2 FEBRUARY TO 23 MARCH Tues to Sat 10 – 4 daily.

The day His Majesty the Shah of Persia came Dinner is the story behind ‘Below Stairs – The Meal’

Jointly researched, designed and made by Jane Vincent and Marilia Carvalho, ‘Below Stairs – The Meal’ commemorates the work of the household and estate staff at Waddesdon Manor, near Aylesbury Buckinghamshire.

Among the royalty and political leaders who were visitors to Waddesdon Manor for House Parties and Dinners were His Majesty The Shah of Persia, Prince Edward and other members of the Royal Family, Churchill & Kitchener; their signatures can be seen in the Visitors’ Book in the archives at Windmill Hill. Whilst these eminent guests highlight the role of the Rothschilds and the House in the history of the UK, little is recorded of the part of the staff in ensuring these events passed successfully. ‘Below Stairs – The Meal’ provides a window into the lives of the staff of Waddesdon Manor by illustrating aspects of their work as they prepared to serve a meal for the House guests and their entourage during the visit of the Shah of Persia on 10 July 1890.  Most staff did not live at Waddesdon but came from London residences for the duration of the house party.  Six staircases served to keep them out of sight and male and female staff slept in separate wings of the House.

Each quarry (individual pane of glass) tells part of the story of the eventful visit of the Shah of Persia. He had expected Queen Victoria’s son, and future King, The Prince Edward to stay for the duration and when he did not The Shah became upset and refused to leave his room.  In the end a combination of tricks performed by the Baron Ferdinand de Rothschild’s poodle dog Poupon, and playing Martinet’s 1774 Marvellous Elephant musical automaton enticed him to join the guests and the visit passed off with success. Indeed, he was so entranced by the automaton that it was feared it would break as he called for it to be played again and again.


The border shows the Rothschild Wine Bottles seen in the cellar today, the Five Arrows of Waddesdon crest and the sand coloured patterns carved into the stone on the front wall of the House.

Starting top left:

Linen Book – records of all the linens in the house including bedding and kitchen cloth

Summer Garden Tea – Baron Ferdinand de Rothschild made a lot of contributions to Waddesdon village. His long term staff had pensions and accommodation after retirement.

Servants’ Room -Typical shared bedroom for servants with simple furniture

The State Bedroom – Alongside this room is a smaller room for the lady’s maid

Concordia Integritas Industria – Harmony Integrity Industry – the Rothschild Family motto

Cat and Dog tiles still seen today in the former kitchen now the café

Rothschild Ram from the door knob on the front of the house – these are seen throughout the House

Rothschild Wine in their signature  Imperial Size – can be seen today in the cellar or in the wine shop at Waddesdon Manor

Typical Menu from the Chef’s menu book – none of the menus from the 19th century survive so this one is bit later

Poupon the poodle performing a trick and a close up Poupon

QR code – which may have brought you to this page!

Jelly Moulds – Copper coloured and shapes from moulds on dresser shelf

Bakst Rats – Detail from The Sleeping Beauty: The Bad Fairy visits the Christening by Leon Bakst

The Visitors Book for 10 July 1898 showing The signature of His Majesty the Shah of Persia and a note of thanks for the hospitality written in Farsi  :  ‘Written to the Remembrance of the Palace of Ferdinand Rothschild in England 10 July 1880’.  Edward and George are sons of Queen Victoria and George her grandson

The Dining Room in which the dinner would have been held

Between the pictures of the rooms are the pattern of the stair case hand rails

Working in the fields on the Estate

The Home Farm Waddesdon Manor Estate

The Kitchen staff and Chef. Behind the lady on the left in this picture is the dresser with bottles, moulds and pans. There is a hatch and this panel is designed to fit that hatch space.  If you go for a coffee or tea at Waddesdon Manor today you can see everything in this 19th Century picture except the table, and the people now are the visitors and the waiters.

The panel is made using centuries old traditional leaded stained glass methods, and includes the contemporary techniques of fusing and photographic decals.  Some of the glass has been painted, and others have images of original photographs from the archives transferred and fired onto the glass. There is a QR code to link the viewer to the makers’ and Waddesdon Manor web sites.


With thanks to Pippa Shirley, Head of Collections Waddesdon Manor, The Rothschild Foundation and The National Trust


Waddesdon Manor Below Stairs – The Meal photo Sylvain Deleu

2018 A Summer of Residencies

This Summer I took a step into the unknown and joined two separate and completely different artist’ residencies in the UK. For the first I headed North, 647miles to be precise, to Caithness and the wonderful North Lands Creative at Lybster – the centre for glass excellence in Scotland and a leading contender for the best in the west. Ask a glass artist if they’ve been to North Lands and you’ll get either a wistful ‘I wish…’ or an eager ‘I want to go back’.
The residency I joined enabled 9 artists to work under the leadership of Steve Klein and Richard Parrish exploring the theme ‘Seeking Stillness’. What was lovely about the time together was the quiet mutual respect between the artists, allowing space to be ourselves and to explore and push the boundaries of our comfort zones. Round table chats started the day keeping us focused on the theme whilst learning from each other. Field trips in the minibus, food and more food – building up our appetite with fresh air and the walk down and up the Whaligoe Steps for one of Karen’s wonderful meals. Our visit to Latheronwheel for The Byre Project ‘Permeable Structures’ exhibition with exquisite work by Silvia Levenson, Emily Nachison, Michael Rogers and Karlyn Sutherland was very precious and special. Each day we presented a photo from the day before, such as these, that responded to our seeking stillness.

