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BA (London), MA (York), FSA, FRHistS
Sarah Brown is a Senior Lecturer specialising in stained glass, its history and conservation. She is course director of the department’s MA in Stained Glass Conservation and Heritage Management, a role that she combines with her responsibilities as Director of the York Glaziers Trust where she is currently overseeing the conservation of the Great East Window of York Minster of 1405-8. She joined the History of Art Department in 2008 after a long career with the Royal Commission on the Historical Monuments of England and latterly with English Heritage.
Sarah has worked on ecclesiastical architecture and stained glass of all periods, while specialising in the history and conservation stained glass of the Middle Ages and Gothic Revival. She is particularly interested in the intersection between art and craft and in the history of stained glass restoration in Great Britain.
Sarah is chairman of the British committee of the Corpus Vitrearum Medii Aevi based in the University of York’s Stained Glass Studies Research School, of which she is the director.
Sarah is Director and Chief Executive of the York Glaziers Trust, responsible for the care of the stained glass of York Minster.
Sarah is currently working on the medieval stained glass of two Gloucestershire monuments, the fourteenth-century glazing of Tewkesbury Abbey and the early sixteenth-century windows of St Mary’s parish church in Fairford. Issues of authorship, patronage and audience reception, both medieval and Post-Reformation, link the two.
She is also contributing to the research and examination of the Great East Window of York Minster, John Thornton’s documented master-piece of 1405-8, a project that will shed new light on many aspects of stained glass design and production in the later Middle Ages.
A video on Sarah's work on Great East Window at York Minster can be viewed here.
Sarah is currently supervising four PhD students (one full time, three part-time), working on the medieval stained glass of Winchester Cathedral; the post-medieval history of the stained glass of York Minster; Burrell, Thomas and Drake and the transatlantic trade in stained glass 1900-1950; and the technology and conservation of medieval window lead.
She is particularly interested in hearing from students interested in working on aspects of the relationship between stained glass art and craft and in the interactions between art history and conservation.