DOI Artikel:
Parello, Daniel; Szybisty, Tomasz: A fourteenth-century panel of heraldic stained glass from Annesley Old Church (Nottinghamshire) in a private collection in Cracow
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.51154#0120
119
Christ enthroned and two heraldic motifs. The following
year, these were all installed in the two outermost lights
of the five-light window behind the altar in the church
at Holme. The history of this transfer and its results were
relayed by Truman in a book entitled Holme by Newark
Church and its Founder (1946), where he reminisces that
‘the shields [at Holme] are copies of the originals retained
by Colonel Chaworth-Musters [the then owner of Annes-
ley Hall]. All four quatrefoils have been skilfully made up
from different portions of similar designs from various
parts of the Annesley glass’.10 Elsewhere, Truman writes
that Colonel Chaworth-Musters had in his possession
not only a shield of the Annesley arms from the east win-
dow of the chapel, the arms of Tee impaling Annesley and
another coat not described’, but also a figure of S. Mary
Magdalene’.11
In his 1961 dissertation Newton notes that at that time
the stained glass with the Annesley shield of arms under
consideration here was still at Annesley Hall.12 It remains
a mystery by what sequence of events the panel found its
way onto the art market; one might only speculate that it
resulted from the sale of Annesley Hall by the Chaworth-
Musters family in the 1970s.13 In about 1997, the panel was
purchased by the art dealer Dr Barbara Giesicke, Stained-
Glass Gallery Badenweiler (Germany), from Neil Phillips,
who was in charge of the John Hardman Studio in Bir-
mingham. In February 2019, she gifted it to a Polish col-
lector, and it is currently housed in Cracow.
English version by Mariusz Szerocki
and Joseph Spooner
10 The text of the book is available at Nottinghamshire History: Re-
sources for local historians and genealogists, http://www.nottshis-
tory.org.uk/monographs/holmechurch1946/holmechurch3.htm
[retrieved 1 August 2019]. See also N. Truman, Ancient Glass’ (as
in note 5); idem, ‘Medieval Glass in Holme-by-Newark Church,
Notts.’, Journal of the British Society of Master Glass-Painters, 6,
1935, PP- 4-15, 80-88; 7,1937, pp. 20-26; and 8,1941, pp. 105-108.
A reprint, excluding the last part, was published as ‘Medieval
Glass in Holme-by-Newark Church’, in Transactions of the Thoro-
ton Society, 39,1935, pp. 92-118; and 43,1939, pp. 27-32.
11 P.A. Newton, Schools, vol. Ill, p. 406 (as in note 1).
12 Ibidem, p. 396.
13 Annesley Hall’, Historic England, https://historicengland.org.uk/
listing/the-list/list-entry/1234836 [retrieved 1 August 2019].
SUMMARY
Daniel Parelio, Tomasz Szybisty
A FOURTEENTH-CENTURY PANEE OF HERALDIC
STAINED GLASS FROM ANNESLEY OLD CHURCH
(NOTTINGHAMSHIRE)
IN A PRIVATE COLLECTION IN CRACOW
Keywords: stained glass, shield of arms, Annesley, chant-
ry, Cracow
This short account outlines the fortunes of stained glass
presenting the coat of arms of the Annesley family (paly
of six, argent and azure, over all a bend gules), current-
ly in a Kraków-based private collection. The provenance
of this fourteenth-century object has been traced back to
one of the quatrefoil fields in the tracery of the east win-
dow of the chancery annexed to the Old Church in An-
nesley/Nottinghamshire (the foundation of that chapel
dates back to 1363). The stained-glass was an integral part
of a larger composition - even in the eighteenth century
the east window of the chapel still featured it among other
heraldic emblems along with scenes of The Birth of Jesus,
The Adoration of the Magi and The Crucifixion; at the bot-
tom, there was an image of the donor of that stained glass
window, supposedly John III de Annesley, with his wife
and daughter. The construction of a new church in An-
nesley in 1874 led to the gradual dilapidation of the Old
Church. In the 1930s, all the remaining stained glass hith-
erto ornamenting the Old Church was transferred to one
of the windows in the church in Holme, except that in the
case of two heraldic stained glass motifs the originals were
replaced in the new location with copies, and one of them
replicated the medieval Annesley escutcheon, whose gen-
uine counterpart remained in the possession of the owner
of the Annesley Hall. It is supposed that it was in the 1970s
that that stained-glass object became a commodity avail-
able on the antique art market. Then, in 1997, the artefact
was purchased by Barbara Gesicke, only to change hands
in 2019 and start gracing a Cracow-based private collec-
tion.
