A Celtic Revivalist

In 1903, Sarah Purser (1848-1943) founded a stained glass studio called An Túr Gloine, with the help of cultural activist Edward Martyn. The Irish name An Túr Gloine (The Tower of Glass) was inspired by ancient Irish mythology from the 11th century Book of Invasions, and the studio produced innovative Celtic Revival designs inspired by the artistic riches of medieval Irish metalwork and illumination. Inspired by the Arts and Crafts philosophies of William Morris and John Ruskin, An Túr Gloine rejected on principal the division of labour, in favour of the individual artist being responsible for all stages in the production of their own artwork. However, Purser was herself an exception to this Arts and Crafts ideal; unlike other members of An Túr Gloine, she had no formal instruction in stained glass, and her designs were mostly executed by other artists in the studio. She designed two windows depicting St. Brendan and St. Ita for the studio’s earliest commission at Loughrea Cathedral; the former is entirely her own work, while the latter was designed and partially painted by her, with the help of stained glass artist Catherine O'Brien. Purser nevertheless played an important role as art director of the studio, advising on points of design and the choice of glass, and matching An Túr Gloine artists with the commissions best suited to their individual artistic strengths.

In addition to her creative contribution, Purser provided practical support that was vital to the early success of the studio: she located a premises, contracted artists, and even financed the studio initially, risking her own funds. Alfred E. Child (1875-1939) – an instructor in stained glass at the Dublin Metropolitan School of Art – was appointed official manager of An Túr Gloine, but Purser nevertheless directed operations and handled clients. Many of the studio’s clients were personally known to her through her work as a society portrait painter, or from her popular ‘Second Tuesday’ monthly salons, which were attended by the leading political, cultural and intellectual figures of the day. Purser also took every opportunity to canvas for orders. She always had An Túr Gloine advertisements to hand, and when travelling by train, she would invariably select a carriage occupied by a member of the clergy, in order to hand out a studio pamphlet and persuade him to commission Irish stained glass for his church. Her social connections were also particularly helpful for securing prestigious commissions from all over the world – including the United States of America, India, New Zealand and Singapore.

Women such as Wilhelmina Geddes, Ethel Rhind, Catherine O’Brien and Beatrice Elvery were crucial to the artistic achievements of the studio. Against the backdrop of the suffrage movement and increased female agency – politically, socially, and in the workplace – these artists were encouraged by the example of women like Purser, as well as Evelyn Gleeson and the Yeats sisters, to train and establish themselves as professional craftswomen. Purser supported An Túr Gloine artists in a variety of ways; in 1912, Geddes and O’Brien accompanied her on the first of a number of study trips to view medieval stained glass windows in Europe. Purser ensured that the studio featured at all major Arts and Crafts exhibitions in Ireland and abroad, and she would also exhibit important commissions at the studio, encouraging journalists and the general public to view the artworks there before they were sent on to their final destination.

The artistic and commercial success of An Túr Gloine advanced the international reputation of Irish art, with stained glass emerging as the foremost achievement of the Irish Arts and Crafts movement. Purser was a major shareholder and driving force for the studio’s success; she continued providing administrative and occasionally artistic support until 1940, and remained a member of the co-operative until her death in 1943, aged 95. After her death, Irish revolutionary and Fine Gael politician Desmond FitzGerald wrote an obituary entitled ‘Sarah Purser: An Appreciation’ in The Irish Times, highlighting her important contribution to Irish cultural nationalism.

‘She never claimed merit for Irish patriotism. With Nationalist friends she might even describe herself as a Protestant Unionist. She certainly did not think that patriotism required her to blind herself to national faults. But she gave a more unstinting service to her country than many give who boast of exclusively Gaelic blood.’

An Túr Gloine scrapbooks, workbooks, advertisements and stained glass designs feature in the Decade of Centenaries exhibition, Roller Skates & Ruins, on view in Room 11 at the National Gallery of Ireland until 10 March 2024.

Marie Lynch, ESB CSIA Fellow

Published online: 2023