Rye. They are in the style of the C18 and use coloured marbles.
Memorials: Icklesham; Rye
---- Martin
A single monument at Lindfield dated 1830 is signed 'Martin of Lewes' and Llewellyn (p220) suggests he may have been associated with L Parsons there, but no further reference is known.
Memorial: Lindfield
E Martin
E Martin is known only from a single signature, in this form, in 1845. He was clearly a painter, probably of signs etc.
Painted: Warminghurst, Royal Arms
L Martin
Leonard Martin (1869-1935) was a pupil of John Giles and a fellow-student of Lutyens, who went into practice with Henry J Treadwell (1860-1910) in 1890. They designed commercial and other buildings in a free, picturesque gothic, mainly in London, where their office was in Charing Cross Road. According to a profile in Arch J (10 (1899-1900) p237), Treadwell was chiefly involved in the business side and Martin concentrated on design. He designed schools and houses but only one other church, at Cobham, Surrey where he lived. After Treadwell’s death, he practised alone until 1929, when his office was at Waterloo Place and he went into partnership with E C Davies.
Lit: BAL Biog file
Extended: Fairwarp (1931-35 – with Davies)
P M Martin
Philippa Mary Martin (b1944) lives in Redhill, Surrey and trained at Reigate School of Art. She briefly assisted L Lee. Much of her glass is to be found in Surrey churches and she has also undertaken restorations.
Glass: Lurgashall
D F Martin-Smith
Donald Frank Martin-Smith (1900-84) was the partner of H Braddock in the early 1950s, but not a great deal more is known about his career. However, during the earlier part of this he designed, when on his own, one of the most influential churches of the inter-war period, the John Keble Memorial Church at Mill Hill in North London (1935-37). This is remarkable for its use of reinforced concrete and its liturgical innovations, for which Martin-Smith was not primarily responsible.
Lit: BAL Biog file
Designed: Crawley, - St Mary (1958)
A E Matthew
Alexander Edward Matthew (1903-72) was an architect in London, where he was partner at several addresses in Gray’s Inn of W E Monro (see below) and W E Seth-Smith in the 1950s. Later he moved to Windsor.
Designed: Eastbourne, - St John Meads (1955-57)
A E T Matthews
Albert Edward Thurman Matthews (b1917) was a Scot who in 1948 became the partner of R G Covell. Their practice was in London, where they were prolific designers of churches in the diocese of Southwark. They were also in practice in Scotland, where they did much work with various partners, especially university and commercial buildings in Edinburgh and Aberdeen.
Repaired: Groombridge (1968-69 with Covell)
Sir E Maufe
Sir Edward Brantwood Maufe (1883-1974) was born in Bradford with the name Muff, which he later changed to what was said to be the original version - Brown, Muff's department store, his family's business, was until 1978 the most highly regarded in the city. He was a pupil in London of W A Pite and during this time lived in William Morris’s Red House. This fired his interest in the arts and crafts movement; he later joined the Art Workers Guild. Unusually, he interrupted his pupillage to study at Oxford, but finished his training at the Architectural Association. Apart from some houses in his early years, he designed mostly churches and some public buildings. Contemporary Scandinavian architecture was an influence and his book on modern churches is illustrated from foreign examples. He developed a simplified form of gothic, which is exemplified by Guildford cathedral. He lived in later life at Buxted in an old house he had himself adapted. In addition to three parish churches in Sussex, he also designed in 1960 the chapel of the Boys' Grammar School at Lewes, now the Priory School. It is in very much the same idiom.
Lit: BAL Biog file; DNB; Obit: The Times 14 Dec 1974
Designed: Brighton and Hove, - Bishop Hannington Memorial Church (1938); - St Nicholas, Saltdean (1962-64); Eastbourne, - St Mary, Hampden Park (1952-54)
M May
Margery E May can be traced in the records from 1950 to 1972. She trained at the Slade School and between 1950 and 1956 exhibited at the RA as a painter and engraver, mainly of landscapes. She was then living in Winchelsea. Her activity in stained glass appears to be mostly later, when she was living in Hastings.
Glass: Eastbourne, - All Souls; - Holy Trinity; Ewhurst Green; Hastings, - St Clement; Iden; Worthing, - St Symphorian, Durrington
Mayer and Co
The firm was founded in Munich in 1863 by Josef Gabriel Mayer (1808-93), a respected teacher of arts and crafts, under royal patronage - the Bavarian monarchy from the 1840s had supported a state glass manufactory, which produced rather brightly coloured and pictorial glass, of which some of the most notable is to be found in the nave of Cologne cathedral. The company established its first foreign representation in London in 1865, which indicated the significance of the British market, where it supplied much glass to Roman Catholic churches. Its address was initially in Holles Street, Cavendish Square, but by 1874 it had prospered sufficiently to move to Grosvenor Street (KD/L). During this time it employed British artists, including W Dixon, and at its peak the company employed over 500 workers. Its British presence closed abruptly in 1914, but between 1930 and 1934 it reopened at 238 Belsize Road, Kilburn (KD/L), though the operation appears to have remained far smaller than the original one. Meanwhile, in the 1920s the parent concern had added mosaics to its repertoire and it remains in business under the fifth generation of the Mayer family with the name of Mayer'sche Hofkunstanstalt. It is particularly known for its restoration work of both glass and mosaics, but appears to limit its activities to Germany.
