Professional Documents
Culture Documents
Sourcebook 2015OE PDF
Sourcebook 2015OE PDF
Sourcebook 2015OE PDF
2015
Table of Contents
Officers, Directors and Committee Chairs of the
Stained Glass Association of America . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Specifying Stained Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
Sourcebook
2015
Directory of Accredited Advertisers
The Judson Studios; Los Angeles, CA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20-23
STAINED GLASS
QUARTERLYOFTHESTAINEDGLASSASSOCIATIONOFAMERICA
Sourcebook 2015
Elected Officers
President:
1st Vice President:
2nd Vice President:
Financial Secretary:
Treasurer:
Recording Secretary:
Board of Directors
Committee Chairpersons
SGAA HONORROLL
800.8835052
816.4724977
800.4458376
336.6993421
847.3299369
205.9424242
sue@stainedglassresources.com
kathy@kathybarnardstudio.com
info@judsonstudios.com
alssg@yadtel.net
bill@billklopschstainedglass.com
jennifer@maycoindustries.co
407.8417594
830.2143370
315.4281322
850.6561148
800.2591842
800.8487683
940.5913002
601.3532497
jpstudios@aol.com
jack@whitworthstainedglass.com
jrdurr0art@aol.com
robertsenoj@gmail.com
willowpatillo@mac.com
andrea@franklinartglass.com
info@artglassensembles.com
ayoung@pearlriverglass.com
601.3532497
407.8417594
847.3299369
830.2143370
830.2143370
800.3262228
612.6161670
336.6993421
850.6561148
315.4281322
254.829-1151
800.4458376
800.4458376
800.8835052
412.9212500
ayoung@pearlriverglass.com
jpstudios@aol.com
bill@billklopschstainedglass.com
cwhitworth54@yahoo.com
jack@whitworthstainedglass.com
dennis@emmanuelstudio.com
eczimmy@aol.com
alssg@yadtel.net
robertsenoj@gmail.com
jrdurr0art@aol.com
info@stantonglass.com
info@judsonstudios.com
info@judsonstudios.com
sue@stainedglassresources.com
ralphmills@hotmail.com
The lists below represent the living members elected to Honorary Member status, Life Member status, SGAA Fellow, and those
who have held the office of President of the Stained Glass Association of America.
Honorary Members
Life Members
SGAA Fellows
Jerome R. Durr, Gunar Gruenke, Dennis Harmon, Gary Helf, Gerhard Hiemer, John Kebrle, Elizabeth Perry, Paul Pickel, Kirk Weaver, Florence Welborn, Jack
Whitworth III, E. Crosby Willet, Andy Young
Sourcebook 2015
Copyright 2015 by the Stained Glass Association of America; All rights reserved.
Work in this publication is protected by copyright and may not be reproduced in any form without permission.
Printed in the U.S.A. The Sourcebook was designed and typeset by the staff of The Stained Glass Quarterly.
www.stainedglass.org
Sourcebook 2015
www.stainedglass.org
Sourcebook 2015
www.stainedglass.org
resin 58" to 78" in thickness, to create translucent windows and walls of great beauty.
The epoxy used in the casting of faceted
glass panels must be a specially formulated
slab-glass-setting compound consisting of
epoxy resin and hardener. The material must
be able to withstand temperatures of +130
degrees Fahrenheit on the exterior surface
and a simultaneous +70 degrees Fahrenheit
interior surface (air conditioned), and allow
for humidity changes of 6% to 100%. In
addition, cast panels must be water resistant
on tests of 25 lbs. per square foot static air
pressure while 212 gallons of water pass over
the surface of the panel for one hour.
The design and physical opening size
determine size limitations. However, individual panels should not exceed 16 square
feet. The height to width of a single panel
Sourcebook 2015
should not exceed a 4:1 ratio. Large openings must have horizontal supports to carry
the weight of the stacked panels. Thickness
of the epoxy matrix should not be less than
5
8" for unstacked panels. When they are to be
stacked, a minimum epoxy thickness of 34" is
recommended, with the joints between the
panels sealed with a flexible glazing sealant.
Installation: Faceted glass can be
installed in openings and mullions of masonry, metal or wood, provided that the system
is designed to receive the thicker panels and
carry the load of approximately 10 to 13
pounds per square foot. The stained glass
studio should be consulted well in advance
of finalizing the contract documents for the
appropriate frame type for the project and
location of any division bars and mullions,
so as to coordinate them with the design
before ordering frames or sash.
Clearance of 316" is recommended
between the frame or substrate and panel
edge to allow for proper expansion and contraction of the completed panel. Neoprene
spacers (durometer 40 to 70) can be used as
needed to insure proper clearance.
Glazing Sealant: Faceted glass panels
should be set into a non-hardening material
such as butyl, acrylic, silicone or polysulphide sealant, which should be used both as
a bedding and finish bead. This will provide
a weather-tight seal between the faceted
glass panel and the frame or substrate into
which the panel is installed. For spaces of
more than 14" between the substrate and the
panel, filler such as ethafoam is recommended under the sealant bead to allow for flexibility.
Protective Glazing
Exterior Protective Glazing: Properly
made and installed leaded, stained and
faceted glass does not require exterior protective glazing to make it waterproof; however, if properly installed in conjunction with
stained or leaded glass, protective glazing
may afford some protection against vandalism and external damage. Because of its high
resistance to breakage, faceted glass does not
need protective glazing. If protective glazing
is to be included as part of the project, it
must be decided early in the building program so that proper framing and installation
details can be developed to eliminate many
of the negative effects normally associated
with its installation.
Clear, laminated safety glass and tempered glass are superior to acrylic or polycarbonate plastics as protective glazing. The
plastics craze and yellow in relatively short
periods of time, while glass remains clear,
preserving a clean appearance to the building exterior.
Current research dictates that protective
glazing be vented, thereby alleviating the
possibility of excessive heat buildup and the
trapping of condensation. The specific
method of venting this enclosed space varies
from installation to installation due to many
diverse conditions, ranging from the type of
frame system being used to the climatic conditions and microenvironment of the building. Before considering the inclusion of protective glazing, it is advised that the advantages and disadvantages as well as the appropriate installation method be discussed with
the stained glass craftsman.
Protective glazing is sometimes
installed as an afterthought over existing
stained glass windows and frames, usually in
such a fashion that is insensitive to the architecture of the building and without regard for
potential harm to the stained glass. Systems
of this type normally include installing the
glazing material in a bed of sealant or butyl
tape along with ethafoam backer rod and
then face-glazing the material with a silicone
sealant. This system can be detrimental to
the stained glass and supporting frame and is
not recommended by the Stained Glass
Association of America. In the event protective glazing over existing stained glass windows is determined to be a necessity, systems are available to safely install the needed protection with minimal disruption to the
aesthetics of the building. Please refer to the
Stained Glass Association of Americas
Standards and Guidelines for the
Preservation of Historic Stained Glass
Windows for further discussion of installation of protective glazing.
7
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End
Secular Uses
Sourcebook 2015
End
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Sourcebook 2015
Selecting a Studio
particular studios work and to determine how well the designs translate into finished
work.
The Stained Glass Association of America stresses the importance of checking a studios references and questioning such factors as the studios ability to complete work
within the given time frame and to work with architects and construction companies
involved in the creation of the entire project. The SGAA also recommends checking jobs
which are several years old to make sure the designs have stood up to time, environmental codes and standards. It is also important to check the studios finances to insure that
the business is stable and able to support the project.
If at all possible, the client should visit the studios under consideration for the project. Insight into the companys work procedures, abilities and particular approach would
be best determined by observing the craftspersons and their working environment.
Having conducted interviews and researched the studios considered, the client is then
in a position to select the studio to perform the commission. A contract should then be
drawn up which includes a description of the subject to be addressed; specifications for
the finished windows; the process of design acceptance; overall budget and payment
schedule; deadlines for the submission (and selection) of designs, cartoons and the finished stained glass; and the responsibility of final installation.
With the field narrowed to one studio and a contract between the studio and client
agreed upon, the process of design begins. While the design process will be unique to
each commission, it will generally be a process of ongoing dialogue between the studio
and the client to insure that the clients needs and expectations are met. This is also the
time to finalize the selection of the glass palette to be incorporated into the final project.
Once a design is selected, the process of cartooning and fabrication can begin.
Cartooning consists of full-size drawings of the stained glass project which illustrate the
placement of glass and the material which will be used to secure the glass in place, such
as lead, copper foil or epoxy. The cartoon will serve as the pattern as the piece is fabricated.
Fabrication involves the actual building of the stained glass, using techniques appropriate to the project. While the finished piece may be quite large, stained glass is generally built in smaller panels rarely larger than three feet on the longest side. This allows
the installed piece to better withstand the stresses it will endure when in place in the
building.
Installation should generally either be performed by the studio which creates the
stained glass or be subcontracted by that studio. Stained glass which will have an exterior facing requires an airtight seal in the frame. If secondary or protective glazing is to be
incorporated, there should be between 34" and 112" clearance between the stained glass and
the secondary glazing; vents should always be incorporated into the design to prevent
condensation and allow air circulation between the stained glass and its secondary glazing.
End
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Sourcebook 2015
Safety Standards
The Consumer Product Safety Commission maintains stringent guidelines for safety
in building components. As 10 centuries of use has shown, there are no unusual inherent
or unnecessary risks in the use of architectural stained glass.
This fact prompted the Consumer Product Safety Commission to adopt guidelines
almost 30 years ago that address stained glass directly. For the convenience of those considering the commissioning of stained glass, these guidelines are reproduced below. The
Summary below is reproduced verbatim; the Supplementary Information has been edited
slightly to aid readability.
Title 16 Commercial Practices
CHAPTER II
Consumer Product Safety Commission
PART 1201 - Safety Standard for Architectural Glazing Materials
Amendment to Standard Exempting Certain Decorative Glazing Materials
AGENCY: Consumer Product Safety Commission.
ACTION: Final amendment to rule.
SUMMARY: In this document, the Commission amends the Safety Standard for
Architectural Glazing Materials to exempt from its coverage carved glass, dalle glass and
leaded glass, if those materials are incorporated into doors or glazed panels covered by
the standard for decorative or artistic purposes. The exemption is issued because these
glazing materials have an aesthetic and artistic value but are unable to meet the requirements of the standard; acceptable substitute glazing is not available; and any risk of injury
is mitigated by the visibility of the glass. The Commission in this document also lifts the
stay of the standard it issued for faceted, patinaed, and leaded glass, which has been in
effect pending action on this amendment.
DATES: The exemption for carved glass, dalle glass, and leaded glass incorporated
into doors or glazed panels covered by the standard for decorative or artistic purposes is
effective on December 2, 1978. The stay of the standard for faceted glass and leaded glass
is lifted effective December 2, 1978. The stay of the standard for patinaed glass is lifted effective January 9, 1979.
For further information contact:
Directorate of Compliance and Enforcement
Consumer Product Safety Commission
Washington, DC 20207
(301) 492-6629
10
www.stainedglass.org
Supplementary Information: On
January 6, 1977, the Consumer Product
Safety Commission issued the Safety
Standard for Architectural Glazing
Materials to eliminate or reduce unreasonable risks of injury associated with architectural glazing materials and products
incorporating those materials (42 FR 1428)
(16 CFR 1201). The standard prescribes
tests to insure that glazing materials used
in certain architectural products either do
not break when impacted with a specified
energy, or break with such characteristics
that they are less likely to present an unreasonable risk of injury. The standard
became effective on July 6, 1977.
Provisions of #1201.1(c) of the standard, as issued on January 6, 1977, exempted six Items of glazing materials from its
requirements. The only decorative glazing
materials exempted by #1201.1(c) were:
Leaded glass panels where no individual
piece of glass has an area greater than 30
square inches.
The term leaded glass is defined in
the standard at #1201.2(a) (14) to mean: a
decorative composite glazing material
made of individual pieces of glass whose
circumference is enclosed by lengths of
durable metal such as lead or zinc and the
pieces of glass are completely held together and supported by such metal.
On April 20, 1977, the Stained Glass
Association of America (SGAA), petitioned the Commission under section 10 of
the Consumer Product Safety Act (15
U.S.C. 2059) to amend the standard to
exempt other decorative glazing materials.
The petition was designated CP 7712.
On June 21, 1977, SGAA requested the
Commission to stay the standard as it
Sourcebook 2015
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End
Sourcebook 2015
A Window to Sustainability
The Stained Glass Association of America
Art Glasss Place in a Greener World by the Architectural Art Glass Committee
The green movement continues to gain momentum on multiple fronts and nowhere is this
more evident than in cutting edge building and design. Sustainability and green building are buzzwords that suddenly hold legitimate leverage with clients who are more conscious than ever about the environmental impact of new construction.
A similar rise to power has been mirrored in the preservation movement. Historic buildings and homes are no longer being razed with the rationale that it is cheaper to rebuild
than to restore. Now passions arise when there is talk of tearing down historic buildings
and whole communities have risen up to protect the jewels of their past by using creative
zoning and historic districts to mandate stewardship.
While the term sustainability is often championed as a relatively new and revolutionary
idea, many of the principles have long been in practice by our predecessors. The design
and construction of buildings now being preserved as historic, often utilized many of the
same principles important to the sustainability movement.
This link between historic building preservation and sustainability can be looked at in two
distinct ways. First, the impact of preserving historic buildings to meet sustainability
goals, and secondly, the concept of applying what historic buildings teach us when
designing new sustainable buildings.
The common goals of historic building preservation and sustainability are fairly obvious
and easy to link. A formal framework in which to make these connections rests in the U.S.
Green Building Councils LEED certification program. This non-profit organization saw
a need to promote responsible and sustainable building practices, and, as in the organic
food movement, a real need to standardize and qualify green claims. A Leadership in
Energy and Environmental Design (LEED) certification ensures clients that specific standards have been met in the areas of sustainable site planning, the safeguarding of water
and water efficiency, energy efficiency and renewable energy, conservation of materials
and resources and indoor environmental quality.
