Wailes was born and grew up in Newcastle on Tyne, England's centre of domestic glass and bottle manufacturing. His first business was as a grocer and tea merchant.[1] However, his artistic talent and practical skills led him to set up a small kiln in the backyard of his premises. He made and fired small decorative enamels which were sold in his shop.
In 1830 he went to Germany to study stained glass design and production under Mayer of Munich. In 1838 he set up his own stained glass studio to design and manufacture windows[2] and in 1841 the business began producing its own glass.
In 1842 the architect Augustus Pugin approached Wailes about producing windows for him. Working with Pugin was a thankless task, as Pugin went from one workshop to another in an attempt to get his designs realised at the lowest possible cost. The working relationship lasted for only three years.[3]
Regardless of this, Wailes made a name for himself through the provision of windows for local churches. As his enterprise prospered, he employed more men until there were 76 employees, who included in their number several designers who were to go on to establish their own factories. These included Francis Wilson Oliphant R.A. (1818–1859) and George Joseph Baguley (1834–1915). William Wailes was one of the twenty-five stained glass manufacturers that exhibited in the Crystal Palace Exhibition in 1851.
Wailes married (Elizabeth) and they had several children, including a son, William Thomas Wailes, who was to join his father in the business, as did his son-in-law, Thomas Rankine Strang,[2] in 1861, when the firm became known as Wailes and Strang.
In 1860 Wailes bought the Saltwell Estate at Gateshead and set about improving it, building himself a decorative mansion and landscaping the grounds. Unfortunately, he ran into debt and 16 years later sold the property to the Gateshead Corporation. The estate became a public park known as Saltwell Park which includes the house, Saltwell Towers. However Wailes continued to reside in his home until his death in 1881. William Thomas Wailes continued to manufacture stained glass until 1910.
Although William Wailes employed a number of designers, the products of his workshop are often identifiable by type of glass and the particular colour combinations that prevailed. Wailes’ glass is often a little paler and more brightly coloured than many English workshops of the same date, being rather more like glass from Germany or Limoges. There are certain distinctive colour combinations that occur repeatedly in the clothing of figures in Wailes’ windows- mauve lined with bright red, yellow lined with bright blue, red lined with acid green. Many of Wailes window contain a great deal of pink glass.
Although Wailes was seen as a Gothic Revival artist, and was able to fill windows with ornate foliate patterns that have the quality of brightly painted manuscripts rather than ancient glass, his figures were elegantly classicising and decidedly staid of demeanour. Figures in Wailes’ windows communicate in a series of stereotypical hand gestures. Moreover, the details of faces are applied in a painterly manner, as against the almost calligraphic manner with which some of the 19th-century artists such as John Hardman imitated ancient windows. The painterly manner is typical of that employed by Mayer of Munich, with whom Wailes trained.
Gloucester Cathedral
While most of the work of Wailes' workshop is to be found in the North of England, other commissions came from further afield. The most significant window glazed by the firm, and one of the prize commissions of the industry, was the glazing of the west window of Gloucester Cathedral, an enormous window of c.1430 in the Perpendicular Gothic style, of nine lights and four tiers. This window complemented, at the other end of the building, one of the largest ancient windows in the world; the east window (which is as big as a tennis court) fortunately had retained much of its 14th century glass, comprising many tiers of figures.
Wailes' west window at Gloucester is a stupendous achievement, and not just because of the technicalities involved in glazing such a vast area. It makes no attempt to imitate the style or content of the east window. The content of the west window, like that of so many other commissions, was probably stipulated by a committee. Because the window was so large there was room for a large number of narratives and many figures.
The window comprises nine vertical sections called lights which are divided by mullions into three lots of three. The window rises in three stages, the first and the third being approximately half as tall as the middle one, the whole being surmounted by many smaller vertical tracery lights, which Wailes predictably filled with singing angels neatly arranged in robes of violet, bright red and arsenic green.
Wailes' design divides the window's main part into four rather than three stages, each containing three complex narrative scenes which are made successfully to span three lights. The central section which shows the Nativity of Christ with the Baptism of Christ in the Jordan by John the Baptist (one below the other) is a particularly successful composition, considering that it contains two significant narrative incidents which visually harmonise, yet remain discrete scenes. While each of the twelve individual pictures works as a unit, the visual composition of the whole window is skilfully arranged so as to present as an integrated work of art. This has been achieved by the skilled placement of the 116 figures and the equally skilful disposition of colour.