Glass: Arundel; Brighton and Hove, - St Mary; - St Saviour (formerly); Burgess Hill, - St John; Buxted, - St Margaret; East Chiltington; Etchingham; Hastings, - St Matthew; Horsham, - St Mark (gone); Lindfield; Lurgashall; Mayfield; Petworth; Plumpton; Rottingdean; Southwick; Stanmer; Staplefield; Storrington; West Wittering
J Mayr
Josef Mayr, who appears during the 1880s and 1890s, probably belonged to one of the families of woodcarvers in Oberammergau, Germany, who were also performers in the Passion Play there. Indeed, it is likely that he was the same Josef Mayr, woodcarver, who played Christ at least twice during this period and died in 1903. The Passion Play was a topic of great interest to A D Wagner and other High Churchmen of the period.
Fittings: Brighton, - St Martin, reredos; Withyham, - St John, reredos
J Medland
John Medland (1840-1913) was born in Gloucester into a family of architects and, after articles with his father, was a pupil and assistant to Sir George G Scott before going into practice in 1879. He designed reredoses and other church fittings, including needlework. He shared an address in Chancery Lane with fellow former-pupils of Scott, R Nevill and C E Powell and his association with Powell was close – in 1881 they were elected ARIBA on the same day (Proc RIBA). All three worked on the restoration of Rotherfield and though Powell took the lead at Arlington, Medland was also involved.
Lit: BAL Biog file
Restored: Arlington (1890-94); Rotherfield (1889-93)
R Melhuish
Reginald Melhuish was already an ARIBA when he designed the church at Bevendean in 1963 and added a comment to a website on this subject in 2006.
Designed: Brighton and Hove, - Holy Nativity, Bevendean (1963)
J B Mendham
John Bernard Mendham (1886-1951) was the son of an engineer from St Leonards and spent part of his youth in Argentina. After his return, he followed his father by qualifying as an engineer in Birmingham, where he went into practice as an architect in 1911, rising to be Architect and Surveyor to the Bournville Trust (i e Cadbury’s). In World War I he worked for the government and subsequently was in private practice in London from 1922-39. He retained links with Sussex and is likely to be connected with Mrs Sophie Mendham, the benefactress of Emmanuel, Hastings. Though living in Kent at the time of his death, he was buried at Hastings. Most of his churches were Roman Catholic, including that at Rye and two others in Sussex.
Lit: BAL Biog file; Obit: RIBAJ 59 (1952) p230
Designed: Bexhill, - St Michael (1929); Hastings, - St Ethelburga (1929)
C Mercer
Clive Mercer first appears as an architect in Chichester in 1962 and became Diocesan Architect. His practice was later renamed Clive Mercer Architects Co-operative Ltd, in which his daughter Caroline was also involved. On her retirement in 2007 it was merged with Russell Hanslip Associates of Highgate, London and became HMDW Architects Limited. The practice continues to use the redundant church of St Mary Rumboldswyke in Chichester, which had been adapted as offices by Clive Mercer.
Much of the information about this practice has been kindly provided by Simon Dyson of HMDW Architects Ltd
Designed: Crawley, - St Mary Magdalene, Bewbush (1999)
Altered: Haywards Heath, - Ascension (1997); - St Wilfrid (1999); Horsham, - St Mary (2002)
H Mew
Henry Mew was a builder in Brighton who first appears in 1829, when he worked on A Wilds’s Brighton vicarage (Wagner and Dale p22). In 1832 his address was 35 Mighell Street, Brighton (Pigot's Directory). How far he was an architect and how far he worked to the plans of others is not clear. Colvin (4th ed p691) has found a reference to him in 1853, though he is not in Pigot’s Directory of 1840, and Elleray (2004) gives a latest date of 1860. There may have been others in his family who were working in Brighton in related occupations - there is a John Mew, who was a painter in Spring Gardens in 1841, with a son called Henry.
Lit: BAL Biog file
Designed(?): Brighton and Hove, - All Souls, Eastern Road (1833-34 – dem)
P Meynell
Polly Meynell studied textile design at Brunel University and worked at Watts and Co until setting up her own business at Barnham in 1997. On her website she describes herself as specialising in architectural textiles, both ecclesiastical and secular, but her interests extend to the design of fittings.
Fittings etc: Crawley, - St Andrew Furnace Green (banners); Seaford (altar table)
R Meynell
Richard Meynell was elected to the RIBA in 1973 and now lives at Birdham. He is architect to the Dean and Chapter of Chichester cathedral, where he has designed a new restaurant in the cloisters, and to a number of other churches including Bosham.