Many of these elements of LEED certification can be met through historic preservation.
For example, materials and resource categories within LEED can be addressed by the fact
that historic buildings are usually built with high quality materials from local sources.
Most historic buildings also meet requirements for sustainable sites, as they are often centrally located. This not only makes the building accessible for public transportation, but
also saves infrastructure and ancillary businesses from having to be re-built around a new,
more remote alternate site. Preventing the cycle of tearing down and rebuilding naturally
impacts the next two categories of water efficiency and energy/atmosphere because less
materials are manufactured and less waste is produced in recycling a historic building.
The less obvious but perhaps more powerful link between historic buildings and sustainability is found when looking at what we can learn from the preservation movement when
designing new, sustainable buildings. Specific areas to examine include the concepts of
stewardship and cultural sustainability.
12
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Sourcebook 2015
The Silent Auction at the SGAA Summer Conference is always a very popular event. Attendees
can bid on various items and the competition for favored books, hand-made jewelry and historical items adds excitement to the conference and friendly banter to conversations.
More importantly, 100% of the proceeds for the Silent Auction will benefit programs for
the Stained Glass School and the Dorothy Maddy Scholarship Fund. Over the last few
years, the Dorothy Maddy Fund has awarded more than $25,000 in scholarships to various individuals for attending classes and workshops, as well as academic scholarships
to college students, and a scholarship to a student at Willowbank School of Restoration
Arts in Ontario, Canada, to participate in a study on restoration and preservation.
In our ongoing effort to provide scholarships and educational programs, the Stained Glass
School is reaching out and asking for your support in the form of donations of items for the 2015
Silent Auction.
Books; Historical Items; Specialty Tools; Blown Glass Vases; Odd Bag of Jewels; Glass Bevels; Gift
Certificates for Product; Gift Cards to National Chain Stores (one of our members uses reward points
on their Credit Cards to purchase Gift Cards to donate); Classes
and Workshops; Museum Passes (Corning, Toledo, Nelson-
Raytown, MO 64133. Contact the SGAA Headquarters at 800.4389581 or headquarters@sgaaonline.com with any questions.
14
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Scholarship Fund
Dorothy L. Maddy
(19231992)
I would like to introduce you to
Dorothy Maddy. It is important that people know who she was and what she did
to merit having a Scholarship Fund
established in her name by the Stained
Glass Association of America.
To begin with, I know that you
would find it easy to be friends with Dot.
She was bright and had a quiet, sparkly
personality all her own. When you
talked with her, she listened intently to
what you had to say. At heart, she was
basically a teacher; she always wanted
to learn every technical and artistic
nuance of stained glass. Her intention
was always to pass on what she knew to
anyone who might want to learn.
When The Stained Glass School
was first established in North Adams,
MA, she attended classes from 1977 to
1979. Dot studied the art of stained glass
painting with Richard Millard and
Albinas Elskus. It was also then that she
became a member of the Education
Committee of the SGAA. She moved
her Tree Top Studio from St. Louis to
New Jersey and then to Scottsdale, AZ,
in 1980. In Scottsdale, she established
her credentials with a steady stream of
www.stainedglass.org
Find out....
...more about the
Dorothy L. Maddy
Scholarship Fund
by visiting
stainedglassschool.org
or calling
800.438-9581.
...about other
SGAA scholarships at
stainedglassschool.org.
...more about the
SGAAs annual silent
auction by calling
the SGAA Headquarters
at 800.438-9881.
...more about Dorothy L.
Maddys writing and
teaching in the article
Silver Staining,which
appears on
stainedglassquarterly.com
and is reprinted from
the Fall 1984 issue of
The Stained Glass
Quarterly.
Sourcebook 2015
The art and craft of stained glass has something in common with Mark Twain: the rumors
of its death have been greatly exaggerated. If you believe the rumors, then you might
think that stained glass cannot today achieve the same high quality as seen in the
European cathedrals built hundreds of years ago. You might have heard another rumor
that real stained glass has been replaced with plastic. You may have even heard that no
one really does stained glass anymore and that all stained glass comes from one or two
suppliers.
These rumors like most rumors that are untrue are based on misunderstanding,
assumption and misinformation. Stained glass is alive and well; the studios that are good
enough to call themselves Accredited Members of the Stained Glass Association of
America are today producing windows in America that are every bit as good as those seen
in the European cathedrals. There are poor imitators of stained glass out there, yet no
other material is as durable, beautiful and in the long run as affordable as glass.
Finally, as a quick glance at the membership lists of the SGAA will show, there are a great
many people who are today creating beautiful stained glass windows, custom tailored to
the needs of their clients.
At first glance, these rumors can be frightening when one is preparing to commission
stained glass. When these rumors and the rumors that derive from these rumors are
examined, however, they quickly become more humorous than frightening... humorous,
that is, until one realizes that it is exactly this sort of misinformation that keeps the beauty of stained glass from being enjoyed on a much more widespread basis.
Stained glass is both an ancient fine art and a craft. Stained glass can bring beauty, joy
and inspiration into ones life. It is truly a shame that more people do not benefit on a
daily basis from all that stained glass has to offer.
The first great stained glass falsehood is the belief that stained glass today is not of the
quality seen in the cathedrals built in times past. This unfortunate misunderstanding no
doubt stems from what people often encounter that masquerades as stained glass. While
it is possible to see quality stained glass at the myriad craft shows and fairs across the
country, one will just as often see some scrap of colored glass with a pewter figurine in
the shape of one or another mythological creature glued to it and passed off as stained
glass. It is unfortunate that these poor cousins to art glass are so often what one encounters as stained glass. Today, just as it has always been, work of varying quality is being
produced, from the sublime to the trinket.
What is even more unfortunate is that these scraps and bits are compared to the stained
glass windows in a gothic cathedral. Just as a craft fair is not a cathedral, so too is a
glass jewelry box not a cathedral window. To see quality stained glass, one should go
not to the fair, but to the buildings in which stained glass is a part. To quickly find
locations where quality stained glass can be seen, contact several of the Stained Glass
Association of America Accredited Members listed in this Sourcebook, and ask them
where they have installed stained glass in your area. They will be proud to tell you
where you can see their work. You wont be disappointed by the visit.
16
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Sourcebook 2015
The role that stained glass plays in a building is prominent. It can be put in place to
decorate, instruct, inspire, allow in light,
block out light, commemorate, hide an
unwanted exterior view, memorialize or
any of literally hundreds of goals. Its role
can be one of these; more often it is many
of these. Always like anything else
called art it is put in place to show the
owners good taste. These are not goals
that can be met through cookie-cutter mass
production.
The production of stained glass does
indeed take planning, skill and time. While
the creation of quality stained glass is a
labor-intensive undertaking, it takes far
more skill and planning to create a window
than it does time. The artists and craftspersons of the Stained Glass Association of
America are accustomed to working to
meet building schedules. They are professionals who understand the many aspects
of building construction and the need to
maintain an established timetable. As you
review this Sourcebook, you will see that
there are many artists and craftspersons
who are making high-quality stained glass
windows. These are professionals who
want to make their living in the field of
stained glass. They understand that to do
so, they must meet the needs and the
schedule of the client.
When you are ready to commission stained
glass, be sure the studio you contact is an
Accredited Member of the Stained Glass
Association of America. Our membership
aspires to maintain the fine tradition of
stained glass. Their accreditation is your
assurance that you are working with an
established studio run by professionals
who are capable of delivering high-quality
stained glass that meets the needs of your
building.
End
The Sourcebook
The Sourcebook has been published since 1997 by the Stained Glass Association
of America; it is intended for architects, building planners, committees, decorators, designers, and everyone involved in planning and executing building projects that may include stained glass. The Stained Glass Association of America
was founded in 1903 and serves as the voice and advocate for professional
stained glass artists in North America and around the world.
Sourcebook is a guide to the membership of the Stained Glass Association of
America. Our members represent some of the finest stained, decorative, and
architectural art glass studios that exist in the world today. We invite you to
become better aquatinted with our membership and discover what they can
bring to your building project.
If you have any questions about architectural stained glass and how it can be a
part of your building, please do not hesitate to contact the SGAA Headquarters
at 800.438-9581.
17
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Sourcebook 2015
S ASSO CIAT
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22
ddailey1@bellsouth.net
University of Chicago
Saieh Hall for Economics
2014 Restoration of c. 1928
Willet Windows
31
S@ubScribe
T
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33
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oisture. IItt aalso
lso obscured
obscured the
the beautiful
beautif
ifu
ul architectural
architectural detail
detail in tthe
he mi
millwork.
llwork.
C
Completed
ompleted
in 2014 b
by:
y:
Although Stained Glass Resources initially investigated the possibility of repairing the frame, the presence of severe wood rot and broken
joinery (above left and right) made it apparent that replacement was the only viable option.
A-1
169-1/2" STONE OPENING AT SPRINGLINE
A-2
87-5/32"
109-27/32"
CARVING
DEPTH 1-1/2"
A-2
71-3/8"
A-1
A-2
EXTERIOR ELEVATION
SCALE: 3/4" = 1' 0"
A-3
PLAN/SECTION @ LANCETS
SCALE: 3/4" = 1' 0"
28" VENTOPENING
SECTION
SCALE: 3/4" = 1' 0"
One of the final steps; the stained glass panels and clear exterior
protective glass were installed in the new frame by Stained Glass
Resources craftsmen.
The fully
fully restored
restored Last
Last Judgement
Judgement window
window in its
its ne
new
wH
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onduran M
Mahogany
ahogany fr
fframe.
rame.
stained
glass
resources
15 C
Commercial
ommercial Driv
Drivee
H
Hampden,
ampden, MA 01036
ttel:
el: 800-883-5052
www.stainedglassresources.com
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w
w.stainedglassresources.com
ma
mail@stainedglassresources.com
il@stainedglassresources.com
JeroMer. durrSTudio
let us help you save time, money and speed up your selection process. Fill out the form below and send to the
SGaa Headquarters. Its that simple!
The Stained Glass association of america will send your information to our accredited Studios. Studios interested in and capable of performing the work for your project will contact you to begin the next step in the selection process.
The SGaa Headquarters is always available to help with the success of your project. a team of stained glass
experts are available with advice and answers to your questions.
Project Name:
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contact Person:
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email address:
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q Non-religious
q restoration Project
description of the Scope of the Project including number of windows, types of frames if needed, existing
glass to be removed, type of protective glazing if required:
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if known: please supply (on a separate sheet of paper) size of each opening in the project.
Since 1975, Statesville Stained Glass, Inc., has been designing, fabricating
and installing both leaded and faceted stained glass windows all across the
U.S. and in many foreign countries. Statesville Stained Glass, Inc., also
designs, fabricates and installs aluminum frames and ventilators sized to meet
specific architectural designs.
Statesville Stained Glass, Inc., is committed to providing the liturgical community with unsurpassed quality in design and craftsmanship. Each stained glass
window is a custom design; each window clearly shows our commitment to provide and install only superior quality in design and workmanship. Our artists
and craftsmen take special pride in knowing that the artistry they are providing
will be enjoyed and revered for generations to come.
Statesville Stained Glass, Inc., is an award-winning art glass studio that is
highly respected in the industry, not only by our clients, but also by architects,
contractors and our peers. Statesville Stained Glass, Inc., is an accredited
member of the Stained Glass Association of America.
Statesville Stained Glass, Inc. welcomes the opportunity to
come and meet with you and discuss all of your stained glass
requirements.
55
www.cavallinistudios.com
Since 1953
have standards and practices that are universal for their respective groups. The
http://www.whitworthstainedglass.com
66
In addition to new stained glass, we have extensive experience in historic preservation and conservation of existing
stained glass.
http://www.whitworthstainedglass.com
67
68
69
Gilbertsons Stained Glass Studio is a full-service, SGAA-Accredited facility capable of meeting the needs of todays
architects, building planners, liturgical consultants and planning committees. Established in 1976 by Edward
Gilbertson and his son Edward Jr, our studio does commission work as well as museum-quality ecclesiastical
restorations throughout the Midwest and United States. We believe that our small studio complements the sharing of
ideas and tasks by the owners, artists and craftsman at every stage of their projects, ensuring consistent thought and
quality in every piece of work. Our dedication to the arts enables us to meet the budgetary needs as well of our
clients, who in turn appreciate the quality of our work and the attention received at every stage of their project.
74
Mermaid
New Work
This installation was created for the office of a condominium complex that overlooks the ocean in the
Cayman Islands. The clients mermaid theme was
expanded to include an entire undersea world, which
the client loved.
75
76
Reproduction of a LaFarge window. This window will be a GILBERTSONS STAINED GLASS STuDIO
part of a new museum opening in Evanston, IL.
705 Madison Street
Lake Geneva, WI 53147-1409
262.248-8022 262.248-3044 (fax)
gsgs@genevaonline.com
www.stainedartglass.com
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Sourcebook 2015
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Accredited Craft
Supplier/
Manufacturer
ALABAMA
MAYCO Industries
Accredited Member since 1995
Jennifer Banbury
18 West Oxmoor Road
Birmingham, AL 35209
800.749.6061
205.942.4242
205.945.8704 fax
sales@maycoindustries.com
www.maycoindustries.com
CALIFORNIA
GEORGIA
Ed hoys International
Accredited Member since 1981
Cleve Fenley
27625 Diehl Road
Warrenville, IL 60555-3838
800.323.5668
630.836.1362 fax
info@edhoy.com
www.edhoy.com
INDIANA
Sourcebook 2015
NEW YORK
J. Sussman, Inc.
Accredited Member since 2002
David Sussman
109-10 180th Street
Jamaica, NY 11433
718.297.0228
718.297.3090 fax
sales@jsussmaninc.com
www.jsussmaninc.com
See Our Company Ad on Page 48
OREGON
CAFF Company
Accredited Member since 1990
Stephen Weaver
370 Vista Park Drive
Pittsburgh, PA 15205
412.787.1761
412.788.2233 fax
info@caffcompany.com
www.caffcompany.com
WEST VIRGINIA
83
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Accredited
Artist/Designer
NEW YORK
UNITED KINGDOM
Active
Accredited
Studios
ILLINOIS
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MINNESOTA
84
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Professional Studios
NEW JERSEY
Sourcebook 2015
New York
Soos, David
30 Maumelle Curve Court
North Little Rock, AR 72113
800.791.7667 501.758.8655 fax
info@soosstainedglass.com
hyams, harriet
P.O. Box 178
Palisades, NY 10964
845.359 0061 845.359.0062 fax
harriart25@gmail.com
Rigdon, Thomas
650 Reed Street
Santa Clara, CA 95050
408.748.1806 408.748.0160 fax
studio@hylandstudio.com
Llorens, Frank D.
