Sourcebook 2015

Sourcebook 2015
Table of Contents
Officers, Directors and Committee Chairs of the
Stained Glass Association of America . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Specifying Stained Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
Secular Uses for Stained Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
Selecting a Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Safety Standards for Architectural Glazing Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
A Window to Sustainability . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
The SGAA Silent Auction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
The Dorothy L. Maddy Scholarship Fund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15
The Lost Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
The Sourcebook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
SGAA Objectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
SGAA Streamlines Membership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
Accredited Members of the Stained Glass
Association of America Presentation Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
Subscription Information for The Stained Glass Quarterly . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
Need a Stained Glass Studio? The SGAA Can Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52
The Standards and Guidelines for the Preservation of
Stained (and Leaded) Glass Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64
Directory of Accredited Membership of the Stained Glass Association of America
Geographical Listings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Directory of Associate Members of the Stained Glass Association of America
Geographical Listings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85
All Members, Associates and Affiliates of the Stained Glass Association of America
Alphabetical Listings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86
What does the SGAA Have to Offer? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105
Help Finding a Stained Glass Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
Glass for Stained Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107
Stained Glass as a Vehicle for Spiritual Growth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113
Brief Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121
Glossary of Selected Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123
Art Glass Catalogues of the National Ornamental Glass Manufacturer’s Association . . .130
Contacting the SGAA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132

Sourcebook 2015
Directory of Accredited Advertisers
The Judson Studios; Los Angeles, CA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20-23
J Piercey Studios, Orlando, FL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24-25
Conrad Pickel Studio, Inc; Vero Beach, FL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
DHD Metals, Inc; Conyers, GA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
Jacksonville Art Glass; Jacksonville, IL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28-29
Solstice Stained Glass, Chicago, IL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30-31
Botti Studio of Architectural Arts, Inc.; Evanston, IL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Glass Heritage, Inc., Davenport, IA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33
Lyn Hovey Studio, Inc.; Boston, MA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34
Stained Glass Resources; Hampden, MA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36-39
Full Spectrum Stained Glass, Inc.; Colon, MI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
Gaytee-Palmer Stained Glass, Minnespolis, MN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
Pearl River Glass Studio. Jackson, MS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42-43
Kathy Barnard Studio; Kansas City, MO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44-45
S.A. Bendheim; Passaic, NJ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46
Jerome R. Durr Studio, Syracuse, NY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
Rohlf’s Stained & Leaded Glass Studio, Inc.; Mount Vernon, NY . . . . . . . . . . . . . . . . . . . . .48-49
J. Sussman, Inc.; Jamaica, NY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50
Stained Glass Associates, Knightdale, NC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51
Statesville Stained Glass, Inc.; Statesville, NC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
Franklin Art Glass Studios, Inc.; Columbus, OH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54-55
Cumberland Stained Glass, Inc.; Mechanicsburg, PA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56
Hunt Stained Glass Studio, Pittsburgh, PA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57
Emmanuel Stained Glass Studio, Inc., Nashville, TN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58
State of the Art, Inc., Stained Glass Studio, Knoxville, TN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59
Art Glass Ensembles; Denton, TX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60
The Cavallini Co., Inc. Stained Glass Studio; San Antonio, TX . . . . . . . . . . . . . . . . . . . . . . . . . .61
IHS Studios; Fredericksburg, TX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62-63
Stanton Glass Studio, LLC., Waco, TX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64
Whitworth Stained Glass, New Braunfels, TX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65-66
Raynal Studios, Inc.; Natural Bridge Station, VA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67-68
Conrad Schmitt Studios, Inc.; New Berlin, WI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69-73
Gilbertson’s Stained Glass Studio, Lake Geneva, WI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74-76
STAINED GLASS
QUARTERLY OF THE STAINED GLASS ASSOCIATION OF AMERICA
THE STAINED GLASS ASSOCIATION OF AMERICA
9313 East 63rd Street • Raytown, MO 64133 • 800.438-9581 •
headquarters@sgaaonline.com
http://www.stainedglass.org • http://www.sgaaonline.com

Sourcebook 2015
The Stained Glass Association of America
Stained Glass Association of America Officers, Directors,
and Committee Chairpersons
Elected Officers
ADMINISTRATIVE OFFICES: 9313 East 63rd Street | Raytown, MO 64133 | 800.438–9581
www.SGAAOnline.com | www.stainedglass.org | headquarters@sgaaonline.com
President: Sue Shea, 15 Commercial Drive, Hampden MA 01036 800.883–5052 sue@stainedglassresources.com
1st Vice President: Kathy Barnard, 1605 Locust St., Kansas City MO 64108 816.472–4977 kathy@kathybarnardstudio.com
2nd Vice President: David Judson, 200 South Avenue 66, Los Angeles CA 90042 800.445–8376 info@judsonstudios.com
Financial Secretary: Al Priest, PO Box 612, East Bend NC 27018 336.699–3421 alssg@yadtel.net
Treasurer: Bill Klopsch, 4656 West Church St., Skokie IL 60076 847.329–9369 bill@billklopschstainedglass.com
Recording Secretary: Jennifer Banbury, PO Box 19397, Birmingham AL 35219 205.942–4242 jennifer@maycoindustries.co
Board of Directors
Development Director: James Piercey, 1714 Acme St., Orlando FL 32805 407.841–7594 jpstudios@aol.com
School Director: Jack Whitworth III, 104 Melody Lane, New Braunfels TX 78130 830.214–3370 jack@whitworthstainedglass.com
Jerome Durr, 206 Marcellus St., Syracuse NY 13204 315.428–1322 jrdurr0art@aol.com
Robert Jones, 3512 Almanac Road, Tallahassee FL 32309 850.656–1148 robertsenoj@gmail.com
Kristine Nordmeyer, 73 Dillingham Road, Asheville, NC 28805 800.259–1842 willowpatillo@mac.com
Andrea Reid, 222 East Sycamore St., Columbus, OH 43206 800.848–7683 andrea@franklinartglass.com
Christie Wood, 513 Bolivar Street, Denton TX 76201 940.591–3002 info@artglassensembles.com
Andrew Young, 142 Millsaps Ave., Jackson MS 39202 601.353–2497 ayoung@pearlriverglass.com
Committee Chairpersons
Architectural Art Glass: Andrew Young, 142 Millsaps Ave., Jackson MS 39202 601.353–2497 ayoung@pearlriverglass.com
By–Laws: James Piercey, 1714 Acme St., Orlando FL 32805 407.841–7594 jpstudios@aol.com
Certification: Bill Klopsch, 4656 West Church St., Skokie IL 60076 847.329–9369 bill@billklopschstainedglass.com
Conference: Cindy Whitworth, 104 Melody Lane, New Braunfels TX 78130 830.214–3370 cwhitworth54@yahoo.com
Education: Jack Whitworth III, 104 Melody Lane, New Braunfels TX 78130 830.214–3370 jack@whitworthstainedglass.com
Ethics: Dennis Harmon, 410 Maple Ave., Nashville TN 37210 800.326–2228 dennis@emmanuelstudio.com
Exhibits: Michael Zimmerman, 4233 Bryant Ave. S, Minneapolis MN 55409 612.616–1670 eczimmy@aol.com
Health & Safety: Al Priest, PO Box 612, East Bend NC 27018 336.699–3421 alssg@yadtel.net
Historical Studies: Robert Jones, 3512 Almanac Road, Tallahassee FL 32309 850.656–1148 robertsenoj@gmail.com
Long–Range Planning: Jerome Durr, 206 Marcellus St., Syracuse NY 13204 315.428–1322 jrdurr0art@aol.com
Marketing: Bryant Stanton, 318 Rogers Hill Rd., Waco TX 76705 254.829-1151 info@stantonglass.com
Membership: David Judson, 200 South Avenue 66, Los Angeles CA 90042 800.445–8376 info@judsonstudios.com
Nominations: David Judson, 200 South Avenue 66, Los Angeles CA 90042 800.445–8376 info@judsonstudios.com
Publications: Sue Shea, 15 Commercial Drive, Hampden MA 01036 800.883–5052 sue@stainedglassresources.com
Restoration & Preservation: Ralph Mills, 160 Warden Street, Pittsburgh, PA 15220 412.921–2500 ralphmills@hotmail.com
SGAA HONOR ROLL
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
Peter Gibson, Boyd Meadows
Life Members
William Blenko, Richard Hoover, Robert O. Jones
SGAA Fellows
E. Crosby Willet, Gerhard Hiemer, John Kebrle
Past Presidents of the Stained Glass Association of America
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.
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Sourcebook 2015
The Stained Glass Association of America
Specifying Stained Glass
Stained glass is a general term covering
all forms of glass used in a decorative manner,
primarily for windows, but also for a
myriad of secular uses prevalent today.
Inasmuch as the stained glass craft is an
adjunct of architecture, this Association
favors the principle of architectural direction
in the selection of artisans or studios and the
commissioning of stained glass projects.
Products of SGAA artisans are ideas
and concepts that are translated into site-specific
designs satisfying the requirements of
the project, budget and schedule. We believe
that project success is better assured when a
studio is selected not on the basis of a
“square foot” bid but rather by virtue of
artistic ability, imagination, past success and,
of course, willingness to work within the
project constraints of time and money.
Consultation and design-progress review
with the architect, client and artisan should
take place before construction documents
are complete. Early and regular review sessions
are welcome; such will save time and
prevent the needless cost of design adjustment.
Therefore, we believe that ideal conditions
fostering mutual confidence and the
best practical procedure will prevail when
only one craftsman studies the problem with
the architect and client. Should such a craftsman
fail to provide a satisfactory
solution, we
believe that he should
withdraw, thus permitting
another craftsman to
fully cooperate with the
client.
If the prospective
client wishes proposals
from more than one
craftsman, we earnestly
recommend the following
procedure:
1. A personal discussion
is held with each
craftsman invited that
determines the client’s likes and dislikes,
and to arrive at a general theme and style.
If a special sketch is required, the artist
will then be able to create the appropriate
design.
2. The client makes known any budget
restrictions. Any one of our members will
gladly assist in setting up a practical budget.
3. The names of the craftsmen invited to
make proposals are made known to all
concerned.
Consultation between architect, client
and craftsman should begin before contract
documents are finalized. Early cooperation
will assure a well-integrated design that considers
all architectural, structural and interior
building elements.
Historically, SGAA artisans prefer that
their agreement be directly with the client,
fully separated from the general contract;
however, all are vitally concerned with the
full satisfaction of the client and can adapt
their process to fit the project.
Leaded Stained Glass
The Process: The preparatory sketch is
translated into full-size mechanical drawings
(cartoons) and further into actual patterns to
be used to cut the glass. Once the patterns
have been prepared and assigned color, the
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glass is cut into the myriad pieces required to
build the window. When the design requires
detail painting or ornamentation of the glass
surface, it must be done with pigments
designed specifically for stained glass. Once
applied, the pigment is fired in a kiln to the
proper temperature for the respective pigment,
usually between 1000 and 1250
degrees Fahrenheit, thus assuring absolute
permanency. The pieces of glass are joined
together with lead came (H-shaped strips)
and soldered at their intersections on both
interior and exterior surfaces of the assembled
panel of stained glass. Varying widths
of lead came are often used to add to the
window’s decorative effect as well as
enhance its strength.
To prevent leakage, a mastic waterproofing
material is inserted between the
glass and the flange of the lead came. This
process, often called “cementing,” is
required on both interior and exterior surfaces
of the panel and is paramount in weatherproofing
as well as stiffening the panel. It
is recommended that panels be stored on a
flat surface for a minimum of two weeks
prior to installation, thereby allowing them
to properly cure.
Reinforcing bars, regardless of the type,
are typically fastened or mechanically
engaged at regular horizontal intervals to the

Sourcebook 2015
The Stained Glass Association of America
frame, sash or other substrate into which the
panel is installed. These surface-applied bars
further strengthen and support the installed
panel of leaded stained glass. Round bars
usually measuring 3 ⁄8 inch in diameter, tied to
the panels with twisted copper wires, are the
most flexible and resilient, and therefore
allow for the greatest amounts of thermal
movement. Where this system is not suitable,
galvanized-steel flat bars can be soldered
directly to the surface of the leaded
glass panel.
Installation: It is recommended that
leaded glass be installed into frames
designed specifically for that purpose.
Various types can be considered and include
wood, aluminum, steel, bronze and stone.
Regardless of the type, the most important
consideration is that they are capable of supporting
the unique qualities of the type of
stained glass that is being installed. When
possible, glazing beads should be used in
conjunction with modern, flexible sealant
systems to allow for flexibility as well as
mechanical engagement of the installed panels
of glass.
The stained glass studio should be consulted
as to the best type of frame for the
project at hand, the location and placement
of division bars, and mullion configuration
that will work best with the intended design.
This information should be finalized prior to
ordering the window frames or sash (usually
supplied by the general contractor on a new
building) into which the stained glass will be
installed.
In general, the type of frame selected
needs to be capable of supporting stained
glass weighing approximately four pounds
per square foot and configured with mullions,
allowing sub-division of larger areas
into panels of approximately 12 square feet
or 14 linear perimeter feet. In addition to
the overall structural requirements, the
frames or sash must include a glazing
rebate that measures 3 ⁄8" to 1 ⁄2" wide by 3 ⁄8" to
1
⁄2" deep and allows the panels of stained
glass to engage into the frame or sash a
minimum of 1 ⁄4". An allowance of 3 ⁄32" to 1 ⁄8"
between the stained glass panel and the
frame is typical.
Glazing Sealant: It is highly recommended
that all sealant be of the non-acetic
gas-forming or neutral-cure variety and that
it be chosen based on the composition of the
materials and substrates to be sealed.
Appropriate bond-breaking tape and
ethafoam backer rod should be used as
required to achieve the flexibility necessary
for expansion and contraction of the finished
installation.
Faceted Stained Glass
(Dalle de Verre)
Process: A twentieth-century innovation
in the art of stained glass introduced the use
of glass dalles measuring approximately 8" x
12" x 1". These dalles, cast in hundreds of
colors, can be cut into shapes and used, in
combination with an opaque matrix of epoxy
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resin 5 ⁄8" to 7 ⁄8" 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 2 1 ⁄2 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

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 3 ⁄4" 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 3 ⁄16" 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 1 ⁄4" 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
Sourcebook 2015
The Stained Glass Association of America
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 America’s
Standards and Guidelines for the
Preservation of Historic Stained Glass
Windows for further discussion of installation
of protective glazing.
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In general, protective glazing should be
installed in a designed system originating
concurrently with the stained glass, not
included as an afterthought. When included,
it should be installed in such a fashion that
provides inter-cavity ventilation between the
interior installed stained glass and the exterior
installed protective glazing. The space
between the layers of glazing should be as
close to 3 ⁄4" as conditions allow. It is recommended
that glazing materials, regardless of
type, be a minimum of 1 ⁄4" thick, installed in
a fashion that allows the material to freely
expand and contract within the system and
that provides for mechanical engagement of
the material to the framing system.
Glazing Sealant: It is highly recommended
that all sealant be of the non-acetic
gas forming or neutral-cure variety and that
it be chosen based on the composition of the
materials and substrates to be sealed.
Appropriate bond-breaking tape and
ethafoam backer rod should be used as
required to achieve the flexibility necessary
for expansion and contraction of the finished
installation.
Specifying stained, leaded and faceted
glass — as well as protective glazing — can
be as much of an art as the creation of the
windows themselves. The requirements for
installation are in most cases unique to the
material and the project at hand and require
considerable advance planning. The guarantee
for a timely and successful project is laying
the proper groundwork early on. Just as
the foundation of a building dictates its
strength, consulting with a stained glass
artist before the building is started will lay
the foundation for a cost-effective and successful
stained glass project.
Ω
End