It was a time to explore oneself, find new personal directions in art and life and it was a privilege to be with Steve, Richard, Leslie, Lisa, Janet, Shelagh, Diane, Geoffrey, Miri, Pamela, and Murray for those 10 days. I came home brimming with ideas and a bag full of test pieces and kiln experiments and, thanks to Michael Boulton, some with glass painting. Later on, in the Autumn, at the Just Glass Seminar ‘Cut and Paste’ Amanda Simmonds told of how, 8 years on, she is still making new work from her time at Northlands with Steve and Richard – I certainly have enough to keep me inspired for many years to come.

Following my return from the remote and relative coolness of Caithness I began, in late July, a three-week residency in Wood Wharf building site Canary Wharf. In the heart of London’s business district built on the former docklands this new site is developing housing, offices, a primary school and more local amenities. After passing a compulsory online Health and Safety exam I arrived on site with 19 other artists where we donned our PPE – safety wellingtons, hat, goggles, fluorescent waistcoats and gloves and headed for the 37th floor by way of the builders’ lift that trundled up the outside of the tower. The adjacent circular tower will have 58 floors – about 27 had been built so we were able to look down on it. In contrast with my stay in Lybster where I could fall out of bed and be in the studio in 5 minutes, I had a daily 2hour commute to Canary Wharf which in 91F and no aircon on the Jubilee Line made for uncomfortable travel but it became part of the residency as I travelled among the smart suited city folk in my artist’s clobber. Our onsite workroom was windowless and in the basement 86 stairs down (at least not the 365 of Whaligoe) – but it was airconditioned – bliss! The CWND artist residency was a total contrast to Northlands. I was the only glass artist joining fine artists, sculptors, portrait painters, installation, sound and video artists, and ceramicists. Artists at different stages of their careers, some fresh from Wimbledon Art College and The Courthauld others studying at CAS or striking out in new directions. We had no studio facilities and no materials (apart from our own recording equipment and basic drawing materials) could be brought on site. It was quite liberating. I met with the project manager responsible for cladding the towers – this included the glass, I walked about the site within the ‘blue zone’ and watched others at work, toured around the site on a boat and walked about the business district. Using found materials from site I experimented with reflection, squares in construction, and made some wire birds with stones, broken ceramic and glass found in the crushed rubble used on the paths. Thanks to Andrea Coltman who organised the residency with the Canary Wharf Development Corporation – this was her third year – we also had a series of workshops and lectures from artists, as well as a tour of the outside art with the Canary Wharf Estate Curator. An exhibition of Glass was on show in one of the buildings although it was disappointingly presented in smeared plexiglass boxes or in poorly lit areas – a bit of a contrast to when I’d see the same glass in other venues such as Messums, or the Biennale in Stourbridge.

Any talk of Summer 2018 cannot pass without mention of the weather as it was hot, hot, hot for weeks. People said we had not   experienced such heat and drought since 1976; I remember that Summer particularly well as the weather broke with great ferocity when I was on a campsite in Wales such that we had to  shelter in a marquee from lightning strikes and rain. No such respite for 2018 although a couple of days of rain and overcast skies in Lybster were much appreciated to see a change in colours of the landscape which until then had been constantly bright in sun and cloudless skies. In London it was just hot but it’s breezy in the Docklands so we avoided the close humidity of the home counties. Now, writing this in early November, I’m wrapped in the warmth of one of Patti Nieman’s woollen scarves bought from her lovely workshop in Berriedale and Summer seems an age away. Now it’s time to plan for exhibitions of the work from the residencies and CWND will meet up in a couple of weeks to do just that.

The Summer of Residencies will be a hard act to follow but next year there are some important exhibitions coming up. There is the wonderful Biennale & International Festival of Glass in Stourbridge to look forward to, and the lovely team from the Contemporary Glass Society are continuing their Glorious Glass exhibitions as well as another at the IFG; London Glass Blowing are hosting an exhibition and there are more opportunities– all of which I’ll try for with my new work inspired by this year’s activities, about which more in the next blog


More information about Northlands Creative Glass and the CWND residencies can be found in Instagram and Twitter