814 Ronald Wood Road
Winder, GA 30680-0755
678.219.0230
678.219.0233 fax
frankllorensjr@llorensleadedartglass.com
hipple, Amy J.
4411 Alkire Road
Columbus, Oh 43228
614.878.4981
ghipple@columbus.rr.com
Lauer, Michael
720 Osseo Avenue South
St. Cloud, MN 56301
320.251.2330
micstgl@yahoo.com
Mitchell, Mathew
15 E. Philadelphia Street
York, PA 17401
mmitchell@rudyglass.com
California
North Carolina
Georgia
Ohio
Minnesota
Pennsylvania
Virginia
Montana
Komp, Linda
6 Calvert Court
Fredericksburg, VA 22405
540.373.0790
lkomp@zagmail.gonzaga.edu
Nebraska
Scott, Rodney W.
4025 S. 48th Street
Lincoln, NE 68506
402.420.2544 402.420.0472 fax
glassarts@windstream.net
85
www.stainedglass.org
Sourcebook 2015
Alexander, Terry
508 Andrew Jackson Way
huntsville, AL 35801
256.517.1515
terryalexander3@gmail.com
Auestad, Sandra
11126 77th Avenue
Forest hills, NY 11375
sauestad@msn.com
Aaron, James
P.O. Box 94
Short hills, NJ 07078
973.376.8090 973.376.3169 fax
Angerhofer, Ruth
2422 South highway 281
Aberdeen, SD 57401
605.225.5255
ranger@abe.midco.net
Austin, Phillip
4251 Jordan Road
Skaneateles, NY 13152
315.685.5091
studio@snakeoilglassworks.com
Adams, David
814 Ronald Wood Road
Winder, GA 30680
770.289.1161
dadams25@bellsouth.net
Armagno, Louis
6830 Carriage hill Drive #35
Brecksville, Oh 44141-1249
808.728.6949 808.449.4294 fax
honolulou@gmail.com
Achilles, Rolf
3200 N. Lake Shore Drive, #703
Chicago, IL 60657
773.477.8138
rachilles@saic.edu
Adams, Susan
116 St. Botolph Street
Boston, MA 02115
pokeyj33@hotmail.com
Akers, Kathleen R.
526 Echo Ridge Court
Reno, NV 89511
775.851.4998 phone & fax
k_akers@att.net
Albig, Glen L.
290 Lake Street
hamburg, NY 14075
716.648.0333 phone & fax
imagesinglassinc@yahoo.com
Alevizos, Steven A.
3563A Maunalei
honolulu, hI 96816
808.739.5288 phone & fax
kanmakam@hawaiintel.net
Allain, Teresa
366 Lakeshore Drive
hewitt, NJ 07421
gtrmaker@optonline.net
Arceneaux, Judy
1132 Kaliste Saloom Road Bldg. G
Lafayette, LA 70508
337.278.8895
judy@accuratemeasurement.net
AuCoin, Georgina
771 Coventry Drive NE
Calgary AL T3K 4C7
Canada
ginaaucoin@gmail.com
T Accredited Artist/Designer
86
www.stainedglass.org
Augspurger, Megan
255 Pratt Street
Buffalo, NY 14204
716.563.2444
mcelf@mcelfglassworks.com
Banbury, Jennifer
See MAYCO Industries
Barclay, Melissa
P.O. Box 14218
Berkley, CA 94712
510.665.5572 phone & fax
mbarclay0398@yahoo.com
Barnard, Kathy
See Kathy Barnard Studio
l Active Accredited Studio
w Professional Studio
Barnes, Terry L.
P.O. Box 511
Leeds, AL 35094
205.936.2893
virginiabarnes@aol.com
Batt, Valerie
1301 Nicholas Street, #105
Omaha, NE 68102
402.708.9696
valerie@paintedlightglass.com
Baxter, Ann
1025 Yorkshire Road
Grosse Pointe Park, MI 48230
313.886.0099
info@baxterglass.com
Beard, Delemo
6131 Dotts Lane
Penn Laird, VA 22846
dlbeard@gmail.com
Becker, Christi
28670 CO Road 50
Cold Spring, MN 56320
320.292.7978
artme@q.com
Behle, M. Downs
27 Grand Street
Warwick, NY 10990
845.986.8913 845.986.8973 fax
info@downsbehlestudio.com
Sourcebook 2015
Belcher, Darren
412 Joslyn Road
Lake Orion, MI 48362-2223
englishrose72@hotmail.com
Ben-Ora, Miriam
1401 Flower Street
Glendale, CA 91221
Berner, Larry
7320 Summer Tree Drive
Boynton Beah, FL 33437
561.738.6695 561.909.5278 cell
larrybglass@comcast.net
Besche, Joe
2604 Route T
Jefferson City, MO 65109
314.584.3356
jhbartglass@hotmail.com
Beyer, Joseph
See Beyer Studio, Inc.
Bibo, Roger h.
See Franciscan Glass Co., Inc.
Billington, Peter
2530 Superior Avenue E. #500
Cleveland, Oh 44114
888.974.9747 216.348.1616
216.348.1116 fax
info@whitneystainedglass.com
T Accredited Artist/Designer
87
www.stainedglass.org
Bingle, Paul
408 E. Schreyer Place
Columbus, Oh 43214
paulbingle@att.net
Blake, Ellen
2500 Juniper Lane
Maidens, VA 23102
glassgaga@comcast.net
Mark Bleakley
3201 Oliver Road
Monroe, LA 71201
601.529.4838
mbleakleystainedglass@yahoo.com
Blodgett, Kimberly
2181 Little River Road
Glide, OR 97443
blodgett.kim@gmail.com
Blumhagen, Dan
4448 State Route 259
Baker, WV 26801
304.897.8437
lostriverartglass@live.com
Boertlein, Jed
See Washington Art Glass Studio
Bogenrief, Mark
P.O. Box 9
Sutherland, IA 51058
712.446.2094
mjbogenrief@aol.com
Boland, Fr. Tom
11802 Big horn Place
Louisville, KY 40299
w Professional Studio
Sourcebook 2015
Brooks, Amy
19 Wilmer Place
Meluchen, NJ 08840
paradisecsg@verizon.net
Bordelon, Denise
13194 highway 1
Simmesport, LA 71369
318.985.2383
cajuncutters@gmail.com
Bryant, Gabriele
497 Thayer Place
Wadsworth, Oh 44281-7723
gabriele.glassartscapes@gmail.com
Borey, Michael
1105 Stonehedge Trail Lane
St. Augustine, FL 32092
904.613.7477
cmborey@aol.com
Buehrer, Reggie
See Window Creations, LLC
Bovard, Ronald
See Bovard Studio Inc.
Bowman, Carolyn M.
221 South 19th Avenue
Yakima, WA 98902
509.248.6892
cbowman7@charter.net
Bresler, Faye
P.O. Box 2273
Rockville, MD 20847
301.881.0249
tovartdesign@verizon.net
Brewer, Richard
2224 Park Avenue
Richmond, VA 23220-2715
804.359.0897
reb006@aol.com
Bullas, Joseph h.
See Bullas Glass, Ltd.
Bullock, Judy
17416 Polo Run Lane
Louisville, KY 40245
v CAFF Company
Stephen Weaver
370 Vista Park Drive
Pittsburgh, PA 15205
412.787.1761 412.788.2233 fax
info@caffcompany.com
www.caffcompany.com
Canavan, Joseph
214 Dayleview Road
Berwyn, PA 19312
610.640.0899
j.p.canavan@verizon.net
T Accredited Artist/Designer
88
www.stainedglass.org
Cannon, Karen
2604 Farnell Road
Fort Collins, CO 80524
970.484.4775
karen@estreet.com
Cantwell, Jared R.
129 State Street
Palmer, MA 01069
jared_cantwell@yahoo.com
Carlson, Emily
See Solstice Art Source
Carpenter, Roy
P.O. Box 206
Manchester, Oh 45144
937.549.1685
roycarp@gmail.com
Cavallini, Adrian J.
See Cavallini Company, Inc.
w Professional Studio
Sourcebook 2015
Cowan, Michael A.
201 North Oak Street
Springfield, TN 37172
61.384.2781
myoldhouse@comcast.net
Clarkson, Debby
2345 Salem Park Drive
Indianapolis, IN 46239
debby.clarkson@gmail.com
Clensay, P. A.
1642 Callens Road
Ventura, CA 93003
805.644.3819 805.856.7133 fax
paclensay@gmail.com
Coia, Michelle
302 Signature Terrace
Safety harbor, FL 34695
michellelowellcoia@hotmail.com
Cowan, Steven
110 Dower Road
Sutton Coldfield
West Midlands B75 6TL
united Kingdom
stevecowan13@hotmail.com
39 Vicarage Road
Bishopsworth
Bristol BS13 8ER
United Kingdom
44.117.9.640.643
44.117.9.633.312 fax
rwcoomber@aol.com
Cooper, Donald
4957 Walsh Street
St. Louis, MO 63109
314.832.6410
artglass.creations@att.net
Corish, Michael P.
16 Wilbraham Road
Monson, MA 01057
mike4401@comcast.net
Cosby, Christopher
745 Marshall Avenue
Webster Groves, MO 63119
314.962.4817 314.962.5601 fax
ccosby2002@yahoo.com
Courage, Cynthia
1005 Central Avenue
Metarie, LA 70001
504.834.3967 504.834.9210 fax
attenhofers@mac.com
Croteau, Phillip
2720 Pennsylvania Street NE
Albuquerque, NM 87110
phisch7@msn.com
Cultraro, Doris
136 E. Camp Road
German Town, NY 12526
845.876.3200
dcstudios@msn.com
Dailey, Dennis
See DhD Metals, Inc.
Darrow, Michelle
128 hindley Avenue
Winnipeg, MN R2M 1P7
Canada
michelle.darrow@shaw.ca
R Accredited Professional Studio
T Accredited Artist/Designer
89
www.stainedglass.org
Davenport, Daniel
1016 Green Valley Drive
Ashland City, TN 37015
615.305.6693
danny.s.davenport@gmail.com
Davidson, Larry
E300 Woodridge Drive
Eau Claire, WI 54701
888.819.6334 715.829.9083
Davis, Anne Meier
2108 Kerry hill Drive
Fort Collins, CO 80525
glassart5000@gmail.com
Day, Robert
3621 W. Grandview Drive
Crawfordsville, IN 47933
765.866.0968
rnday@att.net
Deeg, Rhonda L.
P.O. Box 462
Madison, IN 47250
812.292.6334 812.265.4756 fax
preservationrho@gmail.com
Denning, Andrea
13520 Sycamore Drive
Platte City, MO 64079
816.536.7788
badenning63@yahoo.com
Devereaux, Elizabeth
2468 Ivy Street
Chico, CA 95928-7120
530.342.2074 530.342.2048 fax
edevero@devglas.com
w Professional Studio
Sourcebook 2015
Eiden, Terry
835 S. Golf Cul de Sac Street
Des Plaines, IL 60016
847.989.7352
terry@alluringspectrums.com
Douglass, Gene
1811 10th Street
Wichita Falls, TX 76301
910.761.5595
gene_douglass@sbcglobal.net
Eissinger, Diane
See Diane Eissinger Stained Glass
Dutch, Chris
713 White Oak Road
Charleston, WV 25302
304.344.8847
chrisdutchstainedglass@gmail.com
Duval, Jean-Jacques
174 Port Douglas Road
Keeseville, NY 12944-2336
518.834.4300 888.475.7156 fax
jeanjacquesduval@me.com
Eaton, Scott
16311 Prairie Lea
Cypress, TX 77429
281.373.3423 281.256.2722 fax
freebird001@sbcglobal.net
Edmondson, Barbara
6725 West Denton Lane
Glendale, AZ 85303
rebe2@cox.net
Edwards, Kay
5725 N.E. 77th
Seattle, WA 98115
206.522.2240 206.522.3711 fax
razose@hotmail.com
Elliott, Richard
See Kokomo Opalescent Glass Co.,
Inc.
English, Adrian
See Glass heritage, LLC
Erickson, James V.
68-234 Au Street
Waialua, hI 96791
808.637.8934
james@jericksonstudios.com
Eubanks, Wendy
9448 Victory Garden Avenue
Las Vegas, NV 89149
702.274.5156 702.823.4846 fax
theglassimage@centurylink.net
Evans, Bernard K.
98 N. Paint Street
Chillicothe, Oh 45601
740.775.1054
bernieandmax@gmail.com
Fairfield, John L.
276 Nassau Drive
Springfield, MA 01129
johnyfairfield@yahoo.com
R Accredited Professional Studio
T Accredited Artist/Designer
90
www.stainedglass.org
Feldman, Larry
401 halladay Street
Jersey City, NJ 07304
larry@feldmanstainedglass.com
Feldmeier, Mark
See The Paul Wissmach Glass Co., Inc.
Fenley, Cleve
See Ed hoys International
Fernandez, Alejandro
1025 Myrtle Avenue
El Paso, TX 79901
afdz1075@yahoo.com
Fields, Nellie B.
