unless otherwise stated.
Stained-Glass, in the West Window of the South Transept of Bristol Cathedral, featuring, from left:
and the playwright and poet, William Shakespeare.
Date: Circa 1905.
Source: Bristol Cathedral.
Author: Charles Eamer Kempe.
(Wikimedia Commons)
Charles Eamer Kempe, (1860).
Charles Eamer Kempe (29 June 1837 – 29 April 1907) was a Victorian Stained-Glass designer
and manufacturer. His studios produced over 4,000 windows and also designs for Altars and Altar Frontals, Furniture and Furnishings, Lichgates and Memorials, that helped to define a later
19th-Century Anglican Style. The list of English Cathedrals containing examples of his work includes: Chester, Gloucester, Hereford, Lichfield, Wells, Winchester, York.
This File: 21 July 2006.
User: The Wednesday Island.
Source: Found at [http://homepage.ntlworld.com/peter.
fairweather/docs/kempe.htm].
Author: Unknown.
(Wikipedia)
Charles Kempe was born at Ovingdean Hall, near Brighton, West Sussex, in 1837. He was the youngest son of Nathaniel Kemp, a cousin of the Thomas Read Kemp, a politician and property developer responsible for the Kemptown area of Brighton [Note: Kemp added the final "e" to his surname in later life], and the maternal grandson of Sir John Eamer, who served as Lord Mayor of London in 1801.
Interior of Church of Saint Paul, Mirfield, West Yorkshire, England, designed by William Swinden Barber in 1881. Showing a particularly fine window on the South Wall, by Charles Eamer Kempe. The East and West Windows were there in 1881 at the Consecration ceremony, but the date of this one is unknown - possibly 1902, after the Second Boer War, since it shows war-like Mediaeval heroes, King Arthur, Saint George, and Saint Oswald (Oswald of Northumbria).
Photo: 8 April 2014.
Source: Own work.
Author: Linda Spashett Storye book.
(Wikimedia Commons)
During the 1860s, Kempe collaborated with Bodley on the internal painting of two Churches, All Saints, Jesus Lane, in Cambridge, and Saint John’s, The Brook, in Liverpool. Later, in 1892, Bodley and Kempe would work together once more on All Saints, Danehill, East Sussex.
Altar Frontal (Antependium) designed by Charles Eamer Kempe.
Illustration: MEDIEVAL CHURCH ART
Altar Frontal (Antependium) designed by Charles Eamer Kempe.
Illustration: MEDIEVAL CHURCH ART
The works at Saint Mark’s, Staplefield, near Horsham, West Sussex, dating from 1869, are regarded as especially important, representing the earliest of three known examples of Kempe’s Wall Painting. They contain key elements of Kempe’s figurative work. The Angels, holding the scroll, are magnificently apparelled and the borders of their cloaks are embellished with pearls, each individually highlighted, although they don’t contain a design of peacock feathers, a well-used embellishment in later works.
Interior of Church of Saint Paul, Mirfield, West Yorkshire, England,
designed by William Swinden Barber in 1881. A particularly fine window
on the South Wall,
by Charles Eamer Kempe.
Photo: 8 April 2014.
Source: Own work.
Author: Linda Spashett Storye book.
(Wikimedia Commons)
On Kempe’s death, in 1907, the firm passed to his relative, Walter Earnest Tower (1873–1955), who re-named the firm C. E Kempe and Co., who, thenceforth, used a Black Tower above the Golden Garb. A lack of orders, caused by the Great Depression, ended the firm's life in 1934.
Altar Frontal (Antependium) designed by Charles Eamer Kempe.
Illustration: MEDIEVAL CHURCH ART
Altar Frontal (Antependium) designed by Charles Eamer Kempe.
Illustration: MEDIEVAL CHURCH ART
Kempe died in 1907 and is buried in the Churchyard at Saint Wulfran's Church, Ovingdean. Unfortunately, most of Kempe's records were disposed of after the firm shut in 1934.
The East Window of Saint Mary the Virgin Church,
Baldock, Hertfordshire, England, showing Christ and the Four Evangelists.
The window was designed by Charles Eamer Kempe.
Photo: 2009.
Source: Own work.
Author. Jack1956.
(Wikipedia)
In 1869, dissatisfied with the quality of the work produced for him, Kempe started his own workshop at Millbrook Place, London, with the professional co-operation of Fred Leach. The idea for a design would first be drawn by Kempe, and then the full size cartoon would be produced in his studios by his chief draughtsman and a team of artists, who added the detailed decoration. The cartoon was then taken to his Millbrook works for glass cutting, painting and leading. The glass was always carefully selected, supplied by either Messrs Miller Beal and Hilder Ltd., or James Hetley and Co., at 35 Soho Square, London, who reserved a room for Kempe’s glass.
In 1888, the studios and offices moved to 28 Nottingham Place, in Central London., and by the end of the Century he employed over fifty people.
Such success and demand was bound to lead to repetition, and some of Kempe’s later work involved adapting earlier designs. But, unlike other large Victorian studios, he never allowed the quality or individuality of his work to deteriorate. The senses are always thrilled by the spirituality of his Stained-Glass.
Kempe's Family Coat-of-Arms,
"Gules three garbs within a bordure engrailed".
Pre-1895 Logo.
Usually found in the top Tracery of a window.
Illustration: KEMPE STAINED GLASS
The decade from 1895-1905 was the busiest the Kempe Glass-Works were to experience and it was to culminate in a commission to produce a window of Saint George, for Buckingham Palace. This window, the victim of wartime bombing, can now be seen in the Ely Stained-Glass Museum in Ely Cathedral, Cambridgeshire, England.
After 1895, the Shield Logo was replaced by a Single Wheatsheaf,
usually in the bottom left-hand corner of a Stained-Glass Window.
Illustration: KEMPE STAINED GLASS
From 1895, the studios used the Wheatsheaf, taken from Kempe’s Family Coat-of-Arms, to sign their work. This simplified the complete Arms of "Gules three garbs within a bordure engrailed", which had been used sparingly.
On Kempe's death in 1907, the Single Wheatsheaf Logo was replaced with the Single Golden Wheatsheaf with a Black Tower superimposed on the head. The last Stained-Glass Window of the firm's production had the Black Tower laid on its side to denote the last of its line.
Illustration: KEMPE STAINED GLASS
Saint George,
in the South Aisle,
Church of Saint Mary and Saint Helen,
Neston, Cheshire, England.
1905.
Illustration: KEMPE STAINED GLASS
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