Spring 2018 – Exhibitions and Glassy Days

Spring has eventually sprung and so has this season’s blog! Amidst the snow and the rain there has been more than an inkling of activity in the world of glass. The Just Glass exhibition at Orleans House finished with a flourish in January (& my sculpture ‘I♥You’ has a new home) and at the end of February CGS’s ‘Glorious Glass’ opened in Taunton Somerset. The first of a series of linked regional exhibitions in Great Britain, organised under the leadership of CGS by artists local to the venue, ‘Glorious Glass’ reached out to a new audience from its CICCIC performance arts venue in St Paul Street. 24 artists, including myself, at varying stages of their glass artist careers showed their work. I exhibited two stained glass panels of fish on a plate which proved popular. It never ceases to amaze me just how versatile a medium glass can be. Cut, pulled, blown, printed, layered, moulded, dropped, dripped, glued, balanced, lit, fused, polished, blasted, painted, leaded, immersed, etched and more… but above all loved. There was something for everyone and I particularly liked Fabrizia Bazzo’s work (left) and Rachel Woodman’s exquisite coloured nuggets like little amulets that could nestle in your hand.

Rachel Woodman photo Linda Morley

Alongside the adventures of exhibiting there have been some wonderful glassy days this Spring. Mark Holford kindly followed up his offer to the Askett Glass Artists to show us his private glass collection and a group of us enjoyed his talk about his acquisitions and lunch after in the heart of SW1. Inspired I dug out my accumulated glass collection and decided that at very least my Anthony Stern goblet deserves to be properly displayed. Hot on the heels of the collector visit was, appropriately, a hot glass day at Messums. I’d never been to this eclectic Wiltshire Gallery before and it was a lot of fun. Lovely café, art exhibitions and a day of hot glass performances. I think the organisers wondered if they would still have a barn at the finish with all the flames and heat flying. It was an exciting day and what a joy to watch Cathryn Shilling work with James Devereux and Katherine Huskie, see Dante Marioni

Dante Marioni & James Devereux

at work with consummate professionalism and skill, and to be consumed by the excitement of Elliot Walker as he made an impossible vessel possible. The day had started more calmly with what is probably one of the most understated skills – the making of a stemmed glass. We are so used to using them we have no idea how difficult it is to get it just right. Watching Cathryn guide and intervene as James and Katherine made her work prompted debate among those watching – who is the artist? Is it the same if you design and make it yourself as when someone makes it for you or with you? Rachel Woodman, responding to the topic at the Glorious Glass seminar in Taunton explained she didn’t make her own work anymore but worked with others to do so; she said after college she had done her apprenticeship in Sweden and made stems for glasses for many months, repetitively, and nothing else. Her excellence as a maker now enables her to instruct others to make work to her design and exacting standards but with the technical dexterity she no-longer enjoys. This is not work in the school of Woodman, or indeed Shilling, but work made in partnership sharing tools and instructions – an orchestrated and choreographed work with an artist practitioner as the conductor.
The final glassy day was spent with Jacque Pavlosky and Marilia Carvalho fellow artists in the Askett Glass Studio group. We first visited and scrutinised the exquisitely painted windows, Sunrise and Sunset, made by Clayton and Bell for 2 Temple Place c1895, where there is also a more traditional leaded roof light shown in the header above. Our walk to Glaziers Hall took us along the Thames Embankment and past the new wonders of London’s architecture on Blackfriars, Southwark and London Bridges – notable for the extensive use of reflective glass. Our day was rounded off by Professor Sarah Brown’s lecture on the East Window of York Minster – better to read her new book than I try to convey it all here.

As Summer comes there are more exhibitions, a residency and plans for the Winter to prepare for. I’ll have some work at Bucks Art Weeks as part of a large group show in Askett – you can check out the information on the Bucksartweeks.org.uk web site – 9 -24 June. Linked with the art weeks shows I’ll be running a workshop on the 24 June at WycombeMuseum.org.uk and later in the Autumn giving a couple of evening talks. You can find out about current activities via my Facebook.com page janevincentglass.





Article and images by Jane Vincent ©Jane Vincent except as noted

Winter 2017 Liquid to Solid – The Mutability of Glass … and more!

10 am – 5pm  Tues to Sundays 7 December 2017 to 21 January 2018 at the Stables Gallery, Orleans House Gallery, Riverside, Twickenham TW1 3DJ

It’s a busy time of year – lots of opportunity to fill yourself to the brim with Christmas Fayre of all kinds. I headed off to Waddesdon Manor at the end of November (!) for their Christmas market and enjoyed chatting with Hazel Williams (hazelwilliams.net) about her laser cut designs in wood and perspex and then to Tony Davis (myvisibleobject.co.uk) about his laser cut metal sculptures – I’ve combined some from both into a Christmas mobile. Suzanne Raffellini had her lovely fused glass on show and all in all, what with a Christmas lunch in the restaurant, a tour of the  decorated rooms in the House and then the truly spectacular light show at the end and I was ready for the festive month.