Secular Uses
for Stained Glass
Sourcebook 2015
The Stained Glass Association of America
From its earliest appearance in Europe, stained glass has been used to tell stories.
Few other forms of artistic expression are so well suited or have been so often used to express
a story or recount important historical events as stained glass.
While the stories told by stained glass panels are regularly associated with church and
religion, a forum eminently appropriate for the medium, the use of
The ability of stained glass to uplift the
spirit can also be used to great advantage in
a hospital. The color and light offered by the
medium will serve to lessen stress in waiting
rooms. Stained glass
stained glass is not limited to ecclesiastical buildings. Stained glass Stained glass is a craft windows are an
is also used to recount the lessons of literature, music, the arts, science
and myriad other fields; from fairy tales to genetics to corporate
logos — or simply to decorate with light and color — the ability of
stained glass to delight and inspire is boundless.
rooted in tradition but everchanging
to embrace the technological
excellent vehicle for
enhancing the mood
in a children’s ward.
Even a hospital cafeteria
Few people realize the full potential of stained glass. It can serve
can benefit
as a focal point in a room or as an accent within an interior. Used in
advances we enjoy from the use of
an exterior window, wall or entryway, it will beautify the interior
stained glass.
space by allowing an exterior view and daylight to enter as it controls today. Stained glass can be traditional
Anywhere people
and enhances this imagery.
When used in the home or business environment, stained glass
will give a room a brilliant and ever-changing element that will complement
the interior decor. Stained glass can express a favorite theme
or avocation of the homeowner. It can express a mood ranging from
or contemporary; it can
spark a wide range of mood
gather, stained glass
will be a welcome
addition.
Stained glass is
a craft rooted in tradition
whimsical and creative to conservative and traditional in the corporate
and emotion. Stained glass is
but ever-
building. It will, as no other medium can, charge a room with
changing to embrace
energy and light.
durable and lasting; a well-built the technological
Stained glass can be used to enhance an exterior view by incorporating
clear glass with colored and painted glass. It can also be
used to block an unwanted exterior view and still allow daylight into
a room through the use of semi-opaque and heavily textured glass. A
well-designed panel complements a building; it neither overwhelms
nor is overwhelmed by the surrounding architecture. The two exist
as an integrated whole, to the betterment of both.
Many people today are inhabitants of an urban environment. It
stained glass window will
require no more maintenance
than a regular window for
decades to come.
advances we enjoy
today. Stained glass
can be traditional or
contemporary; it can
spark a wide range
of mood and emotion.
Stained glass is
durable and lasting;
is important for those people to have a place that uniquely reflects
a well-built stained
and enhances their mood and personality. As urban areas continue to
glass window will
grow, personal space will not get bigger, but it can be better. Stained glass is a valuable tool
for enhancing the quality of personal space.
The uses of stained glass are not limited to doors and windows. Stained glass can also
be used in an interior opening, such as a room or office divider. In this role, it offers a barrier
between two or more rooms and yet gives a feeling of openness. In the corporate setting,
it can be used to divide workspaces, thus offering privacy while increasing available light. In
the home, it can be installed between rooms such as a kitchen and dining area, thus separating
the two but not dividing them.
In restaurants, interior stained glass walls can separate dining areas, allowing for
increased light transmission while offering the diners privacy. The stained glass dome or ceiling
is an excellent element for providing decoration and atmosphere in a restaurant; the dome
require no more maintenance than a regular
window for decades to come.
The craftsmen and craftswomen of the
Stained Glass Association of America excel
at their art and can assure you a successful
project, from initial design concept to installation.
This Sourcebook is your guide to the
possibilities offered by stained glass; it will
help you put the knowledge and experience
of the members of the SGAA to work for
you.
can be artificially lit to enhance mood in the room.
Ω
End
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Sourcebook 2015
The Stained Glass Association of America
Selecting a Studio
Once the decision to include stained
glass in a building project is made, there
are several important factors which should
be considered in selecting the studio with
which to work. The selection process
involves many factors, not the least of
which is the reason or reasons stained
glass is being incorporated into the
building, including:
• a request from the client to incorporate
art into the building
• a need to control light
• the need to block an unattractive view
while still admitting natural light
• the need to create an environment or
mood
Different stained glass studios excel
in different aspects of the craft. A studio
which specializes in contemporary design
may be ill equipped to create medievalstyle
windows. The initial interviews, in
which the architect or client meets with
representatives of several different studios,
is the time to determine which studios are
best suited to create glass for the particular
project. The initial interview should
include as much detail as possible about
the project, including subject, specifications,
style and budget. This is also the
time to discuss how many different
designs will be submitted for consideration
in a particular project and what the fee
for those designs will be.
Following the initial interview, the
client should be able to develop a short list
of possible studio candidates. Once this
list is developed, the process of selection
continues with investigating the studio’s
background and past work. The client
should request slides of work completed
by the different studios as well as the
design sketches from those projects. This
allows the client to see the nature of that
particular studio’s work and to determine how well the designs translate into finished
work.
The Stained Glass Association of America stresses the importance of checking a studio’s
references and questioning such factors as the studio’s 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 studio’s 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 company’s 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 client’s 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 3 ⁄4" and 1 1 ⁄2" 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.
Ω
End
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Sourcebook 2015
The Stained Glass Association of America
Safety Standards
for Architectural Glazing Materials
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
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 77–12.
On June 21, 1977, SGAA requested the
Commission to stay the standard as it
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Sourcebook 2015
The Stained Glass Association of America
applied to the products
described in the petition, i.e.,
patinaed, leaded and faceted
glass. SGAA stated that decorative
glazing materials of the
types described in its petition
could not be manufactured to
conform to the standard, were
used for decorative and artistic
purposes, and were produced in
extremely limited quantities.
SGAA also argued that the
standard effectively eliminated
all of its products from use in
glazed panels and decorative
glass as an art form. After considering
SGAA’s arguments
and reviewing information
obtained by its staff, the Commission, on
June 30, 1977, issued an order to stay the
standard, pending action on the petition,
for “faceted glass,” “patinaed glass” and
“leaded glass,” as those terms were defined
in the order when those materials are used
in doors, storm doors and glazed panels
having no individual piece of glazing
material greater than nine square feet in
area, provided certain specified criteria
were met. Notice of the stay of the standard
was published in the Federal Register on
August 9, 1977 (42 FR 40188).
Discussion between the Commission
staff and SGAA on the petition, after the
Commission issued its stay of enforcement,
disclosed that although the stay of
enforcement did not include carved or
etched glass, the same considerations that
led to the stay of enforcement would support
an exemption for carved or etched
glass.
Those discussions also indicated that
“patinaed glass” was almost always used
as a component of leaded glass panels, and
generally did not constitute a separate category
of decorative glazing material.
In the Federal Register of March 15,
1978, the Commission proposed an amendment
to the standard. The proposal applied
to “carved glass,” “faceted glass” and
“leaded glass 1 ” that met the following criteria:
1. The coloring, texturing or other
design qualities or components of the glazing
material cannot be removed without
destroying the material; and
2. The primary purpose of such glazing
is decorative or artistic; and
3. The glazing material is conspicuously
colored or textured so as to be plainly
visible and plainly identifiable as aesthetic
or decorative rather than functional
(other than for the purpose of admitting or
controlling admission of light components
or heat and cold); and
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4. The glazing material, or
assembly into which it is incorporated,
is divided into segments
by conspicuous and
plainly visible lines.
After consideration of the
injury information associated
with these products, the aesthetic
characteristics of the decorative
glazing materials and
technical problems of producing
decorative glazing materials
that comply with the standard,
the Commission proposed
an exemption for carved,
faceted and leaded glass used
in doors and glazed panels
without regard to their size.
The amendment, as proposed, would
not exempt any decorative materials used
in any storm door, sliding glass door (patio
type), bathtub door and enclosure, or
shower door and enclosure from the
requirements of the standard.
The basis for the proposed amendment
was that only small quantities of glazing
were covered by the amendment; any risk
of injury was mitigated by the visibility of
decorative glass; substitute glazing that
complied with the standard generally was
not available; and not granting an exemption
would reduce aesthetic qualities of the
products with a resulting loss of consumer
utility. These reasons are discussed in more
detail in the proposal.
1. Because “patinaed glass” is used as a component
of leaded glass panels, the March 15, 1978 proposal
did not refer to “patinaed glass” as a separate
category of glazing material.
Ω
End

Sourcebook 2015
The Stained Glass Association of America
A Window to Sustainability
Art Glass’s 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 Council’s 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.
For the purposes of this article, the term
“stewardship” is intended to define the
long-term care and advocacy for a building.
Stewardship can carried out by a single
owner, such as a private owner of an
historic house; or be more general as in the
example of a community making decisions
about the local courthouse building.
When buildings we now consider historic
were originally designed, “stewardship”
was probably not a factor heavily considered.
Once a building is slated for renovation
and preservation, however, any successful
project should have plans in place
to ensure that work completed does not
leave the building vulnerable to becoming
obsolete again.
A great example of the marriage between
preservation and sustainability occurred on
the complete renovation of the Walter
Library on the Campus of the University of
Minnesota. Historic details including
stained glass skylights, coffered plaster
ceilings, decorative stencil work and ornate
moldings were all preserved or restored.
With the emphasis of libraries now concentrated
on computer technology, the architects
met the challenge to retain these historic
details and still provide and plan for
current digital needs.
More importantly, the plans anticipated
future needs by including accessible wiring
chases to allow new cables and technologies
to be introduced as they are developed.
One room even included an ingenious
floating steel floor deck directly
beneath the finished floor. It was made of a
grid work of steel squares supported and
leveled by threaded studs. This allowed for
new cables to be run in any direction within
the room and helped ensure that any
technology upgrades could be provided
cost-effectively in the future.
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Sourcebook 2015
The Stained Glass Association of America
Without this type of planning,
there is a risk that the building
would become obsolete and the
same issues and decisions faced
before the preservation would,
in time, have to be addressed
again. Good stewardship of historic
buildings hinges on anticipating
these needs and ensuring
that the building’s function continues
to remain viable.
Like their historically preserved
counterparts, new “green”
buildings should also plan for
stewardship. We can assume
that a LEED project should
result in a building capable of
being physically sustainable. It
is even possible that the new construction
LEED projects of today may be the preservation
projects of tomorrow. In order for
these buildings to remain relevant it will be
necessary for architects to design with an
eye to the future.
It is a straightforward task to construct the
physical elements of a building to be sustainable.
The bigger challenge is to help
ensure that the community at large will feel
invested in the building through a connection
to its aesthetic elements or a sentimentality
to the history of a building. When
this connection is made, a building is “culturally
sustainable”.
The renovation at the Walter Library is also
a great example of the concept of “cultural
sustainability.” The building was not
restored because an economic decision was
made that it would be cheaper to do so. On
the contrary, it was likely more expensive
in an immediate dollars and cents calculation
to retain the building and work with
and around its historic architectural features.
What the University recognized,
however, was that the
building contributed greatly to
the aesthetic and cultural fabric
that makes up the campus.
The stained glass skylights,
coffered plaster ceilings, decorative
stencil work and ornate
moldings are elements that
added to the initial construction
cost. Without these elements,
however, there would
have been little sentimentality
about razing the structure and
beginning anew. The passion
by which historic buildings
are defended is typically rooted
in a great appreciation for
aesthetic elements rather than
purely functional ones. The implication is that a new building that is merely efficient in
materials used and in green building techniques utilized, only ensures the physical shell
of the building remains sustainable. The challenge is to design the functional details of a
building to contain aesthetic elements that not only make the space more beautiful to
inhabit, but will also serve to create a passion for stewardship.
Public building projects have begun to address this phenomenon by including a “One
Percent for the Arts” clause that ensures that at least one percent of the building project
budget will be spent on aesthetic details. All too often, however, the money is spent on
non-functional installations that add beauty, but contribute little to the actual fabric of the
building.
Architectural glass provides a great opportunity to emphasize aesthetics while still providing
function that remains integral to the structure of the building. Glass windows, partition
walls, floors, work-surfaces and lights can all be created to be both artistic and completely
functional. Including these details in new building design can help a space transcend
pure utility and inspire those who occupy the space to make real connections that
inspire long-term, dedicated stewardship. Recognizing this connection of why people
become passionate about preservation of historic buildings can be one of the most important
factors in making new buildings truly sustainable.
Ω
End
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Sourcebook 2015
The Stained Glass Association of America
Stained Glass Association of America Silent Auction
at the 2015 Annual Summer Conference
Call for Donations to Benefit the
Dorothy L. Maddy Scholarship Fund
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.
Ideas for Silent Auction Items
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-
Atkins, etc.). We are especially seeking anything hand-crafted by
our members, readers, and supporters, such as Jewelry, Original
Art, Original Color Sketches, Small Panels, Fused Pieces —
these hand-crafted items create serious competitive bidding!
If you would like to donate, please bring your items to the
Conference Registration Table or pre-ship by May 15, 2015, to:
SGAA Headquarters, Attn: Silent Auction, 9313 East 63rd Street,
Raytown, MO 64133. Contact the SGAA Headquarters at 800.438-
9581 or headquarters@sgaaonline.com with any questions.
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Sourcebook 2015
The Stained Glass Association of America
The Dorothy L. Maddy
Scholarship Fund
Dorothy L. Maddy
(1923—1992)
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
articles on glass paints and painting that
were published in The Stained Glass
Quarterly, Glass Art, Glass Craft News
and Professional Stained Glass.
Dot demonstrated stained glass
painting at all of the stained glass shows
from 1983 through 1990. During the
many hours that she spent teaching, she
was ever the attentive and friendly
teacher; she was never too busy to
answer a question or to demonstrate a
different technique. Dorothy became a
teacher with a national classroom, holding
classes at the major retail dealers
throughout the country.
When the SGAA decided that a
Reference and Technical Manual was
needed as a basis of reference for the
teacher-certification program, Dot was
in charge of the chapters on painting and
silk-screening. With the help of experts
she selected, Dot was able to put together
a lucid and encyclopedic reference
chapter; her efforts are still a real service
to the stained glass family. When a second
edition of the Reference and
Technical Manual was undertaken two
years later, Dot again — as her last
major SGAA project — improved and
polished all the information to bring
forth an even more complete work.
Mindful as she was of the power of
teaching to elevate an art, Dot always
remained true to her vision of making
stained glass painting more accessible to
all who desired her help. Dorothy
Maddy knew that education will always
help the artist create finer work; that is
the basic reason for the Dorothy Maddy
Scholarship Fund.
15
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Frank L. Reusché
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
SGAA’s annual silent
auction by calling
the SGAA Headquarters
at 800.438-9881.
...more about Dorothy L.
Maddy’s 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.

The Lost Art
Sourcebook 2015
The Stained Glass Association of America
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 one’s 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 won’t be disappointed by the visit.
The second great falsehood is that stained
glass has been replaced by simulations that
can achieve the same result as actual glass.
This unfortunate misunderstanding stems
from the simple fact that people want to
save money and that unscrupulous salespeople
have duped them into believing that
the imitator is cheaper and better. People
want to trust other people, and this is a very
good thing. Unfortunately, as is well
known, this desire to trust can often cloud
someone’s judgement.
For a stained glass window to be considered
old, it must have been in place for at
least a hundred years. There are stained
glass windows still in their original settings
that were old when Galileo first pointed a
telescope at the sky. For something made
of plastic, old is somewhere around five
years. Ten is venerable.
While the initial outlay for an imitation
window is less, it will have to be replaced
much, much sooner. Whereas the color in
glass will not fade in sunlight, colored
plastic will fade rapidly. Also, plastic cannot
withstand the normal abrasion that a
window must face every day from sand
and grit that is blown against it by wind.
Real stained glass windows are impervious
to all but the most damaging high winds.
Finally, there is the belief that real stained
glass is created by so few people that one
will have to wait a very long time from
when the glass is commissioned to when it
is created. This idea stems from a misinterpretation
of one of the very factors that
makes stained glass an art. The best stained
glass is not created in a mass-production
assembly line. Stained glass is created by
hand by talented artists and craftspersons
who design the window to suit both its
architectural surroundings and the needs
and desires of the client.
16
www.stainedglass.org

Sourcebook 2015
The Stained Glass Association of America
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
owner’s 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.
Ω
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
www.stainedglass.org

STAINED GLASS ASSOCIATION OF AMERICA BYLAWS
ARTICLE II — OBJECTIVES
The objectives of the Association shall be:
To function as the recognized organization of distinction and to conduct its
affairs in a manner that will reflect credit upon its image and craft;
To maintain the highest possible standards for excellence in craftsmanship,
integrity and business practices;
To provide facilities offering active membership participation, extensive
craft training, organizational and craft-related information, and traderelated
consulting and documentary services;
To research and develop new products, processes and techniques for the
advancement of innovative craft expression;
To act as the authoritative historian and archivist for its craft in America;
To defend and protect its craft against unwarranted regulation restricting its
freedom of use as an architectural art form.
18
www.stainedglass.org

I
Sourcebook 2015
The Stained Glass Association of America
AINED GL
A
LAS
SSS
ASSO
OCIA
IAT
TIO
I
ON OF
ST
AME
M
THE
STAINED GLASS ASSOCIATION OF AMERICA
TH
ICA
C
ERI
R
19
www.stainedglass.org

ddailey1@bellsouth.net

Solstice Stained Glass
University of Chicago
Saieh Hall for Economics
2014 Restoration of c. 1928
Willet Windows
A Division of Solstice Art Source, Inc.
2010 W. Fulton Street
Chicago, IL 60612
312.409.6715
www.SolsticeStainedGlass.com
28

Restoration and commission of architectural stained glass for
ecclesiastic, institutional, commercial, and residential buildings.
A Division of Solstice Art Source, Inc.
2010 W. Fulton Street
Chicago, IL 60612
312.409.6715
www.SolsticeStainedGlass.com
29
2014 Commission for Congregation B’nai Jehoshua Beth
Elohim, Deerfield, Illinois.
Opening: 9' x 9'; Installation: 11' x 11' x 24''

“Boat House Reflection,” a 1300-piece stained glass window
24'' wide x 25'' high created by the Lyn Hovey Studio as translated from
an original oil on canvas painting by Shelley Doppelt Holtzman.
The window was commissioned for a custom designed home on
Squam Lake in New Hampshire, designed by Norman Larson, AIA and
Christopher Williams, AIA of Christopher P. Williams Architects.
Original Commissions and Historic Restorations
www.lynhoveystudio.com

SubScribe Today
@ www.StainedGlassQuarterly.com
New Low
Subscription
Pricing!
Since 1906, The Stained Glass
Quarterly has been the official
voice of the Stained Glass
association of america. as the oldest,
most respected architectural
stained glass publication in North
america, The Stained Glass
Quaretery preserves the techniques
of the past while illustrating the
trends of the future and presenting
the art, craft and business of stained
glass.
Subscribe online at
StainedGlassQuarterly.com
or over the phone by calling
toll-free 800-438-9581.
Visit us at
stainedglassquarterly.com to find
out more about The Stained Glass
Quarterly and the Stained Glass
association of america.
The Stained Glass Quarterly
9313 east 63rd Street
raytown, Mo 64133
33

Featured Project:
The Church of the Annunciation
of the Blessed Virgin Mary
McSherrystown, PA
o ject:
Project Scope:
Restoration of Stained Glass
Fabrication and installation n of new mahogany frame
Restoration of steel ventilator units
Installation of new protective glazing
Before
After
In 2013 the Church of the Annunciation of the Blessed Virgin Mary chose Stained Glass Resources to restore their stained glass choir loft
window w depicting “The Last Judgement.” The lead came matrix that supports the stained glass was severely deteriorated and needed to be
replaced. Additionally, the condition of the intricately-shaped wood frame needed to be addressed. Poor original design had resulted in
a structurally weak frame that eventually “broke,” allowing the center of the frame to buckle and deflect several eral inches to the exterior. The
deflection also caused more damage to the already deteriorated stained glass panels. To make matters worse, a layer of polycarbonate
glazing had been added, covering the entire e window and wood frame. Instead of protecting the window w as intended, it caused further
damage to the wood frame by trapping heat and moisture. It also obscured the beautiful architectural detail in the millwork.
Completed
in 2014 by:
g
stained
glass resources,
Inc.
15 Commercial Drive
Hampden, MA 01036
800-883-5052
www.stainedglassresources.com

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.
2
A-1
169-1/2" STONE OPENING AT SPRINGLINE
168-1/2" FRAME SIZE AT SPRINGLINE
1
A-2
87-5/32"
BREAK FOR TRANSPORT
CARVING
DEPTH 1-1/2"
After removal and transportation from the church to
the studio, the deteriorated frame sections (above)
were laid out and carefully measured to assist in
developing drawings for the new frame. Drawings
(right) were made to match the original frame details
in appearance, but design and construction changes
were incorporated to make the new frame structurally
superior to the original. This, along with the use of
highly rot resistant and dimensionally stable
Honduran Mahogany, ensured maximum longevity
for the new frame as well as the restored stained glass
that it supports.
BREAK FOR TRANSPORT
4
A-1
71-3/8" 109-27/32"
1
4
1" CARVING DEPTH
VENT (PARTING STRIP
VENT (PARTING STRIP
ON SILL ONLY)
ON SILL ONLY)
167-1/2" FRAME SIZE AT SILL
168-1/2" STONE OPENING AT SILL
EXTERIOR ELEVATION
SCALE: 3/4" = 1' 0"
32-1/8" GLASS OPENING 28" VENTOPENING 31" GLASS OPENING 31" VENT OPENING 32-1/8" GLASS OPENING
PLAN/SECTION @ LANCETS
SCALE: 3/4" = 1' 0"
263-3/4" STONE OPENING
4
A-3
262-7/8" FRAME SIZE
2
2
A-2
3
A-2
SECTION
SCALE: 3/4" = 1' 0"

After fabrication, the new frame received two coats of primer,
followed later by two finish coats of paint. Interior and exterior
mahogany retainer moldings (not shown) were also fabricated to
fit each opening. These were used to secure the stained glass
panels and the exterior protective glass within the frame during
installation.
The 8’ diameter stained glass star, consisting of eight separate
panels was carefully laid out to check for proper alignment. The
combined panels were required to join together without gaps, fit
within the complex shape of the frame opening, and also
maintain proper alignment of the artistic painting and lead lines
that carry through from panel to panel.
This large frame was fabricated in four sections to facilitate
transport and installation. Outside the church, each frame
section was hoisted with a crane and carefully placed in the choir
loft wall above the main entrance. One section at a time, the
frame was positioned, assembled and secured within the rough
opening.
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 restored “Last Judgement” window in its new Honduran Mahogany frame.
glass
resourcesr gtained
stained
15 Commercial Drive
Hampden, MA 01036
tel: 800-883-5052
www.stainedglassresources.com
assresources.com
mail@stainedglassresources.comassresources.com

