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Charles Clutterbuck (1806-1861)

Artist in stained glass. Charles Edmund Clutterbuck initially worked as a miniature painter and began working in stained glass from the 1830s. Based in Stratford, Essex, his son Charles Edmund Jnr took over the business after his death.

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	The Last Judgement with Acts of Mercy artist: Charles Clutterbuck about 1830 Church of St Digain, Llangernyw, Conwy east wall of the chancel
	The Adoration of the Magi artist: Charles Clutterbuck 1839 Church of St Ffraid, Llansanffraid Glan-Conwy, Conwy east wall of the chancel
	Scenes from the Life of St Paul artist: Charles Clutterbuck about 1843 Church of St Ffraid, Llansanffraid Glan-Conwy, Conwy north wall of the nave
	Heraldic Window artist: Charles Clutterbuck 1843 Church of St Ffraid, Llansanffraid Glan-Conwy, Conwy north wall of the nave
	The Crucifixion with the Baptism and Last Supper artist: Charles Clutterbuck about 1844 Church of St Llechid, Llanllechid, Gwynedd east wall of the chancel
	Crucifixion with Angels artist: Charles Clutterbuck 1846 Church of St Ffraid, Llansanffraid Glan-Conwy, Conwy south wall of the nave
	Scenes from the Book of Ezekiel artist: Charles Clutterbuck about 1856 Church of St Eurgain and St Peter, Northop, Flintshire south wall of the chancel aisle
	Scenes with Christ, St Martha and St Mary Magdalene artist: Charles Clutterbuck about 1856 Church of St Eurgain and St Peter, Northop, Flintshire south wall of the chancel aisle
	Christ in the Garden at Gethsemane firm/studio: Charles Clutterbuck 1857 Church of St Mary, Trelystan, Powys east wall of the chancel

'Glass Painters 1750–1850' Journal of the British Society of Master Glass-Painters, vol. xiii, no. 1 (1959–60), 330–1.

Birkin Haward, Nineteenth Century Suffolk Stained Glass (Woodbridge: Boydell, 1989), p. 155.

Martin Crampin, Stained Glass from Welsh Churches (Talybont: Y Lolfa, 2014), pp. 76–7.

Martin Harrison, Victorian Stained Glass (London: 1980), pp. 35–6.

Joyce Little, Stained Glass Marks and Monograms (London: National Association of Decorative and Fine Art Societies, 2002), p. 29.