Christ enthroned and two heraldic motifs. The following
year, these were all installed in the two outermost lights
of the five-light window behind the altar in the church
at Holme. The history of this transfer and its results were
relayed by Truman in a book entitled Holme by Newark
Church and its Founder (1946), where he reminisces that
‘the shields [at Holme] are copies of the originals retained
by Colonel Chaworth-Musters [the then owner of Annes-
ley Hall]. All four quatrefoils have been skilfully made up
from different portions of similar designs from various
parts of the Annesley glass’.10 Elsewhere, Truman writes
that Colonel Chaworth-Musters had in his possession
not only a shield of the Annesley arms from the east win-
dow of the chapel, the arms of Tee impaling Annesley and
another coat not described’, but also a figure of S. Mary
Magdalene’.11
In his 1961 dissertation Newton notes that at that time
the stained glass with the Annesley shield of arms under
consideration here was still at Annesley Hall.12 It remains
a mystery by what sequence of events the panel found its
way onto the art market; one might only speculate that it
resulted from the sale of Annesley Hall by the Chaworth-
Musters family in the 1970s.13 In about 1997, the panel was
purchased by the art dealer Dr Barbara Giesicke, Stained-
Glass Gallery Badenweiler (Germany), from Neil Phillips,
who was in charge of the John Hardman Studio in Bir-
mingham. In February 2019, she gifted it to a Polish col-
lector, and it is currently housed in Cracow.
English version by Mariusz Szerocki
and Joseph Spooner
10 The text of the book is available at Nottinghamshire History: Re-
sources for local historians and genealogists, http://www.nottshis-
tory.org.uk/monographs/holmechurch1946/holmechurch3.htm
[retrieved 1 August 2019]. See also N. Truman, Ancient Glass’ (as
in note 5); idem, ‘Medieval Glass in Holme-by-Newark Church,
Notts.’, Journal of the British Society of Master Glass-Painters, 6,
1935, PP- 4-15, 80-88; 7,1937, pp. 20-26; and 8,1941, pp. 105-108.
A reprint, excluding the last part, was published as ‘Medieval
Glass in Holme-by-Newark Church’, in Transactions of the Thoro-
ton Society, 39,1935, pp. 92-118; and 43,1939, pp. 27-32.
11 P.A. Newton, Schools, vol. Ill, p. 406 (as in note 1).
12 Ibidem, p. 396.
13 Annesley Hall’, Historic England, https://historicengland.org.uk/
listing/the-list/list-entry/1234836 [retrieved 1 August 2019].
SUMMARY
Daniel Parelio, Tomasz Szybisty
A FOURTEENTH-CENTURY PANEE OF HERALDIC
STAINED GLASS FROM ANNESLEY OLD CHURCH
(NOTTINGHAMSHIRE)
IN A PRIVATE COLLECTION IN CRACOW
Keywords: stained glass, shield of arms, Annesley, chant-
ry, Cracow
This short account outlines the fortunes of stained glass
presenting the coat of arms of the Annesley family (paly
of six, argent and azure, over all a bend gules), current-
ly in a Kraków-based private collection. The provenance
of this fourteenth-century object has been traced back to
one of the quatrefoil fields in the tracery of the east win-
dow of the chancery annexed to the Old Church in An-
nesley/Nottinghamshire (the foundation of that chapel
dates back to 1363). The stained-glass was an integral part
of a larger composition - even in the eighteenth century
the east window of the chapel still featured it among other
heraldic emblems along with scenes of The Birth of Jesus,
The Adoration of the Magi and The Crucifixion; at the bot-
tom, there was an image of the donor of that stained glass
window, supposedly John III de Annesley, with his wife
and daughter. The construction of a new church in An-
nesley in 1874 led to the gradual dilapidation of the Old
Church. In the 1930s, all the remaining stained glass hith-
erto ornamenting the Old Church was transferred to one
of the windows in the church in Holme, except that in the
case of two heraldic stained glass motifs the originals were
replaced in the new location with copies, and one of them
replicated the medieval Annesley escutcheon, whose gen-
uine counterpart remained in the possession of the owner
of the Annesley Hall. It is supposed that it was in the 1970s
that that stained-glass object became a commodity avail-
able on the antique art market. Then, in 1997, the artefact
was purchased by Barbara Gesicke, only to change hands
in 2019 and start gracing a Cracow-based private collec-
tion.