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“Brian Clarke – Linda McCartney: Collaborations” book published

Last updated on July 18, 2025


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Between 1994 and 1998, Brian Clarke and Linda McCartney created three series of stained glass artworks that seamlessly blended mouth-blown glass and black and white photography. These works — primarily conceived as standalone pieces — were the result of an innovative process the two artists developed themselves, in which Linda’s photographs were silkscreened onto hand-crafted glass.

The first of these series began with a small set of leaded panels, gifted to and installed at the Hammersmith Hospital Cancer Centre in London. This was followed by two pairs of stained glass windows created for the Rye Memorial Hospital and Care Centre in West Sussex.

Their artistic partnership was celebrated in the 1997 book “Collaborations.”

That same year, their joint creations were exhibited at the Vitromusée Romont — the Swiss National Museum of Stained Glass — marking one of Linda’s final public artistic endeavors before her passing in 1998.

A posthumous exhibition followed at the Deutsches Glasmalerei-Museum in Linnich, Germany.

Though never published, a final series of works was completed in 1999.


From Brian Clarke – Linda McCartney: Collaborations | Brian Clarke:

Brian Clarke and Linda McCartney’s artistic collaborations, combining stained glass and photography, are the subject of the book, Brian Clarke – Linda McCartney: Collaborations. After working together on three art series, this book was published before McCartney’s death in 1998, to accompany the posthumous joint exhibition at the Vitromusée Romont, Vitromusée Romont, the Swiss Museum of Stained Glass and Glass Art, and at the Deutsches Glasmalerei-Museum, in Linnich.

Brian Clarke – Linda McCartney: Collaborations features a catalogue of their joint projects, including panels for the Hammersmith Hospital Cancer Centre and the Rye Memorial Hospital. With texts in French, German and English, the book is edited and annotated by Stefan Trümpler, Director of the Vitromusée Romont, and includes an essay by art historian Martin Harrison.




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