December really is a big month for me – my latest contribution to academic knowledge was published – jointly edited with Leslie Haddon. Our edited volume ‘Smartphone Cultures’ is all about the ways in which this mobile technology and its apps have been produced, represented, regulated and incorporated into everyday life – you can ‘look inside’ the book on Amazon…
My work on smartphones and technologies and what people do with them often inspires my work, not least this little sculpture ‘Marconi’. Back in 2009 I gave a guest lecture at Falmouth University for the Porthcurno Museum, famous for its connection with Marconi and his early experiments; later I found out that Marconi had lived in Cookham, Berkshire where, using a frying pan as part of his kit, he had tried out radio wave transmissions across the Thames to Hedsor. Now I have no idea how he did it, he was housesitting for his Uncle who was in jail, and of course left the UK under a cloud of insider trading and other accusations. Nevertheless, we cannot avoid the important role he played in the advancement of telephones and mobile phones and this little sculpture 22x13x13cm represents the memories of Marconi, the frying pan, the transmission insulators, the dark cloak of mystery that surrounds him and the radio waves that carried the messages. ‘Marconi’ is one of 4 small kiln formed and glass/wire & nail sculptures that I am showing in the Just Glass exhibition:

Liquid to Solid – The Mutability of Glass.
10 am – 5pm Tues to Sunday
from 7 December 2017 to 21 January 2018
the Stables Gallery, Orleans House Gallery,
Riverside, Twickenham,TW1 3DJ

@Orleanshg FB OrleansHouseGallery 020 8831 6000

The Private View on the evening of the 7th December (6-8pm) combines with the Varsity Match nearby so it might be a scrum in more ways than one! All the work is for sale but as an exhibition alone it is worth a visit. Bring a flask as the Stables Café is not open although there are nearby cafes and restaurants in Twickenham and Richmond.
I’m really thrilled to be joining the Just Glass exhibiting artists and look forward to future exhibitions just-glass.co.uk

Memory Block II: Second Blowing  & Memory Block III: Happy Fish






Meanwhile my kiln has been hot this month as a group of ladies from the girl guiding Trefoil Guild came ‘round to my house for a craft evening – usually we sew or glue Christmas decorations but instead we made them from glass – and a coaster each too.

2018 brings not only the continuation of the Just Glass exhibition but also planning for Bucks Art Weeks (9-25 June 2018); the Glass Art Society in Murano in May, British Society of Master Glass Painters and Contemporary Glass Society events, and more exhibitions so who knows what inspiration will flow from all that excitement!

‘I ♥ you’

And finally – if you can’t make it to the Stables Gallery here is my Artist’s Statement for the work on show – any questions (and it is all for sale)

Email janevincentglass@abbeyrisestudio.co.uk

The nail in glass series of 28 pieces is about memory and is inspired by the Nkisi of the Kongo – a wooden block into which nails are driven each symbolic of a ritual action involving health, wealth, good fortune and other (some more sinister) matters. In my pieces the nail is permanently fired into the glass and the memory trigger is attached to the nail. They are intended to be triggers for emotions too; memories are complex and a simple object can invoke a chain of recollections and emotions. Some are glass, such as the blown vessel I made in a glass blowing evening classes or, in the case of the Marconi piece, ceramic objects I and a college friend made plus wire from a telecoms cable. The wire heart is instead of a nail and coiling it into the glass conveys the fragility and stability of loving relationships – a nail didn’t seem quite right when it comes to love.

(All images and content ©janevincent)



Autumn 2017: CGS Conference 14-15 October M-Shed Bristol

CONNECTIONS: Glancing backwards, seeing the present, focusing on the future

Anticipation for the conference had been building and it did not disappoint! What a wonderful weekend full to the brim with glass, glass and more glass – huge thanks to the organisers and everyone who attended to make it such an exciting two days.

M Shed

Bristol’s M- Shed was our venue and up on the second floor we had a view across to the Cathedral and down onto the activities below. Peter Layton opened the event with memories of the early days of studio glass – a theme to be continued. Peter is a linchpin of the contemporary studio glass movement and he is much respected internationally as well as in the UK, a good mentor for many. Following on from Peter was Colin Reid whose much loved outstanding work is the envy of all and anyone who visited the International Festival of Glass Biennale would have seen him win the people’s prize for his stunning sculpture. When he needs space to think he takes himself off on his sailing yacht for a few days of solitary reflection and ironically he missed the second day having to leave early to make the yacht safe from the incoming Ophelia. It is wonderful to have role models like Peter and Colin but we turned to Patricia Van Den Akker for hints on how to become one yourself, how to make the most of the your skills and be a good businessperson – a course is on offer to CGS members in 2018. Also the envy of many present is the skilful precision of Jade Tapson’s screen printed discs and in her talk she generously shared her technique. Seen at the Biennale I thought they were an adaptation of cane work similar to the technique used by Scott Benefield but I was completely wrong! Already after just one morning common themes were emerging about sharing vs secrecy, legacies and new techniques for the future.

David Reekie – the importance of foam in packaging your work

I attended the seminars after lunch: watching David Reekie show us how to pack our work was very therapeutic and quite a performance – lots of thick foam, 4mm ply, heavy cardboard boxes and duct tape are the ingredients – plus the odd platter by Max Jacquard and a sculpture or two of David’s to make it real.