1506 West College Avenue
Midland, TX 79701
423.683.3269 432.683.3319 fax
Firpo, Susan
420 N.E. 56th Avenue
Portland, OR 97213
503.758.6928 503.493.4234 fax
sue@slfirpodesigncraft.com
Fjeld, David
2421 West College Street
Bozeman, MT 59718
406.586.6016
fdavid96@aol.com
Flores, Janell
P.O. Box 105
Lincoln, KS 67455
785.819.2076
janell.flores4821@yahoo.com
Foster, Robert S.
2801 South College
Bryan, TX 77801
800.532.6386
979.779.5864 979.822.9186 fax
info@fosterstainedglass.com
w Professional Studio
Frei, Stephen
1017 W. Adams Avenue
St. Louis, MO 63122
314.822.1091
davidfrei@charter.net
Furlong, Sharon,
133 East Bristol Road
Feasterville, PA 19053-3341
215.322.0492
sadesman@verizon.net
Gall, Emily L.
951 S. Copper Beach Way #D
Bloomington, IN 47403
765.891.2319
emgall@indiana.edu
Gallin, Saara
142 Sherman Avenue
White Plains, NY 10607-2415
914.592.6930
saaragallin@verizon.net
Geiger, Josephine A.
1647 Beech Street
Saint Paul, MN 55106
612.964.6081
jageiger.studio@comcast.net
Goldstein, Yoine
P.O. Box 630
hinesburg, VT 05461
802.482.2844 phone & fax
yoine.goldstein@mcmillan.ca
Gilbertson, Ed
See Gilbertsons Stained Glass Studio
Gong, Nancy
42 Parkview Drive
Rochester, NY 14625
585.288.5520 585.288.2503 fax
nancy@nancygong.com
Gibson, Peter
4A Precentors Court
York, England Y01 2EJ
united Kingdom
44.1904.626.309
Glander, Anthony
14726 Myer Terrace
Rockville, MD 20853
301.460.6404
tony@fitzpatrickglass.com
Gliesman, Paul
17016 Sycamore Court
Northville, MI 48168
248.349.1550
pmgliesman@gmail.com
Sourcebook 2015
Glozzer, Linda
511 W. 2nd Street
Defiance, Oh 43512
419.438.0156
lglassgallery@aol.com
Golden, Nancy A.
70 Putnam Street
Needham heights, MA 02494
781.444.4031
ngolden@goldenglass.com
T Accredited Artist/Designer
91
www.stainedglass.org
Grady, Kate
241-A Chapel hill Road
Atlantic highlands, NJ 07716
gradyke@yahoo.com
Graham, Moon
611 Sussex Estates
Nicholasville, KY 40356
moon.graham@twc.com
Green, Tina
188 Imperial Avenue
Westport, CT 06880
203.226.9674 203.226.7285 fax
tina@renaissancestudios.com
Grise, Martha
118 Buckwood Drive
Richmond, KY 40475
mgrise@roadrunner.com
Grones, Matt
662 Evergreen Lane
New Braunfels, TX 78130
830.214.0656
mjgrones@speakeasy.net
Gruenke, B. Gunar
See Conrad Schmitt Studios, Inc.
Guarducci, David
See Guarducci Stained Glass Studios
w Professional Studio
Gumlaw, Chad M.
47 Corman Lane
Springfield, MA 01118
gchad3@aol.com
Guthrie, Mark
441 Lexington Avenue
El Cerrito, CA 94530
mw_guthrie@yahoo.com
hamilton, Linda
584 West Broad Street
Columbus, Oh 43215
614.461.6204 614.461.1737 fax
holyfamilycolumbus@gmail.com
haner, Deacon Scott
1604 Wood Thrush Trace
Louisville, KY 40245
hanley, Richard
7119 South 38th Avenue
New Era, MI 49446
231.893.8338 231.894.8650 fax
info@omnibusstudios.com
hanson, Martha
1418 Trimble Road
Edgewood, MD 21040-3007
410.676.1248 410.676.2112 fax
artglass@panedexpressions.com
harberts, Shari
21287 260th Street
Grundy Center, IA 50638
319.824.3550
psharb@prairieinet.net
hardy, Mark
215 W. Market Street
Farmer City, IL 61842
mhardy@illinois.edu
harmon, Dennis R.
See Emmanuel Stained Glass
Studios, Inc.
harris, Janet S.
14405 SE 7th Street
Vancouver, WA 98683
purplebirdart@gmail.com
harrison, hilary
14 Great hill Road
Gloster, MA 01930
978.491.8148
hilharrison14@gmail.com
v Accredited Craft Supplier/ Manufacturer
Sourcebook 2015
haunstein, Lynn
3105 Walnut Street
harrisburg, PA 17109
717.657.9737 phone & fax
lynnp1953@aol.com
hoffman, Daniel
142 Jordan Road
Williamsville, NY 14221
716.632.0529
glassmandan142@gmail.com
haynes, Christopher
See A & h Art & Stained Glass
Company, Inc.
holdman, Tom
3001 N. Thanksgiving Way
Lehi, uT 84043
801.766.4111 phone & fax
tommail@holdman.com
hayes, Christopher
P.O. Box 292
Canton, CT 06019
860.313.0330
alsg@autumnlightstudio.com
helf, Gary
222 East Sycamore Street
Columbus, Oh 43206
800.848.7683 614.221.5223 fax
gary@franklinartglass.com
hershey, Kevin
See hershey Stained Glass Studio
hiemer, Gerhard
1047 Motorcoach Drive
Polk City, FL 33868
josiengerry@yahoo.com
higby, Shirley
4010 N. Boulevard Avenue
Peoria heights, IL 61616
higgins, Gene E.
P.O. Box 777
Front Royal, VA 22630
540.636.1607 540.636.6114 fax
gene@epiphanystudios.org
hipple, Amy J.
4411 Alkire Road
Columbus, Oh 43228
614.878.4981
ghipple@columbus.rr.com
holden, Beverly
935 Market Street
Truesdale, MO 63383
636.456.7017 636.456.0717 fax
glassgardenllc@centurytel.net
hollman, Richard M.
See City Glass Specialty, Inc.
holmes, Ann
31 Alclare Drive
Asheville, NC 28804-2245
828.255.2667
annholmesstudios@gmail.com
hone, Thomas A.
131 W. Logan Street
Celina, Oh 45822
419.586.5044 419.733.4699 cell
419.586.3483 fax
hone.glass@gmail.com
hoover, Richard L.
30 G Street
Lake Lotawana, MO 64086
rickhooverinca@aol.com
hope, Susan
7106 hebron Church Road
Mebane, NC 27302
everhopedesigns@gmail.com
hough, Scott
1714 Acme Street
Orlando, FL 32805
407.841.7594
benton310@gmail.com
hovey, Lyn C.
See Lyn hovey Studio, Inc.
hoefer, Scott
910 S. Main Street
South hutchinson, KS 67505
620.663.1778 620.663.8686 fax
hoeferstainedglass@yahoo.com
R Accredited Professional Studio
T Accredited Artist/Designer
92
www.stainedglass.org
w Professional Studio
v Ed Hoys International
Cleve Fenley
27625 Diehl Road
Warrenville, IL 60555-3838
800.323.5668 630.836.1362 fax
info@edhoy.com
www.edhoy.com
huber, holly
101 W. College Blvd.
Roswell, NM 88201
575.624.8196 575.624.8018 fax
huber@nmmi.edu
hyams, harriet
P.O. Box 178
Palisades, NY 10964
845.359.0061 845.359.0062 fax
harriart25@gmail.com
Johnson, Robert G.
862 N. Prairie Street
Galesburg, IL 61401
309.342.3475
johnsonrg@grics.net
James, Maureen
P.O. Box 69
Westport, KY 40077-0069
800.719.0769 502.222.5631
502.222.4527 fax
maureen@glasspatterns.com
Jones, Robert O.
2854 Laris Drive
Tallahassee, FL 32303
850.544.9462
robertsenoj@gmail.com
Joy, Kim
13315 huntington Lane
Woodbridge, VA 22193
703.623.0905
kim@kimsjoy.com
Jamieson, Deborah S.
680 Strathy hall Road
Richmond hill, GA 31324
904.272.6103
deborah.jamieson@armstrong.edu
hummell, Jerry
801 South 7th Street
Burlington, IA 52601-5826
319.754.6158
jerryhummellglas@msn.com
Sourcebook 2015
Jayson, Robert
See S.A. Bendheim Co., Ltd.
Jensen, Ron
164 Russell Road
New Lambton
New South Wales 2305
Australia
61.249.523.072 phone & fax
Johnson, Barbara
511 S. Arch Street
Aberdeen, SD 57401
605.229.5988
prairielitdcbj@aol.com
T Accredited Artist/Designer
93
www.stainedglass.org
Jordan, Kathy
316 Media Station Road
Media, PA 19063
610.891.7813 610.891.0150 fax
aog1987@aol.com
Judson, David
See The Judson Studios
Kaiser, Jacki
602 S. East Street
Culpeper, VA 22701
540.825.0438
l Active Accredited Studio
w Professional Studio
Sourcebook 2015
Kasmark, Benjamin J.
1045 Ransom Road
Dallase PA 18612
570.690.2363
bjkas@aol.com
Kimmel, David M.
1717 Appleway
St. Thomas, PA 17252
717.729.3751
kimmeld3@yahoo.com
Klasna, Steve
1960 W. Stonehurst Dr. #700
Rialto, CA 92377
stevejk2@msn.com
Laisun, Peng
1127 Jing Lian Road
Minhang District
Shanghai 201108
China
Laks, Sylvia
See Sylvia Laks Stained Glass Art
Studio and Gallery
Kawamoto, Akihiko
3-11-26 Minaminumagami Aoi-ku
Shizuoka 420-0905
Japan
81.54.2643.934 81.54.2648.112 fax
glass-kawamoto@rio.odn.ne.jp
Kebrle, Irmgard
See Kebrle Stained Glass Studio, Inc.
Kebrle, John
2829 Bachman Drive
Dallas, TX 75220
214.357.5922 phone & fax
kebrlestainedglass@yahoo.com
Keller, Liudvika R.
266 Lamb Place
Golden, CO 80401
303.552.1965
liudvikakeller@yahoo.com
Kelly, Sister Ann Therese
265 Chairfactory Road
Elma, NY 14059
201.213.9789
kellyat@felician.edu
Kenehan, John C.
41844 Bear Creek Road
Springville, CA 93265
559.539.3571
Killian, Judy
P.O. Box 281
Fairfield, ID 83327
907.683.2551
judyk@mtaonline.net
Kipphan, Beverly
503 Arran Lane
hedgesville, WV 25427
304.258.5494
arranartglass@aol.com
Klopsch, Bill
See Bill Klopsch Stained Glass
Krysztofowicz, Robert J.
11651 Liberia Road
East Aurora, NY 14052
rob.anythingartco@gmail.com
R Accredited Professional Studio
T Accredited Artist/Designer
94
www.stainedglass.org
Lackey, Dennis L.
See Statesville Stained Glass, Inc.
LaCombe, Andy
148 Main Street
New Rochelle, NY 10802
914.235.4554 phone & fax
a1acombe@aol.com
Laken, Kirsten
174 Mast Gully Road
Fern Creek Victoria 3786
Australia
03.9754.6807
spiritofglass@bigpond.com
Lambrecht, Kristi
715 South 12th Street
Omaha, NE 68102
402.342.3330 402.342.3331 fax
kristi@lambrechtglass.com
Langille, Karen L.
69 Fall River Avenue
Rehoboth, MA 02769
508.336.5455 508.336.0952 fax
karensge@comcast.net
l Active Accredited Studio
w Professional Studio
Sourcebook 2015
LaRanger, Ray
807 Route 52
Carmel, NY 10512
845.225.6956 845.225.6959 fax
laranger26@gmail.com
Levy, Doron S.
1964 Coney Island Avenue
Brooklyn, NY 11223
718.645.6675 718.375.7520 fax
dslevy1@gmail.com
Larsen, Sandra K.
1840 Elaina Loop
Leander, TX 78644
915.598.6196 915.590.3660 fax
sklds1@aol.com
Lewis, Bryan
616 B Lynn Street
Lees Summit, MO 64063
816.977.6117
bryanwlewis@yahoo.com
LaTona, Vince
1600 Genessee Street, #353
Kansas City, MO 64102
latonaarchitects@yahoo.com
Limbaugh, Patricia
1325 11th Avenue
havre, MT 59501
cyclostudios@gmail.com
Lau, Wendy
203 Oak Grove Road
Bradfordwoods, PA 15015
wel53@pitt.edu
Lauer, Michael
720 Osseo Avenue S.
St. Cloud, MN 56301
320.251.2330
micstgl@yahoo.com
Laws, Michael A.
See Laws Stained Glass Studios, Inc.
LeBlanc, Whitney J.
490 Sunset Drive
Angwin, CA 94508
707.965.9729
wjljr2@aol.com
Lee, James D.
39 Selkirk Street, 2nd Floor
Staten Island, NY 10309
jimi_lee@msn.com
Llorens, Frank D.
814. Ronald Wood Road
Winder, GA 30680-0755
678.219.0230 678.219.0233 fax
frankllorensjr@llorensleadeartglass.com
Lohmeyer, Jane S.
171 McIntyre Court
Valparaiso, IN 46383
219.464.2504
jane.lohmeyer@valpo.edu
Low, Colleen
P.O. Box 36061
Kansas City, MO 64171
816.694.9121
clow2009@gmail.com
Lerew, Bryan
See Cumberland Stained Glass, Inc.
Levathes, Connie
1722 15th Street
Oakland, CA 94607
415.418.4909
info@heliosartglass.com
Livak, Boris
5617 West 151st Terrace
Overland Park, KS 66223
913.710.5617
bliv7543@gmail.com
Lowell, Paul R.