Pearl River Glass Studio
http://pearlriverglass.com/
40

JeroMe r. durr STudio
PriVaTe reSideNTial eNTry
PoTSdaM, New york
reSideNTial • coMMercial • liTurGical
arT GlaSS
Jerome r. durr Studio
206 Marcellus Street
Syracuse, Ny 13204
315.428.1322 • 315.474.3609 (fax)
www.jeromedurrstudio.com • jrdurrØart@aol.com
45

Need a Stained Glass Studio?
The SGAA can help!
let us help you save time, money and speed up your selection process. Fill out the form below and send to the
SGaa Headquarters. It’s 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:
Project location:
contact Person:
email address:
Phone (optional):
Mailing address:
city/ST/Zip:
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
Type of Project: q religious q Non-religious q restoration Project q New custom design
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:
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
if known: please supply (on a separate sheet of paper) size of each opening in the project.
email to: headquarters@sgaaonline.com call: 800.438-9581 Fax to: 816.737.2801
or Mail to: SGaa, 9313 e. 63rd St., raytown, Mo 64133
50

Statesville Stained Glass, Inc.
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.
Statesville Stained Glass, Inc.
136 Christopher Lane
Statesville, NC 28625
704.872.5147 • 704.872.7813 fax
dl@statesvillestainedglass.com •
www.statesvillestainedglass.com

The Cavallini Co., Inc. Stained Glass Studio
www.cavallinistudios.com Since 1953
Top Left: A series of leaded glass windows
located in the south transept of St. Andrew the
Apostle, Lufkin, Texas. Subjects represented
here are the Annunciation, Visitation, Journey
into Bethlehem, and Nativity with Shepherds
and the Magi.
Bottom Left: Adrian V. Cavallini, Jr. restoring
a 35’ x 45’ mosaic mural at the Basilica of
Our Lady of San Juan del Valle, San Juan,
Texas.
Bottom Right: Combination of mosaic angels
flanking etched glass (1/2” thick radius bent
tempered glass) behind the tabernacle. This
commission was created for the remodeled
adoration chapel at St. Monica Catholic
Church in Dallas, Texas.
STAINED • FACETED • ETCHED GLASS • HISTORIC RESTORATIONS • MOSAICS • PROTECTIVE GLAZING
3410 Fredericksburg Road
San Antonio, TX 78201-3847
800.723-8161 • 210.733-8161 • 210.737-1863 (fax)

The Standards and Guidelines
for the Preservation of Stained (and Leaded) Glass Windows
Virtually all professional disciplines,
construction trades and major industries
have standards and practices that are universal
for their respective groups. The
development of these criteria determines
the measure of value and quality that the
consumer can reasonably expect when
purchasing goods or services that the
industry or profession has to offer. Further,
the standards and practices protect the
members of the industry as well, by establishing
a standard so that the practitioners
can address the needs of the owners and
the cultural property in a consistent, professional
manner. It is imperative that all
members of the industry exhibit the
courage and integrity to adhere to the standards
and practices once they are established
and to demand that fellow craftspersons
do the same.
The Stained Glass Association of
America, in its role as the voice of the
stained glass profession in America, sets
forth in this publication the standards to
assist responsible conservators of stained
glass windows in the work that constitutes
a major and important facet of the
art glass field.
New Edition Now Available!
Completely Revised and Updated
For further information,
contact the SGAA Headquarters at 800.438-9581
or visit: www.stainedglass.org
64

Whitworth Stained Glass
First United Methodist Church,, New Braunfels, Texas
I AM the Resurrection, detail
Established in 1970, Whitworth Stained Glass
offers clients a one-on-one creative relationship
with the founder and owner of the company. We
provide our services with a small studio attitude of
giving individually personalized service with a
level of quality unsurpassed by any size studio.
If you need quality work for your church, your
home, a restaurant or a business—we have the
knowledge, skill and personal attention to take
care of your stained glass art. Our work has
resulted in repeat commissions and hundreds of
satisfied customers.
First United Methodist Church, New Braunfels, Texas.
“I AM the Way, the Truth and the Life,” 6’ x 13’
Jack & Cindy Whitworth, Owners
Whitworth Stained Glass
104 Melody Lane
New Braunfels, TX 78130
830.214.3370 • 830.620.5399 fax
http://www.whitworthstainedglass.com
66
First United Methodist
Church, New Braunfels, Texas
“I AM the Light of the World,”
detail

We now have available a state of the art technology using
panels of dimmable LED’s. They are powered by DC current;
and have no flicker, no hum, no heat—and are very
cost efficient and are rated at 120,000 hours. The above
window is an example of the possibilities that can be
achieved through use of this application. It allows total
control of the light in your Sanctuary without the loss of
energy through window openings to the exterior. It also
eliminates deterioration of lead, water leaks and vandalism.
Please contact us for further information about how
we can use this technology to benefit your stained glass
needs.
First United Methodist Church, New Braunfels, Texas; “I AM
the Resurrection and the Life,” 6’ x 13’
In addition to new stained glass, we have extensive experience
in historic preservation and conservation of existing
stained glass.
Whitworth Stained Glass is dedicated to creating stained
glass to the highest standards of our art. We unreservedly
give God the glory in all we do and know that we are
blessed to be able to have worked in stained glass more
than 40 years. We invite you to contact us to discuss
your project.
Jack & Cindy Whitworth, Owners
Whitworth Stained Glass
104 Melody Lane
New Braunfels, TX 78130
830.214.3370 • 830.620.5399 fax
http://www.whitworthstainedglass.com
67
Bronte United Methodist Church, Bronte, Texas
Window Detail

Gilbertson’s Stained Glass Studio
Angel of Victory Window. Total Restoration of a
J. & R. Lamb window with Complete Relead
Size: 80'' x 85''
Gilbertson’s Stained Glass Studio is a full-service, SGAA-Accredited facility capable of meeting the needs of today’s
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
GILBERTSON’S STAINED GLASS STuDIO
705 Madison Street
Lake Geneva, WI 53147-1409
262.248-8022 • 262.248-3044 (fax)
gsgs@genevaonline.com
www.stainedartglass.com

Gilbertson’s Stained Glass Studio
Mermaid
New Work
This installation was created for the office of a condominium
complex that overlooks the ocean in the
Cayman Islands. The client’s mermaid theme was
expanded to include an entire undersea world, which
the client loved.
The office’s convex-to-the-interior custom-built
curved glass block wall necessitated the free-standing
composition, which allows the panels to follow the
curve of the wall. The frames were custom fabricated
from bronze to give strength and structural integrity.
The project resulted in three seven-and-a-half-foot tall
freestanding panels that create an undersea, aquariums-like
environment in the client’s office complex.
Glass painting and fusing enhance the contrast, color,
and texture. Exotic and textured glasses were also
incorporated to further create an undersea feel.
In addition to the natural light provided by the glass
block wall, there is additional lighting provided by
lights mounted to the ceiling and the floor. These
lights, combined with diffusion given by trees outside
the windows, help create the illusion of being in an
undersea world.
The mermaid herself is composed of more than 800
pieces of uroboros granite texture gkass in the scales
of the tail and arms, while smooth, rounded iridescent
jewels were used in the necklace.
75
GILBERTSON’S STAINED GLASS STuDIO
705 Madison Street
Lake Geneva, WI 53147-1409
262.248-8022 • 262.248-3044 (fax)
gsgs@genevaonline.com
www.stainedartglass.com

Gilbertson’s Stained Glass Studio
A LaFarge window that underwent a total
restoration. This window will be a part of a new
museum opening in Evanston, IL.
Tiffany, Music Window. 80 % of the painting in
this window was beyond saving. We barely had
enough image to reproduce the pieces. Painting
by Bruce Medema. 58''w x 38''H.
Madonna and Baby Jesus window, by
Tiffany Studios. Complete restoration
with recreation of the bottom right
sections. Size: 5' 8'' x 21'
76
GILBERTSON’S STAINED GLASS STuDIO
705 Madison Street
Lake Geneva, WI 53147-1409
262.248-8022 • 262.248-3044 (fax)
gsgs@genevaonline.com
www.stainedartglass.com

Gilbertson’s Stained Glass Studio
Reproduction of a LaFarge window. This window will be a
part of a new museum opening in Evanston, IL.
77
GILBERTSON’S STAINED GLASS STuDIO
705 Madison Street
Lake Geneva, WI 53147-1409
262.248-8022 • 262.248-3044 (fax)
gsgs@genevaonline.com
www.stainedartglass.com

Sourcebook 2015
The Stained Glass Association of America
ThE ACCREDITED MEMBERShIP OF ThE
STAINED GLASS ASSOCIATION OF AMERICA
Accredited
Professional
Studios
CALIFORNIA
Artistic Designs Enterprises
Accredited Member since 1996
Sister Marie Tatina Oblate OSB
3873 El Paso Alto
San Marcos, CA 92069
800.339.6259
760.599.1095 fax
mtatina@ix.netcom.com
www.artisticdesign.org
The Judson Studios
Accredited Member since 1933
David Judson
200 South Avenue 66
Los Angeles, CA 90042
800.445.8376
323.255.0131
323.255.8529 fax
info@judsonstudios.com
www.judsonstudios.com
See Our Studio Ad on Pages 18 - 21
COLORADO
Creative Stained Glass Studio
Accredited Member since 1978
Michael J. Shields
5318 Evergreen heights Drive
Evergreen, CO 80439
303.988.0444
mikesheilds@csgstudio.com
www.csgstudio.com
FLORIDA
Creative Glassworks, Inc.
Accredited Member since 1999
Kirk Reber
1985 Mayport Road
Atlantic Beach, FL 32233
904.247.0064
kirk@creativeglassworks.com
www.creativeglassworks.com
Conrad Pickel Studio, Inc.
Accredited Member since 1946
Paul Pickel
7777 20th Street
Vero Beach, FL 32966
866.476.1443
772.569.1485 fax
info@pickelstudio.com
www.pickelstudio.com
See Our Studio Ad on Page 24
J. Piercey Studios, Inc.
Accredited Member since 1992
James T. Piercey
1714 Acme Street
Orlando, FL 32805
800.368.9226
407.841.7594
jpstudios@aol.com
www.jpiercey.com
See Our Studio Ad on Pages 22 &23
GEORGIA
Jennifer’s Glassworks, LLC
Accredited Member since 1978
David A. Simmons
4875 South Atlanta Road
Smyrna, GA 30339
800.241.3388
404.355.3080
404.355.6566 fax
sales@jennifersglassworks.com
www.jennifersglassworks.com
ILLINOIS
Botti Studio of Architectural Arts, Inc.
Accredited Member since 1977
Ettore Christopher Botti
919 Grove Street
Evanston, IL 60201-4315
800.524.7211
847.869.5933
847.869.5996 fax
botti@bottistudio.com
www.bottistudio.com
See Our Studio Ad on Page 30
Jacksonville Art Glass
Accredited Member since 2013
Ron Weaver
54 N. Central Park Plaza
Jacksonville, IL 62650
217.245.0500
217.243.4438 fax
ron@jacksonvilleartglass.com
www.jacksonvilleartglass.com
See Our Studio Ad on Pages 26 & 27
INDIANA
City Glass Specialty, Inc.
Accredited Member since 1950
Richard M. hollman
2124 South Calhoun Street
Ft. Wayne, IN 46802
260.744.3301
260.744.2522 fax
cityglassspecialty@yahoo.com
www.cityglassspecialty.com
Mominee Studios, Inc.
Accredited Member since 1989
Jules T. Mominee
5001 Lincoln Avenue
Evansville, IN 47715-4113
800.473.1691
812.473.1691
812.473.0676 fax
mominee@momineestudios.com
www.momineestudios.com
78
www.stainedglass.org

IOWA
Bovard Studio Inc.
Accredited Member since 1991
Ronald Bovard
2281 highway 34 East
Fairfield, IA 52556-8560
800.452.7796
641.472.2824
641.472.0974 fax
info@bovardstudio.com
www.bovardstudio.com
Glass heritage, LLC
Accredited Member since 2008
Adrian English
3113 hickory Grove Road
Davenport, IA 52806
877.324.4300
563.324.4300
563.324.4321 fax
adrian@glassheritage.com
www.glassheritage.com
See Our Studio Ad on Page 31
hershey Stained Glass Studio
Accredited Member since 2000
Kevin hershey
20907 Acorn Avenue
Milton, IA 52570
888.675.3740
641.675.3740
info@hersheystudio.com
www.hersheystudio.com
MARYLAND
Washington Art Glass Studio
Accredited Member since 1998
Jed Boertlein
6618 Walker Mill Road
Capitol heights, MD 20743
301.735.6292 phone & fax
washartglass@comcast.net
www.washingtonartglass.com
Sourcebook 2015
The Stained Glass Association of America
MASSACHUSETTS
Guarducci Stained Glass Studios
Accredited Member since 1998
David Guarducci
64 Stoney Brook Road
Great Barrington, MA 01230
413.528.6287 phone & fax
david.guarducci@yahoo.com
www.guarduccistudios.com
Lyn hovey Studio Inc.
Accredited Member since 2013
Lyn C. hovey
140 E. Main Street
Norton, MA 02766
617.288.6900
508.622.1318 fax
officemgr@lynhoveystudio.com
www.lynhoveystudio.com
See Our Studio Ad on Page 32
Stained Glass Resources, Inc.
Accredited Member since 1990
Sue Shea
15 Commercial Drive
hampden, MA 01036
800.883.5052
413.566.5053
413.566.2935 fax
mail@stainedglassresources.com
www.stainedglassresources.com
See Our Studio Ad on Pages 34 - 37
MICHIGAN
Full Spectrum Stained Glass, Inc.
Accredited Member since 1999
Valerie McCartney
31323 Colon Road
Colon, MI 49040
269.432.2610
269.432.9411 fax
fssgi@aol.com
www.fullstpectrumstainedglass.com
See Our Studio Ad on Page 38
MINNESOTTA
Gaytee/Palmer Stained Glass Studio
Accredited Member since 2014
Al Palmer
1519 Central Avenue NE
Minneapolis, MN 55413
888.872.4550
612.872.4551 fax
gayteepalmer@comcast.net
www.gaytee-palmerstainedglass.com
See Our Studio Ad on Page 39
O’Brien Stained Glass Co., Inc.
Accredited Member since 2012
Kevin O’Brien
104 Cleveland Street
Rolling Stone, MN 55969
800.362.7436
507.689.2223 fax
kevin@obriendstainedglass.com
www.obrienstainedglass.com
MISSISSIPPI
Pearl River Glass Studio, Inc.
Accredited Member since 1998
Andrew Cary Young
142 Millsaps Avenue
Jackson, MS 39202
601.353.2497
601.969.9315 fax
info@pearlriverglass.com
www.pearlriverglass.com
See Our Studio Ad on Pages 40 & 41
MISSOURI
Kathy Barnard Studio
Accredited Member since 2010
Kathy Barnard
1605 Locust Street
Kansas City, MO 64108
816.472.4977
kathy@kathybarnardstudio.com
www.kathybarnardstudio.com
See Our Studio Ad on Pages 42 & 43
79
www.stainedglass.org

