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A collection of stained glass windows in white frames. Including 17 smaller windows, mostly with matching yellow a red central flower, and three large examples, largest H96cm x W51cm

A collection of assorted leaded stained glass window decorations. Including stars, Celtic cross and dragonflies. Max. diameter 21cm

AN HISTORICALLY INTERESTING DRY CARD BINNACLE COMPASS FROM THE ROYAL YACHT OSBORNEthe 5½in. compass card signed BORBIDGE • WHITEHAVEN, sealing wax balancing over business card inscribed to Mackenzie Borbidge behind, mounted in a weighted brass bowl with gimbals and contained in temple-topped binnacle with glazed brass hood complete with two shades and removable lamp housing, the front stamped CHISLETT. TOWER HILL LONDON., the right edge engraved Her Majesty's Yacht Osborne, hinged door to divided interior, side securing rings and brass feet drilled for deck securing -- 19in. (48cm.) highThe instrument maker Mackenzie Borbidge is probably the son of Charles Borbidge and who took over the business in 1834; Alfred Chislett traded from Tower Hill between 1834-55 suggesting this compass was possibly from the first R.Y. Victoria & Albert which was renamed Osborne in 1855 when the Victoria & Albert II was built. This first Osborne remained in service until 1867 when the bespoke Osborne was built and which remained in service until 1908.Card a little time-stained around pivot; left glass cracked; otherwise good original condition. 

A Leaded Stained Glass Panel, AF, 90x48cm

Salvage - various Art Deco stained glass window panels

An Arts and Crafts stained glass hall lantern of square form, with four panels of coloured glass,20cm square32cm highCondition ReportNo losses to the glass, but one panel with a crack.

William Lawson (1892-1946) 'Saint Barnabas', 'Saint Oswald' and 'Resurrected Christ'three stained glass tracery window designs, pencil and watercolour, each signed 'W. Lawson 1931'the largest 370 x 75cm and 306 x 73cm;together with four smaller tracery designs,each entitled 'Raphael J'; 'K'; 'O'; 'P', for the New East Window of the Parish Church of All Saints, Portsea, Portsmouthlargest 174 x 39.5cm;and the sketch elevation design for the New East Window, inscribed and titled43 x 61cm, and a small tracery fragment (10)William Lawson (1892-1946) was the first managing director and chief designer of Faith Craft-Works (later Faith Craft), which was based in St Albans. The enterprise came into being in the mid-1920s, when the Society of the Faith decided to add a non-profit-making enterprise specialising in church art to its existing publishing arm, Faith Press. Lawson worked in a style that harked back to the Middle Ages.Condition ReportAll with stains, tear to the ends and edges, rolled - but have fold marks. Elevation design has cut out missing and is creased, rolled and stained.Christ resurrected - split and torn through the centred 1/2 was through from the top, also from the bottom. Creased, tears to the sides and fold marks.

A Napoleonic Prisoner of War strawwork miniature bureau, early 19th century, mirrored glass panel to the interior, stained geometric decoration, bone drawer pulls,40cm wide30cm deep44cm highCondition ReportOverall poor condition, in need of restoration

A stained glass table lamp in the form of a cat

FOUR MATCHING LEAD GLAZED STAINED GLASS WINDOWS, frame size 50cm x 55cm, along with a circular lead glazed stained glass window, in a square frame (condition report: frames ideal for restoration or replacement, one of the four windows has a crack to one pane, the circular window appears to have had pressure from one side, so is slightly disformed) (5)

Eric Hogland, a ruby glass bottle and a Holmegaard bottle, 30cm high Hogland not damaged but dirty, with liquid-stained interior.  Holmegaard designed by Otto Brauer, with applied Holmegaard circular paper label, as shown; good condition with acceptable wear to underside.

An Edwardian stained glass and brass mounted hall lantern, 53cm high

An early 20th century stained glass hanging lamp shade with applied metalwork decoration, shade 56cm diameter

A pair of stained glass leaded panels, 98cm high x 25.5cm wide

TABLE LAMP, Tiffany style, stained glass shade, bronzed base, 41cm high.

Original vintage World War Two poster - We Kneel Only to Thee - by the British artist and illustrator Clive Uptton (1911-2006) depicting a British infantry soldier in uniform seen kneeling in prayer in a church with a damaged stained glass window behind him. Good condition, large restored tear through image, small restored tears, minor staining, backed on board. Country of issue: UK, designer: Clive Uptton, size (cm): 44x28, year of printing: 1940s.

