Stained Glass in Wales | Gwydr Lliw yng Nghymru

Bell & Almond (1866-1872)


Stained glass firm and partnership of Daniel Bell (born 1840) and the architect Richard Almond (born 1841), based in London. Daniel Bell was the brother of Alfred Bell, and worked for his brother's firm Clayton and Bell before establishing a partnership initially with the sculptor James Frank Redfern and Richard Almond. Daniel Bell worked independently after 1872, and continued to design for Clayton & Bell.

Information kindly provided by Martin Harrison.



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  St David St David
firm/studio: Bell & Almond
1870
Church of St Peter, Lampeter, Ceredigion
south wall of the south aisle (window number: sVI)
  The Crucifixion The Crucifixion
firm/studio: Bell & Almond
1870 and 1875
Church of St Peter, Lampeter, Ceredigion
east wall of the chancel (window number: I)
  The Resurrection The Resurrection
firm/studio: Bell & Almond
1870
Church of St Peter, Lampeter, Ceredigion
south wall of the sanctuary (window number: sII)
  Scenes from the Life of Christ Scenes from the Life of Christ
firm/studio: Bell & Almond
about 1870
Church of St Bridget, St Brides, Pembrokeshire
east wall of the chancel (window number: I)
  The Raising of Lazarus and Jairus' Daughter The Raising of Lazarus and Jairus' Daughter
firm/studio: Bell & Almond
about 1870
Church of St Bridget, St Brides, Pembrokeshire
west wall of the north transept (window number: nVII)
  St Tysilio St Tysilio
firm/studio: Daniel Bell
probably 1870s
Church of St Peter, Lampeter, Ceredigion
south wall of the south aisle (window number: sVII)
 Blessed are the Pure in Heart Blessed are the Pure in Heart
firm/studio: Daniel Bell
about 1877
Church of St Bridget, St Brides, Pembrokeshire
west wall of the north transept (window number: nXIII)
  St German St German
firm/studio: Daniel Bell
about 1878
Church of St Peter, Lampeter, Ceredigion
south wall of the south aisle (window number: sVIII)
Further reading

Joyce Little, Stained Glass Marks and Monograms (London: National Association of Decorative and Fine Art Societies, 2002), p. 11.





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