Panel of clear and coloured glass with painted details depicting a seated Christ between Saints Peter and Paul. Designed by John Piper and made by Patrick Reyntiens in England, 1950s.

Semi-abstract representation of Christ seated and in long robes flanked by St Peter ad St Paul.

Bought from the artist's studio.
MA/1/P1383 Piper, John
Letter in RP (MA/1/P1383 Piper, John) from John Piper to Michael Archer:
...I will of course let the V&A have those panels - I think you wanted one of the Brittany Beach ones? If so, which? Whichever it is, it will need a bit of attention from Patrick before it comes to you (slight damages done on the trip to Darmstadt early this year)....

Note in RP (11.11.80) from Archer to Mallet:...he [Piper] is willing to sell us 2 panels which he had made for exhibition purposes some time ago. One, of Christ, is in his style of the Oundle School Chapel commission of the late 1950s. The other is "Brittany Beach" of 1965.

(3 December 1980) Letter from Archer to Piper:
…I some repair is needed, I wonder if Patrick could do this as soon as possible, and if you could include his bill as part of the price if you have no objection….

(5 January 1981) Letter from Piper to Archer:
…I am pleased that Roy backs your proposal about those two panels, and that you should want them. Only the big one needs repair , & I will get it to Patrick quite soon. Of course we will include the repair in the price. But what should the price be? What I would like would be to get Patrick to make me another (or even two) panels to replace those here, and charge the museum with the price. This may be too high. I will find out….

(4 March 1981) Letter from Archer to Piper:
…about the possibility of our buying one of your stained glass panels. You may recall that you were going to ask Patrick for some sort of valuation, and I wondered if …you had been able to do this….

(19 March 1981) Sales invoice from John Piper:
Panel of stained glass 'Christ between St Peter and St Paul'. £2000
Late 1950s

John Piper (1903-1992) and Patrick Reyntiens (b.1925) had been in partnership since 1950. Piper studied art at the Royal College of Art and at the Slade School of Fine Art in London. He was a renowed artist, designer and author.

Reyntiens studied the technique of making stained glass from a working stained glass artist, JE Nuttgens. The two together combined the brilliance of artistry and craftsmanship in the construction of stained glass windows.

John Piper wrote many times that he thought of his work not as one of creating a stained glass design but rather as the work of a painter creating, in one go, a light-filled architectural unit. In Reyntiens he found his 'creative translator' who through his inspired craftsmanship could create these units.

Patrick Reyntiens is a great exponent of modern art in ecclesiastical spaces. He has written about the development of artistic displays in 20th century religious institutions in England and on the Continent. He has encouraged the breaking away from conservative treatments of windows in churches.

The subject of this window, though a conservative one, was not perceived as a simple traditional figurative display. The image of the seated Christ forms the centre of the architectural void and the glass then expands out from this core as light radiates through glass from its entry point and bathes the architectural interior with its light and colour.

John Piper (1903-1992) and Patrick Reyntiens (b.1925) had been in partnership since 1950. Piper studied art at the Royal College of Art in London. He was a renowned artist, designer and author.

Following a degree in fine art at Edinburgh College of Art Reyntiens worked with the eminent stained glass artist, JE Nuttgens. Piper and Reyntiens were introduced to each other by the poet John Betjeman and together they revolutionised architectural glass in Britain, opening up new possibilities for the artists who followed.

John Piper wrote many times that he thought of his work not as one of creating a stained glass design, but rather as the work of a painter creating, in one go, a light-filled architectural unit. Patrick Reyntiens interpreted his designs, acting as a ‘creative translator’ to realise these units. Amongst their most prominent works are Coventry Cathedral Baptistry window (1961) and Liverpool Roman Catholic Cathedral (1965-67), a joint Piper/Reyntiens design.

Patrick Reyntiens is a great exponent of modern art in ecclesiastical spaces. He has written about the development of artistic displays in 20th century religious institutions in England and mainland Europe. He has encouraged the breaking away from conservative treatments of windows in churches.

The subject of this window, though a conservative one, was not perceived as a simple traditional figurative display. The image of the seated Christ forms the centre of the architectural void and the glass then expands out from this core as light radiates through glass from its entry point and bathes the architectural interior with its light and colour.

C.77-1981