Lot of Art Deco items, pair of candlesticks in brass, cigarette stand, 2 stained-glass windows, polychrome plaster figure Leopold, wooden plate LocationLot Art Deco items, koppel kandelaars in messing, sigarettenstaander, 2 glasramen, polychroom gipsen figuur Leopold, houten bord Location

Large patinated lampadaire in Tiffany style with shade in stained colored glass with dragonfliesGrote gepatineerde lampadaire in Tiffany stijl met kap in gekleurd loodglas met libellenH 87 Diam. 57 cm

Floor lamp in Tiffany style with stained glassStaanlamp in Tiffany stijl met gebrandschilderd glasH 147 Diam. 51 cm

Five leaded stained glass windows with photographic panels, largest approx 68cm x 46cm

Early 20th century leaded stained glass panel depicting a phoenix, with Latin inscription ' Alis Volat Propriis ', approx 44.5cm x 33cm

Low (British, second half 20th century) Still life of a watch, blue glass bottle and figurine watercolour, signed lower left, stained wooden frame 8¼ x 7 in (21 x 17.8 cm)

A small collection of books related to art history, stained glass and mosaics - including Graber (Hans), 'Piero della Francesca, pub. Basel, Benno Schwabe & Co., 1922; 'Early Christian Mosaics From the Fourth to the Seventh Centuries' and 'Stained Glass of the XIIth and XIIIth Centuries', pub. London, Iris Colour Books, B. T. Batsford Ltd.; and 'Art et Style', No.V, Oct. 1946; plus two others. (6)

A stained beech wood, vernis martin, gilt-metal and glazed bowfront corner cabinet in the French 19th century style - late 20th century, the gilt foliate scroll mounted frieze over a bowfronted glazed door enclosing a red-damask lined interior with single glass shelf and electric lighting, above a vernis martin style painted panel depicting a fisherman and female companion in a landscape, raised on slightly swept, angular front legs with gilt metal mounts. (LWH 63 x 44 x 152 cm)

Seven stained glass windows

An Art Nouveau carved walnut and stained glass bureau bookcase

After Lieutenant Joseph Moore, Views taken at and near Rangoon: plate 3: The Principal Approach to the Great Dagon Pagoda at Rangoon; plate 11: View of the Lake and part of the Eastern Road from Rangoon, taken from the Advance of the 7th Madras Native Infantry; The Harbour of Port Cornwallis, Island of Great Andaman; View of the Gold Temple on the Terrace of the Great Dagon Pagoda; The Position of part of the army previous to attacking the Stockade, Rangoon; H.M.S. Larne, Mercury, Heroine, Carron & Lotus, transports attacking the Stockadeat the entrance of Bassein River, a set of six aquatints by George Hunt and T. Fielding with hand colouring, trimmed to image and centre inscription, each image 25 x 36cm. (6) Framed and glazed. Condition Report: All under glass, stained and discoloured, mounted to image but where prints have slipped they appear to be trimmed. Need cleaning.

Herbert Dicksee (English, 1862-1942), Raiders: Lion and Lioness stalking, etching, signed in pencil lower left, published 1898 by Frost & Reed, 43 x 68cm. Framed and glazed.Condition Report: Under glass (which is very dirty, foxed and stained, needs cleaning.

An early music hall theatre play bill, featuring Robzat, performing Pigeon "Billy" many others and Miss Emma Temple Burlesque Artiste 57cm x 25cm framed and glazed, together with two decorative hanging stained glass panels (3)

An early 20th century stained glass and leaded fanlight - incorporating the Cornish coat of arms, 72 x 139cm.

A pair of leaded stained glass windows, together with another smaller (3)74 x 17cm and 54 x 17cm. There are several cracks within the glass, but these are not easy to see, due to the mottled finish.

