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Geoffrey Webb (artist)

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The Egwin and Eof window in St Lawrence's Church, Evesham, Worcestershire

Geoffrey Fuller Webb (5 August 1879 – 20 January 1954)[1][2] was an English stained-glass artist and designer of church furnishings, based for most of his career in East Grinstead. He was a nephew of the architect Sir Aston Webb and a pupil of Charles Eamer Kempe and Sir Ninian Comper. His work, which draws on the Gothic Revival tradition, can be found in both Church of England and Roman Catholic churches, and in several cathedrals. It can be identified by his artistic signature, a spider's web.

Ancestry and childhood

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Geoffrey Webb was born into an artistic family of some note. His grandfather, Edward Webb, was a painter and printmaker; his uncles included Sir Aston Webb, the eminent architect; and his father, Edward Alfred Webb, was a watercolourist and antiquary who wrote a history of the Priory Church of St Bartholomew the Great in two volumes. He was born at Salisbury House, Turnham Green, London in 1879, and educated at St Germans Place School in Kidbrooke, Rugby School,[3][4][5][6] and the Westminster School of Art.[7] Webb studied stained-glass design under Charles Eamer Kempe, then considered the country's leading practitioner,[5] and, like his brother Christopher Webb, under Ninian Comper.[6]

Career

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The Margaret More window in Woolwich Town Hall, London

Going into business, he worked briefly with Herbert Bryans and Ernest Heasman, perhaps in partnership, before striking out on his own.[8] One of his earliest commissions was for Woolwich Town Hall's stained glass; this he designed in late 1904.[9] In 1919 he moved to Sackville House, on the High Street of East Grinstead in Sussex, and established a workshop at Brooker's Yard in West Street.[10][6] Here he not only designed stained glass but also restored old glass and designed church furniture and metalwork. Webb took an active part in the life of East Grinstead, co-founding its Civic League[11] and joining its repertory company, for which he painted theatre posters.[12] In 1933 he drew on his artistic experience and his extensive knowledge of liturgical matters to write The Liturgical Altar, a treatise on the legal and aesthetic aspects of altar design. This is considered the standard book on its subject, and it had a highly beneficial effect on Webb's career, making his name known to a large number of potential clients.[13][14] Webb accepted commissions from both Anglican and Roman Catholic churches. Some of the more high-profile ones came from Brompton Oratory,[15] Tewkesbury Abbey,[16] Canterbury Cathedral,[17] Manchester Cathedral,[18] Worcester Cathedral,[19] and Llandaff Cathedral.[20] He also carried his reputation abroad with stained-glass windows in St Alban's Church, Copenhagen,[21] and in two South African cathedrals, those of Johannesburg and George.[18][22] He was still actively engaged in stained-glass design at the time of his death in 1954.[20]

Style

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Reredos in St James's Church, Marylebone, London
Spider's web signature

Webb was a pupil of Charles Eamer Kempe and Ninian Comper, both artists associated with the Gothic Revival, but he was much more influenced by the latter than by the former, bringing a new freshness of colour and line to the Gothic tradition.[23][8][24] He was praised for the beautiful detail in his drawing and for his fine sense of colour.[11] His brilliant blues are especially characteristic,[25] as is his readiness to use a good deal of white glass, which he justified with the statement that "the first function of a window is to admit light".[11] He often chose heraldic subjects,[8] and he was careful to bring his designs into harmony with the surrounding architecture.[11] His views on liturgical art were always in close conformity with the dictates of the canon law of the Catholic Church, which lays it down that "in regard to the material and form of sacred furniture it is necessary to keep to liturgical prescriptions, ecclesiastical traditions, and to the greatest extent possible to the laws of sacred art".[14] Webb's artistic signature, a spider's web, can usually be found near the bottom right-hand corner of his windows.[11]

Personal life

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Geoffrey Webb married Joan Hanbury on 10 May 1906, and they had three sons and one daughter.[2] Though Webb came from a High Church Anglican background, he and his wife converted to Catholicism in 1913, and Catholic doctrine became an important influence on his life and thought. In 1929 he helped to form the Company of Saint Joseph, a body of Catholic artists reportedly devoted to "the regular study of liturgical rules, rubrics, and decrees", and he gave lectures in their support.[14]

List of works

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Main article: List of works by Geoffrey Webb

Footnotes

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  1. ^ Howard & Crisp 1901, p. 26.
  2. ^ a b Townend 1965, p. 364.
  3. ^ Howard & Crisp 1901, pp. 24, 26.
  4. ^ "Edward Webb". The British Museum. The Trustees of the British Museum. Retrieved 26 September 2021.
  5. ^ a b Anson 1955, p. 61.
  6. ^ a b c Anonymous 2012, p. 36.
  7. ^ "Webb Geoffrey Fuller 1879–1954". Artist Biographies British and Irish Artists of the 20th Century. Retrieved 26 September 2021.
  8. ^ a b c Allen 2021.
  9. ^ Guillery, Peter, ed. (2012). Woolwich. Survey of London, 48. New Haven: Yale University Press. p. 264. ISBN 9780300187229. Retrieved 26 September 2021.
  10. ^ Williamson, Elizabeth; Hudson, Tim; Musson, Jeremy; Nairn, Ian (2019). Sussex: West. The Buildings of England. New Haven: Yale University Press. p. 362. ISBN 9780300225211. Retrieved 17 October 2021.
  11. ^ a b c d e Anonymous 1976, p. 9.
  12. ^ "Merry Wives of Windsor". East Grinstead Museum. Retrieved 27 September 2021.
  13. ^ Shear, John Knox, ed. (1957). Religious Buildings for Today. [New York]: F. W. Dodge. p. 177. Retrieved 27 September 2021.
  14. ^ a b c Anson 1955, p. 62.
  15. ^ Evinson, Denis (1998). Catholic Churches of London. Sheffield: Sheffield Academic Press. p. 166. ISBN 1850758190. Retrieved 27 September 2021.
  16. ^ Verey, David; Brooks, Alan (2002). Gloucestershire. 2 The Vale and the Forest of Dean. The Buildings of England. New Haven: Yale University Press. p. 728. ISBN 9780300097337. Retrieved 27 September 2021.
  17. ^ Newman, John (2013). Kent: North-East and East. The Buildings of England. New Haven: Yale University Press. p. 208. ISBN 9780300185065. Retrieved 16 October 2021.
  18. ^ a b Anson 1955, p. 63.
  19. ^ Brocket, Jane (2018). How to Look at Stained Glass: A Guide to the Church Windows of England. London: I. B. Tauris. p. 159. ISBN 9781788310895. Retrieved 29 September 2021.
  20. ^ a b Lambert 2010, p. 194.
  21. ^ "The Stained Glass Windows" (PDF). St Alban's Church: The Anglican Church in Copenhagen. November 2013. Retrieved 29 September 2021.
  22. ^ SJC. "Stained Glass of St John the Divine". Felbridge & District History Group. Retrieved 28 September 2021.
  23. ^ O'Kane, Martin; Morgan-Guy, John, eds. (2010). Biblical Art from Wales. Sheffield: Sheffield Phoenix Press. p. 137. ISBN 9781906055677. Retrieved 29 September 2021.
  24. ^ Anson, Peter F. (1965). Fashions in Church Furnishings, 1840–1940. London: Studio Vista. p. 343. Retrieved 29 September 2021.
  25. ^ "Top Choir Supports Appeal for Landmark Church". East Grinstead Town Council. 1 February 2012. Retrieved 29 September 2021.

References

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