Churches containing stained glass by William Wailes
The East window of the church of St Mary at Chilham in Kent, dated 1864
Cliff and Monica Robinson, Buckinghamshire Stained Glass, [2]
Victorian Wolverhampton, a town through its buildings,
January 06, 2023
william, wailes, 1808, 1881, proprietor, england, largest, most, prolific, stained, glass, workshops, rose, window, from, matthias, church, richmond, church, designed, gilbert, scott, contents, life, career, artistic, recognition, stained, glass, style, glouce. William Wailes 1808 1881 was the proprietor of one of England s largest and most prolific stained glass workshops Rose window from St Matthias Church Richmond a church designed by Sir Gilbert Scott Contents 1 Life and career 2 Artistic recognition 3 Stained glass 3 1 Style 3 2 Gloucester Cathedral 4 Churches containing stained glass by William Wailes 5 See also 5 1 Other early 19th century firms 5 2 Context 6 ReferencesLife and career EditWailes was born and grew up in Newcastle on Tyne England s centre of domestic glass and bottle manufacturing His first business was as a grocer and tea merchant 1 However his artistic talent and practical skills led him to set up a small kiln in the backyard of his premises He made and fired small decorative enamels which were sold in his shop In 1830 he went to Germany to study stained glass design and production under Mayer of Munich In 1838 he set up his own stained glass studio to design and manufacture windows 2 and in 1841 the business began producing its own glass William Wailes home at Saltwell Park Gateshead In 1842 the architect Augustus Pugin approached Wailes about producing windows for him Working with Pugin was a thankless task as Pugin went from one workshop to another in an attempt to get his designs realised at the lowest possible cost The working relationship lasted for only three years 3 Regardless of this Wailes made a name for himself through the provision of windows for local churches As his enterprise prospered he employed more men until there were 76 employees who included in their number several designers who were to go on to establish their own factories These included Francis Wilson Oliphant R A 1818 1859 and George Joseph Baguley 1834 1915 William Wailes was one of the twenty five stained glass manufacturers that exhibited in the Crystal Palace Exhibition in 1851 Wailes married Elizabeth and they had several children including a son William Thomas Wailes who was to join his father in the business as did his son in law Thomas Rankine Strang 2 in 1861 when the firm became known as Wailes and Strang In 1860 Wailes bought the Saltwell Estate at Gateshead and set about improving it building himself a decorative mansion and landscaping the grounds Unfortunately he ran into debt and 16 years later sold the property to the Gateshead Corporation The estate became a public park known as Saltwell Park which includes the house Saltwell Towers However Wailes continued to reside in his home until his death in 1881 William Thomas Wailes continued to manufacture stained glass until 1910 Artistic recognition EditWailes was painted next to a window exemplifying his work by John Oliphant The painting hangs in the Shipley Art Gallery in Gateshead 4 Stained glass Edit The huge west window at Gloucester Cathedral Style Edit Although William Wailes employed a number of designers the products of his workshop are often identifiable by type of glass and the particular colour combinations that prevailed Wailes glass is often a little paler and more brightly coloured than many English workshops of the same date being rather more like glass from Germany or Limoges There are certain distinctive colour combinations that occur repeatedly in the clothing of figures in Wailes windows mauve lined with bright red yellow lined with bright blue red lined with acid green Many of Wailes window contain a great deal of pink glass Although Wailes was seen as a Gothic Revival artist and was able to fill windows with ornate foliate patterns that have the quality of brightly painted manuscripts rather than ancient glass his figures were elegantly classicising and decidedly staid of demeanour Figures in Wailes windows communicate in a series of stereotypical hand gestures Moreover the details of faces are applied in a painterly manner as against the almost calligraphic manner with which some of the 19th century artists such as John Hardman imitated ancient windows The painterly manner is typical of that employed by Mayer of Munich with whom Wailes trained Gloucester Cathedral Edit While most of the work of Wailes workshop is to be found in the North of England other commissions came from further afield The most significant window glazed by the firm and one of the prize commissions of the industry was the glazing of the west window of Gloucester Cathedral an enormous window of c 1430 in the Perpendicular Gothic style of nine lights and four tiers This window