An early 20th century oak bureau bookcase, with stained leaded glass92w x 41d x 206h cm

Miscellaneous Books, including: Zaczek (Iain), Essential William Morris, Dempsey Parr, 1999, dust jacket; Duncalfe (John), Fred Lawson 1888-1968: A Painter's Life, Tillington Press, 2017, dust jacket; Brown (Sarah), Stained Glass: An Illustrated History, Studio Editions, 1992; other art reference works; The Last of the Windjammers, two volumes; history, etc. (10 boxes)

Stained Glass.- Gedde (Walter) A Book of Sundry Draughtes, principally serving for Glasiers, facsimile reprint, illustrations, a little browned, with 2 sheets of drawings from Felibien loosely inserted, original limp vellum with ties, rubbed and soiled, spine defective at foot (repaired), Leadenhall Press, 1898; and 2 others, including the 1848 Pickering reprint of the same by Henry Shaw with tinted plates, 4to & 8vo (3)*** The original 1615 edition of this pattern-book for glaziers is very rare. The last copy sold at auction was part of the Birmingham Assay Office library, sold in these rooms on 27th March 2020 (£3500).

Stained Glass.- Lévy (Edmond) Histoire de la Peinture sur Verre, 2 parts in 1, plates, some chromolithographed, some folding, a few loose and frayed at edges, some notes in pencil or loosely inserted, foxing, contemporary cloth-backed boards, rubbed, Brussels, 1860 § Aubert (M.) & others. Le Vitrail Français, Paris, 1958 § Grodecki (L.) & Catherine Brisac. Gothic Stained Glass 1200-1300, Fribourg, 1985, the last two with illustrations, some colour, original cloth with dust-jackets; and a small quantity of others on continental stained glass, some pamphlets, 4to & 8vo (c.20)

Stained Glass.- Warrington (William) The History of Stained Glass, chromolithographed additional title heightened with gold, lithographed dedication, 25 chromolithographed plates printed by Hanhart, 4 double-page and/or folding, light foxing, original roan-backed cloth, g.e., rubbed and a little stained, rebacked preserving original gilt ornamental spine, corners repaired, 1848 § Westlake (N.H.J.) A History of Design in Painted Glass, 4 vol. in 2, illustrations, later half morocco, g.e., rubbed at edges, 1881, folio & 4to (3)

Glass.- Charleston (R.J.), Michael Archer & Madeleine Marcheix. The James A. de Rothschild Collection at Waddesdon Manor: Glass and Stained Glass; Limoges and other painted Enamels, Fribourg, 1977 § Godfrey (Eleanor S.) The Development of English Glassmaking 1560-1640, Oxford, 1975 § Mortimer (Martin) The English Glass Chandelier, Woodbridge, 2000 § Whitehouse (David) The Corning Museum of Glass: A Decade of Glass Collecting 1990-1999, New York, 2000 § Miller (Bonnie J.) Out of the Fire: Contemporary Glass Artists and Their Work, San Francisco, 1991, illustrations, many colour, original cloth or boards with dust-jackets; and a small quantity of others on glass, mostly pamphlets, some sale catalogues, 4to & 8vo (c.50)

Stained Glass.- Wayment (Hilary) The Windows of King's College Chapel Cambridge, 1972; King's College Chapel Cambridge: The Side-Chapel Glass, signed & inscribed by the author to Michael Archer on title, original wrappers, Cambridge, 1988 § Newton (Peter A.) & Jill Kerr. The County of Oxford: A Catalogue of Medieval Stained Glass, 1979 § Woodforde (Christopher) The Stained Glass of New College, Oxford 1951 § Hutchinson (F.E.) Medieval Glass at All Souls College, John Saumarez Smith's copy with his signature, 1949, plates and illustrations, some colour, all but the second original cloth or boards with dust-jackets, the last two slightly frayed at edges; and a bundle of others on the stained glass of Oxford & Cambridge, mostly pamphlets, v.s. (sm. qty)

Stained Glass.- Sewter (A.Charles) The Stained Glass of William Morris and his Circle, 2 vol., New Haven & London, 1974-75 § Haward (Birkin) Nineteenth Century Norfolk [& Suffolk] Stained Glass, together 2 vol., Norwich & Woodbridge, 1984-89 § Cormack (Peter) Arts & Crafts Stained Glass, New Haven & London, 2015 § Day (Lewis F.) Windows: a Book about Stained & Painted Glass, broken & loose, 1897, plates and illustrations, some colour, original cloth or boards, the last rubbed with faded spine, all but the last with dust-jackets, the first a little frayed at edges; and c.15 others on 19th & early 20th century stained glass, 4to & 8vo (c.20)