209 Fourth Avenue South
Edmonds, WA 98020
pklowell@juno.com
T Accredited Artist/Designer
95
www.stainedglass.org
Maddy, Emily
209 underhill Avenue Apt. 1B
Brooklyn, NY 11238
Maiberger, Sabine
P.O. Box 33
Fletcher, OK 73541
peaceluvglass@tds.net
Malena, Richard
55 33rd Street
Wheeling, WV 26003
304.232.7174
richardmalena@comcast.net
Mandapa, Asha
140 Goyal Park, Judges Bungalow
Vastrapur Ahmedabad
Gurarat 380015
India
91.79.65229.133 91.79.26743.648 fax
ashamandapa@hotmail.com
Mandelbaum, Ellen
See Ellen Mandelbaum Glass Art
Markert, Robert C.
9023 Black Powder Lane
Louisville, KY 40228
502.231.5634
bmarkert@fenestraarts.com
w Professional Studio
Sourcebook 2015
Meadows, Boyd
P.O. Box 549
Milton, WV 25541
304.743.3791
bem549@aol.com
Martin, Edie
6520 Granada Lane
Eagle, ID 83616
208.870.0340
edie_martin@hotmail.com
Masaoka, Alan
13766 Center Street #G-2
Carmel Valley, CA 93924
masaoka@mbay.net
v MAYCO Industries
Jennifer Banbury
18 West Oxmoor Road
Birmingham, AL 35209
800.749.6061
205.942.4242 205.945.8704 fax
jennifer@maycoindustries.com
www.maycoindustries.com
Mayer, Pam
109 Lion Walk
Marble hill, GA 30148
706.265.3075 phone & fax
McCartney, Valerie
See Full Spectrum Stained Glass, Inc.
McCloskey, Amy
1212 Cathedral of Learning
Pittsburgh, PA 15260
412.624.4157 412.624.4155 fax
alm245@pitt.edu
McDaniel, Scott h.
185 West Farms Road
Northampton, MA 01062
413.584.0938
scott.mcdaniel185@comcast.net
McDougal, Mitchell
10105 SW hall Blvd.
Portland, OR 97223
503.246.9897 503.246.9848fax
info@rosesglassworks.com
McElfresh, Colleen
2163 Jefferson Davis hwy #103
Stafford, VA 22554
540.720.4296
info@bluebirdstainedglass.com
McGowan, Jeff
10900 SW 24th Avenue
Gainesville, FL 32607
Melser, harold
13 Oak Ridge Drive
Columbia, IL 62236-1980
618.604.1318
ham6542@gmail.com
Mertz, h. B.
See Renaissance Glassworks, Inc.
Meyer, Michael
5911 Old Floydsburg Road
Crestwood, KY 40014
Miwa, Junji
See Jujo Co., Inc.
Moffatt, Cole
301 Tappan Street
Columbus, Oh 43201
cole.moffatt@gmail.com
Mominee, Jules T.
See Mominee Studios, Inc.
Monti, Kathy
P.O. Box 223
Berthold, ND 58718
glassykathy@yahoo.com
Michaud, Sheryl
21337 Rizzo Avenue
Castro Valley, CA 94546-6221
510.885.1556
Moore Paul
50 Thatcher Street
hyde Park, MA 02136
617.361.1207
paulpmoore@comcast.net
Mezalick, Nidia M.
See Mezalick Design Studio, LLC
Millard, Victoria
2252 Dixie Drive
York, PA 17402
603.831.6825
kearmill2@mac.com
Miller, Patricia
4194 Millers Mill Road
Trinity, NC 27370
windsongglassstudio@gmail.com
Miller, Steve
914 Goat Island Road
Gladys, VA 24554
434.283.3836
laketown@centurylink.net
Mills, Ralph
See Pittsburgh Stained Glass Studios
Mitchell, Mathew
15 E. Philadelphia Street
York, PA 17401
mmitchell@rudyglass.com
R Accredited Professional Studio
T Accredited Artist/Designer
96
www.stainedglass.org
Mooers, Kelley
3625 50th Avenue SW
Seattle, WA 98116-3214
206.932.9140
kelleyandsue@msn.com
Moorman, Jay
1054 Central Avenue
Middletown, Oh 45044-4009
513.425.7312 phone & fax
beauverre@cinci.rr.com
Morman, Tammy
13680 Road P
Columbus Grove, Oh 45830
419.659.2440
rtmorman@watchtv.net
Morrow, David
615. E. 10th Street
Vinton, IA 52349
drrow420@q.com
Moses, Roger L.
P.O. Box 1022
Kurtistown, hI 96760
808.968.1415
rmosesglass@aol.com
l Active Accredited Studio
w Professional Studio
Sourcebook 2015
Myers, Peggy
26 Abbie Road
York, PA 17408
717.792.1740 phone & fax
ehrhartstainedglass@hotmail.com
Nason, Lori
110 Chain Lake Drive
Vantage Point 3E
halifax, NS B3S 1A9
Canada
902.876.5167 902.876.7132 fax
lori@cranberrystainedglass.com
Ohara, Valerie
180 St. Paul Street
Rochester, NY 14604
585.546.7570
vohara@frontiernet.net
Oldar, Leslie
24228 hawthorne Blvd., #B
Torrance, CA 90505
310.373.5600
leslieoldar@yahoo.com
Olive, Cindy
315 Carol Lane
Midland, TX 79705
Netts, Elizabeth M.
P.O. Box 2101
Suffolk, VA 23432-0101
757.483.3037
mmglasswks@aol.com
Onion, Cindy
1410 Lloyd Place
Escondido, CA 92027
cindy@zwieble.com
Noelscher, Sam
864 Finnell Pike
Georgetown, KY 40324-9032
samiam@qx.net
Orme, Amalie
5128 Del Moreno Drive
Woodland hills, CA 91364
amalieorme@gmail.com
Nordmeyer, Kristine
See IhS Studios, Inc.
OShea, Robert
55 Cliffside Drive
Wallingford, CT 06492
203.294.1661
thecolorsoftime@att.net
Norquist, Mark
7011 Serenity Circle
Anchorage, AK 99502
mcnorquist@gmail.com
Oster, Cliff
639 holden hill Road
Langdon, Nh 03602
603.835.6235
ceoster@aol.com
Nyfeler, Yvonne
1320 N 13th Street
Atchison, KS 66002
the_glass_addict@hotmail.com
Palmer, Al
See Gaytee/Palmer Stained Glass
Studio
Parham, Ben
See State of the Art, Inc.
Parham, Laura
1345 hillman Road
Knoxville, TN 37932
865.310.7311
stgl90@gmail.com
Parrendo, Nicholas
See hunt Stained Glass Studios, Inc.
Patterson, Anne
1142 Rhode Island Street
Lawrence, KS 66044
fivepatt@aol.com
Patton, John
7223 Ridge Road
Frederick, MD 21702
301.471.5866
glassdr69@gmail.com
Paulson, Dana C.
38 Chapin Road
hampden, MA 01036
carl.dana@verizon.net
Paulson, Ken
67 Ridge Road
upton, MA 01568
508.529.6950
ken@paulsonstainedglass.com
Pederson, Margaret
15687 Cranbrook Street
San Leandro, CA 94579
510.351.1324
mpederson@seaofglass.net
Perry, Elizabeth E.
See Perry Stained Glass Studio
Perry, Kathy
5220 N. Randolph Road
Kansas City, MO 64119
chickadeeglass@gmail.com
OBrien, Kevin
See OBrien Stained Glass Co., Inc.
v Accredited Craft Supplier/ Manufacturer
T Accredited Artist/Designer
97
www.stainedglass.org
w Professional Studio
Phelps, Paul
See Oakbrook-Esser Studios, Inc.
Pickel, Paul
See Conrad Pickel Studio, Inc.
Piercey, James T.
See J. Piercey Studios, Inc.
Pietraszek, Barry
225 Blythe Creek Drive
Blythewood, SC 29016
508.758.6495 508.758.8015 fax
captbarryp@aol.com
Polish Janae L.
P.O. Box 11656
Marina Del Rey, CA 90295
310.823.3215
pebsprecious@hotmail.com
Sourcebook 2015
Portman, Pierre
5455 Guhn Road
houston, TX 77040
713.460.0045
texas@hollanderglass.com
Portzer Judson
1102 McCullough Avenue NE
huntsville, AL 35801
256.318.7866
portzerart@hotmail.com
Posner, Barbara M.
P.O. Box 14713
Tumwater, WA 98511-4713
suncolorsglass@comcast.net
Preston, Dale
2651 Chouteau Avenue
St. Louis, MO 63103
314.772.2611 phone & fax
staff@prestonartglass.com
Priest, Al
See Salem Stained Glass, Inc.
Prigg, Richard
16 S. Wycombe Avenue
Lansdowne, PA 19050
267.251.6804
richardprigg@me.com
Putirskis, Paula
1870 30th Avenue
Baldwin, WI 54002
715.684.5277
puttales@baldwin-telecom.net
Pye, David L. Ph.D.
264 Spruce Lake Road
Little Falls, NY 13365
315.429.3303
ldp314@aol.com
Rambusch, Martin
See Rambusch Decorating Company
Rarick, Jon
See Reusche & Co. of TWS, Inc.
T Accredited Artist/Designer
98
www.stainedglass.org
Ratulowski, Mike
1741 N 75th Court
Elmwood park, IL 60707
isabel.ratulowski@rosedmi.com
Raynal, John M.
See Raynal Studios, Inc.
Raynie, Guillermo
4405 Mgr. de-Laval
Trois-Rivieres QC G8Y 1N2
Canada
819.373.3773
info@vitrauxraynie.ca
Reber, Kirk
See Creative Glassworks, Inc.
Reed, Karen
12048 West Ridge Drive
huntsville, AL 35810-6110
256.859.0897
earthstar@mchsi.com
Reid, Andrea.
See Franklin Art Glass Studios, Inc.
Reid, Therese
907 Woodland heights Drive
Louisville, KY 40245
Reier, Ekaterina
105 Cameron Pines Drive
Sanford, NC 27332
910.985.3136
kittiastra@gmail.com
w Professional Studio
Sourcebook 2015
Reiser, David
131 West State Street
Athens, Oh 45701
740.592.5615
reiser@rvcarchitects.com
Richard, Jean-Yves
1770 Chemin Gomin
Sillery, QC G1S 1P2
Canada
418.527.7444
info@atelier-in-vitraux.com
Rigdon, Thomas
650 Reed Street
Santa Clara, CA 95050
408.748.1806 408.748.0160 fax
studio@hylandstudio.com
Ritchey, Dennis
4842 Trailwood Drive
Grand Prairie, TX 75052
dennisritchey@sbcglobal.net
Roberson, Bill
3031 Main Street
Columbia, SC 29201
803.929.0707 803.251.0155 fax
billr5787@aol.com
Robertson, Gresser
P.O. Box 2206
Jamestown, NC 27282
336.454.5728
groberts65@triad.rr.com
Robinson, Paddy
559 hill End Road
Sofala NSW 2795
Australia
2.633.77178 2.633.77183 fax
finglinn@aussiebroadband.com.au
Rogers, Patricia
760 17th Street
Rock Island, IL 61201
309.786.1597
pat@glasshjeritage.com
Rosa, Roberto
21 highland Circle
Needham, MA 02494-3032
781.449.2074 781.449.0821 fax
roberto@serpentinostainedglass.com
Rose, David
382 Greenfield Drive
Lexington, NC 27295
hclstainedglass@gmail.com
Roslof, Laura
West 5409 Kenosha Drive
Elkhorn, WI 53121
262.742.4020 262.742.2050 fax
roslof.design@gmail.com
Rothman, Kathleen Bromley
29146 uS highway 19
Clearwater, FL 33761
727.786.7070
katglass@aol.com
Rothman, Victor
1468 Midland Avenue, #5A
Bronxville, NY 10708
914.969.0919 914.237.2032 fax
vrforsg@gmail.com
Rougeux, Deacon Mark
2606 Evergreen Wynde
Louisville, KY 40223
Rubel, Diana
P.O. Box 1249
Gig harbor, WA 98335
253.861.1372
educationglass@gmail.com
R Accredited Professional Studio
T Accredited Artist/Designer
99
www.stainedglass.org
Ryckman, hayley
P.O. Box 648
Pinedale, WY 82941
740.215.1762
hayley@stainedglasssundays.com
Samick, Donald
See The J. & R. Lamb Studios, Inc.
Sas, James F.
241 Sugar hill Road
Tolland, CT 06084
860.871.7483
james_f_sas@sbcglobal.net
Schaefer, Edward
1858 Allenby Street
Victoria, BC V8R 3B7
Canada
250.370.1344 250.370.1341 fax
esglass@telus.net
Schalk, Kathleen
P.O. Box 525
Mount Prospect, IL 60056
847.404.8126
kathleen@artlgasschicago.com
Schelkun, Patrice
167 hilltop Drive
Churchville, PA 18966
215.837.0251
schelkunstudioarts@gmail.com
Schella, Richard
330 Cameron Street
Moncton NB E1C 5Z4
Canada
kate.schella@gmail.com
Schenck, Elizabeth
1602 Eastwood Drive
Slidell, LA 70458
carouselglass@bellsouth.net
w Professional Studio
Schlicker, David C.
4310 S.E. Division
Portland, OR 97206
503.231.0086 503.230.1620 fax
davidschlicker@gmail.com
Schoem, Mark
333 W 7th Street
San Pedro, CA 90731
markschoem@gmail.com
Schultz, Mary
24076 County 22
Browerville, MN 56438
genesisstainedglass@yahoo.com
Schwoerer, Daniel
See Bullseye Glass Company
Schweitzer, Robin L.
631 N. Liberty Street
Waynesboro, GA 30830
706.722.8959 706.722.7953 fax
schweitzerartglass@gmail.com
Scott, Rodney W.
4025 S. 48th Street
Lincoln, N.E. 68506
402.420.2544 402.420.0472 fax
glassart@windstream.net
Serban, William
948 El Nido Court
Grants, NM 87020
505.287.3830
bserban@nmsu.edu
Serviente, Tony
201 E. Tompkins Street
Ithaca, NY 14850-3635
tsglass314@gmail.com
Sevonty, Andrea
204 S. Vernon
Dearborn, MI 48124
313.622.5582
asevonty@gmail.com
Shaw, Kevin
330 Los Nogales
Sequin, TX 78155
kevin.shaw@live.com
Shea, Frederick B.