Meanwhile Jacque Pavlosky shared the experiences of our Askett Studio Group to great effect resulting in a number of enquiries to join – it doesn’t quite work like that but it’s flattering. Susan Purser Hope gave us some great insights from her experiences of working with communities – schools, dementia groups, all sorts of situations. Nothing seemed too much trouble for Susan and I think it would be a lot of fun to be on one of her projects.

The Great Glass Drop got underway a little quicker than even the organisers expected as the boxes containing charity shop tumblers were enthusiastically chucked from the 2nd floor to the entrance hall below.The chuckers tried their best but in the end only a couple broke and there was more excitement surrounding the opening than for the drop.

Sunday dawned a sunny day, Bristol was not really awake as we started with Martin Donlin’s exhilarating talk about his stained glass, which, to me, has something of Patrick Heron and Marc Chagall in it, and it is just wonderful. His work is on a huge scale and he has grown his skills with the available technologies, ruefully admitting to missing working in lead. Tales of working with hydrofluoric acid at college made us cringe and fear for his longevity but without that careless youth the bravura of his design may well have been lost. We liked that he stays true to the materials of stained glass seeking out makers of antique glass to achieve the desired effects.

Contrasting Martin’s excellence in design and technique Andy McConnell shared his expertise of glass, talking particularly about scent bottles – providing masses of illustrations of glass from 50BC to the present day. His irreverent views and encyclopaedic knowledge of his subject was informative and amusing and if you wonder why there do not seem to be many scent bottles about it is because he probably has bought most of them! This brought us neatly onto the topic of collecting and the mysterious world of the Collector. What motivates them to buy the glass, what do they look for, where do they put it all, is there a secondary market? It is wonderful to have enthusiastic collectors like Alan J. Poole, Mark Holford, Mike Barnes and Andy McConnell but it was noted that the UK is very different from the US where glass makers are held in high regard and collecting is a big thing. This does mean the few collectors in the UK have rich pickings from the high quality work produced in the UK but the makers can struggle to find buyers, although it was noted UK glassmakers are not good at marketing themselves…

The last talk of the morning was by Philip Baldwin and Monica Guggisberg – I’d often wondered how they came up with their novel work, what motivated them and how they had managed to still be producing after all these years. A technical hitch at the start of their presentation gave more than a hint to their collaborative problem solving and their images a sense of their free spirit – they are not a couple who are contained or constrained by any boundaries. Life is for living in the present, for having fun and for respecting the hardship of others alongside your own good fortune. We’d have loved to see some images of their work but now we must go and look them up… and we are no nearer to knowing how they make it.

We continued the day at fast pace, not forgetting to spend time talking to the suppliers and buying from them – frames, glass, printing on glass, 3d printing with glass, new colours from bullseye and updates on spectrum and bullseye supply. Northlands the glass centre beyond Inverness was also there telling us about their opportunities.

Time to Share was a random group of CGS members, including me, who talked about their own work or someone else’s that was special to them. It was interesting to hear people’s stories and I enjoyed Sue Tinkler linking a little piece of glass that had inspired her to begin with her present work tutored by the maker of that first inspiration. We heard how themes of colour and textile design merge and appear in glass form, how new work comes out of adversity and how people step out of their comfort zone to try a new technique and to talk about it. My own contribution was my talisman, the little GAS2002 signet ring in glass cane work that I was awarded for making the winning fishing float in the Scariest to Fish category at the GAS conference installation in Amsterdam. GAS will be in Europe in Murano 2018 – hurrah!

Two more panel sessions in which we were able to ask suppliers and experts all kinds of questions filled us with lots more ideas, gave us solutions but also left us feeling a little depressed about the decline in wages for teaching . Tutors who had been teaching for many years are now earning less than when they started –  new approaches to transferring skills is clearly needed. Key themes from the second day were the important & growing role of suppliers in education now arts and crafts are diminishing in schools and colleges; pushing the limits of what glass can do and pushing at boundaries to achieve more by working out of your comfort zone such as working on a huge scale.

What is the next big thing in glass? Difficult to tell but certainly accessible projects for hobbyists, schools & communities are beginning to grow interest in the medium. Greater inclusion and diversity in the industry is needed – class appears less of an issue, more so ethnicity – something to think about as we were bar one an exclusively white western audience, although online exhibitions are more inclusive so maybe accessibility is the issue.

Overall it was a great two days – everyone was happy to talk, share their experiences, and wanted to learn more and we came back buzzing.
Now to the studio to document it all and get the ideas into the note books before time dilutes them.

And finally let us not forget the history of the Wharf where the M-Shed is located

Summer 2017 – Exhibitions!

It’s that time of year when Artists and Crafts People all over the UK have a mass show and tell. In Buckinghamshire we have Bucks Open Studios running from the 10 to 25 June and this year I am showing and demonstrating my work with nine members of the Askett Studio Artists Group. 10-6 Weds – Sun (closed Mon & Tues) Askett House, HP27 9LT.  Find us on the website bucksopenstudios.org.uk .