Stained Glass.- French (Thomas) York Minster: A Catalogue of Medieval Stained Glass, 3 vol. (The West Windows of the Nave; The Great East Window; The St William Window), Oxford, 1987-99 § Hebgin-Barnes (Penny The Medieval Stained Glass of Lancashire, Oxford, 2009 § Knowles (John A.) Essays in the History of the York School of Glass-Painting, 1936 § Brighton (J.T.) The Enamel Glass-Painters of York: 1585-1795, 3 vol., carbon typescript of doctoral thesis at University of York, 1978, plates and illustrations, many colour, original cloth or boards, all but the last with dust-jackets, the third a little rubbed; and 7 others on York stained glass, 4to & folio (15)

Ceramics.- Grigsby (Leslie B.), Michael Archer & others.  The Longridge Collection of English Slipware and Delftware, 2 vol., 2000 § Archer (Michael) Delftware: The Tin-Glazed Earthenware of the British Isles. A Catalogue of the Collection in the Victoria and Albert Museum, 1997 § Lipski (Louis L.) Dated English Delftware: Tin-glazed Earthenware 1600-1800, edited & augmented by Michael Archer, 1984 § Archer (Michael) Delftware in the Fitzwilliam Museum, 2013 § Garner (F.H.) & Michael Archer. English Delftware, second, enlarged & revised edition, 1972 § Charleston (R.J.), Michael Archer & Madeleine Marcheix. The James A. de Rothschild Collection at Waddesdon Manor; Glass and Stained Glass..., Fribourg, 1977, illustrations, many colour, original cloth with dust-jackets, the first two and last with slip-cases, some still with publisher's original packaging, 4to & 8vo (7)

Stained Glass.- [Winston (Charles)] An Inquiry into the difference of style observable in Ancient Glass Paintings, 2 vol., first edition, modern cloth preserving original gilt-stamped cloth on covers and spine, Oxford, 1847; Memoirs illustrative of the Art of Glass-Painting, some leaves stained and frayed at lower outer corner, old cloth, 1865 § Franks (Augustus Wollaston) A Book of Ornamental Glazing Quarries, original cloth, spine gilt, 1849 § Willement (Thomas) A Concise Account of the Principal Works in Stained Glass, engraved frontispiece, original cloth, privately printed, 1840, first editions, the first three with several plates hand-coloured, all rubbed, the last with worn spine; and 2 others including a bound volume of 3 Annotations to Shakespeare by Johnson and Steevens containing an article by Mr. Tollet with folding engraved plate of the stained glass window featuring morris dancers at Betley, Staffs (volume broken with plate loose), v.s. (7)

Stained Glass.- McGrath (Raymond) & A.C.Frost. Glass in Architecture and Decoration, 1937 § Bowe (Nicola Gordon) The Life and Work of Harry Clarke, original wrappers, Dublin, 1989 § Osborne (June) John Piper and Stained Glass, Stroud, 1997 § Harrison (Martin) Brian Clarke, 1981 § Moor (Andrew) Contemporary Stained Glass, 1989, illustrations, some colour, all but the second original cloth or boards, the last three with dust-jackets; and c.35 others on modern & contemporary stained glass, some pamphlets, 4to & 8vo (c.40)

Stained Glass.- Drake (Maurice) A History of English Glass-Painting, original cloth-backed boards, dust-jacket torn & defective, 1912; The Costessy Collection of Stained Glass, original cloth-backed boards, uncut, joint split, Exeter, 1920 § Sherrill (Charles Hitchcock) Stained Glass Tours in England, signed and inscribed by the author, London & New York, 1909 § Ashdown (C.H.) History of the Worshipful Company of Glaziers of the City of London, [c.1919] § Reyntiens (Patrick) The Beauty of Stained Glass, signed & inscribed by the author to Michael Archer "who knows about...[it] so much more than me!" on half-title, 1990 § Williamson (Paul) Medieval and Renaissance Stained Glass in the Victoria & Albert Museum, inscribed to Michael Archer, 2003 § Evans (David) A Bibliography of Stained Glass, Cambridge, 1982, plates and illustrations, some colour, all but the first two original cloth or boards, the last three with dust-jackets; and a quantity of others on stained glass including a run of the Journal of the British Society of Master Glass-Painters (later The Journal of Stained Glass, vol.I-XLV in 44, later cloth or original wrappers, 1924-2021) and 7 box files of pamphlets, cuttings and papers, v.s. (4 boxes)