15 Commercial Drive
hampden, MA 01036
800.883.5052 413.566.2935 fax
fred@stainedglassresources.com
v Accredited Craft Supplier/ Manufacturer
Sourcebook 2015
Shea, Sue
See Stained Glass Resources, Inc.
Sheets, Maria
4204 harvest hill Court
Carrollton, TX 75010
972.672.8965
mvsheets@verizon.net
Shields, Michael J.
See Creative Stained Glass Studio
Shobe, Dennis F.
See Shobes Stained Glass Art Studio
Simmons, David A.
See Jennifers Glassworks, LLC
Slate, Bryan M.
28 Markham Road
East Long Meadow, MA 01028
508.265.2940
bryan.m.slate@gmail.com
Slessor, Scott
114 Dufferin Road
Ottawa ON K1M 2A6
Canada
613.744.5155
slessorsa@gmail.com
Slovikosky, Carol
612 S. Queen Street
Martinsburg, WV 25401
304.263.4613
parrish04@hotmail.com
Slutz, Gregory
4609 Laurel Street
Bellaire, TX 77401
713.666.1559
gslutz@gmail.com
Smith, Karl
6400 Cutter Road
Apple Creek, Oh 44606-9670
330.698.1615
glassmith6400@aol.com
Smith, Ken
419 Arbor Way
Seneca, SC 29672
Smith, Olive R.
33 herrada Road
Santa Fe, NM 87508
505.466.7512 505.466.4637 fax
craftsmithstudios@gmail.com
Soos, David
30 Maumelle Curve Court
North Little Rock, AR 72113
800.791.7667 501.758.8655 fax
info@soosstainedglass.com
South, Ellen
1200 Getty Center Drive
Los Angeles, CA 90049
esouth@getty.edu
Speake, Robert C.
See Lynchburg Stained Glass Co.
Smith, Jeff G.
P.O. Box 1126
Fort Davis, TX 79734
432.426.3311 432.426.3366 fax
jgs@archstglassinc.com
R Accredited Professional Studio
T Accredited Artist/Designer
100
www.stainedglass.org
w Professional Studio
Stanton, Bryant
See Stanton Glass Studio, LLC
Sourcebook 2015
Stewart, Arvis
1610 S. Taylor
Amarillo, TX 79102-3136
806.372.2516 phone & fax
arvis.stewart@suddenlink.net
Stone, Martin J.
P.O. Box 225
Avon, MN 56310
320.356.9211 phone & fax
info@stonehousestainedglass.com
Stratton, Scott R.
57 Valley Brook Road
Feeding hills, MA 01030
413.846.3115
scottstratton@comcast.net
Strickland, Michael
See Stained Glass Associates, Inc.
Suevel, Markay
870 S. Arthur Avenue
Arlington heights, IL 60005
224.735.2376
suevelstudios@gmail.com
Sussman, David
See J. Sussman, Inc.
v J. Sussman, Inc.
David Sussman
109-10 180th Street
Jamaica, NY 11433
718.297.0228 718.297.3090 fax
sales@jsussmaninc.com
www.jsussmaninc.com
See Our Company Ad on Page 48
Sutkus, Alfredas
2625 Pirates CV #4
Schaumburg, IL 60173
773.526.1127
glassartlight@gmail.com
Swanson, Gary R.
P. O. Box 405
Mill City, OR 97360
503.897.2929
ssg@wvi.com
Sweet, Carey
22306 Dog Bar Road
Grass Valley, CA 95949
carey@visionsinglass.com
T Accredited Artist/Designer
101
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Tadzynski-Moore, Carol
167 Leary Road
honey Brook, PA 19344
717.405.0942
carol@moorecustomartglass.com
Tatina, Sister Marie Oblate OSB
See Artistic Designs Enterprises
Tatum, Dee
104 South 10th Avenue
hattiesburg, MS 39401
601.550.4137
dwt@seraphimglass.com
Thiese, James
6030 North Northwest highway
Chicago, IL 60631
773.763.5511 773.763.5522 fax
jthiese@sbcglobal.net
Tillay, Phillippe Gilbert
5210 S. 364th Street
Auburn, WA 98001
pgtillay@yahoo.com
Tompkin, harry
643 South 25th Street, Ste.1
Lincoln, N.E. 68510
402.476.9661 402.476.5069 fax
palaceglas@aol.com
Turner, Rickey R.
3293 Ashwood Road
Mount Pleasant, TN 38474
931.379.0546 931.325.5067 fax
turnersglassart@charter.net
l Active Accredited Studio
w Professional Studio
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ureneck, Peter
P.O. Box 870035
Milton, MA 02187
617.288.9861
purneck@yahoo.com
Wallis, Susan
38 East Montecito Avenue, #7
Sierra Madre, CA 91024
626.796.2475 626.355.2899 fax
swallisglass@verizon.net
Warner, Ray
1131 San Dieguito Drive
Encinitas, CA 92024
760.436.0404
Valuck, Amy E.
P.O. Box 1044
Media, PA 19063
aevaluck@gmail.com
Vinnola, Nancy
4767 East 49 South
Idaho Falls, ID 83406-8114
208.523.1855 208.523.1420 fax
nleevinnola.glassgarden@gmail.com
Vizzier, Benton
P.O. Box 251
Ben Lomond, CA 95005-0251
510.441.1410
ben@vizzier.com
Vollebregt, Leo
Ijsselstraat 20
Nieuwegein 3433 BG
Netherlands
ovg(at)xs4all.nl
Watkins, Phil
3821 South Broadway
Englewood, CO 80113-3613
303.798.1515 303.789.5732 fax
watkinsglass@aol.com
Wende, Raymond
1221 North 56th Terrace
Fort Smith, AR 72904
bwendera@gmail.com
Werth, harold J.
2216 Wallonnie Drive
Marshfield, WI 54449
Wetzel, James
4636A State Route 133
Batavia, Oh 45103
513.724.2877
wetzeljf@fuse.net
White, Kirsten
2534 Liberty Lane
Denton, TX 76209
512.818.1072
kannelipp@gmail.com
Whitefield, Kate
64 high Street #7
Greenfield, MA 01301
978.771.9946
whitefieldstudios@gmail.com
Weaver, Stephen
See CAFF Company
Whitworth, Cindy
104 Melody Lane
New Braunfels, TX 78130
830.683.7207 830.620.5399 fax
cwhitworth54@yahoo.com
Weber, Jyl D.
2413 Oak Place
Gulfport, MS 39501
228.342.0316
acadianglassart@gmail.com
Weaver, Ron
See Jacksonville Art Glass
Webb, Walter W.
131 Bumstead Road
Monson, MA 01057
413.267.3516
wadewebb@comcast.net
Weischowsky, Lynda
Box 45, Cooks Run Road
Greenville, WV 24945
304.832.6813
R Accredited Professional Studio
T Accredited Artist/Designer
102
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Wichowski, Linn
440 Old Mill Road
Gettysburg, PA 17325
717.398.2088
lwichowski@comcast.net
Wicker, Charles
800 Eastchester Drive
high Point, NC 27262
336.889.0197 336.885.4949 fax
cwicker@churchinteriors.com
w Professional Studio
Wilde, David
185 Garafraxa Street South, Box 180
Durham, ON N0G 1R0
Canada
519.369.5587
bartwildman@yahoo.com
Willet, Crosby E.
1250 West Southwinds Blvd., #110
Vero Beach, FL 32963
772.234.8824 772.234.3790 fax
crosby.willet@willethauser.com
Williams, Dianne
P.O. Box 244
Welches, OR 97067
503.668.9944
grapevinestainedglass@hotmail.com
Willis, Angela M.
P.O. Box 106
Farmland, IN 47340
765.468.1255
awillis719@aol.com
Wood, Christie A.
See Art Glass Ensembles
Witul, Greg
2647 Ferchen Street
Niagara Falls, NY 14304
starwarsbuffyccg1@yahoo.com
Wolf, Ann
1161 St. Paul Street
Denver, CO 80206
303.388.8350 303.388.3358
annwolff1161@comcast.net
Wilson, Stephen
1469 Laurel Street
Baton Rouge, LA 70802
225.343.2211
swsglass@gmail.com
Winterich, Daniel
29 Weller Court
Pleasant hill, CA 94523
925.943.5755 925.943.5455 fax
dw@winterich.com
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Zimmerman, Michael W.
4233 Bryant Avenue S.
Minneapolis, MN 55409
612.616.1670
eczimmy@aol.com
Zimmermann, George
32 Atlantic Avenue
Dorothy, NJ 08317
609.476.4968
zimmerg@stockton.edu
Zissoff, Mary J.
5 James Street
Seguin ON P2A 0B6
Canada
705.732.1603
trilogy3@sympatico.ca
Zodnik, Mary
See Azure Stained Glass Studio, LLC
Zoni, Bob
P.O. Box 6217
hampden, CT 06517
203.248.5650
Zambai, Janet
6753 Terrace Drive
Casper, WY 82604
307.259.3226 307.472.7019 fax
jzambai@msn.com
Zarwell, Eric
4648 W. State Street
Milwaukee, WI 53208
414.258.9080
tosaglass@att.net
Zeigler, John F.
714 National Avenue
Lexington, KY 40502
859.299.3586
zigzeigler@copper.net
Zeitz, Barney
67 Deer hill Road
Vineyard haven, MA 02568
508.693.9421
barneyzeitz@yahoo.com
Zgoda, Larry
3932 North Oakley
Chicago, IL 60618
773.463.3970
lawrencezgoda@juno.com
T Accredited Artist/Designer
103
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w Professional Studio
Sourcebook 2015
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Let us help you save time, money and speed up your selection process. Fill out the form below and send to the
SGAA headquarters. Its that simple!
The Stained Glass Association of America will send your information to our Accredited Studios. Studios interested in and capable of performing the work for your project will contact you to begin the next step in the selection process.
The SGAA headquarters is always available to help with the success of your project. A team of stained glass
experts are available with advice and answers to your questions.
Project Name:
_______________________________________________________________________
Contact Person:
_______________________________________________________________________
Phone (optional):
_______________________________________________________________________
Project Location:
Email Address:
Mailing Address:
City/ST/Zip:
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
q Non-Religious
q Restoration Project
Description of the Scope of the Project including number of windows, types of frames if needed, existing
glass to be removed, type of protective glazing if required:
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
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If known: please supply (on a separate sheet of paper) size of each opening in the project.
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result can greatly enhance the overall effect of the glass, giving it a
dazzling aliveness.
Internal texture patterns are also present in some glasses and
can be used with remarkable results. Tiffany used to make a spectacular fractured glass consisting of splinters or flakes of differently colored glass superimposed on top of each other and pressed
into a single sheet. Today, several manufacturers have succeeded in
successfully reproducing glass similar to what Tiffany made many
years ago.
Another internal pattern, called seedy, contains both large
and small air bubbles inside the glass itself. These internal texture
variations also serve to modify the way light is transmitted through
glass.
The types of glass available to the stained glass craftsperson
may seem confusing and perhaps endless. however, there are four
basic manufacturing methods used in making glass: blown glass,
drawn glass, rolled glass and poured glass. These four basic types
of glass, plus some miscellaneous glasses that are difficult to categorize, encompass virtually every glass used by the stained glass
craftsperson.
The unique characteristic of glass is, of course, that glass
allows light to pass through it. Glass has a different index of refraction than air; thus light rays passing through any glass will be
altered. Imperfections in the glass itself, including variations in the
thickness of the glass or flaws in the glass, create a changing shimmer or iridescence. For these reasons, glass used in the stained glass
craft is produced in a manner to encourage these imperfections.
Following are descriptions of these basic types of glass.
Blown Glass
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109
spinning disc. This bullion is today specially cut out of the circular
sheet of glass and sold.
Roundels are in effect bullions that are produced in a finished,
circular shape. The characteristic of the roundel is the knobby mark
in its center where the rod has been cracked off. Machine-pressed
roundels are identified by their centers, which are not as pointed as
those of the hand-blown roundels. Roundels come in various colors and sizes and can be cut.
Norman Slabs or Squares: Norman slab, or bottle glass, is a
nineteenth-century invention. It is made by blowing a long bubble
of glass into a rectangular mold. A hollow box shape is left when
the mold is removed. The blowpipe end is cracked off, and the box
is divided into five pieces. The glass is of uneven thickness, but has
a brilliant effect.
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Rolled Glass
roll area. If machine rolled, the glass is ladled directly into the
rolling machine. The annealing process is essentially the same for
this glass as for antique glass. The rolling process may involve single or double rolls. Rolled glass is usually a domestic glass of uniform thickness in a wide variety of colors and patterns.
Rolled cathedral glass is smooth on one side and usually textured with one of a variety of patterns and texture characteristics.
Metal rollers on the glass impress these patterns while it is hot. The
names of these patterns generally describe the pattern. hammered
has a pebbly pattern; granite has dense texture; seedy incorporates
air bubbles, and double rolled has two smooth sides. Ripple, moss,
Florentine and Flemish are some of the more familiar long-time traditions in rolled patterned glass. These are, however, just a few of
the wide selection available on todays market.
Opalescent Glass: Opalescent glass is made in a number of
ways, including as a single color; with the
pigments that give the glass a streaky, mottled, or cloudy appearance; and with or without a surface texture. It can be both a most
beautiful and challenging glass with which
to work. This is because the pigments are
mixed into opalescent glass by hand during
manufacture, with the result that the color
patterns and tones in the glass are never
exactly the same in any two sheets.
Opalescent glass has one characteristic
that transparent glass does not: namely, that
it can be seen in both transmitted and reflected light. Opalescent glass has color impregnated into it to the extent that the pigmentation is visible by light rays reflecting off it. It
can be seen as well as seen through.