Restored: Ford (2000); Earnley (2004)
Michael of Canterbury
Michael of Canterbury was a master-mason who is first recorded in Canterbury in 1275. For the next 15 years he appears to have worked in that city or elsewhere on behalf of the cathedral-priory, but by 1290 he had settled in London. There he worked extensively for the King, including parts of Westminster abbey, the chapel of St Stephen in the Palace of Westminster and Professor Christopher Wilson sees him as one of the most influential master-masons of the final years of the C13. The last record of him is in 1321, when he was still involved in the building of St Stephen's chapel, and John Harvey (Dictionary p45) suggests he died shortly afterwards.
Designed/built: Winchelsea (attr)
Lit: C Wilson: Gothic Metamorphosed: The Choir of St Augustine's Abbey in Bristol and the Renewal of European Architecture around 1300 in J Cannon and B Williamson: The Medieval Art, Architecture and History of Bristol Cathedral, Woodbridge, 2011, pp69-147
J T Micklethwaite
John Thomas Micklethwaite (1843-1906) came from a prosperous Yorkshire manufacturing background and became a pupil and later assistant of Sir George G Scott, in whose office he met his future partner, Somers Clarke junior, with whom he worked from 1876 after a period on his own. The partnership ended on Somers Clarke's retirement in 1892, though both names continued to be used and on occasion the two continued to collaborate. In his youth Micklethwaite had contemplated ordination and in addition he was to write extensively on the history of church architecture. These two factors combined with his interest in liturgy to produce Modern Parish Churches (1874), which had a major influence on the emergence of an aesthetic of Late Victorian gothic, including liturgy, which was at odds with the approach of the earlier Victorians, being notably more pragmatic; Micklethwaite is said to have accepted that galleries, anathema to the Ecclesiologists, had their place and his preferred form of gothic was Perpendicular. He even admired some classical churches and his restorations are remarkable by the standards of his day for their sensitivity. In 1898 he became architect and surveyor to the Dean and Chapter of Westminster, as well as being a founder-member of the Art Workers Guild and the Alcuin Club, the latter of which which gave full rein to his interest in liturgical matters. In addition, he was an Honorary Consulting Architect to the ICBS.
Lit: BAL Biog file; Obit: The Builder 91 p516: DNB; P Howell: 'A man at once strong in the present and reverent of the past' - John Thomas Micklethwaite in C Webster (ed) 2011 pp199-229
Restored/extended: Brighton and Hove, - St Nicholas (1900); - St Peter (1890-1906); Ifield (1883); Lindfield (1883-84); Winchelsea (1903-06, completed in 1911 by A G Wallace)
Fitting: Brighton and Hove, - St Patrick, reredos (with Somers Clarke junior)
H R Mileham
Harry Robert Mileham (1873-1957) studied painting at Lambeth Art School and the RA Schools before going to Italy. He was a member of the Art Workers Guild. He lived at Leigh-on-Sea and then in Hove until his death, painting oils and watercolours in a late Pre-Raphaelite style, oblivious to the changes around him. As well as work for churches, he produced portraits and historical works and illustrated books. He designed stained glass from 1908, mostly for the local firm of Cox and Barnard, though he made his own on occasion. D Hadley has found a record of a freelance artist called simply Mileham, who in 1914 produced some cartoons for glass at Wakefield cathedral for J Powell and Sons; the date would fit.
Lit: P Mileham: Harry Mileham 1873-1957, Paisley, 1995
Glass: Bexhill, - St Stephen; Brighton and Hove; - St Andrew, Church Road, Hove; - St Anne, Burlington Street (formerly); - Chapel Royal; - Good Shepherd; - St Thomas, Hove; High Hurstwood
Paintings: Brighton and Hove - Chapel Royal, painted reredos; - Good Shepherd, paintings of reredos; - St Thomas, Hove (now in St Mary, Brighton), Stations of the Cross
J Miller
Joseph Miller (1812/13-98) was a bricklayer and later builder of Broyle Lane, Ringmer, where he was born. He restored the church there to his own plans. In 1872 he tendered unsuccessfully as a builder for further work at the church.
Restored: Ringmer (1864)
W Miller
William Miller (1803-after 1881), whose earliest address in London was in the City, designed windows in East Anglia and Kent. He appears to have trained as a plumber and glazier and produced stained glass as an extension of these trades, though by 1848 it appears to have been his main field since he is described as a 'painter in stained glass' (KD/L). As at Pagham, much of his early glass was heraldic, though his east window at Barfreston, Kent (1847) was praised by Charles Winston for 'its exact imitation of early English Glass'. For most of his long career his address was in Brewer Street, Soho, but he then moved to Blenheim Street off Oxford Street, where he is listed for the last time as a stained glass artist in 1880 (KD/L). In the following year he described himself as a glass painter (unemployed) and was living in Chapel Street, St George’s Hanover Square. He is likely to have died shortly afterwards.
Glass: Hastings, - St Mary Magdalene; Pagham; Stanmer (formerly and attr)
W O Milne
William Oswald Milne (1847-1927) was a pupil of Sir A W Blomfield and the son of a vicar in Norfolk, where he did much work, though based in London. From 1875 he had the same address in Great Marlborough Street as T E C Streatfeild, though they were listed separately (KD/L). He remained there after the latter died until he moved to Chancery Lane. In 1890-1902 he and J C Hall were partners and from 1906-16 his son Oswald Partridge Milne joined him. The son continued in practice and his most prominent work is to be found at Claridge's Hotel, London, where he designed some of the main interiors around 1930. As well as restoring churches, the father designed hotels, houses and schools.
