William Morris stained glass

The main reason I visited Bradford Cathedral recently was because I'd booked on a guided tour of the building's William Morris stained glass. It turned out to be very interesting. 

During a period of restoration in 1863, a Mrs Tolson decided to give some money for a window in memory of her husband Richard, a Bradford solicitor. One of her late husband's friends, John Aldam Heaton, was an admirer of the work of the Pre-Raphaelites, William Morris and his friends, and suggested that the glass should be sourced from them. It was one of the first stained glass commissions the company undertook. Then a second window by the company was added in 1864. 

The windows were installed towards the east end of the church, and removed when this was remodelled. 

The one installed in 1864, in memory of Mary Hartley, was dismantled and placed in a crate, stored for 26 years until rediscovered. It has been restored and parts are now in the transepts, and some of the pieces have been arranged as an illuminated panel (above). The angels are the work of William Morris himself, with Salvator Mundi (Saviour of the World) by Albert Moore, and a Pelican (a Christian symbol) by Philip Webb in the middle. 

 

The seven-light 1863 window, 'Witnesses to Christ', was reused in the new Lady Chapel, but had to be split into three panels. I've put them together again in the composite below. 

Records have survived that detail which of the artists in the William Morris collective created each piece and how much they cost. It's really interesting to note the differences between the artists' approaches. 

The figure of John the Baptist (below), is by William Morris himself. Philip Webb was responsible for a lot of the background pieces, many of which include plants and flowers, key motifs of Pre-Raphaelite imagery. 

Mary Magdalene (below), holding her jar of anointing oil, is the work of Dante Gabriel Rossetti. She has the long russet tresses associated with many of his muses. Apparently, in the original design she was more scantily clad. This was considered inappropriate for the context so he had to add more garments. 

Ford Madox Brown contributed Abraham (below) clutching a knife, with his terrified son Isaac hanging on to his leg. Plenty of drama and emotion in this depiction. 

King David (below) is by Edward Burne-Jones, in a gentler, more romantic style. 

I love stained glass, as you know, so I found this all very fascinating. These are masterpieces, with similar works by William Morris and Co and other notable glass studios dotted around in churches all over the UK. Their significance is easily overlooked. They were meant to tell stories to (often illiterate) congregations. A picture can hold a thousand words, after all. 

Incidentally, the cathedral also unearthed the beautiful altar cloth, above, stored away in a drawer somewhere. It has been authenticated as a Morris and Co embroidery, likely done by William Morris's wife Jane, who was a skilled needlewoman. The sweeping foliage and fruit: grapes and pomegranates, are typical symbols used in the Pre-Raphaelite and Arts and Crafts movements.  

'Woven Lives'

I had the pleasure of going to Bradford Cathedral recently, on a beautiful day that made my heart sing. Christians have worshipped on the hill above the city for thirteen centuries. Just below, there is a river (now running in conduits underground). In Saxon times, a ford allowed people to cross. 'Broad Ford' led to the city's name. The present cathedral, Bradford's parish church until 1919, is believed to be the third church on the site, parts of it dating back to the 14th century but much enlarged and altered subsequently. What was once its crowded graveyard is now a pleasant precinct with a few clergy houses around the lawns. 

There are currently several small exhibitions in the cathedral related to Bradford people's lives and stories. The artwork made of coloured glass is 'Woven Lives', the result of various workshops in the city led by Linda Baines and Shaeron Caton-Rose. Participants used drawing and symbols to map out their lives - moments of joy and hardship - which were then screen printed onto glass tiles and fused to make the artwork.  

Happy

You'll perhaps recall that a couple of weeks ago I went to an exhibition of Liz West's work - H.A.P.P.Y - in Harrogate. (See HERE). I really liked the bold colour in her art. When I came home I looked at her website, vaguely thinking I might get a print to place in my hallway, on a wall that my daughter reckoned needed a picture. I quickly had second thoughts when I noted her prints sell for upwards of £300 (not unreasonable for original art but beyond my budget). However, she also sells small art cards, at a much more affordable price. I bought a pack of them and arranged them in a cheap frame. I'm very pleased with the effect. The little explosion of bright colour truly makes me happy! 

