Parish Church of Saint George - Headstone, Harrow

Martin Travers

'If Christopher Whall was the most influencial British stained glass artist of the first quarter of the twentieth century, Martin Travers arguably had a similar status for the following generation working in the craft .

Martin Travers's training was almost schizophrenic: four years of imbibing Arts & Crafts philosophy under Lethaby at the Royal College of Art, followed by the rather drier atmosphere of Comper's office. He not unnaturally took some elements of his style from both experiences whilst repudiating others. His personal manner did in fact emerge very early, characterised by an unerring sense of spatial organisation in his designs, excellent lettering and a creative use of sometimes disparate historical sources.'
- Peter Cormack, Journal of Stained Glass, Vol. 27

'Travers described his style as "a free adaption of the Renaissance manner following to some extent a traditional English type". He was essentially a two-dimensional artist who was interested in making one material look like a patinated version of another. This is one reason why his glass has so much more vitality than that of his erstwhile master, Comper.'
- John Hayward, Church Building, Issue 84

The great 'Te Deum' east window at St George's, Headstone is one of the largest and finest examples of Travers's stained glass. Other work by Travers includes a neo-Jacobean pulpit in oak and a wooden reredos painted and gilded to simulate pleated drapery. Furnishings complementing Travers's work at St George's include designs by Travers associates John Crawford and Francis Stevens, produced by Faith Craft.