Lit: BAL Biog file
Restored/extended: Ashburnham (1894 - as M and Hall); Brighton, - St Augustine (1913-14); Eastbourne, - St Michael, Ocklynge (1910); Ticehurst (1902 - as M and Hall); Warbleton (1882)
H V Milner
Henry Victor Milner (1864-1942 - his dates are also to be found as 1866-1944 but official records all give the earlier dates) was the son of an upholsterer in Hampstead, though seemingly quite a prosperous one as there were three servants in 1881. By 1891 he was an artist in stained glass, still living in Hampstead, and by then he may well have begun an association with Burlison and Grylls that probably lasted until his move to Dunstable, Bedfordshire where he spent the rest of his life. He designed a lot of glass for T Moore (see below) and was also a painter of ecclesiastical artefacts.
Glass: Bexhill, - St Mark, Little Common
M H Minter
Muriel Herne Minter (1897-1983, born Cooper) exhibited at the RA as a painter and engraver between 1921 and 1948 and was active as a stained glass artist until the 1960s. She was born at Alverstoke, Hampshire and trained at the Slade under William Rothenstein. The listings for her stained glass in Sussex call her ‘Miss’ and she is described as 'Miss Minster' (an evident misprint) in what must be the earliest reference in a London directory, KD for 1927, when she was living at Park Walk, Chelsea. However, there can be no serious doubt about her identity with the person properly known as 'Mrs' Minter, since both lived, at least subsequently, in London SW19.
Glass: Climping; Ford
A B Mitchell
Arnold Bidlake Mitchell (1864-1944) was a pupil of Robert Stark Wilkinson (1844-1936) and among the practices in which he worked as an assistant after finishing his articles was George and Peto. After he went into practice in 1886 he became, like them, best known for his domestic architecture, although he also designed numerous schools and several parish halls - there is no record of any church by him. His work is to be found all over the country and is in a variety of styles, including classical and mediaeval.
Designed: East Grinstead, - St Mary, parish hall
G S Mitchell
George Sharman Mitchell (1867-1949) was born in Leicester. His professional training is unknown, but by 1891 he was living and working as a land agent and surveyor at Liss, Hampshire in 1891 and was still there in 1901, when he was additionally a surveyor. What must be the same man next appears three times in 1906. First, he was appointed surveyor to the Wiston estate (WSRO WISTON 5759) and at the time was recorded as already living in Horsham; second, he worked on Wiston rectory, near Buncton and, third, he restored Buncton chapel. He appears again at Horsham as a surveyor in KD 1907 at 31 London Road and there are mentions of him as holder of the position at Wiston until at least 1919. Though he does not appear again in a trade directory, SAS membership lists show him as a private resident in the town until 1948.
Restored: Buncton (1906)
H P Monkton
Henry Percival (Percy) Monckton (1857-1930) was an architect of London. he was a pupil of John Whichcord and like him worked mainly on commercial and industrial buildings including the Pearl Assurance Co, to whom he was consulting architect, working in the classical style. In 1906 he had a partner named Gillspie. However, he also worked in rural areas, primarily Sussex, where he designed a house, Horeham Hurst, at Horam in 1887 and himself had a house at Hellingly.
Obit: The Builder 139 (1930) p867
Designed: Horam (1890 and 1899)
Sir T Monnington
Sir Walter Thomas Monnington (1902-76), always known as Tom, grew up in Sussex and became a pupil of Henry Tonks at the Slade School, though he later taught at the Royal College of Art, as well as the RA Schools. He spent from 1922-25 in Italy, where he was profoundly influenced by quattrocento painters, above all Piero della Francesca. His earlier work was in this idiom and he became a successful painter of portraits and landscapes, many in the neglected medium of tempera. In the 1930s he worked on major decorative schemes at the Palace of Westminster and the new Bank of England. Perhaps as a result of work on camouflage during World War II, his style underwent a profound change during what was clearly a most unsettled period of his life, marked by the death of his first wife. He evolved a geometric, abstract style, though his output remained sparse. He was, however, widely liked and this may have contributed to his election as President of the RA in 1966. In 1937 he moved to Groombridge, where he spent the rest of his life.
Lit: Fine Arts Society: Sir Thomas Monnington 1902-1976, 1997; DNB
Paintings: Brede
W E Monro
William Ernest Monro became the partner of W E Seth Smith in 1905, though he maintained a separate identity in directories, cross-referenced to the main practice of Seth-Smith and Monro, with an address at 14 Lincoln's Inn Fields (KD/L). He was still associated with this in name in 1957, when the design for St John Meads was finalised. By then the name was Seth Smith, Monro and A E Matthew (see this section above for the last), though its address had changed to Grays Inn.