NEW JERSEY
Rambusch Decorating Company
Accredited Member since 1931
Martin Rambusch
160 Cornelison Avenue
Jersey City, NJ 07304
201.333.2525
201.860.9999 fax
martinr@rambusch.com
www.rambusch.com
NEW YORK
Jerome R. Durr Studio
Accredited Member since 2000
Jerome Durr
206 Marcellus Street
Syracuse, NY 13204
315.428.1322
315.474.3609 fax
jrdurr0art@aol.com
www.jeromedurrstudio.com
See Our Studio Ad on Page 45
Rohlf’s Stained & Leaded Glass
Studio, Inc.
Accredited Member since 1979
Peter hans Rohlf
783 South Third Avenue
Mt. Vernon, NY 10550
800.969.4106
914.699.4848
914.699.7091 fax
rohlf1@aol.com
www.rohlfstudio.com
See Our Studio Ad on Pages 46 & 47
NORTH CAROLINA
A & h Art & Stained Glass Co., Inc.
Accredited Member since 1987
Christopher haynes
P.O. Box 67
3374 harmony highway
harmony, NC 28634
704.546.2687
704.546.2085 fax
ahstainglass@yadtel.net
www.ahstainglass.com
Sourcebook 2015
The Stained Glass Association of America
Laws Stained Glass Studios, Inc.
Accredited Member since 1968
Michael A. Laws
145 Ebenezer Lane
Statesville, NC 28625
800.820.1292
704.876.3463
704.876.4238 fax
info@lawsstainedglass.com
www.lawsstainedglass.com
Salem Stained Glass, Inc.
Accredited Member since 2010
Al Priest
P.O. Box 612
200 Salem Trail
East Bend, NC 27018
888.724.2559
336.699.3437 fax
alssg@yadtel.net
www.salemstainedglass.com
Stained Glass Associates, Inc.
Accredited Member since 1972
Michael A. Strickland
P.O. Box 296
Knightdale, NC 27545
919.266.2493
919.266.6228 fax
sgainc@att.net
www.stainedglassassoc.com
See Our Studio Ad on Page 49
Statesville Stained Glass, Inc.
Accredited Member since 1976
Dennis L. Lackey
136 Christopher Lane
Statesville, NC 28625
704.872.5147
704.872.7813 fax
dl@statesvillestainedglass.com
www.statesvillestainedglass.com
See Our Studio Ad on Page 51
OHIO
Azure Stained Glass Studio, LLC
Accredited Member since 2012
Mary Zodnik
15602 Waterloo Road
Cleveland, Oh 44110
216.357.2600 phone & fax
studio@azurestainedglass.com
www.azurestainedglass.com
Franklin Art Glass Studios, Inc.
Accredited Member since 1909
Andrea Reid
222 East Sycamore Street
Columbus, Oh 43206
800.848.7683
614.221.2972
614.221.5223 fax
andrea@franklinartglass.com
www.franklinartglass.com
See Our Studio Ad on Pages 52 & 53
Window Creations, LLC
Accredited Member since 2005
Reggie Buehrer
P.O. Box 485
Ottoville, Oh 45876
800.633.4571
419.453.2004
419.453.2006 fax
info@bstudios.net
www.bstudios.net
PENNSYLVANIA
Beyer Studio, Inc.
Accredited Member since 1992
Joseph Beyer
9511 Germantown Avenue
Philadelphia, PA 19118
215.848.3502
215.848.3535 fax
joe@beyerstudio.com
www.beyerstudio.com
80
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Cumberland Stained Glass, Inc.
Accredited Member since 2000
Bryan Lerew
5232 East Trindle Road
Mechanicsburg, PA 17050
717.691.8290
717.591.9807 fax
info@cumberlandstainedglass.com
www.cumberlandstainedglass.com
See Our Studio Ad on Page 54
hunt Stained Glass Studios, Inc.
Accredited Member since 1911
Nicholas Parrendo
1756 West Carson Street
Pittsburgh, PA 15219-1036
412.391.1796
412.391.1560 fax
huntsgpgh@gmail.com
www.huntstainedglass.com
See Our Studio Ad on Page 55
Mezalick Design Studio, LLC
Accredited Member since 2005
Nidia M. Mezalick
4526 Griscom Street
Philadelphia, PA 19124-3640
215.744.5490
215.744.3253 fax
nidia@mezalick.com
www.mezalick.com
Pittsburgh Stained Glass Studios
Accredited Member since 1908
Ralph Mills
160 Warden Street
Pittsburgh, PA 15220
412.921.2500
215.744.3253 fax
ralphwmills@hotmail.com
www.pittsburghstainedglassstudios.com
Renaissance Glassworks, Inc.
Accredited Member since 1994
h. B. Mertz
3311 Washington Road
McMurray, PA 15317
724.969.9009
724.969.4177 fax
hbmertz@verizon.net
Sourcebook 2015
The Stained Glass Association of America
TENNESSEE
Emmanuel Stained Glass Studios, Inc.
Accredited Member since 1978
Dennis R. harmon
410 Maple Avenue
Nashville, TN 37210
800.326.2228
615.255.5446
615.255.5447 fax
dennis@emmanuelstudio.com
www.emmanuelstudio.com
See Our Studio Ad on Page 56
State of the Art, Inc.
Accredited Member since 1999
Ben Parham
8703 unicorn Drive, #310
Knoxville, TN 37923
888.539.0415
865.539.0416 fax
sotaglass@gmail.com
www.sotaglass.com
See Our Studio Ad on Page 57
TEXAS
Cavallini Company, Inc.
Accredited Member since 1992
Adrian J. Cavallini
3410 Fredricksburg Road
San Antonio, TX 78201-3847
800.723.8161
210.733.8161
210.737.1863 fax
cavallinis@aol.com
www.cavallinistudios.com
See Our Studio Ad on Page 59
IhS Studios, Inc.
Accredited Member since 2005
Kristine Nordmeyer
1400 FM 2093
Fredericksburg, TX 78624-7663
800.259.1842
830.997.1842
800.296.4314 fax
sales@ihsstudios.com
www.ihsstudios.com
See Our Studio Ad on Pages 60 & 61
Kebrle Stained Glass Studio, Inc.
Accredited Member since 1964
Irmgard Kebrle
2829 Bachman Drive
Dallas, TX 75220
214.357.5922 phone & fax
kebrlestainedglass@yahoo.com
www.kebrlestainedglass.com
Stanton Glass Studio, LLC
Accredited Member since 2007
Bryant Stanton
318 Rogers hill Road
Waco, TX 76705
800.619.4882
254.829.1151
254.829.2521 fax
info@stantonglass.com
www.stantonglass.com
See Our Studio Ad on Page 63
Whitworth Stained Glass
Accredited Member since 1988
Jack Whitworth, III
104 Melody Lane
New Braunfels, TX 78130
830.214.3370
830.620.5399 fax
jack@whitworthstainedglass.com
www.whitworthstainedglass.com
See Our Studio Ad on Pages 64 & 65
VIRGINIA
Lynchburg Stained Glass Co.
Accredited Member since 1987
Robert C. Speake
P.O. Box 4453
Lynchburg, VA 24502
800.237.6161
434.525.6168 phone & fax
info@lynchburgstainedglass.com
www.lynchburgstainedglass.com
81
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Raynal Studios, Inc.
Accredited Member since 2000
John M. Raynal
P.O. Box 405
Natural Bridge Station, VA 24579
800.305.0959
540.291.1198
877.717.2398 fax
raynal@rockbridge.net
www.raynalstudios.com
See Our Studio Ad on Pages 66 & 67
WASHINGTON
Perry Stained Glass Studio
Accredited Member since 1975
Elizabeth E. Perry
470 Front Street North
Issaquah, WA 98027
425.392.1600
425.391.7734 fax
psgstudio@aol.com
www.perrystainedglass.com
WEST VIRGINIA
Shobe’s Stained Glass Art Studio
Accredited Member since 1978
Dennis F. Shobe
P.O. Box 1692
huntington, WV 25717-1692
304.522.0308 phone & fax
d.shobe3@frontier.com
WISCONSIN
Conrad Schmitt Studios, Inc.
Accredited Member since 1931
B. Gunar Gruenke
2405 South 162nd Street
New Berlin, WI 53151
800.969.3033
262.786.3030
262.786.9036 fax
studio@conradschmitt.com
www.conradschmitt.com
See Our Studio Ad on Pages 68 - 71
Sourcebook 2015
The Stained Glass Association of America
Gilbertson’s Stained Glass Studio
Accredited Member since 1997
Ed Gilbertson
705 Madison Street
Lake Geneva, WI 53147-1409
262.248.8022
262.248.3044 fax
gsgs@genevaonline.com
www.stainedartglass.com
See Our Studio Ad on Pages 72 - 75
Oakbrook-Esser Studios, Inc.
Accredited Member since 1992
Paul Phelps
129 East Wisconsin Avenue
Oconomowoc, WI 53066-3033
800.223.5193
262.567.9310
262.567.6487 fax
info@oakbrookesser.com
www.oakbrookesser.com
CANADA
Bullas Glass, Ltd.
Accredited Member since 1952
Joseph h. Bullas
15 Joseph Street
Kitchener, ON N2G 1h9
Canada
519.658.0724
519.745.1124 fax
joebullas@sympatico.ca
COSTA RICA
Sylvia Laks Stained Glass Art Studio and
Gallery
Accredited Member since 2011
Sylvia Laks
Apartado 233-3015
San Rafael heredia
Costa Rica
506.2267.6350
info@sylvialaks.com
www.sylvialaks.com
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
Franciscan Glass Co., Inc.
Accredited Member since 1977
Roger h. Bibo
35255 Fircrest Street
Newark, CA 94560
800.229.7728
510.505.9775
800.299.7730/510.505.9917 fax
roger@franciscanglass.com
www.franciscanglassco.com
COLORADO
Reusché & Co. of TWS, Inc.
Accredited Member since 1979
Jon Rarick
1299 h Street
Greeley, CO 80631
970.346.8577
970.346.8575 fax
jrarick@reuscheco.com
www.reuscheco.com
82
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GEORGIA
DhD Metals, Inc.
Accredited Member since 1992
Dennis h. Dailey
P.O. Box 165
1301 Olympic Court, Suite A
Conyers, GA 30012
800.428.6693
770.760.9404
770.760.9032 fax
ddailey1@bellsouth.net
www.dhdmetalslead.com
See Our Company Ad on Page 25
ILLINOIS
Ed hoy’s 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
Kokomo Opalescent Glass Co., Inc.
Accredited Member since 1969
Richard Elliott
P.O. Box 2265
1310 South Market Street
Kokomo, IN 46904-2265
765.457.8136
765.459.5177 fax
eliot@kog.com
www.kog.com
NEW JERSEY
S.A. Bendheim Co., Ltd.
Accredited Member since 1941
Robert Jayson
61 Willett Street
Passaic, NJ 07055
800.221.7379
973.471.1640 fax
info@bendheim.com
www.bendheim.com
See Our Company Ad on Page 44
Sourcebook 2015
The Stained Glass Association of America
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
Bullseye Glass Company
Accredited Member since 2015
Daniel Schwoerer
3722 SE 21 st Avenue
Portland, OR 97202
888.220.3002
503.232.8887
sales@bullseyeglass.com
www.bullseyeglass.com
PENNSYLVANIA
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
Blenko Glass Co., Inc.
Accredited Member since 1969
Walter Blenko
P.O. Box 67
9 Bill Blenko Drive
Milton, WV 25541
304.743.9081
304.743.0547 fax
walter@blenkoglass.com
www.blenkoglass.com
The Paul Wissmach Glass Co., Inc.
Accredited Member since 1969
Mark Feldmeier
P.O. Box 228
Paden City, WV 26159
304.337.2253
304.337.8800 fax
wissmach@frontier.com
www.wissmachglass.com
JAPAN
Jujo Co., Inc.
Accredited Member since 1980
Junji Miwa
13-15 Chausumae Moriyama-ku
Nagoya Aichi 463-0012
Japan
81.52.795.0033 81.52.794.3862 fax
m-junji@jujo.net
www.jujo.net
Accredited
Artist/Designer
NEW YORK
Ellen Mandelbaum Glass Art
Accredited Member since 2014
39-49 46th Street
Sunnyside, NY 11104=1407
718.361.8154 phone & fas
emga@earthlink.net
www.emglassart.com
Inge Pape Trampler
Accredited Member since 1982
23 Del Rey Drive
Mt. Vernon, NY 10552
914.699.8616
ingepapetrampler@hotmail.com
www.ingepapetrampler.com
83
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UNITED KINGDOM
Roy Walter Coomber
Accredited Member since 1985
39 Vicarage Road
Bishopsworth
Bristol BS13 8ER
united Kingdom
44.117.9.640.643
44.117.9.633.312 fax
rwcoomber@aol.com
Active
Accredited
Studios
ILLINOIS
Bill Klopsch Stained Glass
Active Accredited Member since 2006
Bill Klopsch
4656 West Church Street
Skokie IL 60076
847.329.9369
847.329.9350 fax
bill@billklopschstainedglass.com
www.billklopschstainedglass.com
Sourcebook 2015
The Stained Glass Association of America
MINNESOTA
Reinarts Stained Glass Studios
Active Accredited Member since 2008
William Reinarts
P.O. Box 872
Winona, MN 55987-0872
507.452.4465
507.452.4649 fax
sales@reinarts.com
www.reinarts.com
TEXAS
Art Glass Ensembles
Active Accredited Member since 2010
Christie A. Wood
513 Bolivar Street
Denton, TX 76201
940.591.3002
info@artglassensembles.com
www.artglassensembles.com
See Our Studio Ad on Page 58
Professional Studios
NEW JERSEY
The J. & R. Lamb Studios, Inc.
Professional Member since 2014
Donald Samick
190 Greenwood Avenue
Midland Park, NJ 07432
201.891.8585
201.891.8855 fax
lambinfo@optonline.net
www.lambstudios.com
Solstice Art Source
Active Accredited Member since 2013
Emily Carlson
2010 W. Fulton Street, #F104C
Chicago, IL 60612
847.561.4048
mle@solsticeartsource.com
www.solsticeartsource.com
See Our Studio Ad on Pages 28 & 29
MICHIGAN
Diane Eissinger Stained Glass
Active Accredited Member since 2008
Diane Eissinger
44290 Willis Road
Belleville, MI 48111-8942
734.699.9344
deissinger@comcast.net
84
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Sourcebook 2015
The Stained Glass Association of America
ThE ASSOCIATES OF ThE
STAINED GLASS ASSOCIATION OF AMERICA
Arkansas
Soos, David
30 Maumelle Curve Court
North Little Rock, AR 72113
800.791.7667 501.758.8655 fax
info@soosstainedglass.com
California
Rigdon, Thomas
650 Reed Street
Santa Clara, CA 95050
408.748.1806 408.748.0160 fax
studio@hylandstudio.com
Georgia
Llorens, Frank D.
814 Ronald Wood Road
Winder, GA 30680-0755
678.219.0230 678.219.0233 fax
frankllorensjr@llorensleadedartglass.com
Minnesota
Lauer, Michael
720 Osseo Avenue South
St. Cloud, MN 56301
320.251.2330
micstgl@yahoo.com
Montana
Sommerfeld, Susan Kennedy
2923 Second Avenue North
Billings, MT 59101
406.245.3788
susan@kennedystainedglass.com
Nebraska
New York
hyams, harriet
P.O. Box 178
Palisades, NY 10964
845.359 0061 845.359.0062 fax
harriart25@gmail.com
North Carolina
Wooten, Parks Avery
P.O. Box 292
union Grove, NC 28689
704.539.4608 704.539.4629 fax
avery2@yadtel.net
Ohio
hipple, Amy J.
4411 Alkire Road
Columbus, Oh 43228
614.878.4981
ghipple@columbus.rr.com
Pennsylvania
Mitchell, Mathew
15 E. Philadelphia Street
York, PA 17401
mmitchell@rudyglass.com
Virginia
Komp, Linda
6 Calvert Court
Fredericksburg, VA 22405
540.373.0790
lkomp@zagmail.gonzaga.edu
Scott, Rodney W.
4025 S. 48th Street
Lincoln, NE 68506
402.420.2544 402.420.0472 fax
glassarts@windstream.net
85
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Sourcebook 2015
The Stained Glass Association of America
ALL MEMBERS, ASSOCIATES AND AFFILIATES OF ThE
STAINED GLASS ASSOCIATION OF AMERICA
A
R A & H Art & Stained Glass
Company, Inc.
Christopher Haynes
P.O. Box 67
3374 Harmony Highway
Harmony, NC 28634
704.546.2687 704.546.2085 fax
ahstainglass@yadtel.net
www.ahstainglass.com
Aaron, James
P.O. Box 94
Short hills, NJ 07078
973.376.8090 973.376.3169 fax
Achilles, Rolf
3200 N. Lake Shore Drive, #703
Chicago, IL 60657
773.477.8138
rachilles@saic.edu
Adams, David
814 Ronald Wood Road
Winder, GA 30680
770.289.1161
dadams25@bellsouth.net
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
Alexander, Terry
508 Andrew Jackson Way
huntsville, AL 35801
256.517.1515
terryalexander3@gmail.com
Allain, Teresa
366 Lakeshore Drive
hewitt, NJ 07421
gtrmaker@optonline.net
Angerhofer, Ruth
2422 South highway 281
Aberdeen, SD 57401
605.225.5255
ranger@abe.midco.net
Arceneaux, Judy
1132 Kaliste Saloom Road Bldg. G
Lafayette, LA 70508
337.278.8895
judy@accuratemeasurement.net
Armagno, Louis
6830 Carriage hill Drive #35
Brecksville, Oh 44141-1249
808.728.6949 808.449.4294 fax
honolulou@gmail.com
l Art Glass Ensembles
Christie A. Wood
513 Bolivar Street
Denton, TX 76201
940.591.3002
info@artglassensembles.com
www.artglassensembles.com
See Our Studio Ad on Page 58
R Artistic Designs Enterprises
sister Marie Tatina Oblate OSB
3873 El Paso Alto
San Marcos, CA 92069
800.339.6259 760.599.1095 fax
mtatina@ix.netcom.com
www.artisticdesign.org
AuCoin, Georgina
771 Coventry Drive NE
Calgary AL T3K 4C7
Canada
ginaaucoin@gmail.com
Auestad, Sandra
11126 77 th Avenue
Forest hills, NY 11375
sauestad@msn.com
Augspurger, Megan
255 Pratt Street
Buffalo, NY 14204
716.563.2444
mcelf@mcelfglassworks.com
Austin, Phillip
4251 Jordan Road
Skaneateles, NY 13152
315.685.5091
studio@snakeoilglassworks.com
R Azure Stained Glass Studio, LLC
Mary Zodnik
15602 Waterloo Road
Cleveland, OH 44110
216.357.2600 phone & fax
studio@azurestainedglass.com
www.azurestainedglass.com
B
Babin, Roch Edmund
8655 Datapoint Drive, #402
San Antonio, TX 78229
rochbabin@yahoo.com
Baker, Debbie
512 S Main Street
Woodward, IA 50276
dbaker@minburncomm.net
Baldwin, Sandra
301 W. Main Street
LaPorte, TX 77571
baldwin@gmail.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
v Accredited Craft Supplier/ Manufacturer R Accredited Professional Studio T Accredited Artist/Designer l Active Accredited Studio w Professional Studio
86
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R Kathy Barnard Studio
Kathy Barnard
1605 Locust Street
Kansas City, MO 64108
816.472.4977
kathy@kathybarnardstudio.com
www.kathybarnardstudio.com
See Our Studio ad on Pages 42-43
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
Beckham-Davis, Lou Ellen
40 Pine Knoll Drive
Greenville, SC 29609-3243
864.235.9545 864.235.9593 fax
lebglass@bellsouth.net
Beckmann, Ellworth
104 Bramblewood Lane
Lewisberry, PA 17339
717.691.6649
ell.beckmann@verizon.net
Behle, M. Downs
27 Grand Street
Warwick, NY 10990
845.986.8913 845.986.8973 fax
info@downsbehlestudio.com
Sourcebook 2015
The Stained Glass Association of America
Belcher, Darren
412 Joslyn Road
Lake Orion, MI 48362-2223
englishrose72@hotmail.com
Ben-Ora, Miriam
1401 Flower Street
Glendale, CA 91221
v S.A. Bendheim Co., Ltd.
Robert Jayson
61 Willett Street
Passaic, NJ 07055
800.221.7379 973.471.1640 fax
info@bendheim.com
www.bendheim.com
See Our Company Ad on Page 44
Bergeron, Judy
618 Gardiner Court
Steilacoom, WA 98388
253.581.9950
judybergeron@comcast.net
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.
R Beyer Studio, Inc.
Joseph Beyer
9511 Germantown Avenue
Philadelphia, PA 19118
215.848.3502 215.848.3535 fax
joe@beyerstudio.com
www.beyerstudio.com
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
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
v Blenko Glass Co., Inc.
Walter Blenko
P.O. Box 67
9 Bill Blenko Drive
Milton, WV 25541
304.743.9081 304.743.0547 fax
walter@blenkoglass.com
www.blenkoglass.com
Blenko, Walter
Seed Blenko Glass Co., Inc.
Blenko, William h.
P.O. Box 67
Milton, WV 25541
304.743.9081
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
v Accredited Craft Supplier/ Manufacturer R Accredited Professional Studio T Accredited Artist/Designer l Active Accredited Studio w Professional Studio
87
www.stainedglass.org

Bordelon, Denise
13194 highway 1
Simmesport, LA 71369
318.985.2383
cajuncutters@gmail.com
Borey, Michael
1105 Stonehedge Trail Lane
St. Augustine, FL 32092
904.613.7477
cmborey@aol.com
Botti, Ettore Christopher
See Botti Studio of Architectural
Arts, Inc.
R Botti Studio of Architectural
Arts, Inc.
Ettore Christopher Botti
919 Grove Street
Evanston, IL 60201-4315
800.524.7211
847.869.5933 847.869.5996 fax
botti@bottistudio.com
www.bottistudio.com
See Our Studio Ad on Page 30
Bovard, Ronald
See Bovard Studio Inc.
R Bovard Studio Inc.
Ronald Bovard
2281 Business Highway 34
Fairfield, IA 52556-8560
800.452.7796
641.472.2824 641.472.0974 fax
info@bovardstudio.com
www.bovardstudio.com
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
Sourcebook 2015
The Stained Glass Association of America
Brooks, Amy
19 Wilmer Place
Meluchen, NJ 08840
paradisecsg@verizon.net
Bryant, Gabriele
497 Thayer Place
Wadsworth, Oh 44281-7723
gabriele.glassartscapes@gmail.com
Buehrer, Reggie
See Window Creations, LLC
R Bullas Glass, Ltd.
Joseph H. Bullas
15 Joseph Street
Kitchener, ON N2G 1H9
Canada
519.658.0724 519.745.1124 fax
joebullas@sympatico.ca
Bullas, Joseph h.
See Bullas Glass, Ltd.
Bullock, Judy
17416 Polo Run Lane
Louisville, KY 40245
v Bullseye Glass Company
Daniel Schwoerer
3722 SE 21 st Avenue
Portland, OR 97202
888.220.3002 503.232.8887
sales@bullseyeglass.com
www.bullseyeglass.com
Burstein, Dan
3420 North Sugan Road
New hope, PA 18938
C
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
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.
R Cavallini Company, Inc.
Adrian J. Cavallini
3410 Fredricksburg Road
San Antonio, TX 78201-3847
800.723.8161
210.733.8161 210.737.1863 fax
cavallinis@aol.com
www.cavallinistudios.com
See Our Studio Ad on Page 59
Celinder, Mary Ann
21341 Fleet Lane
huntington Beach, CA 92646
714.962.8361
maryann@customleadedglass.com
Chaidez, Tara
249 Grandview Avenue
Valparaiso, FL 32580
tarachaidez@gmail.com
R City Glass Specialty, Inc.
Richard M. Hollman
2124 South Calhoun Street
Ft. Wayne, IN 46802
260.744.3301 260.744.2522 fax
cityglassspecialty@yahoo.com
www.cityglassspecialty.com
Clark, John Wardell
28 S. Stolp Avenue
Aurora, IL 60506
630.896.4181
wardellartglass@aol.com
v Accredited Craft Supplier/ Manufacturer R Accredited Professional Studio T Accredited Artist/Designer l Active Accredited Studio w Professional Studio
88
www.stainedglass.org