We are a group of mostly glass artists who come together in different collectives to exhibit our work, invite experts to teach us Master classes or just to meet up at the studio to get on with our work, share ideas and enjoy ourselves in the process. I’m exhibiting at three more events this year. The first is the Waddesdon Manor Feast Weekend 17 – 18 June. Askett Studio artists have each made glass roundels displayed on ironwork stands for outdoor sculptures and a selection will be on show near the amphitheatre.

I’ll be keeping my Facebook page ‘janevincentglass’ up to date with photos from all the events so if you can’t attend in person do have a look, or follow my Twitter @abbeyrisestudio

Our next exhibition is ‘In a New Light’ at the International Festival of Glass in Stourbridge 25 – 28 August 10am – 5pm ifg.org.uk. This will be the premier of our new collection inspired by Waddesdon Manor, the National Trust/Rothschild Foundation  Chateau in Buckinghamshire. I will be exhibiting three leaded stained glass panels and a small installation piece.

Two leaded panels in clear textured glass form a diptych ‘Below Stairs I and II’. They are designed from the shapes and patterns of two of the seven servants’ staircases in the Manor House. Used only for house parties there were very few permanent household staff employed at Waddesdon Manor, with most employees maintaining the grounds. Kitchen and household staff came with the guests from their London homes and the servants’ staircases enabled them to carry out their duties without interrupting guests.

The third stained glass panel ‘Below Stairs: The Meal’ celebrates the staff and their roles during the visit of the Shah of Persia on 10 July 1896. It is a collaborative project with Marilia Carvalho who shared in the final execution of the panel, in particular applying her expert skills in leading the panel, which is 90cm square.  Designed to fit into the hatch opening in the dresser that covers an entire wall in the kitchen (now the Restaurant) the panel contains archive images of kitchen staff, Manor rooms and grounds as well as facsimiles from the Visitors’ Book on the day. You may be reading this because you have used the QR code printed and fired onto a glass tile in the panel to provide the link to this website. All the images on the panel are a clue to something at Waddesdon Manor and can be used to explore the Manor House, its grounds and its history.

As you can imagine there was a lot of work involved in making the three leaded panels and in the course of my research at the Rothschild Archives Windmill Hill I discovered all the staff record cards for the 19th and early 20th century. Many of the original staff were born in the mid 19th century and had jobs which no longer exist today. The cards recorded wages, pensions, date of leaving (or death) and reasons for departure. There were periods when the staff were ‘let go’ and others who went to Australia or left to join the forces in war. In my installation piece ‘Memories of Waddeson’ I present a selection of glass record cards in a bureau drawer.

Selected information from staff records is reproduced & hand painted on each glass card, on the reverse is a short narrative description of the work of that individual or additional information about them. One record is for an honorarium – a means to pay a wage to the Headmaster of a group of boys who all fled Germany in 1939 and were given refuge in Waddesdon village by the Rothschild family. Memorialising these people in this way provides a permanent record that will last beyond the time when the paper cards have crumbled to dust.

If you are attending the Biennale opening night on the 24th August you can catch first sight of our exhibition as you walk towards the entrance.  Our Private View is on Friday 25 August at 5 – 6.30pm (we open at 10am the same day) . Whilst in Stourbridge we have also been invited to give a Presentation on 26 August 2pm to talk about our working together as artists and I’m pleased to be chairing this as a panel discussion. The artists exhibiting at the IFG are Jane Vincent, Marilia Carvalho, Jacque Pavlosky, Wendy Newhofer, Jackie Banfill, Claudia Phipps, Adele Gowrie, Anne-Marie Lowe, Vital Peeters, Purnima Patel, Jessica Ecott, Julie Light, Kate Galley, Linda Morley, Miranda Diamond, Janie Davies.

You can find out more about ‘In a New Light’ and the artists exhibiting by looking at the web site  askettglassstudio.com
My final exhibition is with CGS also at the International Festival of Glass. It is the 20th Anniversary Year for CGS and we are contributing to a postcard size exhibition ‘Celebrations’ My little piece celebrates the c940 members of CGS by using all their initials to illustrate oak leaves drawn on both sides of a medallion plaque.

‘The Infinite Mix’ – 25 November 2016 London

The Hayward Gallery in London has a temporary exhibition space at 180 The Strand, the rear of which overlooks the South Bank downstream of Waterloo Bridge and towards the renovations at the Hayward.   In the dark the London Eye and the OXO Tower stand out in red fluorescent with an up down castellated skyline of white lights between. These smudgy photos taken through dirty windows with my mobile are a view of the Southbank  you don’t often get to see.



You can read about theinfinitemix.com for yourself – each audio visual work was presented in a large space entered via a dark passage, so dark it became disorientating at times, surprisingly no-one used their phone to light the way. Like the party game of statues you stepped over the real or invisible obstacles of humans or nothingness in deep darkness only to be suddenly illuminated by a rush of colour of white light from the image on screen – especially in THANX 4 NOTHING Ugo Rondinone (2015).

img_5835No heating on a chilly night in vast slightly lit space between the art works made for dynamic installations of reflections in the glass walls and against the brightly lit world outside. The person in green and white was in the midst of a group of five, the silhouette figures are queuing for the fun Bom Bom’s Dream Jeremy Deller and Cecilia Bengolea (2016). Ironically at the same time Picadilly Circus and Soho had been plunged into darkness by a power failure.