Designed: Eastbourne, - St John Meads (1955-57)
R Monti
Raffaele Monti (also found as Monte) (1818-81) was born in the Italian speaking part of Switzerland, the son of a sculptor, but grew up in Milan where he studied with his father. He worked in Vienna and Budapest before coming to England in 1846, where he settled permanently after the abortive revolt in Austria and Hungary of 1848. His work includes public sculptures, some at the Crystal Palace after it was transferred to Sydenham, and losses on such work led to severe financial problems which he was never fully to overcome. He dealt in sculpture imported from Italy and also produced busts, but few memorials. His speciality was veiled figures. Later in life, he also designed silver and ceramics.
Memorial: Easebourne
J Montier
John Montier senior (1775(?)-1837(?)) and junior (1803/04-after 1873) were father and son, who were both architects and surveyors of Tunbridge Wells and worked on the Eridge estate. John Montier senior may be John Mountier (sic), who was baptised at Midhurst in 1775, the son of another John, himself presumably the John Montier, who was carpenter and joiner in Midhurst in 1793 (Universal British Directory). Montier junior was born in Tunbridge Wells. Parish records show Frant church to be the father’s work, as the date would suggest; a watercolour elevation is signed John Montier junior whilst the plans, also signed John Montier, are in a different hand. This indicates that the father was at least as much an architect as the son and that the two were professionally involved with each other. There is a record of the death of a John Montier at Frant in 1837 and corroboration is provided by the listing of John Montier junior in PB 1837 by virtue of ownership of a property there. However, Colvin gives the date of 1844, based on a death certificate in the same name, but in Southwark. Given the extensive links to Frant, the man who died in 1837 is more likely. Frant was on the Eridge estate and several of the cottages ornees found on it have been attributed to Montier (the senior judging by the dates) (EH). From the 1840s, the son's life went through various phases in Tunbridge Wells, sometimes as an architect and surveyor and in 1839 as part of Douch and Montier, carpenters and builders. In 1841 he was listed as a carpenter with a son aged 5, yet another John, who must be the John Montier whose death in Kensington in 1875 aged 39 is recorded, but who does not appear there in KD/L in any capacity. By 1851 both were at the George Hotel with a new wife, described as ‘Victualler – inn’. In 1852 he was Town Surveyor and in 1855 his address was in Mount Ephraim (KD). He appears later as a surveyor, working in Uckfield in 1860 (BN 6 p742) and designed a Volunteer drill shed at Tunbridge Wells in 1868 (B 26 p478). He last appears in the SAS members list in 1873.
Designed: Frant (1819-22, by the father)
R de Montmorency
Rachel Marion de Montmorency (1891-1961) is always referred to in contemporary records formally as Mrs (later Lady) R M de Montmorency. She was the daughter of a clergyman named Tancock, headmaster of Rossall and Tonbridge schools. She trained in glass making under C Whall and for many years lived and worked in Putney, before moving to Winchester. After World War I she was assistant to E Woore. In 1931 she married Miles de Montmorency (1893-1963), an artist who inherited a baronetcy late in life. Her independent work mostly dates from after 1945.
Glass: Eastbourne, - All Saints; - St Michael Ocklynge; - St Saviour; Jarvis Brook; Little Horsted
A L Moore C E Moore
Arthur Louis Moore (1849-1939) was a founder-member of Gibbs and Moore of Great Russell Street, glassmakers in 1871; Gibbs is not heard of after 1878 and all that is known of him is that his first initial was S, though he was probably not a member of the glassmaking family established by I A Gibbs senior. Moore was alone from 1878 at an address in Southampton Row until joined by his son Charles Eustace Moore (CEM) (1880-1956) in 1896, when the firm became A L Moore and Son. Their premises, by then in Bedford Way, Russell Square and from 1929 in Upper Bedford Place (KD/L), were bombed in 1940, by which time the business carried only C E Moore's name. It survived this setback and continued until C E Moore's retirement in 1952.
Glass: Brighton and Hove, - St John, Preston (CEM), - St John Baptist, Palmeira Square, Hove, - St Luke, Queen’s Park; Burwash Weald; Crawley, - St Peter; Dallington; Ditchling; Eastbourne, - St Mary (CEM); Heathfield; Lancing, - St Michael; Netherfield; Partridge Green; Pevensey; Rotherfield; Salehurst; Sayers Common; Steyning; Uckfield, - St Saviour; Wisborough Green; Worthing, - St Botolph, Heene
L T Moore
Leslie Thomas Moore (1883-1957) was the son of a canon of Norwich and articled to Sir R W Edis; later he worked in the office of Sir John Simpson, architect of Roedean School. He started his own practice in 1909, designing churches and other buildings such as hospitals. However, after the death of the son of his father-in-law, Temple Moore (not apparently a relation) (see below), they went into practice together and L T Moore took over after Temple Moore’s death. Unpropitious economic and political factors limited his church work in particular, so that he designed mainly houses and hospitals, although he worked on the restoration of Peterborough cathedral for over 30 years. He was a member of the Art Workers Guild, with which he was more in sympathy than his father-in-law.
