137:â in 1925. Considered a pioneering survey, it was heralded as âa model to all future cataloguers and writers how these things should be doneâ in a review by the stained glass historian John Alder Knowles. Another reviewer remarked; âIf a similar work were carried out for all the English counties we should be in possession of an archaeological âcorpusâ of permanent value and wide interestâ. Pitcher visited every cathedral and church in the county between 1915 and 1925 and the survey lists 115 sites with medieval glass together with a further 23 which Pitcher's research revealed had glass before 1875 that had subsequently disappeared. It remains the most comprehensive survey of medieval glass in the county and this record, together with his other photographic works, continue to be points of reference for scholars today.
125:, that a photographic survey should be made of the sculptured ornaments of its ancient buildings. A year later Mr. Sydney Pitcher, F.P.S. of College Court, Gloucester, was invited to undertake this survey, and accepted the invitation. He started the work in 1922 and brought it to a close in 1929. The main scheme was to obtain a permanent record of the many perishable stone carvings with which the buildings had been adorned when originally erected...The portfolio reproduces a selection from Mr. Pitcher's photographs; it consists of forty-seven plates, comprising one hundred and twenty-three of the photographs taken by him. The whole collection is preserved amongst the College archives.
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34:, acknowledged that the illustration of the book would have been difficult âwithout the co-operation of Mr Sydney Pitcher of Gloucesterâ to whom âall students of stained glass and of medieval art in general, are under a great debt for the enthusiastic zeal with which he is recording the remains of church art in Englandâ.
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As well as his commercial work, Pitcher was also an experimental and technical photographer who took some early colour process negatives of
Pauntley church in Gloucestershire thought to be connected with the three-plate Carbro process. He joined the Royal Photographic Society (RPS) in 1904, was
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Marrett,1853â1933). His father was a professional photographer in the city and president of the
Gloucester Photographic Society between 1911 and 1912. Pitcher learned his craft from his father and as early as 1900, when he was only 16, his photograph of the Crypt of
181:(formerly the National Buildings Record), and is of either secular or ecclesiastical architecture, especially cathedrals, in Gloucestershire, Hereford and Worcester, Oxfordshire, Hampshire and Berkshire. The
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admitted as an
Associate member in 1925, and became a Fellow in 1928. In 1927, the RPS held an exhibition of seventy-two of his photographs of stained glass. The exhibition received praise in the
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has a small collection of over 400 black and white postcards and prints of ecclesiastical buildings in their archives, reportedly the stock from the business that was sold after
Pitcher's death.
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Pitcher worked with his father at his photographic business in the shadow of
Gloucester Cathedral until his father's death in 1912 when he inherited the family business and home. In the 1927
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Pitcher not only took photographs, and self-published portfolios of those photographs, but also produced and wrote a survey of the stained glass in
Gloucester's ecclesiastical buildings,
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in 1925 which was presented to the sacristan, W.G. Bannister, upon his retirement. Not unsurprisingly, photographs by
Pitcher are also included in the picture archive of the
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of the County of
Gloucester, Sydney Pitcher is listed as a commercial photographer, publisher and picture frame maker, operating from 5 & 7 College Court, Gloucester.
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210:, whose archive, of primarily architectural images, is in the process of being digitised as part of the wider Courtauld Connects project. The collections of the
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with letterpress by
Herbert Chitty, the circumstance of how the survey and book came about is detailed in its introduction on page 3 and reproduced below-;
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and the classicist Gordon McNeil
Rushforth, both scholars of stained glass. Rushforth and Pitcher later collaborated to produce the 6 volume series
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also contain photographs by Pitcher; the latter holding a complete set of the photographs of Gloucester churches included in his 1925 article
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that Pitcher self-published between 1916 and 1935. Many of Pitcher's Malvern photographs are included in Rushforth's book published by
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FRPS (9 March 1884 â 4 March 1950) was a photographer with a special interest in medieval ecclesiastical architecture, particularly
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203:(CVMA) of Great Britain; the CVMA being an international research project dedicated to recording medieval stained glass.
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Early on in his career, Pitcher showed a keen interest in medieval art and architecture. In 1910, he corresponded with
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Medieval Christian Imagery as Illustrated by the Painted Windows of Great Malvern Priory Church Worcestershire
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contains images by Pitcher, whose collection of over 5000 glass plates was commissioned by/donated to the
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Churches, Church of England Central Council of Diocesan Advisory Committees for the Care of (1947).
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329:"Mediaeval Sculptures at Winchester College by Sydney Pitcher, Herbert Chitty on Mullen Books"
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magazine, where it was described as a âtriumph of photographic artâ. During, and after, the
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448:"Pitcher FRPS, ADPC, Sydney (PIT01) Archive Collection | Historic England"
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hold an album of photographs taken by Pitcher of the stained glass in the
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583:"Pair of Cast Bronze Doors | Unknown | V&A Explore The Collections"
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Photographs by Sydney Pitcher of stained glass in the De Clare windows
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Transactions of the Bristol and Gloucestershire Archaeological Society
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In the introduction to the portfolio of photographs taken by Pitcher,
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155:, Pitcher photographed buildings and other artworks for the
278:"Postcard collection of Sydney A. Pitcher - Archives Hub"
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Royal Commission on the Historical Monuments of England
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Journal of the British Society of Master Glass-Painters
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Victoria and Albert Museum: Explore the Collections
354:"Ancient Stained Glass in Gloucestershire Churches"
206:Photographs attributed to Pitcher are held in the
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133:, that was published in the âTransactions of the
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86:for an article. By 1915 Pitcher was working with
92:The Stained Glass of Great Malvern Priory Church
423:. Oxford University Committee for Archaeology.
417:Tatton-Brown, T. W. T.; Munby, Julian (1996).
82:about the inclusion of his images of medieval
55:was selected for the annual exhibition of the
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117:In November 1917, the Warden and Fellows of
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252:"Feature: Sydney Pitcher FRPS | Vidimus"
145:as being âthe first of its kindâ and in
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557:"Collections Online | British Museum"
303:"Rushforth Collection - Archives Hub"
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506:"Corpus Vitrearum Medii Aevi: Home"
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378:Rosewell, Roger (1 January 2012).
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380:"The Life of Sydney Pitcher FRPS"
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30:, the art historian and critic,
396:10.1179/1752016913Z.00000000017
531:"Who made the Conway Library?"
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121:decided, at the suggestion of
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581:Museum, Victoria and Albert.
420:The Archaeology of Cathedrals
166:on 4 March 1950 from cancer.
201:Corpus Vitrearum Medii Aevi
42:Sydney Pitcher was born in
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57:Royal Photographic Society
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76:Dugald Sutherland MacColl
189:Gloucestershire Archives
175:Historic England Archive
162:Sydney Pitcher died in
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109:, published in 1935 by
452:historicengland.org.uk
307:archiveshub.jisc.ac.uk
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26:. In his 1926 book on
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630:English photographers
617:at Wikimedia Commons
561:www.britishmuseum.org
327:www.bibliopolis.com.
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28:English Stained Glass
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20:Sydney Alfred Pitcher
650:British medievalists
183:University of Exeter
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53:Gloucester Cathedral
16:British photographer
170:Photographic legacy
123:Sir Frederic Kenyon
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214:and the
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494:. 1925.
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