Stained Glass.- Read (Herbert) English Stained Glass, signature of Michael Archer on front free endpaper, occasional spotting, 1926 § Caviness (M.Harrison) The Windows of Christ Church Cathedral Canterbury, 1981 § Cole (William) A Catalogue of Netherlandish and North European Roundels in Britain, Oxford, 1993 § Ayre (Kerry) Medieval English Figurative Roundels, with A.L.s. from the author loosely inserted, Oxford, 2002 § King (Davd) The Medieval Stained Glass of St. Peter Mancroft Norwich, Oxford, 2006 § Crampin (Martin) Stained Glass from Welsh Churches, Talybont, 2014, plates and illustrations, some colour, original cloth or boards, the first rubbed and with faded spine, the last four with dust-jackets; and c.65 others on English stained glass, some pamphlets, 4to & 8vo (c.70)

A SMALL COLLECTION OF NECKLACES To include a facetted aquamarine bead, cultured freshwater pearl, glass bead and reeded citrine spacer necklace, to a hook clasp, with indistinct stamp; a baroque cultured pearl necklace, to an oval gold coloured clasp, stamped 375; a cultured pearl and polished black stone necklace, to a 9 carat gold sapphire and cultured pearl set cluster clasp; together with a further baroque cultured pearl necklace, to a barrel clasp stamped 9ct; and a blue stained tumbled quartz necklace Size/dimensions: first necklace 53cm long; second 87cm long; third 92cm long, fourth 48cm long; fifth 44cm long Gross weight: 314 grams Condition Report: varying wear, the black beads have lost some polish and a cultured pearl is missing from the clasp Condition Report Disclaimer

Geoffrey Clarke (1924-2014), British 1956, An abstract study for a sculpture Sugar-lift aquatint in colours on wove, a proof aside from the edition of 30 Signed bottom right and inscribed bottom left '3/30  /6/56' Together with a 2013 Pangolin London Geoffrey Clarke RA catalogue for the 'A Decade of Change' exhibition Geoffrey Clarke was born in Derbyshire in 1924. He studied at Preston Manchester School of Arts and specialised in stained glass during his studies at the Royal College of Art after serving in the RAF during WWII. He was a sculptor who used various media including iron, bronze, aluminium, expanded polystyrene and stained glass. He was commissioned to do work at the Coventry Cathedral, Lincoln Cathedral and in St. Martin's Lane. He represented Britain at the 1952 Venice Biennale and had solo exhibits at Gimpel Fils Gallery in 1955, Strand Gallery, Alderberg in 2003, the Fine Arts Society in 2006, and the Linton Court Gallery, Settle in 2013. Clarke was made a Royal Academician in 1975. Provenance: Pierre Rouve Dimensions: (Frame) 45.5 in. (H) x 31.5 in. (W) (Paper) 37.5 in. (H) x 23.5 in. (W)

An antique white painted wood framed leaded window with two stained glass panels

Three leaded stained glass panels with central painted medallions, without frames, 95cm long, af (3)

Tiffany-style stained glass table lamp with dragonfly depiction. Second half of the 20th century. Dimensions: H 63 cm. In good condition.

Irish Art: Paintings from Irish Collections, Municipal Gallery of Modern Art Catalogue 1957; Gazetteer of Irish Stained Glass by Nicola Gordon Bowe; Eilís O'Connell-New Work Exhibition Green on Red Gallery 1994 plus 8 others (11)

A pair of tall stained glass window panels, each with a red, white and blue rose motif, approx. 124cm x 26cm

A circular stained glass panel, depicting Jupiter, 33cm diameter; other stained glass panels, early 20th century and later (8)

the satinwood veneered interior containing three cut glass decanters and four drinking glasses, a cigar cutter and vesta holder with striker and a pair of WMF oval silver plated dishes with gilt interiors, the base with two drawers, one containing 43 stained ivory and 10 mother of pearl circular gaming counters, two Japanese rosewood and ivory whist counters, and a brass mounted cribbage board with four markers, the case with silver presentation plaque and brass recessed handles, with key, height 35cm, width 33cm, depth 30cm Ivory submission reference ZCFCM82M CITES permit is included. Exporting outside the EU will require an additional export permit. *CR Two of three tantalus broken and cracked, surface wear to case and loss to top section.