Glass Casting: One method of casting
a streaky sheet consists of scooping a partial
ladle of molten glass from one furnace, filling the ladle with glass from a second (and
sometimes a third) furnace and depositing
the molten glass onto the casting table. Once
deposited, it may be further mixed by hand
with a stainless steel rod. This casting
method requires only one caster.
There are a number of other ways to
mix hot glass:
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Ladling first out of one tank, the caster can carefully deposit a small scoop of
glass onto the surface of molten glass in the
second tank. he then removes this floating
glass island and enough surrounding glass
to fill his ladle and carries the mixture to the
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casting table.
Two casters can remove partial
ladles of glass from separate tanks simultaneously with one caster depositing his
scoop into his partners ladle before the
mixture is cast onto the rolling table.
Two casters scoop glass simultaneously from separate tanks. The first caster
drops his glass onto the table while the second caster pours his scoop over the first
scoop.
Whichever the method of mixing, the
glass is ultimately rolled into sheet form.
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Conclusion
End
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Many people, not the least of whom is Charles Connick writing in Adventures in Light and Color, believe that
stained glass reached the height of its achievement in the great Gothic cathedrals of Europe in the twelfth and thirteenth
centuries. To appreciate fully the depth and truth of this view, it is necessary to examine stained glass not in terms of
subject matter or craft techniques, but in terms of purpose, specifically service to the Church. The view that medieval
stained glass achieved what it did because it was able to serve as a sort of picture Bible for the illiterate masses is
widely held but is largely inaccurate.
The people of medieval Europe were mostly illiterate and uneducated, yes, but they were far from stupid. The great
windows of Chartres spoke to them not as picture paintings of far-away Bible stories but on a much more immediate
and, importantly, personal level. In this regard, medieval stained glass achieved something that is entirely possible with
modern stained glass in our highly educated and widely literate Western world: it served then as it can serve now as a
vehicle for Gods call to conversion and as a lens through which this call can be more fully understood and answered.
The Church Fathers at the Second Vatican Council, writing in Lumen Gentium, considered at length the universal call
of Gods faithful people to strive toward holiness and sanctification. They stated, significantly, that all the faithful of Christ
are invited to strive for the holiness and perfection of their own proper state. Indeed they have an obligation to so strive. Let
all then have care that they guide aright their own deepest sentiments of soul.1 This holiness to which all are obligated to
strive was described by the Council as being capable of being expressed in many ways by the individuals of the Church and
that all of the various ways in which it can be expressed would manifest in the individual in the tendency toward the perfection of charity.2
This thirteenth-century Last Judgement window (left) from the Cathedral of St. Etinne, Bourges, and this much- more modern series of windows at St. Bridget Catholic Church, while extremely different from a craft standpoint, are quite similar from
a function standpoint. That is, both of them function as a servant of the Church, and both of them engage in the holy task of
calling Gods faithful people to conversion. (Last Judgement photo courtesy of the SGAA Slide Library; St. Bridget nave
photo by Chris Eden/Eden Arts.)
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118
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Chastity, for example, need not be understood as synonymous with celibacy; instead,
it represents the control of ones sexual
appetites. Therefore, the chastity that is
proper to the married laity is found in faithfulness to ones spouse whereas the chastity
proper to the ordained priest is found in
celibacy. It may be surprising to some in the
stained glass field that a Sacrament of
Marriage window could, indeed would,
include as key to its faithful depiction of the
sacrament the concept of chastity; nevertheless, such a concept is well within the teachings of the Church and should be included in
any such window.
We can consider also the spirit of poverty
and obedience, for it is the spirit that is key and
not the logical extreme. The bishops of the
Second Vatican Council wrote in Lumen
Gentium that There are some who, in their
freedom as sons of God, renounce their own
wills and take upon themselves the state of
poverty. Still further, some become subject of
their own accord to another man, in the matter
of perfection for love of God. This is beyond
the measure of the commandments, but is done
in order to become more fully like the obedient
Christ.26 This desire to become more fully
like the obedient Christ is the central element
to growth in holiness, and it is to this end that
the spirit of the evangelical counsels motivates
the individual.
In practice among the laity, poverty need
not be embraced in a vow; the spirit of poverty is one that refuses to make an idol of
money. The same is true of obedience; to follow the spirit of obedience, one need not take
the monks vow. It is sufficient to refuse to
make an idol of self-reliance. For the stained
glass artist charged with depicting the evangelical counsels, one need not be overwhelmed by the idea of offering in glass these
abstract concepts if one realizes that each of
these concepts has its finest example in Christ
and its most perfect motivation in the individuals love for God and the recognition of the
created as being dependent on the Creator.
Finally, if the virtues and the evangelical
counsels seem abstract and difficult concepts
to visualize in stained glass, then prayer
which can be expressed as an action must
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If a stained glass
119
Notes
1. Lumen Gentium, Chapter V, Article 42
2. Lumen Gentium, Chapter V, Article 39
3. Matthew 22: 36-40
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10. Summa Theologica, Second Part of the Second Part, Question 30:
Of Mercy, Article One
11. Ibid, Article Three
12. Ibid, Article Four. Saint Thomas Aquinas allows, however, that
among all virtues, charity considered as a divine attribute unites
man to God and excels mercy.
13. The Spiritual Acts of Mercy are to instruct the ignorant; to counsel
the doubtful; to admonish sinners; to bear wrongs patiently; to forgive offenses willingly; to comfort the afflicted; to pray for the living and the dead.
14. The corporeal Acts of Mercy are to feed the hungry, to give drink
to the thirsty, to clothe the naked, to house the homeless, to visit the
sick, to ransom the captive, and to bury the dead.
15. The sad origin of the distaste for these themes stems largely from a
misunderstanding of what they truly mean and from the all-toocommon misunderstanding of happiness often encountered in the
modern world. If happiness is defined in terms of freedom from as
in, freedom from all repression and moderation, freedom from
repercussion as a result of speech, or freedom from the consequences of ones actions instead of in terms of freedom for as
in, freedom for growth in holiness, freedom for study and an
increase in understanding, or freedom for the expression of charity
then freedom becomes nothing more then license. Certainly, the
clever linguist can change freedom from all repression and moderation to freedom for excess and vice, but the simple fact remains that
a Christian definition of happiness finds its origin not in describing
the absolute limits before one faces prosecution in a court of law,
but in delineating the expected modes of thought and behavior for
responsible growth in holiness as a human person.
16. Matthew 22: 36-40
29. Of course, the prayer must be properly made, which means it must
be made from the heart properly conformed to Gods will.
30. Catechism of the Catholic Church, 2725
18. Of course, all aspects and elements of the growth in holiness are in
some way related. It is in the nature of that which is good to support
that which is good.
19. When one considers that kindness motivates meekness and humility, while meekness and humility, in their turn, advance kindness, it
is particularly striking how kindness is so universally embraced by
modern society, and yet many people will outright reject humility
and meekness as something for which to strive. The easy conclusion
is that everyone wants to receive kindness, but few are willing to
give it. however, the truth is always much more complex than the
easy conclusion. There are many who long to give kindness, but do
not know how. A person will recognize kindness when he sees it,
and he will offer it when he is able but because so many lack a
basic understanding of the root of kindness, it frequently becomes
End
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Brief Bibliography
Adams, henry and others. John La Farge, Abbyville Press, New York, 1986.
Armitage, E. Liddell. Stained Glass, History, Technology and Practice. Newton, Mass: Chas. T. Branford Co. 1958.
Arnold, hugh and Lawrence B. Saint. Stained Glass in England and France. New York: The Macmillan Company. 1955.
Baker, John. English Stained Glass. New York: harry N. Abrams Inc. 1960.
Brady Darlene and William Serban. Stained Glass: A Guide to Information Sources. Detroit: Gale Research Company. 1980.
Brisac, Catherine. A Thousand Years of Stained Glass, Doubleday & Co., New York, 1986.
Brown, Sarah. Stained Glass: An Illustrated History, Crescent Books, distributed by Outlet Book Co., 1992
Caviness, Madeline harrison. The Early Stained Glass of Canterbury Cathedral. Princeton: Princeton university Press. 1977.
Census of Stained Glass Windows in America, Conservation and Restoration of Stained Glass. Stained Glass Associates, Raleigh, NC
1988 (Available from Stained Glass Association of America).
Clark, Brian, Ed. Architectural Stained Glass. London: McGraw-hill, Inc. 1979.
Connick, Charles J. Adventures in Light and Color. New York: Random house. 1937.
Cowen, Painton. Rose Windows. San Francisco: Chronicle Books. 1979.
Day, Lewis F. WindowsA Book About Stained and Painted Glass. London: R. F. Batsford; New York: Scribners. 1879.
Divine, A. F. and G. Blackford. Stained Glass Craft. New York: Dover Publications Inc. 1972.
Drake, Maurice. A History of English Glass-Painting. London: T. Werner Laurie. 1911.
Duncan, Alastair. Louis Comfort Tiffany, henry Abrams, New York in association with The National Museum of American Art,
Smithsonian Institution, 1992.
Eden, F. Sydney. Ancient Stained and Painted Glass. Cambridge: The university Press. 1933. (First Edition, 1913).
French, Jennie. Design for Stained Glass. New York: Van Nostrand Reinhold Co. 1971.
Freund, Miriam. Jewels for a Crown. New York: McGraw hill Book Co. 1962.
Grodecki, Louis. Chartres. New York: harcourt Brace and World, Inc. 1963.
hill, Robert and Jill and hans halberstadt. Stained Glass, Music for the Eye. Oakland: The Scrimshaw Press. 1976.
holiday henry. Stained Glass As An Art. London: Macmillan and Co., Ltd. 1896.
Johnson, James Rosser. The Radiance of Chartres. New York: Random house. 1964.
Koch, Robert. Louis C. Tiffany, Rebel in Glass. New York: Crown Publishers. 1982.
Le Couteur J. D. English Mediaeval Painted Glass. London: Society for Promoting Christian Knowledge. New York and Toronto:
Macmillan. 1926.
Lee, Lawrence, George Seddon, and Francis Stephens. Stained Glass. New York: Crown Publishers, Inc. 1976.
Lloyd, John Gilbert. Stained Glass in America. Jenkintown: Foundation Books. 1963.
McKean hugh F. The Lost Treasures of Louis Comfort Tiffany. New York: Doubleday & Company Inc. 1980.
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Read, herbert. English Stained Glass. London and New York: G.P. Putnams Sons. 1926.
Reyntiens, Patrick. The Beauty of Stained Glass. Bullfinch Press of Little, Brown and Co. Inc. Boston, Toronto, London. 1990.
Rigan, Otto B. New Glass. San Francisco: San Francisco Book Company, Inc. 1976.
Rubin, William S. Modern Sacred Art and the Church of Assy. New York: Columbia university Press. 1961.
Schaffrath, Ludwig. Stained Glass + Mosaic. Scherpe Verlag, Krefeld. 1977.
Scobey, Joan E. Stained Glass Traditions and Techniques. New York: The Dial Press. 1979.
Sewter Charles A. The Stained Glass of William Morris and His Circle. New haven: Yale university Press. 1974.
Sowers, Robert. The Language of Stained Glass. Forest Grove: Timber Press. 1981.
Sowers, Robert. The Lost Art. New York: George Wittenborn, Inc. 1954.
Sturm, James L. Stained Glass from Medieval Times to the Present: Treasures to be Seen in New York. E.P. Dutton, Inc., New York, 1982.
Theophilus. On Divers Arts. New York: Dover Publications Inc. 1979.
Tutag, Nola. Discovering Stained Glass in Detroit. Wayne State university Press, Detroit, 1987.
u.S. Department of the Interior,, The Preservation and Repair of Historic Stained and Leaded Glass. National Park Service Presentation Brief #33.
(from u.S. Supt. of Documents, Mail Stop SSOP, Washington, DC 20402-9328.
Westlake, N. h. J. A History of Design in Painted Glass (four volumes). London: James Parker. 1881.
White, James and Michael Wynne. Irish Stained Glass. Dublin: Gill & Son, The Furrow Trust. 1963.
Technique:
Elskus, Albinas. The Art of Painting on Glass: Techniques and Designs for Stained Glass. New York: Charles Scribners Sons. 1980.
Isenberg Anita and Seymour. How to Work in Stained Glass. Radnor: Chilton Book Co. 1972.
Mollica, Peter. Stained Glass Primers 1 and 2, the Basic Skills. Mollica Stained Glass Press, Oakland, CA. Twenty printings from 1972 through
1982.
Reyntiens, Patrick. Technique of Stained Glass. New York: Watson-Guptill Publications. 1979.
SGAA Reference and Technical Manual: A Comprehensive Guide to Stained Glass. 2nd Edition. Lees Summit: The Stained Glass Association of
America. 1992.
Twining, E. W. The Art and Craft of Stained Glass. London: Sir Isaac Pitman & Sons. 1928.
Whall Christopher W. Stained Glass Work. New York: D. Appleton. 1905. (Reprinted 1920, London: Sir Isaac Pitman & Sons).
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Abstract Design
1. A design whose forms have been reduced or modified from representational forms. 2. A design
using non-representational forms.
Ambient Light
The existing, diffused light. Light coming from many directions.
Antique Glass
Mouth-blown sheet glass with the irregularity of medieval glass. Glass blown into a large cylinder
that is cut, opened, and flattened into a sheet. Variations of antique glass may include seedy, crackle,
flashed, opal, opak, reamy and streaky. Antique refers to the techniquenot the age.
Apse
The semi-circular termination of the east end of the chancel or chapel.
Architectural Glass
Stained glass designed, made and installed to harmonize with the structure and function of a building.
Armature
A metal divisional bar or bars making a framework for supporting stained glass, usually fixed into a
wall. Also used within concrete for strengthening.
Art Deco
The style of work produced in the early twentieth century that reached its apex at the Exposition
Internationale des Arts Dcoratifs et Industriels Modernes held in Paris in 1925. Characterized by
bold geometric shapes, streamlined and rectilinear forms.
Art Nouveau
French for The New Art, an art movement popular in the 1890s and early 1900s in Europe and
America. A busy, decorative style characterized by flowing vines and flat shapes (as seen in Tiffany
glass,) and undulating lines.
