89-Year-Old Glassblower Continues Artistic Legacy, Leading a Thriving London Studio

Peter Layton, widely considered the founder of British studio glass as an art form, continues to be an active force in his craft at the age of 89. His London-based gallery and studio, London Glassblowing, is celebrating its 50th anniversary this year and remains a significant presence in the art glass world.

Layton, who fled Prague as a child in 1939 to escape the Nazis, established London Glassblowing, which employs 20 staff and generates close to £2 million in annual turnover. The studio showcases a wide array of glass art, with pieces ranging in price from a few hundred pounds to £20,000.

"I think people walk through our door and their jaws drop," Layton said. "'What, you do all this with glass?' some say."

This year, Layton was honored with the inaugural lifetime achievement award at the Collect art fair in London. The London Glassblowing stand at the event reportedly generated around £100,000 in sales.

Despite the success, Layton describes the art of glassblowing as a "Cinderella medium," suggesting it is often overlooked. "Although it is an ancient medium and more developed in the US, it is almost new to the UK audience," he noted. "It has been an uphill struggle in a way, but I feel we are getting somewhere."

Layton's journey into glass art began after a career in ceramics. Following his national service, he taught ceramics in the US in the 1960s. He returned to the UK in 1968 to pursue glass art, establishing his first studio in 1976. Nearly two decades ago, he relocated to the current Bermondsey location.

The studio faces contemporary challenges, including rising operational costs, with rent and rates approaching £50,000 annually. The constant use of burners also prompts considerations about carbon emissions and a potential shift to electric furnaces, though concerns about supply reliability and cost persist.

Layton acknowledges the demanding nature of running a creative business. "Running the business side is pretty tough and not all of us are cut out for that," he said. His wife, Ann, now serves as the gallery's director, having joined 15 years ago to help manage and grow the business.

He sees potential for the British market to further embrace glass art. "For the work that goes into glass, it is still very under-priced. You are getting an art object for next to nothing," Layton stated. He also expressed dismay over the recent closure of the National Glass Centre in Sunderland, highlighting the ongoing challenges faced by glass art programs.

"The glass industry, once centred around Stourbridge, has virtually died," he said, referring to the West Midlands town. "There are small pockets in the UK but the studios are really where the glass industry is in the UK."

Layton remains dedicated to promoting glass as an artistic medium. "Part of our mission is to promote glass as a medium. I have spent my last 50 years pushing it and I am keen to see it continue," he affirmed. London Glassblowing aims to be a supportive environment for artists, fostering inspiration and maintaining high standards for the next generation of glass artists.