Lit: T Ellis: The Ecclesiastical Work of Leslie Moore in G K Brandwood: Temple Moore – an Architect of the Late Gothic Revival, Stamford, 1997; BAL Biog file
Altered: Bexhill, - St Barnabas (1935 and 1939); - St Mark, Little Common (1931) - as T Moore); Hastings, - Christ Church, St Leonards (1919-20)
R Moore
C Rupert Moore (1904-82) was born in Doncaster and after local study attended the Royal College of Art, where he was a pupil of M Travers. He was also a painter and was particularly known for his paintings of aircraft. From about 1952 he designed extensively for J Powell and Sons (later Whitefriars) until the firm closed and subsequently for Chapel Studios. Much of his glass was heraldic.
Obit: JSMGP 18/1 (1983-84) pp100-03
Glass: Coleman's Hatch
T Moore
Temple Lushington Moore (1856-1920) was born in Ireland and became a pupil of George G Scott junior. He completed several of Scott’s projects after his insanity developed, though he had started his own practice. He became one of the leading church architects in the simplified gothic of the late revival and designed houses in the old English or even classical styles. Desite differences of detail, he was generally content to continue in the idiom that had been started by Bodley and Scott junior, though some of his churches have unusual plans. Although living in London, much of his work is in the north and there is no parish church by him in Sussex, though he designed fittings for Lancing College and Hurstpierpoint School. He designed fittings of almost every kind, in which his High Church sympathies found expression.
Lit: G K Brandwood: Temple Moore – an Architect of the Late Gothic Revival, Stamford, 1997
Altered: Bexhill, - St Mark, Little Common (1930 - in name only); Hastings, - Christ Church, London Road, St Leonards (1919 - attr)
Fitting: Brighton and Hove, - St Michael, altar
J Morris
John Morris (1716-92) was the son and grandson of Lewes masons and himself followed their trade, becoming also a surveyor. He worked extensively in the area, including churches and several houses, among them Glynde Place. Others have generally been credited with the designs with which he was involved, but Morris certainly contributed to them as the man on the spot and at Laughton there are grounds for suggesting he produced the actual design. His firm was later owned by the Parsons family, of whom J L Parsons was active as an architect and contractor in the C19.
Worked at: Glynde (1763-65); Laughton (1764-65)
Memorial: Eastbourne, - St Mary
Joseph Morris
Joseph Morris (1836-1913) was an architect of Reading, who was of Quaker origin. He was articled to John B Clancy, a local man. He became County Surveyor of Berkshire and his partner from 1875-1886 was S S Stallwood, followed by his son Francis Edward Morris and his daughter Violet (1878-1958), one of the earliest woman architects in Britain. Morris built extensively in the Reading area, using the classical style for most of his secular buildings. Stallwood was a High Churchman, though their joint work included most types of building. The partnership probably ended because Morris joined the Agapemonite sect. Thereafter he designed few churches except one in east London for the Agapemonites, and around 1905 moved to the intriguingly named Abode of Love in Somerset, which was in fact the highly respectable centre of the sect, where he died and was buried.
Lit: H G Arnold and S M Gold: Morris of Reading: a Family of Architects 1836-1958, TAMS 33 (1989) pp45-96 and Supplement, TAMS 38 (1994) pp147-68; BAL Biog file
Restored: Horsted Keynes (1885)
Morris and Co W Morris
Founded in 1861, the objective of its founder, William Morris (1834-96) was to produce high quality furnishings and fabrics, in conscious rejection of growing industrialisation. Almost at once the firm started to design and make stained glass and until quite recently, theirs was the only C19 glass deemed worthy of attention. Early glass was designed by Pre-Raphaelite artists, including D G Rossetti (DGR) and F Madox Brown (see above) (FMB), but soon Sir E Burne-Jones (BJ) became responsible. Others were P P Marshall (see above) (PPM), C Faulkner and P Webb (PW). After Burne-Jones died in 1898 his designs were used posthumously and John Henry Dearle (JHD) (1860-1932) and W H Knight produced new ones in a similar idiom until the firm closed in 1940. Most of its other work was domestic in character, though they produced some fittings for churches, notably tiled reredoses, notably for George G Scott junior. Morris himself trained first as an architect under G E Street, but soon became diverted by the decorative arts, of which his designs for textiles and wallpapers were especially influential. As well as founding what became Morris and Co in 1861, he was a poet and became involved in radical Socialist politics. Late in life he started the design and making of hand-produced books at his Kelmscott Press.
