Cut Glass Studio Ltd, Tottenham Hale
- Original design
- Architect unknown, 1990
The 2019 programme is now past. We will be launching the 2020 programme mid August 2020 (exact date to be confirmed)
Founded in 2011 by Annahita Hessami, the workshop provides a complete high-end architectural glass service covering bespoke design, manufacture and installation. The studio prides itself on using the finest quality materials and craftsmanship.
We have recently taken over Philip Bradbury Glass Ltd and are excited to be able to offer a whole new range of etched glass products.
Passionate about exploring every aspect of stained glass we have embarked on projects ranging from contemporary installations and collaborations to traditional reproduction and restoration. We believe anything is possible and are passionate about pushing the boundaries of the craft, so whatever your project or idea we would love to hear it.
We have undertaken many different restoration and conservation projects. This is a process that is necessary when a lead light has reached the end of its life. This is usually apparent when the lead light starts bowing or leaking or single panes within start to break or crack. This is normal and easily fixed; the process involves removing the original lead lights and temporary glazing. We then take a rubbing of each panel and approximate measurements to ensure the end result is an exact interpretation of the original window.
We pay attention to the details in lead sizes and glass textures and types to recreate areas that may be too damaged to keep. Once all of the information is taken from the original panels we pull them apart disposing of the old lead, then each piece of glass is cleaned and re-leaded. The panels are then cemented, cleaned and polished ready to be re-installed into their original housing.
It is not always necessary to remove panels to repair areas that may be cracked or damaged. As long as the lead light is not too old and the lead work is not damaged it is possible to replace cracked pieces in situ. This involves us closely matching the existing glass and simply replacing each piece by smashing out the affected area, cleaning out the H section of the lead that houses the glass, opening up the lead flange carefully and offering up the replacement glass. Once that glass has been cut accurately we close down the lead flange and putty in the pieces to seal them in.
This process does leave some visible damage but this is minimal. If you require a consistent finish we advise a full restoration of the lead light so that all lead is replaced, leaving a fresh clean finish.
We use many different processes to produce our wide range of stained glass. The most common aspect is kiln fired glass painting. This appears frequently in Edwardian and Victorian glass and of course in ecclesiastical works.
We pride ourselves in producing almost exact replicas of aged period lead lights as part of the restoration process. We also use this process to add depth and tone to glass for contemporary pieces alongside sandblasting and acid etching. These processes lend themselves well to adding details to transom panels for house numbers or names and enhancing contemporary pieces. Other processes used include fusing and copper foiling for more detailed pieces.
Cut Glass Studio moved to the High Cross Centre in November 2018, having been based previously at the Briggs Building in Hackney.
The High Cross Centre is an industrial estate providing a mixture of warehouse, office and industrial units and was built by 1990 on the site of Crown Works, the extensive Millington and Sons factory complex which was established in 1903. The firm manufactured stationery products including Basildon Bond writing paper, note papers, pads and account books. Their main competitor John Dickinson and Co purchased part of their share capital in 1918 and acquired the whole company in 1932. The factory was renamed Basildon Works and continued in use until the 1970s.
Two WWI and WWII memorial tablets for employees from the factory have been affixed to the inner side of the wall to the left of the arch at the entrance to the High Cross Centre.