(Incidentally those aren't creases in the middle, just unavoidable reflections, for which I apologise.)

The print I have on the opposite wall is one I've had for years. It's a poster for an exhibition I went to in Leeds, by Andy Goldsworthy, featuring a boulder covered in poppy petals. Andy is an artist and sculptor who works with natural materials - stone, brightly coloured flowers, icicles, leaves, mud, pinecones, snow, stone, twigs, and thorns -  in site specific locations outdoors. His artworks are often ephemeral, left to age and decay naturally (though always documented in photos too). He has installed more permanent works like cairns and sheepfolds in various locations, including the Yorkshire Sculpture Park. He currently has a major retrospective exhibition in Scotland’s National Gallery, so I’m hoping to go to Edinburgh to see that in the autumn. 

Art in the Pen 2025

Every year there's a massive Arts Market 'Art in the Pen' in the Auction Mart at Skipton. The pens that usually hold animals each host a different artist or craft business, over 200 of them this year. I don't go every year but, if I do, I usually find something catches my eye and I end up spending money! Last year I indulged in a really beautiful ceramic piece so I wasn't intending to go this year, to avoid temptation. 

But then I did! 

Every art/craft is represented - paintings, photography, jewellery, textiles, metal work, wood craft, you name it.  Some of it is high-end, very professional, and some of it quite kitsch, but probably everyone would find something to their taste, tucked away somewhere. 

I am usually drawn to the more expensive things, inevitably! If I had money and wall space I might have invested in one of the oil paintings below, by Michael Claxton. That big square one in the top middle would have suited my sitting room (not that I have spare space). Such seascapes are not necessarily an 'original' idea. I've seen a few artists doing similar work, but I liked the serenity and colours of these. 

On the other hand, I wouldn't have bought one of these sculptures by Paul Smith for my personal space but I liked the whimsy in a few of them. 

The willow work by Julie Livesey at Pip Cottage also appealed to me, though it's not really the kind of thing I buy a lot of. (I have a couple of willow storage crates and a laundry basket.)

The reason I changed my mind and went along to the market this year was because a few weeks ago I lost one of my favourite rings. I habitually wear two on each hand and three of them I take off at night. The one on my left middle finger was a snug fit and didn't easily slide over my slightly arthritic knuckle so I wore that one all the time. It was a plainish flat band and it didn't catch on things. So I was mightily flummoxed when, one day, I noticed that I wasn't wearing it...  I have no idea how it came off or where, and I've hunted high and low through my apartment and haven't found it. Anyway, my finger felt sad and bare so I decided I needed to buy a new one. The one on my 'ring finger' on the left hand I bought some years ago at Art in the Pen, so that seemed like a good place to go looking. Whilst there were a lot of jewellers participating, not many of them had rings on display this year. I did, however, find the silver ring below - again, flat and fairly plain, so I decided that would do the job - and it was very reasonably priced, thankfully, so no guilt involved!

As I was leaving the Auction Mart, I saw the blackboard below with all the upcoming livestock auctions listed. Most of it makes no sense to me whatsoever, but I do love the various farming terms: 'cast ewes', 'mule gimmer lambs'. I'm not sure whether the general public can just rock up to watch an auction but I think it would be rather interesting.

(I decided I can just about forgive the 'grocer's apostrophes'. Maybe they mean 'Monday's [auctions]' rather than 'auctions on Mondays'.) 

A linear walk #3

Saltaire to Bingley Five-Rise Locks

The new road bridge over the canal here is quite a dominant feature, a little tunnel that separates the semi-rural outskirts of Bingley from the denser urban centre. Immediately beyond is the fairly recent mill conversion of the former Britannia Mills, a large scale wool worsted factory, built in the late 1800s, one of several mills and industrial premises that existed alongside the canal in Bingley in the 19th and 20th centuries. I don't know when it ceased production but it lay empty and some of the buildings were demolished, until it was revived as apartments in the old three storey shed with a couple of new apartment blocks added on the site too. 

The pattern of old industrial buildings interspersed with newer residential builds continues along the canal. 

Leading up from the canal, some of the rows of Victorian terraced housing still stand, gradually giving way to newer and less dense residential areas as you progress up the steep valley side. 