Lit: L Parry (ed): William Morris, 1996; A C Sewter: The Stained Glass of William Morris and his Circle, 1974-75
Glass: Billingshurst (probable); Brighton and Hove, - Annunciation (DGR and BJ); - St Michael (BJ, FMB, PW, PPM); Hastings, - St Mary Magdalene (BJ); Haywards Heath, - St Wilfrid (BJ and FMB); Lancing, - St Michael (JHD?); Madehurst (BJ - fragments); Portslade by Sea, - St Andrew (BJ, posthumous); Rotherfield (BJ and WM); Rottingdean (BJ); Rye (BJ); Tillington (BJ, posthumous); Wadhurst (BJ, posthumous); Worthing, - St Paul; - Holy Trinity
Fittings: Clapham, tiled reredos; Findon, tiled reredos; Patching, tiled reredos (possible)
W T Morris W Morris Studios
William Theodore Morris (1874-1944) and his studio had no link with Morris and Co (see immediately above), with which this firm was frequently confused. This Morris was a Londoner and son of a builder’s merchant, who set up a glass manufactory in 1901, moving to Rochester Row, Westminster in 1905. He also supplied ironwork before establishing a stained glass studio and brass foundry (much in demand after World War I for memorials) and the firm supplied leaded lights and casements for houses. The firm's earlier glass is in a variety of idioms, some revealing the influence of the Arts and Crafts movement, but much is in the conventional idiom of the time. This suggests that they did not then have a full-time designer. In the 1930s, beset with financial difficulties, it was sold, whilst its premises were bombed in World War II. It restarted in 1946 in Great Peter Street, near other ecclesiastical suppliers, with F W Cole as chief designer and remained there until glassmaking ended in 1958.
Lit: R Cooke: The Other William Morris, JSG 24 (2000) pp53-59
Glass: Amberley; Felpham; Hellingly; Heyshott; Horsted Keynes; Laughton; Lewes, - Southover; Linch; Loxwood; Newhaven, - Christ Church (formerly, now St Thomas More RC church, Seaford), -St Michael; Worth
R Mortimer
Roger Mortimer (1700-69) was an itinerant painter in East Sussex and beyond, who did many portraits. Waterhouse characterises his works for churches as ‘indifferent’ and few survive. His nephew was the better known John Hamilton Mortimer (1740-79).
Painted: Hastings, - St Clement, remnants of reredos and (?) benefactors board
W Moseley
William Moseley (1798/99-1880) became Surveyor to the County of Middlesex from 1829 to c1854 and then District Surveyor of West Islington until his death. He practised mainly in London, where his most prominent work was Clerkenwell prison. Apart from churches he designed schools and lunatic asylums. His churches were in basic gothic with large lancets. Unsurprisingly, all have been altered or rebuilt.
Obit: The Builder 39 p171
Designed: Forest Row (1836); Hadlow Down (1836 – rebuilt); Holtye Common (1834-36 – dem); Horsham, - St Mark (1840 – dem); North Barcombe (1841 – unexecuted); Uckfield (1839-40)
Restored/altered: Brighton and Hove, - St Andrew, Church Road, Hove (1839); Warnham (1846-47)
A R Mowbray and Co
Founded in Oxford in 1858 by Alfred R Mowbray (1824-75) as religious booksellers and suppliers of ecclesiastical fittings and perquisites of all kinds (including glass), the firm’s works and shop were there. A London branch, opened in 1873, was for many years in Margaret Street. Their work continued almost unchanged well into the C20, as a catalogue of their wares of 1926 shows and they supplied mainly churches of an Anglo-Catholic persuasion. The ecclesiastical fittings business was taken over by J Wippell and Co in the 1970s, but the name survives as a separate entity for religious works within Hatchard's bookshop in Piccadilly, like Mowbray’s now part of the Waterstones chain. In later years they did not design the goods they sold, but commissioned others, though few can be credited to a name. Among designers of glass they used A L Ward.
Lit: A R Mowbray and Co: Church Arts and Crafts, 1926 (NAL)
Fittings: Worthing, - St John, West Worthing, statues
Glass: High Hurstwood
A W M Mowbray
Alfred William Mardon Mowbray (1849-1915) was born in Bridgewater, the son of Alfred R Mowbray (see immediately above). In 1871 he was assisting in his father’s business in Oxford, but his application for FRIBA shows he had already trained as an architect, as he went into practice in 1872. His obituary in BN claims he was a pupil of G E Street, then active in the diocese of Oxford, and designed 38 churches there, but his FRIBA application says he was a pupil and assistant of Charles Buckeridge and then assistant to J Clarke. He did, however, design and restore a number of churches in the Oxford area, mostly after 1891. In 1877 (KD) he was living at Burton Villa, Eastbourne, where he worked for the Duke of Devonshire, but in 1891 he was back in Oxford. He left the RIBA in 1893.
Obit: Building News 108 p266
Designed: Eastbourne, - St Philip (1885 – not built or replaced)
E J Munt
Edwin James Munt (1850-1937) won RIBA prizes for drawing in 1870 and 1874 as a student (Proc RIBA), when he was at 2 John Street, Adelphi, the address of G M Hills, which suggests Munt was a pupil or assistant. In 1879 he assisted W Bassett-Smith with the restoration of Brailes church (B 37 p871) and was his partner in 1883 and 1885. He may be presumed to be the architect of the name, who in 1881 was at 106 Ramsden Road, Clapham, in Streatham in 1901 and died in Surrey, though his later career remains undocumented.