complemented at the other end of the building one of the largest ancient windows in the world the east window which is as big as a tennis court fortunately had retained much of its 14th century glass comprising many tiers of figures Wailes west window at Gloucester is a stupendous achievement and not just because of the technicalities involved in glazing such a vast area It makes no attempt to imitate the style or content of the east window The content of the west window like that of so many other commissions was probably stipulated by a committee Because the window was so large there was room for a large number of narratives and many figures The window comprises nine vertical sections called lights which are divided by mullions into three lots of three The window rises in three stages the first and the third being approximately half as tall as the middle one the whole being surmounted by many smaller vertical tracery lights which Wailes predictably filled with singing angels neatly arranged in robes of violet bright red and arsenic green Wailes design divides the window s main part into four rather than three stages each containing three complex narrative scenes which are made successfully to span three lights The central section which shows the Nativity of Christ with the Baptism of Christ in the Jordan by John the Baptist one below the other is a particularly successful composition considering that it contains two significant narrative incidents which visually harmonise yet remain discrete scenes While each of the twelve individual pictures works as a unit the visual composition of the whole window is skilfully arranged so as to present as an integrated work of art This has been achieved by the skilled placement of the 116 figures and the equally skilful disposition of colour Churches containing stained glass by William Wailes Edit The East window of the church of St Mary at Chilham in Kent dated 1864 In the church of Ss Peter and Paul Great Missenden England St Andrew s Church Bradfield Berkshire St Mary s Church Thatcham Berkshire Church of St Peter and St Paul Great Missenden Buckinghamshire St Helen Witton s Church Northwich Cheshire Church of St Mary the Virgin Ambleside Cumbria All Saints Church Huntsham Devon St John the Evangelist s Church Birtley County Durham St Helen s Church Low Fell County Durham Holy Trinity Church Sunderland County Durham Gloucester Cathedral Gloucester Gloucestershire St Edward s Church Stow on the Wold Gloucestershire St Matthias Church Richmond Greater London St George s Cathedral Southwark Greater London St Mark s Church St John s Wood Greater London All Saints Church Hursley Hampshire St Mary s Church Kingsclere Hampshire St George s Church Benenden Kent St Mary s Church Chilham Kent St Lawrence s Church Waltham Kent St Peter s Church Crostwick Norfolk St Edmund s Church Emneth Norfolk Hexham Abbey Hexham Northumberland St Mary s Church Clipsham Rutland St James the Less Fradswell Staffordshire St Editha s Church Tamworth Staffordshire St Martin s Church Dorking Surrey St John s Church Piddinghoe East Sussex Chichester Cathedral Chichester West Sussex St Botolph s Church Farnborough Warwickshire St Boniface s Church Bonchurch Isle of Wight St James Church Devizes Wiltshire Church of St Anne Catterick North Yorkshire Bridlington Priory Bridlington East Yorkshire Church of St Thomas Thurstonland West YorkshireScotland Cathedral of the Isles Millport AyrshireAustralia Christ Church St Laurence Sydney New South WalesIndia Afghan Church Mumbai MaharashtraUnited States First Presbyterian Church Philadelphia PennsylvaniaSee also EditOther early 19th century firms Edit Thomas Willement William Warrington Charles Edmund Clutterbuck Hardman amp Co Augustus Welby PuginContext Edit Stained glass Stained glass British glass 1811 1918 Victorian Era Gothic Revival Poor Man s BibleReferences Edit Why Saltwell Park in Gateshead s Low Fell has long been a people s park Chronicle Live 18 March 2021 a b William Wailes 1838 1914 Stained Glass in Wales Pugin also fell out with Thomas Willement and William Warrington John Oliphant Portrait of William Wailes Tyne amp Wear Archives and Museums Retrieved 11 June 2020 Wikimedia Commons has media related to William Wailes Painton Cowen A Guide to Stained Glass in Britain 1985 Michael Joseph ISBN 978 0 7181 2567 7 Elizabeth Morris Stained and Decorative Glass Doubleday ISBN 978 0 86824 324 5 Sarah Brown Stained Glass an Illustrated History Bracken Books ISBN 1 85891 157 5 Simon Jenkins England s Thousand Best Churches Allen Lane the Penguin Press ISBN 978 0 7139 9281 6 John Harvey English Cathedrals Batsford 1961 ISBN unknown Robert Eberhard Church Stained Glass Windows 1 permanent dead link Cliff and Monica Robinson Buckinghamshire Stained Glass 2 Victorian Wolverhampton a town through its buildings 3 Retrieved from https en wikipedia org w index php title William Wailes amp oldid 1130160941, wikipedia, wiki, book, books, library,