Each of the audio visual works challenged you differently, none in a completely innovative way which was a bit disappointing, However, for me the narrative content of Everything and More (2015) Rachel Rose was most memorable. David Wolf, US astronaut, narrates his experience of being in space and the disorientation of returning to earth. He talks of floating inside his space suit whilst letting go of everything but a single tether on a spacewalk, of his wrist watch feeling as heavy as a bowling ball on return to earth’s gravity and of the separate smells experienced after the odourlessness of the filtered air in the spacecraft. The accompanying music sounded like it was about to crash into the crescendo of Dark Side of the Moon which was a bit distracting but the visual patterns and the music complemented the spoken word well.

I ran out of time to see everything but the hologram of the ghostly apparition of the Maria Callas styled opera singer burst into the aria just as I reached the optimal position to view OPERA (QM.15) (2016) Domiique Gozalez-Foerster and was a suitable denouement.

It is with thanks to David Frohlich that together with others linked by our association with the University of Surrey’s Digital World Research Centre surrey.ac.uk/dwrc that we met to visit the exhibition and then chat at the impromptu venue of Itsu on The Strand. Apart from sharing our thoughts of the exhibition we also explored with Ethel Davies’ her fantastic 3D photographs – see 3dphotolibrary.com (you’ll need some 3D specs) and plenty of ideas for collaborations ensued.

The Infinite Mix. A Hayward Gallery off-site exhibition presented in collaboration with The Vinyl Factory at The Store 180 The Strand, London finishes 4 December 2016


Day out to Glaziers Art Fair 26 October 2016

Glaziers Art Fair 2016

An opportunity to visit the Worshipful Company of Glaziers and Painters of Glass venue in Southwark to see a multitude of glass makers and artists showing their work was too good an opportunity to miss and it did not disappoint. Perhaps the only frustration was for the exhibitors as so few tickets had sold – perhaps £10 admission, no advance catalogue or online catalogue was a deterrent for many. However, the lack of visitors turned the event into a kind of symposium as artists found they had time to explore each other’s work, chat and reflect on their own work and talk about what else they do.

Handed a catalogue on arrival I discovered there were around 60 exhibitors in 4 areas of the building organised in no particular order and this blog follows my random wanderings and chats.

Lynnette Wrigley, whose stained glass sourcebook has been used by many of us showed a variety of fused work.Based in Hammersmith, her quill feathers and delicate frit work painting of a blue tit were her standout pieces. We had an interesting chat about the perils of publishing and surviving as women glassmakers in the 70’s and 80’s – food for thought.

The Lemons’ geometric colourful woodcut prints and glossy blue glazed ceramics were refreshing. Father and daughter Thomas and Rachel from Rainham and Brighton were lovely to chat with – colours, glazes and West Ham – you never know where a conversation may take you.

Rachel Elliott’s stand was covered with her water jet cut animals and delicate jewellery made with spectrum glass printed with animals and motifs. Based in Glasgow she has a great variety of work and courses on screen printing on glass – just what I’m looking for!

Moving on past the photographer, the seamstress and some more glass I reach ‘This is Alice’ – a small exhibition of conceptual pieces, different body parts squeezed  inside the base of bottles – fingers, ear, lips. Wistful and sad rather than celebratory Alice Wheatley’s work leaves many unanswered questions and opened the door into the inner artist. Sandwiched between the glass practitioner makers’ stands on either side it was difficult to take in.  Reflections of entrapment continued upstairs with a wonderful display of needlework and needlepoint made by prison inmates trained by Fine Cell Work, the quality and intensity of the work was incredible.

After these challenges of conceptual and therapeutic work I moved back into familiar territory and had a chat with Sarah Brown. She has a refreshing and different approach to glass with her architectural and illustrative work showing people in everyday life.  Her glass sketches of Borough Market were very effective and we shared thoughts about being inspired by Japan. Her study trip to that country recorded in images is bound in a lovely book.

Japanese artist Nobuyasu Yoshida‘s work was also different – cast pate de verre the pieces stretched dripped glass between two sides of the small work, as well as producing vessels with a felt like appearance that were smooth to touch. The Naked Craft Project stood out from the traditional and challenged boundaries – I really liked it.

The familiar work of Siddy Langley displayed by the window outclassed its neighbours and looked wonderful with many colourful and large pieces. I caught up with Siddy’s news, skylights are being installed in her gallery in Devon, more progress but always being delayed by the fun that can be had in the glass blowing studio.  After that it was back to exploring new unknown (to me) artists. Carolyn Barlow told me she was writing a poem about her response to one piece of work which was unexpected – her work had a depth that drew you in but she seemed to move onto the next before it was completely finished so it was a bit breathless and rustic. Nathalie Hildegarde Liege who is based in the West Midlands had some lovely representations of vegetables in stained glass, and Brett Manley had some dishes with 400 year old prints of the River Thames – showing Glaziers Hall.

