Two Kempe and Tower windows from 1914. The first shows St Luke ⓘ, Virgin and Child, and St John the Evangelist ⓘ. The upper lights of the second window shows the Epiphany whilst the bottom light depict the Presentation in the Temple.
This three-light window presents a historical and theological narrative closely bound to the early and later history of the church at Brixworth, combining Anglo-Saxon foundation legends, royal confirmation, and the central event of Pentecost.
This two-light stained-glass window depicting the Three Marys at the Tomb, dated 1917, is attributable to Burlison & Grylls ⓘ and belongs to the firm’s late ecclesiastical output during the First World War period.
The composition presents the moment immediately following the Resurrection, as described in the Gospels, when the holy women come to the tomb and receive the angelic announcement that Christ has risen.
Tomb of Lewis Clayton (d1917) who became Suffragan Bishop of Peterborough in 1903.
This memorial stained-glass window, executed c. 1918 by Arild Rosenkrantz, commemorates Arthur James (d. 1918) and is installed in the parish church at Churchover, Warwickshire. The date and dedication place the work firmly within the immediate aftermath of the First World War, a context that strongly informs both its iconography and emotional tenor.
This two-light stained glass window, by J. Powell & Sons (Whitefriars), designed by J. W. Brown ⓘ, depicts St Etheldreda ⓘ and St Wilfrid ⓘ, rendered as standing full-length figures beneath delicately patterned Gothic canopies.
This two-light window, executed by Kempe & Tower in 1921, depicts the Presentation of Christ in the Temple, a subject long favoured by the firm for its devotional clarity and balanced figural grouping.
Left-hand light:
The Virgin Mary ⓘ is shown kneeling in prayerful humility, her posture inward and composed. Behind her, attendant figures are arranged beneath an architectural canopy, reinforcing the Temple setting and providing depth without distracting from the principal action.
This stained-glass window in the north aisle of All Saints’ Church, Naseby depicts the Angel at the Tomb, witnessed by Mary Magdalene ⓘ and Mary Clopas, and is attributable to William Morris Studios (Westminster).
The Emmaus window by Heaton, Butler & Bayne, created in 1925, is a stained-glass triptych set in a South chancel window at Market Bosworth. Made by the London firm known for its Victorian and Pre-Raphaelite style, it depicts the biblical Supper at Emmaus across three panels.
This two-light window pairs the Nativity with the Meal at Emmaus, linking the mystery of the Incarnation with recognition of the risen Christ through shared food and fellowship. The juxtaposition draws together the beginning and the renewed revelation of Christ’s presence among humanity.
This three-light stained glass window of 1926, signed by J. Powell & Sons (Whitefriars), presents a symbolic devotional programme centred on Christian virtue rather than named saints.
Between 1929 and 1932 the Parisian atelier Mauméjean Frères created a vivid sequence of stained-glass windows for the church of Notre-Dame, Déols. The cycle traces key moments in the lives of the Virgin Mary ⓘ and Christ, from the Nativity and Annunciation through the Visitation and the miracle at Cana, and finally to the Crucifixion, Resurrection, and the heavenly Coronation of the Virgin.
This tracery window depicts the Holy Spirit in the form of a descending dove, set against a radiant field of blue glass and stylised rays of light. A scroll bearing the inscription “Peace in heaven & Glory in the highest” reinforces the window’s theological focus on divine presence, reconciliation, and praise.
This cycle of seven stained glass lancet windows forms a coherent devotional programme combining the Four Evangelists with a Marian group centred on the Virgin and Child. The windows share a consistent stylistic language and iconographic approach characteristic of Gouffault’s parish work.
Four lancets depict the Evangelists, each distinguished by a specific attribute or action, rather than by uniform book-holding figures:
This two-light stained glass window, dated 1949, presents a modern devotional image of Notre-Dame de la Blanche, conceived in the years immediately following the Second World War. Designed by Gaston de Bodard and executed by the Orléans master-glazier Louis Gouffault, the window unites traditional Marian iconography with a meditation on conflict, protection, and historical continuity.
Depicting the Life of Saint Joan of Arc, these designs were created by Max Ingrand in 1956 as part of the Sainte Joan quincentenary celebration appeal. They are installed in the Chapelle Saint Jeanne d'Arc in Rouen cathedral.
North transept rose window and lower gallery window by Max Ingrand to replace the 16th century works by Jean and Nicolas Le Prince that were destroyed during the second world war.
This two-light stained-glass window of 1959, signed by J. Hardman Studios, is located in the church at Abthorpe. The window presents paired Marian subjects: the Annunciation and the Virgin and Child, unified by scriptural inscription and symbolic tracery.
These stained glass windows by Max Ingrand are on the south aisle of the church of Saint-Taurin in Evreux. They depict Abraham ⓘ sacrificing Isaac ⓘ, The Mass, and the uncommon theme of Christ in the Wine Press.
The centre of Neufchâtel-en-Bray was almost completely demolished during heavy German bombing on June 7, 1940. Some 800 of the towns 1200 houses were destroyed. The church of Notre-Dame, dating from the twelfth century was severely damaged, and almost all of the stained glass windows from the 13th century shattered. These windows have now been recreated from drawings and descriptions that were made in the 1930s.
