Wilhelmina Geddes, Irish stained glass artist who is an important figure within the Irish Arts and Crafts movement and also the twentieth-century British stained glass revival, dies in London, England, on August 10, 1955. Her notable works include windows at St. Bartholomew’s Anglican Church (Ottawa, Canada), St. Peter’s Church (Lampeter, Wales), and the King Albert Memorial Window, St. Martin’s Cathedral (Ypres, Belgium).

Geddes is born on her maternal grandparent’s farm at Drumreilly Cottage in Leitrim, County Leitrim, on May 25, 1887. She is the eldest of four children, three girls and a boy, of William Geddes and his wife Eliza Jane Stafford. The family, who migrates to Ireland from Scotland, has mainly been farmers. Her father, a Methodist, who is born near his father’s farm at Tandragee, County Armagh, emigrates to the United States as a young man, working as a labourer for the railway construction business. This serves a useful purpose as he had worked as a site engineer at the Cavan, Leitrim and Roscommon Railway Company. When she is still an infant her parents move to their native home in Belfast, so her father can set up in business as a building contractor.

Geddes begins drawing subjects from life and nature from the age of four. She learns first how to draw from the school mistress in Ayrshire, where her father occasionally goes shooting. She begins her studies at Methodist College Belfast along with her three younger sisters. She later moves to the Belfast School of Art. She is encouraged by Rosamond Praeger, a sculptor from County Down, to continue with her studies. She is accepted as a student to study at the Belfast School of Art, Ulster University. This is where she adapts and improves her style and is introduced to a professional standard of art work.

While still studying at the Belfast School of Art, Geddes takes part in the Arts and Crafts Society of Ireland‘s fourth exhibition. For this exhibition, she contributes a glowingly coloured illustration of the book Cinderella Dressing the Ugly Sister (Dublin City Gallery), which she had created. It is at this exhibition that her work is spotted by Sarah Purser, a well established painter seeking newly trained students to introduce to stained glass artistry. Purser, who goes on to be her lifelong mentor, invites the young Geddes to join her in Dublin, working under the established stained glass artist William Orpen.

Geddes contributes a watercolour illustration of a Ballad Seller with the Belfast Art Society in 1907. She is elected as an Associate of the Belfast Art Society’s successor, the Ulster Academy of Arts, in 1933 before promotion to Honorary Academician in 1935. She shows five illustrations in the 1911 Oireachtas Exhibition. It is some twenty-one years before she returns to the Oireachtas when she exhibits three cartoons and three sketches for stained glass in 1932.

Geddes joins Purser at the acclaimed stained glass workshop called An Túr Gloine in 1910. The workshop is held in Dublin’s Metropolitan School of Art. It is here that she discovers her passion for the craftsmanship of stained glass artistry and creates her most important works.

During her early years at An Túr Gloine, Geddes’s originality shines, and important commissions come from St. Ann’s Church, Dawson Street, Dublin and the Presbyterian church in Rathgar. Dogged by illness, she returns to Belfast before 1916 and lives between there and Dublin until moving in 1925, as she has long wanted, to work in London at The Glass House, Fulham. While working at The Glass House, she instructs the Irish painter and stained glass artist Evie Hone.

Geddes’s work is considered pioneering and represents a rejection of the Late Victorian approach. She creates a new view of men in stained glass windows, portraying them with close-shaven crew cuts. The muscularity and tension of her portraiture is matched by the radical design of her constructions. Ambitious large-scale projects, as at the cathedral in Ypres, are equalled by the drama of smaller-scale work at Wallasey (Lancashire) and Wallsend (Northumberland), or war memorial windows in obscure country churches.

Despite the hardships of living in London during World War II, poverty, and ill health, Geddes designs seventeen full-scale stained glass masterpieces, sixteen of which she completes.

Geddes dies on August 10, 1955 in London of a pulmonary embolism. She is buried in Carnmoney Cemetery, County Antrim, along with her mother and sister Ethel. Even after moving to London, she claims that her native identity never wavered as she says she was always “a Belfast woman.”