There's a family of swans living in this area (not the same ones that hang around in Saltaire). 

Some of the old mill chimneys have been left standing, proud monuments to a different era. 

Around the Park Road bridge, the vegetation in the canal is particularly dense, with a large patch of reeds encroaching on the navigation. They look quite pretty but will soon make the canal impassable if they're left to proliferate. This is the section of canal that was lifted and moved several yards. Just over that wall on the left, the bypass speeds through and right beside that is the railway, those steps leading down from Park Road to the station platform. There really wasn't a lot of room to slot a dual carriageway through, so hats off to the planners and engineers that squeezed it all in! 

The vibrant mural that now decorates a gable end just beside the Park Road bridge has only recently been painted. It depicts moorhens, many of which frequent the canal. It is by Misc.Etc, sponsored by Bradford City of Culture 2025. 

H.A.P.P.Y

I went to Harrogate recently to do some shopping and meet a friend. Annoyingly, the car park I usually use has suddenly changed its charging system, so that now you have to pay on arrival rather than on departure, which means estimating how much time you'll need. (I wondered why what is normally a packed multi-storey was virtually empty.) Anyway, I erred on the safe side when paying and had time to spare, which gave me long enough to pop in to Harrogate's civic art gallery, The Mercer Gallery.  

The current exhibition is H.A.P.P.Y by Liz West, created as a counterbalance to the Seasonal Affective Disorder (S.A.D) which troubles her - and many others - in the darker winter months. She 'experiments with colour and light to create environments that inspire joy and curiosity'. She has filled the main gallery space with a vibrant installation of coloured acrylic circles that shimmered in the light from the windows and chandeliers. It was fun, though I felt I'd have liked a winding path through the middle, to better immerse myself in it, rather than tiptoeing around the edges. 

Elsewhere there were various colourful paintings in ink, felt marker pen and paint. Many of these were maquettes (smaller mock-ups of planned larger works). I thought them reminiscent of Bridget Riley's Op-Art work from the mid to late 20th century, though much less precise. West's work is primarily about colour, whereas Riley was exploring the dynamic potentialities of optical phenomena.

As well as paper-based creations, there were smaller experiments with acrylic and acetate panels and sheets, which allow the light to pass through like stained glass. Have a look at her website to see the larger site installations based on these. They're rather wonderful - HERE.

I enjoyed all these pieces. They made me want to get out my paints; I love colour, as you know - so, yes, they left me feeling happy! 

Ullswater

Here's another in my series documenting the artworks I have on display in my home.  This is a painting on silk, of Ullswater in the Lake District, by Chris Pollard. I've had it many years. I bought it, on a whim, from the artist's pop-up stall in the White Rose shopping centre in Leeds. At the time I was replacing my kitchen (in my previous house) and had chosen light wood effect units and green and blue tiles, so the colours seemed to fit well. I liked that it is a real place - and not so far from here really - but also that it was rather an abstract and representational image. 

I've always loved the colours and, despite the piece being about 25 years old, they still sing vibrantly. When I moved to my flat last year and decided to paint myself a blue wall in the sitting room, it became obvious that this was the place for this picture. I love it! 

Canal artwork

This rather lovely canal artwork was designed and painted some while ago by pupils from Saltaire Primary School. It was initially sited beside Hirst Lock but then, for some reason, the Canal and River Trust or some such body decided it wasn't going to be allowed there any longer and it was moved to decorate the side of a building in Shipley. Now, the original has been scanned and reproduced digitally and a copy has once again been placed near the lock. I think it's rather good; a lovely colourful addition to the area. I believe we have to thank the Bradford 2025 City of Culture for this. As well as the large scale professional events, they are sponsoring a multitude of small, local, community initiatives - art, music, theatre, competitions and cultural events. 