JAMES CROMAR WATT (1862-1940) ARTS & CRAFTS NECKLACE, CIRCA 1905 yellow metal, set with enamels, seed and blister pearls 40cm long Literature: Gere C. and Munn G. C. Pre-Raphaelite to Arts and Crafts Jewellery, Antique Collectors Club 1996, p. 40, pl. 15Note: James Cromar Watt was born in Aberdeen. He worked in precious metals and developed particular skills in the ancient techniques of gold granulation and translucent foiled enamelling. His work was exhibited in Turin in 1902 and was illustrated in the Art Journal periodical of the time. Some of his pieces were strongly influenced by the enamel work of Phoebe Traquair and some were designed in association with the painter and stained glass artist, Douglas Strachan. His work is predominantly in the collection of Aberdeen Art Gallery & Museum. 

CONTINENTAL TABLE LAMP, CIRCA 1920 stained glass, bronze 48.5cm high 

ATTRIBUTED TO ROBERT ANNING BELL (1863-1933) 'THE RAISING OF JAIRUS'S DAUGHTER', A STUDY FOR STAINED GLASS pen, ink and watercolour  73cm x 61cm

EDGAR WOOD (1860-1935) ARTS & CRAFTS ARMOIRE, CIRCA 1896-8 oak, with copper fittings 153cm wide, 226cm high excluding finials, 66cm deep Note: Born in Middleton, near Manchester in 1860, the architect, artist and draftsman Edgar Wood was a prominent member of the Arts & Crafts Movement. He gained a national and international reputation, and his work was widely published in publications such as The British Architect, The Studio Magazine, Dekorative Kunst and Moderne Bauformen. Wood rejected large-scale commercial practice and worked with a small number of assistants designing furniture, stained glass, sculpture, metal, and plasterwork as well as buildings. Many commissions were from friends and family in Middleton, Huddersfield and Hale, Cheshire. Influenced by the artistic and socialist writings of William Morris, he saw himself as an artisan serving the people of these localities. He was a founder of the Northern Art Workers' Guild, set up by Walter Crane in 1896, one of the major provincial societies within the Arts and Crafts Movement and was president of the Manchester Society of Architects from 1911–12.

GEORGE WALTON (1867-1933) WALL PANEL, CIRCA 1890 repoussé-decorated copper, pewter, coloured glass, bears painted maker's mark lower right GEORGE WALTON & CO., LTD/ DECORATORS, GLASS STAINERS/ AND CABINETMAKERS/ GLASGOW, later frame 53cm x 45.4cm (frame size 64.5cm x 56.5cm) Literature: Moon K. George Walton: Designer and Architect, White Cockade 1993Glasgow Museums - Collections Navigator, collections.glasgowmuseums.com, 2016 ‘Miss Cranston’, Glasgowlife.org.uk, 2016 Note: This rare wall panel by George Walton (1867-1933) is characteristic of his work as a designer and decorator in the context of Glasgow's artistic avant-garde during the late 19th century. Walton was a pioneering influence on the distinctive 'Glasgow Style', experimenting with mixed media wall panels and stained glass, such as this example of a glass mosaic overlaid with copper and pewter. Similar examples can be seen in his work for Miss Cranston's tearooms at Argyle Street, for which he was commissioned, together with Charles Rennie Mackintosh (1868-1928), to redesign the interior in 1888. Walton's panels combined coloured glass with bright beaten copper, creating light and reflective three-dimensional surfaces. Walton chose coloured glass for its distinct material characteristics which did not need to be overpainted.Following this, George Walton & Co, Ecclesiastical and House Decorators, expanded to include the design and production of woodwork, furniture and stained glass. Walton, influenced by William Morris (1934-1896) and James Whistler (1834-1903), went on to work in almost every area of the decorative arts including; stencilling, fabrics, fireplaces, carpets, glassware and graphics to name a few, before finishing his diverse and innovative career as an architect. 

SIR EDWARD BURNE-JONES (1833-1898) FOR MORRIS & CO. 'ST. JOSEPH' STAINED GLASS PANEL, 1909 stained, leaded and painted glass 128cm x 44cm (frame size 134cm x 50cm) Provenance: The Chapel of Cheadle Royal Hospital, Cheshire Literature: Sewter A. Charles The Stained Glass of William Morris and his Circle, Yale University Press 1974, p.117Note: The design for ‘St. Joseph’ was first employed in the scheme for Church of St Matthew and St James, Mossley Hill, Liverpool in 1883. The original drawing for this window is held in the collections of the Huntington Library, San Marino, California (2000.5.1918e William Morris Collection).