Conversation with Jonathan Spiller about making a career in stained glass later in life, the huge number of women compared to men who have taken it up, and Chagall was enjoyable.  Jonathan is also an IT person and has produced some wonderful digital art work which is abstracted into bold stained glass that should be produced on a grand scale in church size buildings – it is not surprising that he was Highly Commended in the Steven’s Prize for his Titanic Window design.  Derek Hunt, who I remember from the BSMGP 30cm2 show in which I also exhibited, has a large portfolio of work – I talked to him about technology for replaying memories in windows and my mobile phone stained glass panel.  Maybe memorial windows could be more interactive? I’m not sure he was sold on the idea. Derek is based not far from Leicester where I’d been at University so we compared notes. Stopping to purchase Jonathan Cooke’s little ‘how to’ book on stained glass painting and to learn that he supplied Walpole stain I moved on to take a second look at Jamal Rafay’s striking painted work. The compelling eyes of the pre-Raphaelite style figures in his work draw you to look closer, he also has some humour in his little characters.  Finally, also showing was a section of the amazing stained glass windows ‘Roots of Knowledge’ made by Holdman Studios and the University of Utah, a testament to the enthusiasm and dedication of Tom Holdman and the university community it was incredibly detailed and very impressive.

Here are some links (cut and paste into your browser):


Glass Blowing

Adam Aaronson in Surrey  www.adamaaronson.com

Siddy Langley in Devon  www.siddy.com

Stained Glass

Jamal Rafay  in Oldbury Birmingham www.stainedglassic.com

Derek Hunt in Leicestshire www.derek-hunt.com

Lynette Wrigley in North London  www.lynettewrigley.com

Nathalie Hildegarde Liege in Shrewsbury www.couleurlive.com

Jonathan Cooke in West Yorks www.jonathancookeglasspainter.com

Illustration and Glass

Sarah Brown in Gloucs area www.s.brown.co.uk

Printing on glass

Rachel Elliott in Glasgow www.rachel-elliott.com

Other references:

Holdman Studios www.holdmanstudios.com and see also: https://www.theguardian.com/artanddesign/2016/oct/26/gigantic-stained-glass-window-roots-history-knowledge-tom-holdman?CMP=share_btn_fb

Fine Cell Work – www.finecellwork.co.uk

Jonathan Spiller https://making.glass

Brett Manley www.brettmanley.co.uk

Carolyn Barlow www.carolynbarlow.com

Nobuyasu Yoshida Naked Craft Project http://glassand.web.fc2.com

FYI Print your own book e.g. Blurb.co.uk

Bucks Open Studios 2016





11-4 daily 18 to 26 June

The Chapel Little Marlow Cemetery Fern Lane SL7 3SD  @glassthechapel

This is our 7th year at The Chapel in Fern Lane and this week – 10 days before opening we are busy with the last minute finishing, polishing and planning for our show.  This year we are each producing a new piece of work to the theme of the River Thames which flows through Little Marlow.  I am making a series of postcards which show the River Thames and Bourne End. Bourne End is sometimes confused with a town of the same name near Kings Langley and there is a half hearted attempt to avoid this confusion by naming our village Bourne End on Thames.  The photos are reproduced in sepia on white, cream or blue opaque glass on one side and a postcard description on the reverse. It was fun taking the photos and thinking about what might be of interest to our visitors. I can do postcards to commission using personal photos.

Over the past year I’ve been working with a group of artists – The Askett Studio Group on proposals for exhibitions. We have made rondels for a garden installation and Marilia and I made a large panel for Waddesdon Manor.  More on that when we know for sure that the exhibition at Waddeson will be happening – currently planned for 2018.  Our other submission has just been delayed until 2017 – that was at Kew Gardens.  I’m very excited about the idea of showing my work with others at Kew as I spent the first 7 years of my life living in Kew and visited so many times I still know it like it is my own garden.

I’ve also been developing and honing my mould making skills and kiln form sculptures and with the Askett Group I attended a course with Max Jacquard and made a very pleasing vessel which is now awaiting cold work – a few hours with the dremmel and polisher is need to complete it.

This is likely to be our last year at the The Chapel as we are going in different directions with our work and looking to exhibit in new ways that our little venue (still without a loo) cannot accommodate or maybe we will  be there but in a different guise…Flint and Glass



Jane Vincent Glass Abbey Rise Studio

Facebook www.facebook.com/janevincentglass

I’ve been a glass artist, designer and maker,  for over 25 years. I trained in traditional leaded stained glass methods, sculptural kiln cast work, and fused and slumped pieces. I work with stained glass, using different types and textures of coloured glass well as kiln formed and moulded glass. I hand paint, or print on the glass and also incorporate found objects, ceramic and agates into my traditionally leaded panels.

Flint and Glass

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