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
R Conrad Schmitt Studios, Inc.
B. Gunar Gruenke
2405 South 162nd Street
New Berlin, WI 53151
800.969.3033
262.786.3030 262.786.9036 fax
gunar@conradschmitt.com
www.conradschmitt.com
See Our Studio Ad on Pages 68-71
T Roy Walter Coomber
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
Sourcebook 2015
The Stained Glass Association of America
Cowan, Michael A.
201 North Oak Street
Springfield, TN 37172
61.384.2781
myoldhouse@comcast.net
Cowan, Steven
110 Dower Road
Sutton Coldfield
West Midlands B75 6TL
united Kingdom
stevecowan13@hotmail.com
R Creative Glassworks, Inc.
Kirk Reber
1985 Mayport Road
Atlantic Beach, FL 32233
904.247.0064
kirk@creativeglassworks.com
www.creativeglassworks.com
R Creative Stained Glass Studio
Michael J. Shields
5318 Evergreen Heights Drive
Evergreen, CO 80439
303.988.0444
mikeshields@csgstudio.com
www.csgstudio.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
R Cumberland Stained Glass, Inc.
Bryan Lerew
5232 East Trindle Road
Mechanicsburg, PA 17050
717.691.8290 717.591.9807 fax
info@cumberlandstainedglass.com
www.cumberlandstainedglass.com
See Our Studio Ad on Page 54
D
Dailey, Dennis
See DhD Metals, Inc.
Darrow, Michelle
128 hindley Avenue
Winnipeg, MN R2M 1P7
Canada
michelle.darrow@shaw.ca
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
v DHD Metals, Inc.
Dennis H. Dailey
P.O. Box 165
1301 Olympic Court, Suite A
Conyers, GA 30012
800.428.6693
770.760.9404 770.760.9032 fax
ddailey1@bellsouth.net
www.dhdmetalslead.com
See Our Company Ad on Page 25
Discawicz, Joseph
175 Pheland Street
Springfield, MA 01109
discawicz13@yahoo.com
v Accredited Craft Supplier/ Manufacturer R Accredited Professional Studio T Accredited Artist/Designer l Active Accredited Studio w Professional Studio
89
www.stainedglass.org

Douglass, Gene
1811 10 th Street
Wichita Falls, TX 76301
910.761.5595
gene_douglass@sbcglobal.net
Duncan, Durane Sue
5344 Ridge Avenue S.E.
Canton, Oh 44707
330.484.6722
duncanstainedglass@neo.rr.com
Durr, Jerome
See Jerome R. Durr Studio
R Jerome R. Durr Studio
Jerome Durr
206 Marcellus Street
Syracuse, NY 13204
315.428.1322 315.474.3609 fax
jrdurr0art@aol.com
www.jeromedurrstudio.com
See Our Studio Ad on Page 45
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
E
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
Sourcebook 2015
The Stained Glass Association of America
Eiden, Terry
835 S. Golf Cul de Sac Street
Des Plaines, IL 60016
847.989.7352
terry@alluringspectrums.com
Eissinger, Diane
See Diane Eissinger Stained Glass
l Diane Eissinger Stained Glass
Diane Eissinger
44290 Willis Road
Belleville, MI 48111-8942
734.699.9344
deissinger@comcast.net
Elliott, Richard
See Kokomo Opalescent Glass Co.,
Inc.
R Emmanuel Stained Glass
Studios, Inc.
Dennis R. Harmon
410 Maple Avenue
Nashville, TN 37210
800.326.2228
615.255.5446 615.255.5447 fax
dennis@emmanuelstudio.com
www.emmanuelstudio.com
See Our Studio Ad on Page 56
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
F
Fairfield, John L.
276 Nassau Drive
Springfield, MA 01129
johnyfairfield@yahoo.com
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 hoy’s 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
v Franciscan Glass Co., Inc.
Roger H. Bibo
35255 Fircrest Street
Newark, CA 94560
800.229.7728 510.505.9775
800.229.7730 or 510.505.9917 fax
roger@franciscanglass.com
www.franciscanglassco.com
v Accredited Craft Supplier/ Manufacturer R Accredited Professional Studio T Accredited Artist/Designer l Active Accredited Studio w Professional Studio
90
www.stainedglass.org

R Franklin Art Glass Studios, Inc.
Andrea Reid
222 East Sycamore Street
Columbus, OH 43206
800.848.7683
614.221.2972 614.221.5223 fax
info@franklinartglass.com
www.franklinartglass.com
See Our Studio Ad on Pages 52-53
Frei, Stephen
1017 W. Adams Avenue
St. Louis, MO 63122
314.822.1091
davidfrei@charter.net
Friday, Albert D., Jr.
P.O. Box 99
Van horn, TX 79855-0099
432.284.1533
chipfriday@rocketmail.com
R Full Spectrum Stained Glass, Inc.
Valerie McCartney
31323 Colon Road
Colon, MI 49040
269.432.2610 269.432.9411 fax
fssgi@aol.com
www.fullspectrumstainedglass.com
See Our Studio Ad on Page 38
Furlong, Sharon,
133 East Bristol Road
Feasterville, PA 19053-3341
215.322.0492
sadesman@verizon.net
G
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
R Gaytee/Palmer Stained Glass
Studio
Al Palmer
1519 Central Avenue NE
Minneapolis, MN 55413
888.872.4550 612.872.4551 fax
gayteepalmer@comcast.net
See Our Studio Ad on Page 39
Sourcebook 2015
The Stained Glass Association of America
Geiger, Josephine A.
1647 Beech Street
Saint Paul, MN 55106
612.964.6081
jageiger.studio@comcast.net
Gibson, Peter
4A Precentor’s Court
York, England Y01 2EJ
united Kingdom
44.1904.626.309
Gilbertson, Ed
See Gilbertson’s Stained Glass Studio
R Gilbertson’s Stained Glass Studio
Ed Gilbertson
705 Madison Street
Lake Geneva, WI 53147-1409
262.248.8022 262.248.3044 fax
gsgs@genevaonline.com
www.stainedartglass.com
See Our Studio Ad on Pages 72-75
Glander, Anthony
14726 Myer Terrace
Rockville, MD 20853
301.460.6404
tony@fitzpatrickglass.com
R Glass Heritage, LLC
Adrian English
3113 Hickory Grove Road
Davenport, IA 52806
877.324.4300
563.324.4300 563.324.4321
adrian@glassheritage.com
www.glassheritage.com
See Our Studio Ad on Page 31
Gliesman, Paul
17016 Sycamore Court
Northville, MI 48168
248.349.1550
pmgliesman@gmail.com
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
Goldstein, Yoine
P.O. Box 630
hinesburg, VT 05461
802.482.2844 phone & fax
yoine.goldstein@mcmillan.ca
Goncalves, Francisco Da Silva
7130 S.W. 47th Street
Miami, FL 33155-4630
305.856.0451
artglasflorida@hotmail.com
Gong, Nancy
42 Parkview Drive
Rochester, NY 14625
585.288.5520 585.288.2503 fax
nancy@nancygong.com
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
R Guarducci Stained Glass Studios
David Guarducci
64 Stoney Brook Road
Great Barrington, MA 01230
413.528.6287 phone & fax
david.guarducci@yahoo.com
www.guarduccistudios.com
v Accredited Craft Supplier/ Manufacturer R Accredited Professional Studio T Accredited Artist/Designer l Active Accredited Studio w Professional Studio
91
www.stainedglass.org

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
H
Sourcebook 2015
The Stained Glass Association of America
haunstein, Lynn
3105 Walnut Street
harrisburg, PA 17109
717.657.9737 phone & fax
lynnp1953@aol.com
hayes, Christopher
P.O. Box 292
Canton, CT 06019
860.313.0330
alsg@autumnlightstudio.com
hoffman, Daniel
142 Jordan Road
Williamsville, NY 14221
716.632.0529
glassmandan142@gmail.com
holden, Beverly
935 Market Street
Truesdale, MO 63383
636.456.7017 636.456.0717 fax
glassgardenllc@centurytel.net
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 7 th Street
Vancouver, WA 98683
purplebirdart@gmail.com
harrison, hilary
14 Great hill Road
Gloster, MA 01930
978.491.8148
hilharrison14@gmail.com
haynes, Christopher
See A & h Art & Stained Glass
Company, Inc.
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
R Hershey Stained Glass Studio
Kevin Hershey
20907 Acorn Avenue
Milton, IA 52570
888.675.3740 641.675.3740
info@hersheystudio.com
www.hersheystudio.com
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
hoefer, Scott
910 S. Main Street
South hutchinson, KS 67505
620.663.1778 620.663.8686 fax
hoeferstainedglass@yahoo.com
holdman, Tom
3001 N. Thanksgiving Way
Lehi, uT 84043
801.766.4111 phone & fax
tommail@holdman.com
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.
v Accredited Craft Supplier/ Manufacturer R Accredited Professional Studio T Accredited Artist/Designer l Active Accredited Studio w Professional Studio
92
www.stainedglass.org

R Lyn Hovey Studio, Inc.
Lyn C. Hovey
140 E. Main Street
Norton, MA 02766
617.288.6900 508.622.1318 fax
officemgr@lynhoveystudio.com
www.lynhoveystudio.com
See Our Studio Ad on Page 32
v Ed Hoy’s 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
hummell, Jerry
801 South 7th Street
Burlington, IA 52601-5826
319.754.6158
jerryhummellglas@msn.com
R Hunt Stained Glass Studios, Inc.
Nicholas Parrendo
1756 West Carson Street
Pittsburgh, PA 15219-1036
412.391.1796 412.391.1560 fax
huntsgpgh@gmail.com
www.huntstainedglass.com
See our Studio Ad on Page 55
hyams, harriet
P.O. Box 178
Palisades, NY 10964
845.359.0061 845.359.0062 fax
harriart25@gmail.com
I
R IHS Studios, Inc.
Kristine Nordmeyer
1400 FM 2093
Fredericksburg, TX 78624-7663
800.259.1842
830.856.2255 800.296.4314 fax
sales@ihsstudios.com
www.ihsstudios.com
See Our Studio Ad on Pages 60-61
Sourcebook 2015
The Stained Glass Association of America
J
R Jacksonville Art Glass
Ron Weaver
54 N. Central Park Plaza
Jacksonville, IL 62650
217.245.0500 217.243.4438 fax
ron@jacksonvilleartglass.com
www.jacksonvilleartglass.com
See Our Studio Ad on Pages 26-27
James, Maureen
P.O. Box 69
Westport, KY 40077-0069
800.719.0769 502.222.5631
502.222.4527 fax
maureen@glasspatterns.com
Jamieson, Deborah S.
680 Strathy hall Road
Richmond hill, GA 31324
904.272.6103
deborah.jamieson@armstrong.edu
Jarrett, Richard Allen
331 Pile Street
Ramona, CA 92065
760.788.9243
richard@richardajarrett.com
Jayson, Robert
See S.A. Bendheim Co., Ltd.
R Jennifer’s Glassworks, LLC
David A. Simmons
4875 South Atlanta Road SE
Atlanta, GA 30339
800.241.3388
404.355.3080 404.355.6566 fax
sales@jennifersglassworks.com
www.jennifersglassworks.com
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
Johnson, Robert G.
862 N. Prairie Street
Galesburg, IL 61401
309.342.3475
johnsonrg@grics.net
Jones, Jamie Lee
18709 E. 24th Street Court S.
Independence, MO 64057
816.461.7895
glassman63@sbcglobal.net
Jones, Robert O.
2854 Laris Drive
Tallahassee, FL 32303
850.544.9462
robertsenoj@gmail.com
Jordan, Kathy
316 Media Station Road
Media, PA 19063
610.891.7813 610.891.0150 fax
aog1987@aol.com
Joy, Kim
13315 huntington Lane
Woodbridge, VA 22193
703.623.0905
kim@kimsjoy.com
Judson, David
See The Judson Studios
R The Judson Studios
David Judson
200 South Avenue 66
Los Angeles, CA 90042
800.445.8376
323.255.0131 323.255.8529 fax
info@judsonstudios.com
www.judsonstudios.com
See Our Studio Ad on Pages 18-21
v Jujo Co., Inc.
Junji Miwa
13-15 Chausumae Moriyama-ku
Nagoya Aichi 463-0012
Japan
81.52.795.0033 81.52.794.3862
fax
m-junji@jujo.net
www.jujo.net
K
Kaiser, Jacki
602 S. East Street
Culpeper, VA 22701
540.825.0438
v Accredited Craft Supplier/ Manufacturer R Accredited Professional Studio T Accredited Artist/Designer l Active Accredited Studio w Professional Studio
93
www.stainedglass.org

Kasmark, Benjamin J.
1045 Ransom Road
Dallase PA 18612
570.690.2363
bjkas@aol.com
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
Kaywell, Jerry Fr.
211 W. Charlotte Avenue
Punta Gorda, FL 33950-5546
Sourcebook 2015
The Stained Glass Association of America
Kimmel, David M.
1717 Appleway
St. Thomas, PA 17252
717.729.3751
kimmeld3@yahoo.com
Kipphan, Beverly
503 Arran Lane
hedgesville, WV 25427
304.258.5494
arranartglass@aol.com
Klasna, Steve
1960 W. Stonehurst Dr. #700
Rialto, CA 92377
stevejk2@msn.com
L
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
Laisun, Peng
1127 Jing Lian Road
Minhang District
Shanghai 201108
China
Kebrle, Irmgard
See Kebrle Stained Glass Studio, Inc.
Kebrle, John
2829 Bachman Drive
Dallas, TX 75220
214.357.5922 phone & fax
kebrlestainedglass@yahoo.com
R Kebrle Stained Glass Studio, Inc.
Irmgard Kebrle
2829 Bachman Drive
Dallas, TX 75220
214.357.5922 phone & fax
kebrlestainedglass@yahoo.com
www.kebrlestainedglass.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
Klopsch, Bill
See Bill Klopsch Stained Glass
l Bill Klopsch Stained Glass
Bill Klopsch
4656 West Church Street
Skokie IL 60076
847.329.9369 847.329.9350 fax
bill@billklopschstainedglass.com
www.billklopschstainedglass.com
Kogel, Lynne Alcott
14008 harbor Place
St. Clair Shores, Mi 48080
313.550.0545
lkogel@comcast.net
v Kokomo Opalescent Glass Co., Inc.
Richard Elliott
P.O. Box 2265
1310 South Market Street
Kokomo, IN 46904-2265
765.457.8136 765.459.5177 fax
eliot@kog.com
www.kog.com
Komp, Linda
6 Calvert Court
Fredericksburg, VA 22405
540.373.0790
lkomp@zagmail.gonzaga.edu
Kramer, Pamela
664 university Ave. #2
Rochester, NY 14607
pammkramer@gmail.com
Krysztofowicz, Robert J.
11651 Liberia Road
East Aurora, NY 14052
rob.anythingartco@gmail.com
Laken, Kirsten
174 Mast Gully Road
Fern Creek Victoria 3786
Australia
03.9754.6807
spiritofglass@bigpond.com
Laks, Sylvia
See Sylvia Laks Stained Glass Art
Studio and Gallery
R Sylvia Laks Stained Glass Art
Studio and Gallery
Sylvia Laks
Apartado 233-3015
SanRafael, Heredia
Costa Rica
506.2267.6350
info@sylvialaks.com
www.sylvialaks.com
w The J. & R. Lamb Studios, Inc.
Donald Samick
190 Greenwood Avenue
Midland Park, NJ 07432
201.891.8585 201.891.8855 fax
lambinfo@optonline.net
www.lambstudios.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
v Accredited Craft Supplier/ Manufacturer R Accredited Professional Studio T Accredited Artist/Designer l Active Accredited Studio w Professional Studio
94
www.stainedglass.org

LaRanger, Ray
807 Route 52
Carmel, NY 10512
845.225.6956 845.225.6959 fax
laranger26@gmail.com
Larsen, Sandra K.
1840 Elaina Loop
Leander, TX 78644
915.598.6196 915.590.3660 fax
sklds1@aol.com
LaTona, Vince
1600 Genessee Street, #353
Kansas City, MO 64102
latonaarchitects@yahoo.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.
R Laws Stained Glass Studios, Inc.
Michael A. Laws
145 Ebenezer Lane
Statesville, NC 28625
800.820.1292
704.876.3463 704.876.4238 fax
info@lawsstainedglass.com
www.lawsstainedglass.com
LeBlanc, Whitney J.
490 Sunset Drive
Angwin, CA 94508
707.965.9729
wjljr2@aol.com
Lee, James D.
39 Selkirk Street, 2 nd Floor
Staten Island, NY 10309
jimi_lee@msn.com
Lerew, Bryan
See Cumberland Stained Glass, Inc.
Levathes, Connie
1722 15 th Street
Oakland, CA 94607
415.418.4909
info@heliosartglass.com
Sourcebook 2015
The Stained Glass Association of America
Levy, Doron S.
1964 Coney Island Avenue
Brooklyn, NY 11223
718.645.6675 718.375.7520 fax
dslevy1@gmail.com
Lewis, Bryan
616 B Lynn Street
Lee’s Summit, MO 64063
816.977.6117
bryanwlewis@yahoo.com
Lilly, Rev. Tom
2901 hoffman Road
Anchorage, AK 99516
Limbaugh, Patricia
1325 11 th Avenue
havre, MT 59501
cyclostudios@gmail.com
Linebach, Fr. Martin
307 W. Dixie Avenue
Elizabethtown, KY 42701
Livak, Boris
5617 West 151 st Terrace
Overland Park, KS 66223
913.710.5617
bliv7543@gmail.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
Lowell, Paul R.
209 Fourth Avenue South
Edmonds, WA 98020
pklowell@juno.com
Lutz, Father Kevin
584 W. Broad Street
Columbus, Oh 43215
614.315.1796 614.221.9818 fax
frkevin@columbus.rr.com
R Lynchburg Stained Glass Co.
Robert C. Speake
P.O. Box 4453
Lynchburg, VA 24502
800.237.6161
434.525.6161 434.525.6168 fax
info@lynchburgstainedglass.com
www.lynchburgstainedglass.com
M
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, Judge’s 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
l Ellen Mandelbaum Glass Art
Ellen Mandelbaum
39-49 46th Street
Sunnyside, NY 11104-1407
718.361.8154 phone & fax
emga@earthlink.net
www.emglassart.com
Maracich, Cheryl Denney
P.O. Box 133
Jemez Springs, NM 87025
575.829.4286
denn9129@bellsouth.net
Markert, Robert C.
9023 Black Powder Lane
Louisville, KY 40228
502.231.5634
bmarkert@fenestraarts.com
v Accredited Craft Supplier/ Manufacturer R Accredited Professional Studio T Accredited Artist/Designer l Active Accredited Studio w Professional Studio
95
www.stainedglass.org