Rebuilt: Lewes, All Saints (1883 – with W Bassett-Smith)
C H Murray
Colin Hay Murray (1885-1966) was W H Murray’s (see below) son and pupil and was from 1903-05 in his office. He moved to London to assist his uncle, Robert Cunninghame Murray (1850/51-1926), himself a pupil of A W Jeffery and W Skiller (RIBA/F Nomination) and thus with Hastings connections. There he attended the RA Schools and worked from 1905-09 in the Architect’s Department of the London County Council. In 1911 he was with his father in Eastbourne and probably helped with the design of St Andrew, Eastbourne, but in 1913-14 he was back in London as chief assistant to E H Bourchier, who had later Eastbourne connections through S J Tatchell. After war service, he took over the practice of his recently deceased father and it was known as W H Murray and Son in 1920 (KD/Eastbourne). He soon merged this with his uncle’s practice to form Murray, Delves and Murray of Eastbourne and 10 King’s Bench Walk, Inner Temple (later Murray, Delves, Murray and Atkins), which still existed in 1964, when R W Pite had been added to the name of the practice. Stanley William Worth Delves (1869-1959) was a pupil and later assistant of H H Cronk (see under E E Cronk) of Tunbridge Wells, where he died. C H Murray himself was still to be found in Eastbourne in 1930 (KD).
Lit: BAL Biog file
(My thanks are due to Nick Antram, who sorted out many ramifications of the Murray family tree for me)
Designed: Eastbourne, - St Andrew (1911 – attr)
Repaired: Eastbourne, - All Souls (1963 - with Pite)
Fitting: Eastbourne, - St Saviour, war memorial (1920-21)
G and W A Murray
Found only in three reports in The Builder in 1885-86, this must be an error for W H and J D Murray (see below), stated elsewhere to have done identical work at the non-existent church of Emmanuel, Eastbourne in the same year.
Altered: Hastings, - Emmanuel (1886)
H G Murray
Henry Gibbons Murray (1852-1929) came from humble origins, for his father was a coachman and in 1871 he was working as a clerk. Ten years later he had somehow become a glass painter and married two teachers in succession, the second of whom in 1901 was head of St Stephen's School, Rochester Row. His first known work in glass was several windows made by the firm of Stephen Belham and Co of 155 Buckingham Palace Road, London, which are signed by him. Stephen Belham (1827-91) was primarily a builder and contractor and lived at Wimbledon - curiously though he does not appear in any census, his will is known. However, the modest size of his estate (£967) does not suggest he had any great material success. His name applied to glass-making is first found in 1878 (KD/L) and though not well known, artists of the stature of J P Seddon produced designs for the company, so it seems to have been at least of of some artistic standing. The name of Belham disappears after 1899 (ibid) though the latest date for glass produced by them (not in Sussex) is 1902. In fact, Murray first appears at the Buckingham Palace Road address in 1900, so he had clearly acquired the business. Within a couple of years he had moved to the Britannia Studio, Caroline Street, SW (KD 1902), and though his final address was 11A Caroline Street, he remained in business in the same area of London until 1921. He appears to be quite separate from the architects of Eastbourne and Hastings of the same name (see above and below).
Glass: Eastbourne, - St Philip
My thanks to Mike Peckett, who provided much of the impetus to find out more about Henry Murray
W H and J D Murray
William Hay Murray (WHM) (1852-1919) and John Dunbar Murray (JDM) (1847-1919) were brothers, the sons of a schoolmaster of Scottish birth. Both were born at Bromley by Bow and had moved with their parents to Hastings before 1861. The older brother was in practice there by 1874 and as late as 1881 was living with his mother. In 1874 (KD) his professional address was at 3 Queens Road and in 1883 at no 2 (BA 19 (2 Feb 1883) p i). He and his brother were partners at Robertson Road (or Street) by 1886. The partnership may have lasted until 1900 (BN 79 p537). Most references after 1894 suggest the practice was in Eastbourne, though it is given as in Hastings in KD 1899. In 1891 J D Murray was living in comfort in Ore and in 1901 was said to be retired, whilst in the latter year W H Murray was in Bexhill. In 1897 W H Murray entered into a partnership at Eastbourne with H Spurrell, with whom he had worked in 1882, which ended in 1903 (BN 85 p722), though there is a reference as late as 1918 (KD). W H Murray was joined by his son, C H Murray (see above), who probably helped with St. Andrew, Eastbourne and took over the practice.
Designed: Eastbourne, - St Andrew (1911 – W H M with Colin Hay Murray?); - St Anne (1882, (attr) as ‘Murray’, with H Spurrell); - St Mary, Hampden Park (1908 - WHM only, bombed 1940); Hastings, - St Saviour, St Leonards (1896-97 – probably unbuilt – both?); Horam (1914 - new church, unbuilt - WHM)
Altered/extended: Eastbourne, - St Anne (1898 - attr, dem); - St Saviour (1903 – ‘Mr Murray of Eastbourne’ - probably WHM); Hastings, - Emmanuel (1886 (as Eastbourne) and 1893 – both)
K C Murrin
Kenneth C Murrin does not appear in the records of the BAL, but worked on the interior of Holy Trinity, Worthing in 1978.
Altered: Worthing, - Holy Trinity (1978)
|
