Brian Clarke Studio
Modern stained glass of the Lavers and Barraud Building, Covent Garden, by Brian Clarke
In 1981, Brian was commissioned to design and fabricate a stained glass artwork for the Grade II-listed Jewell and Withers Building at 22 Endell Street in Covent Garden. Located on the corner of Endell Street and Betterton Street, the early Gothic Revival polychrome brick building was the former location of the Lavers and Barraud stained glass studio, designed by Jewell and Withers in 1859 for the notable Victorian glassworks. Part-funded by the Crafts Council of Great Britain, Clarke's modern stained glass gable window, located on the Betterton Street elevation and visible along much of Endell Street, fills what was the 19th century workshop's viewing window. The colour scheme was derived from Clarke's analysis of Lavers & Barraud's own colour palette, and the work was designed to be as striking by daylight viewed from outside – through its sculptural use of leading and triple-flashed opalescent glass – as from within, and to have a nocturnal presense, like a colourful beacon, when lit internally at night.
Modern stained glass of the Lavers and Barraud Building, Covent Garden, by Brian Clarke
In 1981, Brian was commissioned to design and fabricate a stained glass artwork for the Grade II-listed Jewell and Withers Building at 22 Endell Street in Covent Garden. Located on the corner of Endell Street and Betterton Street, the early Gothic Revival polychrome brick building was the former location of the Lavers and Barraud stained glass studio, designed by Jewell and Withers in 1859 for the notable Victorian glassworks. Part-funded by the Crafts Council of Great Britain, Clarke's modern stained glass gable window, located on the Betterton Street elevation and visible along much of Endell Street, fills what was the 19th century workshop's viewing window. The colour scheme was derived from Clarke's analysis of Lavers & Barraud's own colour palette, and the work was designed to be as striking by daylight viewed from outside – through its sculptural use of leading and triple-flashed opalescent glass – as from within, and to have a nocturnal presense, like a colourful beacon, when lit internally at night.