Aureole
A radiant light around a head or body of the representation of a sacred person.
Autonomous Panel
A non-architectural stained glass composition.
Awning Window
A window whose sash is hinged at the top and projects out when open.
Baptistery
A separate room or building of a church containing the font.
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Bar/Barring
A solid metal bar, often steel, held by copper wire ties or solder
directly to the interior of stained glass windows for support and
reinforcement.
Baroque
1. Machine made to imitate reamy glass.2. A style of art of the
seventeenth and eighteenth centuries characterized by overblown
realism and curved figures.
Bauhaus
An artistic style derived from the principles of a German school
of architecture and design founded in 1919, and terminated prior
to World War II.
Bay
1. The space between columns. 2. One complete transverse unit
of the architecture, interior or exterior.
Bay Window
Three or more window units attached to a building so as to project outward.
Bevel
Cut and polished edge usually on plate glass at an angle other
than 90, done in stages with roughing, smoothing, cork and felt
wheel polishing.
Buttering
Applying a thin layer of putty or sealant to the flat surface before
installing a window.
Came (Calms)
Metal strips, generally u or h shaped, used to hold glass
pieces together to form a stained glass window. Originally lead,
but zinc, brass copper and lead ores are also used.
Canopy
An architectural framing device to enclose a figure or scene.
Cartoon
Full-size working drawing showing detail of leading and painting.
Casement Window
A window sash hung by hinges and fastened to the window
frame.
Cathedral Glass
Machine rolled transparent colored glass.
Cats Paw
Opalescent glass with a mottled appearance that suggests cat paw
prints.
Chancel
The east portion of the church set aside for the clergy and choir.
Channel
u shaped groove in the came in which the glass sits.
Chipped Glass
A technique where glue pulls the surface of the glass, causing it
to chip.
Clerestory
The upper part of the nave above the side aisles of a church.
Color Selection
The very careful choice of colored glass, under natural light, so
that an exact choice or replacement is possible. In restoration
work a large inventory or library is essential so that when
pieces are replaced, the selection is not constrained or limited.
Literally thousands of colors, textures, and densities are possible.
Commercial Glass
Clear heavy glass with a pattern pressed on one side.
Composition
The overall design of a finished piece containing balance of color
and linear flow.
Copper Foil
1. The mil-thickness copper material, often adhesive backed,
used to join separate pieces of glass. 2. The technique of joining
pieces of glass where foil is centered on the edge of each glass
piece, then bent over the edge to cover a very small portion of the
back and front faces of the glass. Pieces are abutted and solder is
melted over the exposed foil surfaces, causing the foil-covered
glass edges to become joined.
Crackel (craquel) Glass
Antique glass with cracked texture which has been intentionally
introduced during the cooling process.
Cruciform
Cross shaped.
Cusp
The projecting points formed by the intersection of two segmental arcs or foils.
D.A.
Machine-drawn antique glass.
Dalle de Verre
A thick slab of cast stained glass that is cut or broken and cemented into a panel with an epoxy adhesive matrix.
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Daylight
Visible opening size.
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Dichroic Glass
Space-age application of super thin, clear layers of metal oxides
which allows for either transmitted or reflected color, depending
on the viewers viewing position.
Double Glazing
The use of two pieces of glass, one in front of the other, with an
air space between for insulation.
Double Hung
A window consisting of two sashes of glass operating in a rectangular frame. Both upper and lower halves slide up and down to
open.
Double Strength Glass
One-eighth inch thick glass. Strength refers to thickness.
Drapery
The painting on glass that defines the drapery robes of figures,
usually Biblical.
Drapery Glass
heavily manipulated, folded or rippled glass that forms drapes
that may be one inch or more thick.
Dry Glazing
A method of securing glass in a frame with just resilient gaskets.
Dutchman
To cover a crack during repair, a flange of lead is applied over the
crack, tucked under adjoining leads and soldered in place. This
procedure has generally been replaced with either edge gluing or
a thin copper foiled line.
European Antique
Mouth-blown antique glass from Europe and England.
Favrile
Iridescent glass patented by Louis Comfort Tiffany in the 1880s,
produced by the exposure of hot glass to metallic fumes and
oxides.
Fenestration
The arrangement of windows in a structure.
Fillet
A thin strip, or border of glass.
Fixed Window
A window permanently fastened to the frame.
Flashed Glass
Sheet glass, usually clear, with a thin layer of colored glass on
one side.
Flemish Glass
Clear cathedral glass with a large wavelike pattern on both sides.
Float Plate Glass
Flat glass manufactured by floating the ribbon of drawn, molten
glass on a long bath of molten tin, and fire-polishing the upper
surface, yielding a smooth, polished surface on both sides.
F.N.A.
French new antique glass, a machine-drawn antique glass.
Frosted Glass
Glass with a white translucent surface resulting from sandblasting or etching.
F.S.A.
French semi-antique, a machine-drawn antique glass.
Full Antique
Mouth-blown antique sheet glass.
Glass Etch
Any of several compounds that permit the frosting of glass.
Exterior Glazed
Glass set from the exterior of the building.
Glass Globs
Thick, round pieces of glass, from .5" to 2" in diameter.
Exterior Stop
The molding that holds the light on the exterior of the frame.
Glass Jewels
Small pieces of clear or colored glass that have been faceted,
molded or domed.
Facade
The front of a building.
Faceted Glass
Stained glass windows made of Dalle glass and a matrix.
Glass Paint
Vitreous paints composed of metallic oxides and ground glass in
a liquid vehicle and then fired on glass.
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Glazing
The process of assembling pieces of glass and lead to make a
window.
Glue Chip
The application of heated animal glue to sandblasted glass that,
when dry, chips off, leaving a crystalline or icy look.
Goethe Glass
A clear blown glass without seeds or striation, just a slight surface distortion from the blowing process, similar to old window
glass.
Gothic
A style, generally referring to architecture, found in western
Europe from 12th through 16th centuries.
G.N.A.
German new antique, a machine-drawn antique glass.
Granite Back Glass
Cathedral glass with a rolled bumpy, rough texture on one surface of the glass.
Grisaille
A panel or window of clear or light-colored glass painted with
geometric or foliate designs. Sometimes used to refer to glass
paints.
Halation
A phenomenon where light-colored glass, when surrounded by
darker glass, seems to spread beyond actual boundaries, creating
a halo effect.
Hammered Glass
Cathedral glass with a tiny, tight, uniform pattern of round,
smooth knobs.
H Bar
An h shaped metal bar used as a support between two sections
of a panel.
Hopper
A window whose sash is hinged at the bottom.
Iconography
A comprehensive plan for the subjects of works of art, not necessarily Christian.
Inactive
The part of a window that is non-movable.
In Situ
In position.
Iridescence
A surface treatment on glass that has a shiny, mother-of-pearl
look.
Isothermal glazing
System of protective outer glazing that inhibits conductivity of
heat from the exterior to the interior surface of the complete window unit.
Jamb
The upright surface forming the side of a window.
Laminated Safety Glass
Two sheets of clear glass bonded together with a sheet of clear
plastic in the middle.
Lancet
A long, narrow window with a pointed arch.
Lead Came
Extruded lead channel with an h or u cross section to hold the
glass in the panel.
Lead Line
A line produced on a full-size drawing of a leaded window to
indicate the position of the lead came.
Light
An opening through which sunlight is admitted; also a section of
a large window, usually found in series divided by mullions.
Matrix
Opaque material used as a cement to hold the glass in place in a
faceted panel.
Medallion
A small, bordered picture area of a window, primarily of the
twelfth and thirteenth centuries.
Medieval
A time period that included the Romanesque and Gothic periods,
also called The Middle Ages, from about A.D. 500 to 1500.
Mouth Blown
Glass produced by forcing air, by mouth, through a blowpipe into
molten glass.
Mullion
The vertical strip dividing the panes of a window.
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Muntin
A horizontal strip dividing panes of a window.
Opaque
Not transparent.
Narthex
The vestibule, or entrance of a church.
O.S.H.A.
Occupational Safety and health Administration, charged with
ascertaining that employers provide their employees a place of
employment free from recognized hazards that are causing or are
likely to cause death or serious harm to their employees.
Nave
The long, central portion of a church auditorium.
Negative Painting
A reverse glass-painting technique done on the back side of
glass, in which the detail is painted before the background.
usually done with unfired paints.
Negative Space
Any part of a glass window through which no light is transmitted, usually the dark lead line, matrix area of a window and/or an
opaque painted area.
Neo Gothic
Nineteenth Century revival of Gothic style.
Nonrepresentational
Not representing any object. Not realistic.
Norman Slabs
Glass blown into a rectangular mold and cut apart on the corners,
resulting in square or rectangular pieces that are thin at the edges
and thick in the middle.
North Side
The north or left side of a church is traditionally the side of darkness and the Old Testament, which is often reflected in the subject matter and colors of these windows. It is not necessarily
compass north.
Obscure
Non-transparent glass resulting from painting, sandblasting or
acid etching.
Oculus
A circular window without stone tracery. Also called Occhio,
Occhi, Oculu.
Plate Glass
Clear window glass that exceeds 316" in thickness
Plating
1. Putting a second piece of glass over a portion of a panel to alter
the color, or for reinforcing old glass.
Points
Small flat triangles of zinc used to hold glass in a wooden window sash.
Presbytery
The east end of the church housing the altar.
Quarries
Diamonds or rectangles of glass leaded together in a lattice
design.
Opak
White opal flash on a colored antique.
Quatrefoil
Small opening in Gothic tracery having four arched sides. Also
called arabesque.
Opalescent Glass
Non-transparent or semi-opaque machine-rolled glass often with
two or more colors streaked together.
Rabbet
An L cut all around the perimeter of the window frames,
against which the stained glass panels are installed.
Opal Glass
A glass with a milky or resinous appearance.
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Reamy
Full antique glass with cords of wavy, irregular surface and large
bubbles.
Reed Glass
Clear commercial glass with half circle ribs (refrigerator shelf
glass).
Reflected Light
Light being reflected off the surface of glass as opposed to transmitted light.
Reglet
A u shaped groove in wood or stone used for setting a window.
Reinforcing Rod
Galvanized steel rods or bars used to prevent a stained glass window from sagging or bowing.
Renaissance
The reintroduction of classical styles in the 15th and 16th centuries.
Reredos
The screen at the back of the altar.
Sanctuary
The area of the church where the altar is located.
Sandblasting
The technique of blowing abrasive materials under pressure onto
the glass surface to etch away part of the glass.
Sand Carving
Abrasive etching done deeper and in layers, creating a sculptural effect.
Sash
The window frame.
Seedy Glass
Glass that has tiny bubbles throughout.
Semi Antique Glass
Machine-drawn transparent glass made to imitate the look of
antique glass. Also called D.A., S.A., G.N.A., F.N.A. and New
antique.
Ring Mottled
Opaque glass with spots of a translucent color.
Ripple Glass
Machine-rolled glass, the rippled texture of which is imprinted
from the roller.
Rolled Glass
Sheet glass formed by a roller flattening the glass into sheets.
Romanesque
A style founded on Roman principles, most prevalent in architecture in western Europe from the ninth through the twelfth centuries.
Rondel (Roundel)
Round spun disk of stained glass with a punty mark in the center.
Rose Window
A circular window divided by tracery, usually on the large west
wall of a cathedral.
S.A.
Semi-antique glass.
Saddle Bar
A metal bar attached to the inside of a stained glass panel and
secured to the window jambs to prevent bulging or sagging, or
secondary structural elements set into the window frame and
attached to the window panels by solder and copper wires to provide additional bracing and support.
Shims
All blocks used as spacers in installing a window.
Silkscreening
A printing method of applying paint to glass.
Silver Stain
A mixture containing silver salts, which, when fired on glass,
sinks into the glass, causing a permanent color ranging from pale
yellow to amber.
Single Glazed
The use of a single thickness of glass in a window.
Single Hung
Window that has a stationary top and a moveable bottom half.
Single Strength
Window glass 116" thick.
Slab Glass
Transparent stained glass cast one inch thick.
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South Side
The south or right side of a church is traditionally the side of
Light and the New Testament, which is often reflected in the subject matter and colors of these windows. It is not necessarily
compass south.
Spring Line
The horizontal line below which the upright sides end and the
curve of the arch begins.
Stationary Stop
The permanent stop or lip of the window sash that holds the
panel in place.
Stop
Wood or metal flange used to hold a window in place.
Streaky
having a color or colors unevenly distributed in sheet glass to
form streaks or swirls.
Support Bars
Iron bars tied to the leaded panel by copper wire for reinforcing.
T Bar
Metal T shaped mullions put into a frame opening to support
glass panels that will be set one above the other. The T bars
receive the weight of each panel and transfer it to the frame.
Thermal Shock
Cracking caused by uneven rapid heating or cooling of glass.
Tie Wires
Copper wires soldered to the panel and twisted around a saddle
bar.
Tracery
The stone framework in a gothic window.
Transom Window
A window above a door.
Transparent
Admitting the passage of light with a clear view beyond.
Trefoil
1. A small opening in Gothic tracery having three arcs. 2. A garland design with three loops.
Triptych
A picture, carving, etc. with three parts.
Tympanum
The triangular space above a door, sometimes containing a window.
Vitreous Paint
A mixture of ground glass and metallic oxides used to paint on
glass.
West End
The west or entrance end of the church is the peoples area.
usually the large west wall has the rose window. It is not necessarily compass west.
White Glass
Term often misused for clear glass.
Window Glass
Clear glass.
Wispy
Cathedral glass containing white cloud-like streaks.
Z Section
A Z-shaped metal extrusion found at the perimeter of the sash.
Traditional Design
Motifs and styles handed down from one generation to another.
Transept
The transverse section of a church crossing the main nave.
Translucent
Semitransparent, allowing the passage of light but not permitting
a clear view.
Transmitted Light
Light that passes through transparent or translucent glass.
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