A family heirloom

Here's another of the pictures that I have on display in my apartment. It's relatively small, only 25 x 20cm. It's one of the few pieces I inherited from my paternal grandparents. I always liked it, even as a child, so I am very happy to have it. My mother didn't really know much about it but I presume it's Japanese, with Mount Fuji in the background. We guess it was brought back from the Far East after WWII. My dad's younger brother was stationed there for a while, after the war (I suppose when he was doing National Service) so it seems likely he brought it back as a gift. The top picture seems to be painted on very thin wood, and the bottom one on paper. The subtle pink and peach tones are lovely. I don't think it is more than a 'tourist souvenir' of the time but I'm very fond of it and it's been in my possession at least since the early 1980s, after my grandparents died. 

The Jameel Prize

As part of the City of Culture 2025, Cartwright Hall is currently hosting 'The Jameel Prize: Moving Images'. The exhibition brings together the work of seven finalists working with film, video, digital and time-based media, in the V&A's international award for contemporary art and design inspired by Islamic culture, society and ideas. 

The winning entry, a clip of which is shown above, is the work of Khandakar Ohida (India), titled: 'Dream Your Museum', documenting her uncle's remarkable collection of objects and memorabilia. 

Marrim Akashi Sani (Iraq/Iran/USA) displayed vibrant prismatic lightboxes 'Muharram', portraying people's lives through their trinket boxes and prized possessions. 

Sadik Kwaish Alfraji (Iraq/Netherlands) offered two hand-drawn animations honouring his parents. Pictured below is a frame from 'A Thread of Light Between My Mother's Fingers and Heaven'. 

Below is a still of Zahra Malkani's 'A Ubiquitous Wetness' (Pakistan), sounds and pictures collected from communities along the Indus river and the Indian Ocean, related to spiritual and devotional practices. 

You really need a long time and the ability to pay attention to these layered and moving works, but they were all quite compelling in their different ways. 

Hockney and Mai

In perhaps an odd juxtaposition, Sir Joshua Reynolds' imposing 'Portrait of Mai' is currently being shown in the Hockney Gallery at Cartwright Hall, as part of Bradford UK City of Culture 2025. It is touring the country, having been 'saved for the nation' in 2023 in a joint venture by the National Portrait Gallery and the Getty Museum. Painted about 1776, it depicts a Polynesian man, Omai, who journeyed with Captain Cook and visited England, being much admired by London society at the time. He is painted in an arcadian scene, wearing flowing robes resembling ceremonial Tahitian dress worn by nobility and the priestly classes. The painting has quite a chequered history (see HERE), belonging to the Howards of Castle Howard for over 200 years. 

In the Hockney Gallery there is information about David Hockney's life and work, including some rather lovely sketches of Bradford scenes (above) that he made while he was a student at Bradford College of Art. There are also some colourful iPad drawings he did while living in Bridlington in the early 2000s. 

Artists' materials

We had a camera club outing to Cartwright Hall, Bradford's civic art gallery. I've been lots of times before and found you aren't allowed to take photos inside, which is always somewhat frustrating. (They sometimes actively stop you, even if you're just using your phone.) As a club we had a photography permit, though we were not supposed to take photos of the artwork itself (except incidentally) or identifiable shots of visitors. So really that ruled out 75% of the possible subjects! Still, it was a good opportunity to explore and catch up with the latest exhibitions. 

As well as there being a treasure trove of David Hockney's work in Salts Mill, the art gallery too has a room dedicated to his art and life, him being a Bradford lad and all that. Some of it was set up as if in an artist's studio. The pots of paint and brushes made a good subject to experiment on. 

Pauline Caulfield in The Home Shop

Tucked away behind Salts Diner in Salts Mill is The Home Shop. It sells carefully curated, high-end homewares and furniture, mostly way out of my price range and, though beautiful, often too modern for my tastes. Much of the furniture looks downright uncomfortable to me! The store does, however, have a few interesting displays of mid-century collectors' pieces. 

I rarely go in but they currently have a textile display by Pauline Caulfield that I wanted to see. I guess her ex-husband the late Patrick Caulfield (artist and printmaker) is better known, but Pauline was at the Royal College of Art (RCA) in the late 1960s and, after raising a family and then getting divorced, she successfully resurrected her artistic career. There are just three main pieces on display: Garden, Black Cascade and Odeon, all remakes from her RCA graduation show. Bold, bright and colourful, I did like them and could imagine them in someone's stylish pad. Not mine though... at £2000+ for one panel.