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 24 th Avenue
Gainesville, FL 32607
McWilliams, Mary Jane
15306 Fairway Vista Place
Louisville, KY 40245
Sourcebook 2015
The Stained Glass Association of America
Meadows, Boyd
P.O. Box 549
Milton, WV 25541
304.743.3791
bem549@aol.com
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
R Mezalick Design Studio, LLC
Nidia M. Mezalick
4526 Griscom Street
Philadelphia, PA 19124-3640
215.744.5490 215.744.3253 fax
nidia@mezalick.com
www.mezalick.com
Mezalick, Nidia M.
See Mezalick Design Studio, LLC
Michaud, Sheryl
21337 Rizzo Avenue
Castro Valley, CA 94546-6221
510.885.1556
Millard, Victoria
2252 Dixie Drive
York, PA 17402
603.831.6825
kearmill2@mac.com
Miller, Patricia
4194 Miller’s 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
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.
R Mominee Studios, Inc.
Jules T. Mominee
5001 Lincoln Avenue
Evansville, IN 47715-4113
800.473.1691 812.473.1691
mominee@momineestudios.com
www.momineestudios.com
Monti, Kathy
P.O. Box 223
Berthold, ND 58718
glassykathy@yahoo.com
Mooers, Kelley
3625 50 th Avenue SW
Seattle, WA 98116-3214
206.932.9140
kelleyandsue@msn.com
Moore Paul
50 Thatcher Street
hyde Park, MA 02136
617.361.1207
paulpmoore@comcast.net
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
v Accredited Craft Supplier/ Manufacturer R Accredited Professional Studio T Accredited Artist/Designer l Active Accredited Studio w Professional Studio
96
www.stainedglass.org

Myers, Peggy
26 Abbie Road
York, PA 17408
717.792.1740 phone & fax
ehrhartstainedglass@hotmail.com
N
Nason, Lori
110 Chain Lake Drive
Vantage Point 3E
halifax, NS B3S 1A9
Canada
902.876.5167 902.876.7132 fax
lori@cranberrystainedglass.com
Nedroscik, John Thompson
5345 Crooked Lake Road
howell, MI 48843
810.225.8780
jthompsonglass@yahoo.com
Netts, Elizabeth M.
P.O. Box 2101
Suffolk, VA 23432-0101
757.483.3037
mmglasswks@aol.com
Noelscher, Sam
864 Finnell Pike
Georgetown, KY 40324-9032
samiam@qx.net
Nordmeyer, Kristine
See IhS Studios, Inc.
Norquist, Mark
7011 Serenity Circle
Anchorage, AK 99502
mcnorquist@gmail.com
Nyfeler, Yvonne
1320 N 13 th Street
Atchison, KS 66002
the_glass_addict@hotmail.com
O
R Oakbrook-Esser Studios, Inc.
Paul Phelps
129 East Wisconsin Avenue
Oconomowoc, WI 53066-3033
800.223.5193
262.567.9310 262.567.6487 fax
info@oakbrookesser.com
www.oakbrookesser.com
O’Brien, Kevin
See O’Brien Stained Glass Co., Inc.
Sourcebook 2015
The Stained Glass Association of America
R O’Brien Stained Glass Co., Inc.
Kevin O’Brien
104 Cleveland Street
Rollingstone, MN 55969
800.362.7436 507.689.2223
kevin@obrienstainedglass.com
www.obrienstainedglass.com
O’hara, 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
Onion, Cindy
1410 Lloyd Place
Escondido, CA 92027
cindy@zwieble.com
Orme, Amalie
5128 Del Moreno Drive
Woodland hills, CA 91364
amalieorme@gmail.com
O’Shea, Robert
55 Cliffside Drive
Wallingford, CT 06492
203.294.1661
thecolorsoftime@att.net
Oster, Cliff
639 holden hill Road
Langdon, Nh 03602
603.835.6235
ceoster@aol.com
P
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
R Pearl River Glass Studio, Inc.
Andrew Cary Young
142 Millsaps Avenue
Jackson, MS 39202
601.353.2497 601.969.9315 fax
info@pearlriverglass.com
www.pearlriverglass.com
See Our Studio Ad on Pages 40-41
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
v Accredited Craft Supplier/ Manufacturer R Accredited Professional Studio T Accredited Artist/Designer l Active Accredited Studio w Professional Studio
97
www.stainedglass.org

R Perry Stained Glass Studio
Elizabeth E. Perry
470 Front Street North
Issaquah, WA 98027
425.392.1600 425.391.7734 fax
psgstudio@aol.com
www.perrystainedglass.com
Phelps, Paul
See Oakbrook-Esser Studios, Inc.
Pickel, Paul
See Conrad Pickel Studio, Inc.
R Conrad Pickel Studio, Inc.
Paul Pickel
7777 20th Street
Vero Beach, FL 32966
866.476.1443 772.569.1485 fax
info@pickelstudio.com
www.pickelstudio.com
See Our Studio Ad on Page 24
Piercey, James T.
See J. Piercey Studios, Inc.
Sourcebook 2015
The Stained Glass Association of America
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.
Ratulowski, Mike
1741 N 75 th Court
Elmwood park, IL 60707
isabel.ratulowski@rosedmi.com
Raynal, John M.
See Raynal Studios, Inc.
R Raynal Studios, Inc.
John M. Raynal
P.O. Box 405
Natural Bridge School Road
Natural Bridge Station, VA 24579
800.305.0959
540.291.1198 877.717.2398 fax
raynal@rockbridge.net
www.raynalstudios.com
See Our Studio Ad on Pages 66-67
Raynie, Guillermo
4405 Mgr. de-Laval
Trois-Rivieres QC G8Y 1N2
Canada
819.373.3773
info@vitrauxraynie.ca
R J. Piercey Studios, Inc.
James T. Piercey
1714 Acme Street
Orlando, FL 32805
800.368.9226 407.841.7594
jpstudios@aol.com
www.jpiercey.com
See Our Studio Ad on Pages 22-23
Pietraszek, Barry
225 Blythe Creek Drive
Blythewood, SC 29016
508.758.6495 508.758.8015 fax
captbarryp@aol.com
R Pittsburgh Stained Glass Studios
Ralph Mills
160 Warden Street
Pittsburgh, PA 15220
412.921.2500
ralphwmills@hotmail.com
www.pittsburghstainedglassstudios.com
Polish Janae L.
P.O. Box 11656
Marina Del Rey, CA 90295
310.823.3215
pebsprecious@hotmail.com
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
R
R Rambusch Decorating Company
Martin Rambusch
160 Cornelison Avenue
Jersey City, NJ 07304
201.333.2525 201.860.9999 fax
martinr@rambusch.com
www.rambusch.com
Rambusch, Martin
See Rambusch Decorating Company
Rarick, Jon
See Reusche & Co. of TWS, Inc.
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
l Reinarts Stained Glass Studios
William Reinarts
P.O. Box 872
Winona, MN 55987-0872
507.452.4465 507.452.4649 fax
sales@reinarts.com
www.reinarts.com
Reinarts, William
See Reinarts Stained Glass Studios
v Accredited Craft Supplier/ Manufacturer R Accredited Professional Studio T Accredited Artist/Designer l Active Accredited Studio w Professional Studio
98
www.stainedglass.org

Reiser, David
131 West State Street
Athens, Oh 45701
740.592.5615
reiser@rvcarchitects.com
R Renaissance Glassworks, Inc.
H. B. Mertz
3311 Washington Road
McMurray, PA 15317
724.969.9009 724.969.4177 fax
hbmertz@verizon.net
v Reusché & Co. of TWS, Inc.
Jon Rarick
1299 H Street
Greeley, CO 80631
970.346.8577 970.346.8575 fax
jrarick@reuscheco.com
www.reuscheco.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
Sourcebook 2015
The Stained Glass Association of America
Rogers, Patricia
760 17 th Street
Rock Island, IL 61201
309.786.1597
pat@glasshjeritage.com
Rohlf, Peter hans
See Rohlf’s Stained & Leaded Glass
Studio, Inc.
R Rohlf’s Stained & Leaded Glass
Studio, Inc.
Peter Hans Rohlf
783 South Third Avenue
Mt. Vernon, NY 10550
800.969.4106
914.699.4848 914.699.7091 fax
rohlf1@aol.com
www.rohlfstudio.com
See Our Studio Ad on Pages 46-47
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
Ryckman, hayley
P.O. Box 648
Pinedale, WY 82941
740.215.1762
hayley@stainedglasssundays.com
S
R Salem Stained Glass, Inc.
Al Priest
P.O. Box 612
East Bend, NC 27018
888.724.2559
336.699.3421 336.699.3437 fax
alssg@yadtel.net
www.salemstainedglass.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
v Accredited Craft Supplier/ Manufacturer R Accredited Professional Studio T Accredited Artist/Designer l Active Accredited Studio w Professional Studio
99
www.stainedglass.org

Schlicker, David C.
4310 S.E. Division
Portland, OR 97206
503.231.0086 503.230.1620 fax
davidschlicker@gmail.com
Schoem, Mark
333 W 7 th 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
Sourcebook 2015
The Stained Glass Association of America
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 Shobe’s Stained Glass Art Studio
R Shobe’s Stained Glass Art Studio
Dennis F. Shobe
P.O. Box 1692
Huntington, WV 25717-1692
304.522.0308 phone & fax
d.shobe3@frontier.com
Shooner, Fr. Jeff
1000 N. Beckley Station Road
Louisville, KY 40245
Simmons, David A.
See Jennifer’s 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, Jeff G.
P.O. Box 1126
Fort Davis, TX 79734
432.426.3311 432.426.3366 fax
jgs@archstglassinc.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
l Solstice Art Source
Emily Carlson
2010 W. Fulton Street, #F104C
Chicago, IL 60612
847.561.4048
mle@solsticeartsource.com
www.solsticeartsource.com
See Our Studio Ad on Pages 28-29
Sommerfeld, Susan Kennedy
2923 2nd Avenue North
Billings, MT 59101
406.245.3788
susan@kennedystainedglass.com
Sonawala, Ila
6th Floor Ben Nevis
100 Bhulahhai Desai Road
Mujmbai 400026
India
sparna1701@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.
v Accredited Craft Supplier/ Manufacturer R Accredited Professional Studio T Accredited Artist/Designer l Active Accredited Studio w Professional Studio
100
www.stainedglass.org

R Stained Glass Associates, Inc.
Michael A. Strickland
P.O. Box 296
Knightdale, NC 27545
919.266.2493 919.266.6228 fax
sgainc@att.net
www.stainedglassassoc.com
See Our Studio Ad on Page 49
R Stained Glass Resources, Inc.
Sue Shea
15 Commercial Drive
Hampden, MA 01036
800.883.5052
413.566.5053 413.566.2935 fax
mail@stainedglassresources.com
www.stainedglassresources.com
See Our Studio Ad on Pages 34-37
Stanton, Bryant
See Stanton Glass Studio, LLC
R Stanton Glass Studio, LLC
Bryant Stanton
318 Rogers Hill Road
Waco, TX 76705
800.619.4882
254.829.1151 254.829.2521 fax
info@stantonglass.com
www.stantonglass.com
See Our Studio Ad on Page 63
R State of the Art, Inc.
Ben Parham
8703 Unicorn Drive, #310
Knoxville, TN 37923
888.539.0415 865.539.0416 fax
sotaglass@gmail.com
www.sotaglass.com
See Our Studio Ad on Page 57
R Statesville Stained Glass, Inc.
Dennis L. Lackey
136 Christopher Lane
Statesville, NC 28625
704.872.5147 704.872.7813 fax
dl@statesvillestainedglass.com
www.statesvillestainedglass.com
See Our Studio Ad on Page 51
Steele, Freddi
3365 North Estates Street
Flagstaff, AZ 86001
928.773.9154
desert_elf_stained_glass@yahoo.com
Sourcebook 2015
The Stained Glass Association of America
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
Symbolik, Stephen N. III
P.O. Box 2024
New York, NY 10159-2024
212.717.5299
symbolik@yahoo.com
T
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
Ter haar, Gary
P.O. Box 492
Cold Spring, MN 56320
320.685.8397 phone & fax
terhaarglass@clearwire.net
Thiese, James
6030 North Northwest highway
Chicago, IL 60631
773.763.5511 773.763.5522 fax
jthiese@sbcglobal.net
Tillay, Phillippe Gilbert
5210 S. 364 th 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
T Inge Pape Trampler
23 Del Rey Drive
Mt. Vernon, NY 10552
914.699.8616
ingepapetrampler@hotmail.com
www.ingepapetrampler.com
Turner, Rickey R.
3293 Ashwood Road
Mount Pleasant, TN 38474
931.379.0546 931.325.5067 fax
turnersglassart@charter.net
v Accredited Craft Supplier/ Manufacturer R Accredited Professional Studio T Accredited Artist/Designer l Active Accredited Studio w Professional Studio
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U
ureneck, Peter
P.O. Box 870035
Milton, MA 02187
617.288.9861
purneck@yahoo.com
V
Valuck, Amy E.
P.O. Box 1044
Media, PA 19063
aevaluck@gmail.com
VanWie, Judith hiemer
141 Wabash Avenue at Crooks
Clifton, NJ 07011
973.772.5081 973.772.0325 fax
judi@hiemco.com
Sourcebook 2015
The Stained Glass Association of America
W
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
R Washington Art Glass Studio
Jed Boertlein
6618 Walker Mill Road
Capitol Heights, MD 20743
301.735.6292 phone & fax
washartglass@comcast.net
www.washingtonartglass.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
Verdery-Devaney, Brenda
411 June Street
North Augusta, SC 29841-3745
803.278.2818 phone & fax
savartglas@aol.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
Von Gasa-Reavis, Nicole
842 W. Galena Street
Butte, MT 59701
406.491.4554
cpreservationdesign@msn.com
Voss, Edward
245 Bangor Avenue
San Jose, CA 95123
408.578.3852
edebvoss@sbcglobal.net
Watkins, Phil
3821 South Broadway
Englewood, CO 80113-3613
303.798.1515 303.789.5732 fax
watkinsglass@aol.com
Weaver, Ron
See Jacksonville Art Glass
Weaver, Stephen
See CAFF Company
Webb, Walter W.
131 Bumstead Road
Monson, MA 01057
413.267.3516
wadewebb@comcast.net
Weber, Jyl D.
2413 Oak Place
Gulfport, MS 39501
228.342.0316
acadianglassart@gmail.com
Webster, Very Rev. Robert
720 W. 12 th Street
Clemont, FL 34711
Weghorst, Randall
2060 Euclid Avenue
Charlotte, NC 28203
901.277.2869
rweghorst@gmail.com
Weischowsky, Lynda
Box 45, Cook’s Run Road
Greenville, WV 24945
304.832.6813
Whitefield, Kate
64 high Street #7
Greenfield, MA 01301
978.771.9946
whitefieldstudios@gmail.com
Whitworth, Cindy
104 Melody Lane
New Braunfels, TX 78130
830.683.7207 830.620.5399 fax
cwhitworth54@yahoo.com
Whitworth, Jack, III
See Whitworth Stained Glass
R Whitworth Stained Glass
Jack Whitworth, III
104 Melody Lane
New Braunfels, TX 78130
830.214.3370 830.620.5399 fax
jack@whitworthstainedglass.com
www.whitworthstainedglass.com
See Our Studio Ad on Pages 64-65
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
v Accredited Craft Supplier/ Manufacturer R Accredited Professional Studio T Accredited Artist/Designer l Active Accredited Studio w Professional Studio
102
www.stainedglass.org

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
Wilson, Stephen
1469 Laurel Street
Baton Rouge, LA 70802
225.343.2211
swsglass@gmail.com
R Window Creations, LLC
Reggie Buehrer
P.O. Box 485
Ottoville, OH 45876
800.633.4571
419.453.2004 419.453.2006 fax
info@bstudios.net
www.bstudios.net
Winterich, Daniel
29 Weller Court
Pleasant hill, CA 94523
925.943.5755 925.943.5455 fax
dw@winterich.com
v The Paul Wissmach Glass Co., Inc.
Mark Feldmeier
P.O. Box 228
Paden City, WV 26159
304.337.2253 304.337.8800 fax
wissmach@frontier.com
www.wissmachglass.com
Witul, Greg
2647 Ferchen Street
Niagara Falls, NY 14304
starwarsbuffyccg1@yahoo.com
Sourcebook 2015
The Stained Glass Association of America
Wolf, Ann
1161 St. Paul Street
Denver, CO 80206
303.388.8350 303.388.3358
annwolff1161@comcast.net
Wood, Christie A.
See Art Glass Ensembles
Wooten, Parks Avery
P.O. Box 292
union Grove, NC 28689
704.539.4608 704.539.4629 fax
avery2@yadtel.net
Wysocki, Annette
65 North Street, Apt. 2
Northampton, MA 01060
601.454.6387
ocki6402@bellsouth.net
Y
Young, Andrew Cary
See Pearl River Glass Studio, Inc.
Z
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
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
v Accredited Craft Supplier/ Manufacturer R Accredited Professional Studio T Accredited Artist/Designer l Active Accredited Studio w Professional Studio
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Sourcebook 2015
The Stained Glass Association of America
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v Accredited Craft Supplier/ Manufacturer R Accredited Professional Studio T Accredited Artist/Designer l Active Accredited Studio w Professional Studio

