The clump

Details from: The Sower, Canterbury Cathedral, C12th: Lady & The Unicorn Tapestry, Flanders C16th: my Laura Ashley patchwork quilt, 1975.

The clump of flowers motif is found in many of my "favourite" items: the weeds, spots and stripes in the stained glass at Canterbury Cathedral, the background to the tapestries in The Cluny Museum in Paris and the Laura Ashley scraps that I made my patchwork quilts from. 

But the best example has got to be on the serge curtains stitched by William & Jane Morris in 1860 and hanging in the hall at Kelmscott Manor. The stitches are huge and the colours dramatic, each clump (below right) is about 300 mm. tall.

Above is my first drawing inside the Manor, drawn with great excitement in front of the serge curtains, with a  glimpse of the treasures beyond. These are a 1925 tapestry by JH Dearle (Art Director for Morris & Co. from 1896) hanging next to a black & white and a coloured design for the piece. 

JH Dearle tapestry: detail of tapestry: my copy of two clumps from Dearle's black & white design.

This "millefleurs" tapestry uses the clumps not as background filling or a border around figures - as in many Morris tapestry and stained glass designs - but as an overall small scale pattern (clumps about 120 mm. tall). There are about twelve different types of flower closely packed together with just a dark narrow border around the edge. Close study of the clumps reinforces a fact I particularly like, that these plants were not necessarily drawn from nature.

Glass collection

Enamelled glass vessels in the V&A: by Karel Vanura 1959, Francois Eugene Rousseau 1878, Ludwig Sutterlin 1904.

Where could I go for tips on painted glass vessels but the glass gallery at the V&A ? I liked the flower goblets for the shape of the painting, the fish vase for the fine detail, and everything about the vessel on the left by the Czech artist Karel Vanura.

At home I have my own glass gallery, including a set of beakers, below right. From the sets I find in charity shops I keep one on the shelf and use the others - I prefer the feel of the small thin ones in my hand. I'm just at the stage of experimenting with enamels on old jars, bottles and beakers for a range of glassware that will use my Kelmscott shapes with inspiration from Karel Vanura.

Some of the first tests and part of my collection of beakers.

The mulberry tree

Kelmscott Manor from the west in April and September

This was one of my first drawings of the Manor, from a picnic bench in the meadow. That view is now obliterated by fruit trees; I have hardly looked at the west side of the Manor recently because the mulberry tree is so overpowering - you can see it hiding the two right hand gables in the picture above. The path in front of the green room windows has been closed off because of disturbingly dropping fruit, and I am taken straight into the world of Christina Rossetti's "Goblin Market". 

Mulberries, blackberries, cartoon of CGR by DGR

The cartoon, above right, is one of a number of fantastic drawings by DGR at Whitwick Manor. It shows Christina in one of her tantrums smashing furniture, in reference to a favourable 1864 review in the Times that included the line, "Miss Rossetti…can point to finished work - to work which it would be difficult to mend".  If you haven't got anyone, ideally a sister, to read "Goblin Market" aloud to you, here is a link to the poem.

www.bbc.co.uk/poetryseason/poems/goblin_market

Eaton Hastings

WM commented on the church of St. Michael and All Angels at Eaton Hastings as being a companion in size and layout to those at Buscot and Kelmscott. Looking across the river from Kelmscott Manor, you can see the clump of trees surrounding the church, but it's a winding walk away because of the bridges over the Thames.

Inside are interesting windows, and a tasteful interior as the cushions and kneelers are in the same jade green as the glass borders. I like the white/green and green/white reversal in the first two windows above, and I love the little piece of C18th painted glass above right.

Below are the windows from Morris & Co in the church. Left to right; Christ from a design by EBJ (1877), St. Matthew from a design by EBJ (1872-4), St. Michael by FMB surrounded by angels and Saints Raphael and Gabriel designed by WM but not made until 1935.

Early stained glass

My 1977 sketchbook                              Four versions of "Kelmscott: design 1"

When I put my four new glass panels (all versions of Kelmscott: design 1) on the mantlepiece in The Brewhouse yesterday, I was reminded of the first stained glass panel I ever made. I had seen the design for it in my old school sketchbook, on a page after the one about Giotto who was my favourite artist at the time and what I call a real Pre-Raphaelite.

Another frequently asked question from my visitors is "What triggered my interest in stained glass?" I know this was the three postcards of windows in Chartres Cathedral that started off my stained glass postcard collection, shown below. The bits I like best now are the messages on the back from my oldest friends.

P.S. I would love to receive more, address still as on the right in the photo, postcode SN8 4AD.