John Corley ACR
John Corley Dip AD ACR AMGP. I am an Icon-accredited conservator and Associate of the British Society of Master Glass Painters. My studio, which was established in 1978, undertakes all aspects of conservation and restoration of painted, stained and leaded glass and related metalwork. Condition Reports, isothermal glazing systems, treatment of ferramenta and protective guards all undertaken by my studio.
Due to our expertise and experience throughout the past forty years, and our on-going improvement and development programme the studio has worked throughout the U.K. and abroad. Clients include the National Trust, English Heritage, The Crown Estate, The Churches Conservation Trust, The Council for the Care of Churches, Church of England and Roman Catholic Diocese, Museums and Private Collections.
Canterbury College of Art: Fine Art Degree. During my time studying for a Graduate Diploma in Fine Art at CCA, I became captivated with stained glass, and the conservation of the design of stained and painted windows.
Canterbury Cathedral Stained Glass Studio: Graduate Conservation Assistant. Under the directorship of Mr. Frederick Cole FMGP I trained in all aspects of conservation, design, manufacture and installation of stained glass. I was taught all aspects of the removal and refitting of leaded glass panels including ancient glass to plain leaded glazing. This included the protection of ancient glass, preparation and fixing of external protective glazing.
York Glaziers Trust, York Minster: Graduate Conservation Assistant. Whilst studying under Frederick Cole FMGP at Canterbury Cathedral I was enrolled on an exchange scheme course under the directorship of Peter Gibson at the York Glaziers Trust at York Minster. These practical workshops advanced my stained glass education and developed my deep-seated interested in the history of stained glass.
I founded John Corley Stained Glass Studio in 1978 and it has subsequently grown. Since the year 2000 I have been accredited by the British Institute of Conservation and have worked on glass from the fourteenth to the twenty-first century. I have worked both nationally and internationally and have produced many new commissions both ecclesiastical and secular.