Sourcebook 2015
The Stained Glass Association of America
Need a Stained Glass Studio?
The SGAA can help!
Let us help you save time, money and speed up your selection process. Fill out the form below and send to the
SGAA headquarters. It’s 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:
Project Location:
Contact Person:
Email Address:
Phone (optional):
Mailing Address:
City/ST/Zip:
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
Type of Project: q Religious q Non-Religious q Restoration Project q New Custom Design
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:
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
If known: please supply (on a separate sheet of paper) size of each opening in the project.
Email to: headquarters@sgaaonline.com Call: 800.438-9581 Fax to: 816.737.2801
or Mail to: SGAA, 9313 E. 63rd St., Raytown, MO 64133
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Sourcebook 2015
The Stained Glass Association of America
Glass for Stained Glass
It is paradoxical that textural imperfections in glass, either on its surface or internally, tend to make the glass
more attractive. These imperfections are, in fact, far from being the eyesores that one might suppose; quite the
opposite, variations in a section of glass improve the overall effect of the glass.
The reason for this is that any irregularities inside the
glass will break light rays into myriad light particles that
then refract in a multitude of directions. The effect can be
visually explosive. Any piece of glass can be interesting
and both a legitimate and highly desirable component of
any work.
Expertise in glass selection can only come with an
intimate knowledge of what is available to the stained glass
craftsperson. Knowledge of the different glasses available,
both in sheets and as specialty glass, will enable the artisan
to choose glass best suited for a particular project. The
diverse glasses available are of several distinct types, each
sharing common elements such as color, texture and
translucency.
Color is achieved in glass through the use of chemicals,
normally metal oxides and sulfides that act as pigments
in glass. For example, manganese oxide produces a
purple colored glass; cobalt, a blue; cadmium sulfide, a
canary yellow; and selenium, a red. Chemicals can also be
used in specific combinations in glass to form either distinct
colors or multicolored patterns. An understanding of
color and color patterns available in glass will allow the
craftsperson to utilize color to its greatest benefit.
Translucency is a second aspect of glass of which the
craftsperson is aware. Decorative glass ranges in density of
color from almost transparent to semi-opaque. (When the
term opaque or opalescent is used in leaded glasswork, it is understood to describe glass in which the transmission
of light is considerably reduced but not totally eliminated.) Whether to choose glass that transmits a little or
a great deal of light depends on client preference and on the end purpose of the project undertaken. There are no
hard and fast rules governing the selection of a given translucency in glass.
The third characteristic of glass that can be utilized creatively is its surface and internal texture. A great
deal of the colored glass that a leaded glass practitioner uses is fairly uniform in thickness, with smooth top
and bottom surfaces. Nevertheless, some glasses do have surface textural qualities. The stained glass
craftsperson knows when these glasses can be best incorporated into a design to add sophistication, variety
and sparkle.
Some machine-rolled glass is patterned on one side in various configurations, such as a granular or rippled.
One side of a sheet of glass must always be made relatively smooth during manufacture so that it can be scored
with a glasscutter.
Textures not only give glass a tactile quality, but modify the transmission of light in its own unique fashion
so that the light rays, on striking the uneven surface of the glass, are refracted through it at different angles. The
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Sourcebook 2015
The Stained Glass Association of America
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
A glassblower using a blowpipe and molten glass creates
blown glass. Blown glass includes antique, crown and Norman
Slab.
Antique: The term “antique” refers not to the age of the glass,
but rather to the centuries-old method of blowing a cylinder and
subsequently flattening that cylinder into a sheet of glass. It is made
in what is believed to be the same method used to produce glass for
medieval stained glass windows. The glass created by this method
is extremely beautiful and translucent. It has vibrant color and is
characterized by bubbles, striations and imperfections that catch
and reflect light.
Some antique glass is mold blown. The partially blown glass
is placed into a hinged cylindrical mold and blown to fill the mold.
If the mold is wood, the glass has almost no texture, but if a metal
mold is used, the glass acquires prominent chill marks that consist
of a varied, random dimpling or rippling.
Due to the manufacturing process, antique glass usually has
more intense colors, more interesting textures and considerable
variations in thickness and density of color from other types of
glass.
Antique glass, which can be either a domestic or an imported
glass, is noted for its beautiful imperfections, called reams, bubbles
or striations. Its method of manufacture limits the size of a sheet to
less than half the size of a rolled sheet. Although most hand-blown
glass comes from England, France and Germany, several companies
in the united States produce distinctive and beautiful handblown
glass.
Semi-antique glass, another variation of antique glass, is
blown with the help of a compressor into extremely long, large
bubbles approximately 14 inches in diameter and 5 feet long. In the
blowing process, the cylinder is rotated up and down in a cylindrical
trough to give an even shape to the bubble. This also helps to
create part of the beautiful crystalline surface texture of this glass.
Because of the large size of the cylinders blown, this glass has a
very consistent thickness and even color, and also has excellent cutting
properties.
Antique glass includes the following varieties:
Seedy (sometimes referred to as “bubbles”): Bubbles in the
glass are obtained by blowing the molten glass before the mixture
of silica sand, borax, and coloring matter has boiled itself free of
sulphurous gases formed in the heat of its creation. Placing a block
of wood soaked in water onto a stir-rod and gently stirring the
molten glass is another method used to obtain seeds. Gently stirring
the molten glass, top to bottom, causes oxidation of the molten
glass by entrapping the air. Normally, a 100-pound batch of glass
can be “seeded” only twice — once when the pot is full and again
when the pot has been a little more than half worked. The most
heavily seeded sheets will come or be cast from the first half or so
of the pot. Seed intensity diminishes in casting the last of the
molten mass.
Crackle: After the cylinder is blown, it is immersed for an
instant in water. This cools the outside surface but not the central
core. The resulting surface of the glass is similar to an alligator
skin; it has a very interesting and random look.
Flashed: Flashed antique glass is a double layer of handblown
glass consisting of a thicker base that is usually clear or
lightly colored and a thinner veneer of a brighter color. In production,
a base color or clear glass is dipped into another super-heated
glass and coated like a candy apple. Light passing through the double
layer mixes the two colors visually. The color in flashed glass
often varies considerably. This is caused by an uneven distribution
of the coated inner layer. The varying values evident in flashed
glass are often sought after for shading and artistic dimension. The
flashed layer can also be etched, engraved or even sandblasted to
produce interesting designs, or to incise a legend or dedication, a
name or date.
Opal or Opaline: Opaline glass is flashed with white glass.
This is not the same as opalescent glass, although both use fluorides
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or phosphates to achieve a light-diffusing translucent effect.
Opak: Similar to Opal, but with a thicker flash. This makes it
less translucent.
Goethe: Similar to glass made during the Colonial Period of
America, this glass includes slight distortions, pits, imperfections
and a non-striated surface.
Reamy: This glass displays a high degree of wavy, fluid
motion that gives it a very old or primitive, handmade look. An
irregular banding and striping of the glass yields the variations of
texture. These bands are of different thickness and produce a strong
degree of tonal contrast. The stained glass masters used this glass
early in the century to let a great deal of light into churches.
Streaky: This glass has a light colored, clear white base layer
of glass covered with one or more flashes of contrasting colors. The
flashes are randomly spread in varying thickness, resulting in a
free-flowing swirl of mixed coloration that creates some beautiful
effects.
Striated: Striations are made by the glass blower who, when
the bubble is the size of a large ball, twists and turns it in an iron
bowl lined with small spikes. This has the effect of streaking the
glass with a fine, semi-regular network of striations that glitter in
the sun.
Pot Metal: All hand-blown glass is pot metal glass colored in
the “pot” while molten. however, current usage of the term indicates
glass of a single color throughout.
Blank: This is a clear antique that has only the normal surface
variations incumbent to blown glass with no added surface texturing.
Crown Glass: Crown (or spun) glass is also a type of blown
glass. It is rare today, but was widely used in early windows. The
round, twirling bubble of blown glass is formed at the nub of an
iron rod.
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.
Drawn or Sheet Antique Glass
This glass type is often called “New Antique” or “Sheet
Antique.” It is a machine-made copy of the hand-blown antique. It
is made by the vertical-draw, or Fourcault, method. The glass is
pulled vertically through a one-piece refractory block in the draw
chamber. An annealing lehr is mounted vertically over the refractory
block. The cooled sheet of glass is cut into pieces of the desired
size as it exits the lehr.
In the case of German machine-made antique, a slight pattern,
similar to the crystalline surface of the antique glass, is put on it as
the glass goes through the first roller. Because of this method of
manufacture, this glass has the desirable properties of extremely
Once the glass is blown, the blowpipe is removed.
This leaves a hole in the glass bubble, to which an iron
rod is attached. The rod is spun rapidly, and the
hole is widened with a stick. The glass flares
out to form a disc with a central knob, or
bull’s eye. This method is most seen
today in the form of roundels and bullions.
Bullions are originally the
center of a sheet of spun crown
glass. When glass is gathered during
manufacture on the end of a
glassblower’s pipe and spun
around on its own axis, then the
centrifugal force of the movement
pulls out the blob till it forms a
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even thickness, excellent color control and high brilliance.
In the French version, similar impressions are made by hand,
and are more random in appearance.
Rolled Glass
There are three variations of rolled glass: hand rolled, machine
rolled and continuous rolled.
Glass rolled by the hand or machine is called either Cathedral
(transparent) or Opalescent (semi-opaque). Generally speaking,
Cathedral glass is of one color and is available with a large number
of different surface patterns. Opalescent glass is a semi-opaque
glass of milky or marbleized appearance and usually consists of
one or more colors of glass mixed with the milk-white glass.
Cathedral Glass: To create rolled cathedral glass, the molten
glass is taken (ladled) from the furnace and placed on a flat table or
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 today’s 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:
• 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 partner’s 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.
Hand Rolled Glass: This glass is
made by flattening the glass and rolling it
out manually on a flat surface. With this
process, it is possible to create special
effects (heavy ripples, fracture and streamer
glass, etc.) that are not obtainable in
machine rolled glass.
Machine Rolled Glass: The process
for machine rolling of the glass is similar to
hand rolling. The molten glass is ladled
from the furnace and placed in the rolling
machine, which then rolls the glass.
Continuous Rolled Glass: During
the 1920s, one of the most important technological
advances in the history of sheet
glass took place: the development of a production
process called the “continuous ribbon.” This new system
took four separate phases of sheet glass production (raw material
introduction, melting, sheet forming and annealing) and combined
them into one continuous operation, making possible the production
of large quantities of glass with very uniform and stable properties.
Continuous rolled glass is made in electric ovens where the
mix placed into the oven balances the glass taken from it. A continuous
stream flows from the ovens into a series of rollers. After the
rolling process, the glass hardens in 250 foot or longer annealing
lehrs.
The glass is cut into usable sections as it emerges from the lehr.
This glass is usually very consistent in thickness, color and texture,
and comes in a wide variety of both Cathedral and opalescent types.
There are several rolled glasses that deserve special mention.
These include:
Ring Mottled Opalescent Glass: Ring Mottled Opalescent
was first introduced to the stained glass industry by the Tiffany
Studios of New York. This type of glass has a locally varying opacity;
the “rings” are more opaque than the surrounding matrix.
Ring mottled glass is used to provide color and image gradation
that is non-streaky, or non-linear. The naturally rounded shape
of each ring breaks up the more typical streakiness of stained glass.
The artist, using ring mottles, can create shading and imagery
unavailable from other glass types.
Fracture and Streamer Glass: The “fractures” are created by
the addition of thin blown flakes of intensely colored glass, while
the “streamers” are pulled or drawn strings of intense colors. Both
fractures and streamers are quick-fused to the bottom of sheets during
the rolling process.
Fractures can be used either alone or in conjunction with
streamers. Fracture and streamer glass is used primarily for backgrounds;
the fractures suggest multitudinous leaves or flowers in
the distance, while the streamers suggest twigs or stems. For this
reason, fracture colors are usually selected to correspond to the colors
used in leaf or flower foregrounds.
Hand-Rolled Drapery Glass: This glass ignites immediate
interest in everyone who has ever cut glass. It is a heavily manipulated,
folded and rippled glass. In some examples, the drapes can
reach more than an inch in thickness. These thick folds were another
Tiffany Studios invention. Tiffany’s glaziers used them to suggest
folded fabric (hence the term drapery) or flower blossoms such
as in the famed Magnolia Window.
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English Muffle Glass: This glass, created using a particle
roller, has a distinctive, star-shaped pattern. At one time, this glass
was used extensively in Victorian panels.
Ripple Glass: Overspinning the roller imparts a rippled surface
to the hot glass. By moving the roller from side to side as it is
being spun, a feathered or herringbone texture is given to the rippled
sheet.
Slab or Dalle Glass
Slab or Dalle glass varies from 5 ⁄8" to 1" or more in thickness.
Each piece (Dalle) of the slab glass is approximately 8" by 12".
The glass is made by ladling directly into a mold. A Dalle de
Verre or slab glass window is created today by cutting or breaking
the slabs and joining them with a matrix of epoxy adhesive.
Miscellaneous Other Glasses
There is a wide range of glasses that are difficult to categorize
into one of the above areas but that are still vitally important to the
stained glass craftsperson. These include:
Jewels: These are small decorative forms, generally faceted by
hand or machine, that are pressed or poured into a multitude of
shapes, sizes and colors. The prismatic effects of jewels on light
add sparkle to both transmitted and reflected light. Jewels sometimes
feature a design and are usually flat on the bottom surface.
(however, doublets — jewels faceted and shaped on both sides —
were widely used during the Victorian and Edwardian Eras and are
available in a limited supply today.)
Globs: Globs are lumps of glass that vary in size, shape and
color. Also called nuggets, globs are made by heating small pieces
of glass in a kiln until they melt into round forms. They are simple
to make, and most glass artists with access to a kiln make their own.
Iridescent Glass: After glass has been flattened, it can be
given a surface treatment that creates iridescent glass. This process
involves placing the glass in a gas-fired chamber on a shelf dusted
with a separator to prevent the glass from sticking.
In the iridizing chamber, a solution of stannous chloride is
sprayed onto the surface of the glass at a temperature of more than
1400 degrees Fahrenheit. Timing, temperature and the proper
application of the iridizing solution are critical to achieve the proper
metallic coloration of the sheet. The glass emerging from the firing
chamber can be stretched to break the shiny surface iridescence
and create a matte finish.
Mirrored Glass: Mirror glass has a wide range of uses for the
stained glass artist. It is commonly available in bronze and solar
gray. however, silvered “machine antique” has entered the market
as have various silvered cathedral glasses.
“Float” Window Glass: The most common type of window
glass is 1 ⁄16" (single-strength) or 1 ⁄8" (double-strength). It can also be
found in a much thinner variety called picture frame glass.
Window glass is also commonly used as the base for Glue
Chip glass. The Glue Chip treatment is a two-step process. First,
the glass surface must be sand blasted. Second, a layer of animal
glue is poured on the surface, and the glass sheets are placed in drying
ovens. As the glue dries, it shrinks. This causes it to chip off,
thus producing a delicate, fern-like pattern on the glass.
Plate Glass: This glass is a smooth glass of uniform thickness
used primarily for large areas of glass in home and commercial
installations. It is essentially free of distortion. It ranges from 3 ⁄16" to
more than 1" thick. This glass is valuable to the glass artist in producing
beveled glass. It is also used as the glass easel for displaying
a window prior to glazing, as a base for epoxied stained glass
compositions and can be the base for Glue Chip glass.
Dichroic Glass: This glass is made by applying a surface coating
of one or more layers of transparent materials designed to create
reflections of a specific wavelength in order to modify an optical
effect. The coating itself is completely transparent; all available
light is either reflected or transmitted. Dichroic glass will provide
very crisp and vibrant colors.
The most commonly used coating materials are titanium
oxides, zirconium oxides, silicon oxides and aluminum oxides.
They are applied using a method called Vapor Deposition. The deposition
occurs in a high-vacuum chamber where the glass is suspended
in the top of the chamber and rotated. The coating materials
are placed in crucibles at the bottom of the chamber and bombarded
with an electron beam that is focused and swept over the
materials with electromagnetic fields. The heat generated by the
bombardment vaporizes the materials, and the vapor condenses on
the glass suspended above.
Dichroic coatings create some of the purest and most brilliant
colors ever seen in glass. They are fragile and must be protected
from abrasion unless they are reheated to close to the softening
point. Once heated in this way, the coating becomes very durable.
Conclusion
There are thousands of choices of materials to the stained glass
artist and craftsperson. By being familiar with the choices available,
creative in the making of those choices and skillful in design
and composition, the stained glass artist can create a work of art
that is complementary to the architecture of a building.
While the selection of glass for a stained glass window is only
one element of the successful creation of the window, it is certainly
a vital element. The Accredited members of the Stained Glass
Association of America are dedicated to the skillful and artistic creation
of architectural stained glass.
Ω
End
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Stained Glass as a Vehicle for Spiritual Growth
Among the Faithful in the Post-Second Vatican Council Catholic Church
by Richard H. Gross, MTS
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 God’s 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 God’s 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 God’s 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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In these dalle de verre windows installed at Our Lady of Lourdes
Catholic Church, Raytown, Missouri, the designer has combined two
different but anagogically related topics — Psalm 23 and the
Nativity — into a series of panels that reads as one composition.
Some who view this window see it as simply a Nativity window, but
as one grows in understanding of Christian teaching, it becomes
clear that there is much more going on in this composition. The
theme of God as Good Shepherd is present in both the Old and New
Testaments; the combined presentation of those themes in this composition
serves not only as a translation from the presentation of
windows designed around Old Testament themes to the left of this
window to those that come after this window and depict New
Testament topics but also as a visual link between the proleptic
imagery of Psalm 23 and the Nativity.
Of course, Christ is the perfect model of the holiness that
should be the goal of the individual. Jesus, when asked to give
the greatest commandment, also gave a powerful guide for the
individual’s growth in holiness. he said, “You shall love the
Lord, your God, with all your heart, with all your soul, and with
all your mind. This is the greatest and the first commandment.
The second is like it: You shall love your neighbor as yourself.
The whole law and the prophets depend on these two commandments.”
3 Also, it is important to realize for a healthy and mature
spiritual understanding of the concepts of growth in holiness that
this growth originates and is perfected not in the individual’s will
alone, but by genuine cooperation with the grace given by God
and by the working of the holy Spirit, Who
guides the individual human person toward a
love that has as its most perfect example the
love of Christ; the combination of the individual’s
intellect and will, the grace of God and the
power of the holy Spirit combine to create a
force that compels the individual to an everexpanding
love of God and of neighbor.
“They are justified in the Lord Jesus,” the
Council Fathers wrote, “because in the baptism
of faith they truly become sons of God and sharers
in the divine nature. In this way they are
really made holy. Then, too, by God’s gift, they
must hold on to and contemplate in their lives
the holiness they have received. They are
warned by the Apostle to live ‘as becomes
saints’ and to put on ‘as God’s chosen ones, holy
and beloved a heart of mercy, kindness, humility,
meekness, patience,’ and to possess the fruit
of the Spirit in holiness. Since truly we offend in
many things we all need God’s mercies continually
and we all must daily pray: ‘Forgive us our
debts.’” 4
To these cornerstone virtues for growth in
holiness – namely, mercy, kindness, humility,
meekness, and patience – we can add the evangelical
counsels 5 , of which the Church Fathers also
spoke in Lumen Gentium. So, too, can we add
prayer, for which the Church Fathers call. These
elements are counted among those central to the
faithful Christian’s spiritual life and are some of
the elements that holy Mother Church works to
instill and develop among those faithful. A wellordered
spiritual life is vital to an individual’s
growth as a Christian because “spirituality refers
to any religious or ethical value that is concretized
as an attitude or spirit from which one’s actions
flow.” 6
The connection of these virtues and actions
to spiritual growth was recognized by the Council Fathers. Writing
in the Pastoral Constitution on the Church in the Modern World:
Gaudium et Spes, the Council noted that “the arts are also, in their
own way, of great importance to the life of the Church. They strive
to make known the proper nature of man, his problems and his
experiences in trying to know and perfect both himself and the
world.” 7
Thus, in this striving to “know and perfect both himself and
the world,” it can be fairly said that any good object capable of
helping each individual human person better understand and
develop his spiritual life has a proper place in the Church. This
point was emphasized by the united States Conference of
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Catholic Bishops in their document Built
of Living Stones: Art, Architecture and
Worship, which provides an excellent
definition of a “good object” in the section
entitled “Components of True and
Worthy Art,” where it states:
Authentic art is integral to the
Church at prayer because these
objects and actions are “signs and
symbols of the supernatural world”
and expressions of the divine presence.
While personal tastes will differ,
parish committees should utilize
the criteria of quality and
appropriateness in evaluating art
for worship. Quality is perceived
only by contemplation, by standing
back from things and really trying
to see them, trying to let them speak
to the beholder. Quality is evident
in the honesty and genuineness of
the materials that are used, the
nobility of the form embodied in
them, the love and care that goes
into the creation of a work of art,
and the personal stamp of the artist,
whose special gift produces a harmonious
whole, a well-crafted
work.
Quality art draws the beholder to
the Creator, who stands behind the
artist sharing his own creative
power, for the “divine Artist passes
on to the human artist a spark of his
own surpassing wisdom.” This is
true of music, architecture, sculpture,
painting, pottery making, textiles,
and furniture making, as well
as other art forms that serve the
liturgical environment. The integrity
and energy of a piece of art, produced
individually by the labor of
an artist, is always to be preferred
above objects that are mass-produced.
Similarly, in the construction of new
church buildings, there is no standard
pattern for church art, nor
should art and architectural styles
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from any particular time or culture
be imposed arbitrarily upon another
community. Nonetheless, the patrimony
of sacred art and architecture
provides a standard by which a
parish can judge the worthiness of
contemporary forms and styles.
Appropriateness for liturgical
action is the other criterion for
choosing a work of art for church.
The quality of appropriateness is
demonstrated by the work’s ability
to bear the weight of mystery, awe,
reverence, and wonder that the
liturgical action expresses and by
the way it serves and does not interrupt
the ritual actions which have
their own structure, rhythm and
movement. Since art is revelatory, a
gift from God, a truly beautiful
object stretches “beyond what the
senses perceive and, reaching
beneath reality’s surface, strives to
interpret its hidden mystery.”
Nonetheless, there is always the
chasm between “the work of [the
artist’s] hands” and the “dazzling
perfection” glimpsed in God’s creative
moment. Art that is used in
worship must therefore evoke wonder
at its beauty but lead beyond
itself to the invisible God.
Beautiful, compelling artworks
draw the People of God into a deeper
awareness of their lives and of
their common goals as a Christian
community as well as of their roles
and responsibilities in the wider
world. Art that fulfills these qualities
is art worthy of the Christian
assembly.
Worthy art is an essential, integral
element in the sacred beauty of a
church building. Through skilled
use of proportion, shape, color, and
design, art unifies and helps to integrate
the place of worship with the
actions of worship. Artistic creations
in the place of worship
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This “Lamb of God” window can be
seen at St. George’s Church, Cologne,
Germany. It presents a very mature
and developed interpretation of the
Lamb of God theme that is full of
imagery and invites the viewer to a
deeper consideration of the spiritual
implications of this theme. (Photo
courtesy of the SGAA Slide Library.)
inspire contemplation and devotion.
Sculpture, furnishings, art
glass, vesture, paintings, bells,
organs, and other musical instruments
as well as windows, doors,
and every visible and tactile detail
of architecture possess the potential
to express the wholeness, harmony,
and radiance of profound beauty. 8
For a stained glass installation to fulfill
its proper role, it must be no mere
bauble but a good and faithful servant of
the Church by acting as a lens through
which the faithful can more fully understand
and come to live the vital elements
for growth in holiness as they develop a
sound spirituality that will allow them to
“become as saints,” recognizing their

