Francis Spear (1902 - 1979)

Christ Derided, Nov 1942

£4,750.00

SKU: 7054
Signed with monogram and dated
inscribed, All they that see me laugh me to scorn, 
I was derision to all my people,
Hail King of the Jews
Black ink, gouache on paper, collage
28 x 18 1/2 in. (71 x 47 cm)

Size:
Height – 71cm
Width – 47cm

1 in stock

DESCRIPTION

Provenance:
Simon Spear, the artist’s son
Presentation:
framed
Exhibited: WW2 – War Pictures by British Artists, Morley College London, 28 October -23 November 2016, cat 134. 

 Literature: WW2 – War Pictures by British Artists, Edited by Sacha Llewellyn & Paul Liss, July 2016, cat 134, page 177. 
During the War Spear ceased teaching at the RCA (which was evacuated to Ambleside in 1940) and served for three years as a fire-fighter in Shepherds Bush. This Wartime period was not a completely redundant time for Spear from a professional point of view – he assisted on the removal, for protection, of windows at Canterbury Cathedral. 
He also experimented with new designs which were more modern in feel, a change that he hoped would ‘give the feeling of the subject with the greatest simplicity and with the elimination of all details.’ and devised his distinctive monogram of an interlocking S with a sideways F. 
When the War ended Spear gained so many commissions – to replace stained glass windows destroyed during the Blitz.- that by 1947 he was employing four assistants. 
Francis Spear is an important figure in twentieth century English stained glass. His working career covers 50 years, from 1922 when he began working with Martin Travers, to 1972, when he ceased teaching at Reigate School of Art. 
During his career, he designed windows for over 130 locations; and a short list of notable designs include his earliest window, at Warwick School (1925), St. Olave’s in the City (1929), Snaith (1936), Beckenham (1948), Canterbury (1949), Glasgow Cathedral (1951, 1953, 1958), Highbury (1955), Westgate (1960) and Penarth (1962).  
The collection of the Prints and Drawings department of the Victoria & Albert Museum own all of the surviving cartoons for the 300 extant windows he produced over his fifty year long career. 

We are grateful to Alan Brooks and Simon Spear for assistance.
Disclaimer:
Liss Llewellyn are continually seeking to improve the quality of the information on their website. We actively undertake to post new and more accurate information on our stable of artists. We openly acknowledge the use of information from other sites including Wikipedia, artbiogs.co.uk and Tate.org and other public domains. We are grateful for the use of this information and we openly invite any comments on how to improve the accuracy of what we have posted.

THE ARTIST

Francis Spear
Francis
Spear
1902 - 1979

Francis Howard Spear was born on 22nd December 1902 in South Norwood, south London.

He attended the LCC School of Arts and Crafts (which became the Central School of Arts and Design), he successfully passed Parts 1 and 2 of the Board of Education’s Examination in Industrial Design, specialising in stained glass in 1923.
While studying at the Central School in 1922, he became pupil-assistant to Martin Travers, the leading English practitioner of stained glass.

Spear won a National Scholarship to the Royal College of Art in 1923, with a chosen specialism stained glass.

Francis Spear is an important, though not now well-know, figure in twentieth century English stained glass. His working career covers 50 years, from 1922 when he began working with Martin Travers, to 1972, when he ceased teaching at Reigate School of Art. Spear taught John Piper lithography.

During his career, he designed some notable windows, and a short list would include his earliest window, at Warwick School (1925), St. Olave’s in the City (1929), Snaith (1936), Beckenham (1948), Canterbury (1949), Glasgow Cathedral (1951, 1953, 1958), Highbury (1955), Westgate (1960) and Penarth (1962).

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Horse Race, 1934
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Man and woman playing croquet
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Stream and Haystacks, 1933
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Saint George; design for stain glass window
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St Nicholas & St Peter, Patron of Children
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Cottage viewed through garden gate, circa 1925
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Design for glass stained window, early 1940’s
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Stream and Haystacks, printed in yellow, 1933