individual dependence on God’s mercies and allowing them to
forgive – and seek forgiveness – as becomes a true disciple of
Christ. To understand how this is possible, it is necessary to first
understand the individual elements of growth in holiness
involved and then to understand how stained glass can, indeed,
act as an element that God can use in his call
to conversion.
The understanding that it is God who
makes this call to conversion and that he can do
so through myriad means is vitally important. It
should in no way be interpreted that somehow it
becomes the responsibility of the stained glass
artist to design a universal call to conversion into
his windows. The designer is not being charged
with any superhuman task; instead, the task that
has always been present to him in designing for
church installations is simply being restated: to
design a worthy window that performs “a mediating
role, analogous, we might say, to the role
of the priest, or, perhaps better, that of Jacob’s
Ladder, descending and ascending. Art is meant
to bring the divine to the human world, to the
level of the senses, then, from the spiritual
insight gained through the senses and the stirring
of emotions, to raise the human world to God, to
his inexpressible kingdom of mystery, beauty
and life.” 9
We know that the individual can trust in
salvation because he can trust in God’s mercy.
The individual can also come to a better understanding
of what it means to be merciful himself
by examining what is involved in God’s
mercy. Once the statement “be holy because
God is holy” (cf. 1 Peter 1:16) is accepted as true and mercy is
understood as an element of holiness, it is a simple exercise in
logic to see that the statement “be merciful because God is merciful”
is also true.
Dominum et Vivificantem, Part Two, Article Four, states that
“The holy Spirit, who in the words of Jesus ‘convinces concerning
sin,’ is the love of the Father and the Son, and as such is the
Trinitarian gift, and at the same time the eternal source of every
divine giving of gifts to creatures. Precisely in him we can picture
as personified and actualized in a transcendent way that
mercy which the patristic and theological tradition, following the
line of the Old and New Testaments, attributes to God. In man,
mercy includes sorrow and compassion for the misfortunes of
one’s neighbor.” Saint Thomas Aquinas similarly defines mercy
in man as a “heartfelt sympathy for another distress, impelling us
to succor him if we can.” 10 In subsequent Articles, Aquinas
defines mercy not only as a virtue, 11 but is the greatest virtue
among those that relate man to his neighbor. 12
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The role of stained glass
as a Church art can
only be fully realized if
those artists who design
stained glass windows
for the Church fully
appreciate the theological
importance of their
artwork in the greater
goal of the Church.
The stained glass artist who presents mercy as his theme has
at his disposal a vast catalog of possibilities to make this complex
idea present to viewers. From great, abstract presentations
of the holy Spirit capable of embracing the viewer in light and
warmth to more concrete, realistic presentation of the spiritual 13
and corporeal 14 acts of mercy, the possibilities
are limited only by the experience, imagination
and inspiration of the capable designer.
Kindness is a happy theme for the stained
glass artist. unlike the evangelical counsels of
poverty, chastity and obedience, or the themes
of meekness and humility, which are looked at
with distaste by many in the modern world, 15
kindness is always in season. Kindness is that
aspect of charity put into action to which
Christ speaks in the second part of the Greatest
Commandment: The second is like it, you shall
love your neighbor as yourself. 16 Kindness as
an act of love demonstrated by concrete
actions that are manifestations of spiritual
beliefs represents the rejection of bigotry and
prejudice; of hostility; and of empty, boastful
speech. 17
The stained glass artist has ample opportunity
to illustrate kindness in the many actions of
Christ, in whose actions we see the premier
examples of kindness. Christ showed great kindness
in healing the lame, giving sight to the blind
and speech to the mute. Christ provides many
other concrete example of kindness by his constant
example, in which he put the spiritual and
corporeal acts of mercy into practice.
humility and meekness are both signs of a
greatly advanced spiritual life; further, these elements of growth in
holiness both are motivated by kindness. 18 If we consider the examples
of what kindness is not that is presented in Ecclesiam Suam,
quoted above, then one can see that the rejection of bigotry and
prejudice is motivated to a great degree by humility; that the rejection
of hostility and empty, boastful speech finds great motivation
in meekness. 19
Meekness “suppresses the movement of anger,” 20 and humility
serves as a brake on impulse and gives the individual human
person the ability to practice moderation in the face of moral
temptation. Aquinas considers humility to be a twofold virtue
that serves “one, to temper and restrain the mind, lest it tend to
high things immoderately; and this belongs to the virtue of
humility: and another to strengthen the mind against despair, and
urge it on to the pursuit of great things according to right reason;
and this is magnanimity.” 21
Christ calls his followers to meekness and humility.
Matthew 11: 29 tells that Christ bade his followers to hold to his
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example, for he is meek and humble of heart,
seeking only the glory of God. For the stained
glass artist seeking to illustrate meekness and
humility, the examples of Christ remain the
greatest source. Also, many fine examples can
be found in the lives of the saints who do not
admonish people to simply behave as they
themselves behave, but encourage us to
instead turn to God’s mercy as they turned to
God’s mercy, so that we might learn what the
saints learned and so become like them.
The often-quoted phrase that “patience is
a virtue” is often offered to people as an
explanation why something cannot be done
right now. however, this is an unsatisfactory
and incomplete understanding of what
patience truly is. Saint Thomas Aquinas
would agree that patience is a virtue. 22
Aquinas saw patience as that virtue that safeguards
human reason against sorrow, lest reason
give way to despair. 23 This means that
patience is that virtue that allows a person to
persevere in his growth in spirituality and
holiness in the face of opposition to that
growth. Patience allows the individual to
show mercy in the face of cruelty, to practice
kindness in the face of wickedness, to be humble in the face of
haughtiness, and to remain meek in the face of arrogance.
Patience comes by grace and is born of charity, which loves God
above all things. 24
Patience is a concept that can, at first, seem difficult to communicate
with a stained glass window. This is because patience
is generally made manifest across the passing of time; thus, it
seems, at least initially, to be something almost impossible to
portray in a single presentation that is, at its core, pictorial.
Of course, we are all familiar with the popular Christ
Knocking at the Door windows, which do, indeed, illustrate
patience in terms of the patient call of Christ. however, a stained
glass window that can successfully communicate perseverance
in any other virtue in the face of opposition will successfully
illustrate the virtue of patience as well. While it will not necessarily
be immediately obvious to the viewer of the window that
patience is a theme addressed, nevertheless it is always true that
not all are at the same stage in their spiritual journey. The stained
glass artist need only provide the seed from which understanding
can grow; from this, it is well within the power of the holy Spirit
to bring forth that growth in the individual.
The evangelical counsels of poverty, chastity and obedience
also play a part in the individual’s growth in holiness. Though
these are frequently considered only in terms of the vows taken
by those in a religious order, nevertheless, the Church Fathers at
The theme of the Sacrament of Marriage is boldly addressed
in this composition in terms not just of the indissoluble and
eternal union of Holy Trinity, a union that has perfect love as
its foundation, but also in terms of its relationship to other
Sacraments, especially Baptism, and its similarity to the
Covenants between the people of Israel and God.
the Second Vatican Council stressed that all of God’s faithful
ones are called to these counsels, each in a degree proper to his
own life. They wrote, in Lumen Gentium, Chapter Five, Article
39, “in a very special way this (holiness) appears in the practice
of the counsels, customarily called ‘evangelical.’ This practice of
the counsels, under the impulsion of the holy Spirit, undertaken
by many Christians, either privately or in a Church-approved
condition or state of life, gives or must give in the world an outstanding
witness and example of this same holiness.”
Father Jordan Aumann also stresses the importance of the
evangelical counsels in his book Spiritual Theology when he
states, “The soul that wishes to attain perfect abandonment to the
will of God must be disposed to practice the evangelical counsels.
Religious make a vow to practice certain counsels in their
daily life; lay persons are not called upon to do this, but they
should observe the spirit of the counsels and carry them out in
practice when the duties of their state in life permit. however, it
would be an error for the laity gratuitously, to assume a manner
of life proper to religious; the first duty of the laity, whether married
or living singly in the world, is to fulfill the duties imposed
by their particular vocation.” (Emphasis added)
That all are called to observe to the spirit of the evangelical
counsels is not difficult to understand in terms of the spiritual
life; however, illustrating the evangelical counsels in
stained glass relies on an understanding 25 of what they entail.
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These windows represent two completely different approaches to a Creation
theme. The window on the left is a more playful and yet spiritual approach
to the topic than is seen in the more direct faceted window on the right.
While it is not the goal of this article to suggest that one approach is better
than the other, it is important to realize that both approaches meet a given
set of criteria and do so in a way that allows the window to also act as a
servant of the Church in its work for the sanctification of souls. The role of
stained glass as a Church art can only be fully realized if those artists who
design stained glass windows for the Church fully appreciate the theological
importance of their artwork in the greater goal of the Church.
Chastity, for example, need not be understood
as synonymous with celibacy; instead,
it represents the control of one’s sexual
appetites. Therefore, the chastity that is
proper to the married laity is found in faithfulness
to one’s 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 monk’s 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 individual’s
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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certainly be easy to express in glass. One must wonder, in the
more than 1000-year history of stained glass, how many committees
have asked for a prayer window and been shown designs for
Jesus praying in a Garden of Gethsemane window. 27
however, prayer is more than posture and
words; prayer is a concept that goes to the very
heart of the mystery of man, God and redemption
in Christ. This mystery represents a depth
that is surpassingly difficult to communicate in
art. “Prayer is the ‘raising of one’s mind and
heart to God or the requesting of good things
from God.’ But when we pray, do we speak
from the height of our pride and will, or ‘out of
the depths’ of a humble and contrite heart? he
who humbles himself will be exalted; humility
is the foundation of prayer. Only when we
humbly acknowledge that ‘we do not know
how to pray as we ought,’ are we ready to
receive freely the gift of prayer. ‘Man is a beggar
before God.’” 28
If humility is the foundation for prayer,
and humility, the twofold virtue, works in part
to strengthen the mind against despair (as
described above), then it is not unreasonable to
conclude that a significant part of prayer must
be to reinforce and advance man’s recognition
of his dependence on God as being the source
of all good things. The man of humble heart
will not despair of God’s mercy in answering
the prayer of petition. 29 For those at an early
stage in their journey to holiness, prayers of
petition are the most common. As one
advances in holiness, one begins to express
one’s love for God through prayers of adoration.
Those even more advanced will make frequent
prayers of intercession.
Each advancing stage of prayer shows a
growing in humility and a deepening of love. Thus, each stage,
being more refined than the stage that preceded it, is a successively
harder concept to present in stained glass. Nevertheless,
the stages can be addressed in terms of the virtues necessary for
proper prayer: humility, of course, and also patience, mercy,
kindness and meekness, but especially in terms of grace, which
comes not from the individual but from God alone. Because
“Prayer is both a gift of grace and a determined response on our
part. It always presupposes effort. The great figures of prayer of
the Old Covenant before Christ, as well as the Mother of God,
the saints, and he himself, all teach us this: prayer is a battle.
Against whom? Against ourselves and against the wiles of the
tempter who does all he can to turn man away from prayer, away
from union with God. We pray as we live, because we live as we
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pray. If we do not want to act habitually according to the Spirit
of Christ, neither can we pray habitually in his name. The ‘spiritual
battle’ of the Christian’s new life is inseparable from the
battle of prayer.” 30
If a stained glass window can become a tool
for God’s constant call to conversion, then it is a
good and valuable servant of the Church.
Conversion is an ongoing process in which one
experiences God’s love and mercy and by that
experience is called to even deeper conversion.
(cf. Dives in Misericordia, Article 13) This call
to conversion is properly answered by God’s
faithful by a growth in holiness; it is an ongoing
process that ends only at the end of one’s life,
and then judgement.
If the goal of the Church is the sanctification
of souls, 31 then any element that can
serve to advance that goal has a proper place
in the Church. The sacred arts in general and
stained glass specifically, by virtue of their
ability to play a part among God’s faithful
people in the call to conversion and holiness,
have an important part to play in the job of
sanctification of souls. This role can only be
fully realized if those artists and craftsmen
who design stained glass windows for the
Church fully appreciate the theological importance
that their artwork has in the greater goal
of the Church.
If a stained glass
window can become a
tool for God’s constant
call to conversion,
then it is a good and
valuable servant of the
Church. Conversion is
an ongoing process in
which one experiences
God’s love and mercy
and by that experience
is called to even deeper
conversion.
I would like to gratefully acknowledge the
Institute for Pastoral Theology of Ave Maria
University, Naples, Florida, without which
this article would not exist. I would especially
like to thank IPT Director Professor Douglas
Bushman, whose instruction, guidance and
feedback is greatly appriciated.
Notes
1. Lumen Gentium, Chapter V, Article 42
2. Lumen Gentium, Chapter V, Article 39
3. Matthew 22: 36-40
4. Lumen Gentium, Chapter V, Article 40
5. Those are poverty, chastity and obedience.
6. Jordan Aumann, Spiritual Theology, online edition
7. Gaudium et Spes, Article 62
8. united States Conference of Catholic Bishops, Committee on the

Liturgy, Built of Living Stones: Art, Architecture and Worship,
Articles 146-149
9. united States Conference of Catholic Bishops, Committee on the
Liturgy, Built of Living Stones: Art, Architecture and Worship,
Article 142.
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difficult for one individual to offer kindness to another.
20. St. Thomas Aquinas, Summa Theologica, Second Part of the
Second Part, “Question 161: of humility,” Article Five
21. Ibid, Article One
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 one’s 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
22. Summa Theologica, Second Part of the Second Part, “Question
136: of Patience,” Article One
23. Ibid.
24. Ibid, Article Three
25. The artist needs to have a theological understanding of what he
portrays if that portrayal is to be a fully successful and original
work of art. Otherwise, the window is merely a reproduction the
same images drawn from a somewhat worn catalog of religious concepts
and cannot rightly be considered art in its truest sense.
26. Article 42
27. Generally, it is interesting to note, this depiction is of a serene
Jesus praying peacefully in the moonlight. Typically, one does not
see the Jesus of the Gospels, who was described in Matthew 26 as
possessing a soul “sorrowful unto death” or who in Luke 22 is
reported to have been in such agony and prayed so fervently that his
sweat became “as drops of blood falling to the ground.” Though the
Garden of Gethsemane windows certainly do illustrate Jesus in
prayer, they, through the serenity they offer, often fail to illustrate
the depth and profundity of the obedience that Christ is offering to
God when he asks that this cup pass from him, but “not my will but
Yours be done.”
28. Catechism of the Catholic Church, 2559
29. Of course, the prayer must be properly made, which means it must
be made from the heart properly conformed to God’s will.
30. Catechism of the Catholic Church, 2725
31. Jordan Aumann, Spiritual Theology; Part 1, Chapter 2: The Goal
of Our Striving, Online edition
17. Ecclesiam Suam, Article 79.
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
Ω
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Brief Bibliography
Works of General Interest:
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. Windows—A 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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Moor, Andrew. Architectural Glass: A Guide for Design Professionals. New York: Watson-Guptill. 1989.
Oidtmann, F. and L. Licht, Glas, Farbe. Aachen: Verlag. 1982
Pfaff, Konrad. Ludwig Schaffrath. Krefeld: Scherpe Verlag. 1977.
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. Lee’s 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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Glossary of Selected Terms
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 technique—not 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 Décoratifs 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 over blown
realism and curved figures.
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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.
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.
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.
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.
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.
Sourcebook 2015
The Stained Glass Association of America
Dichroic Glass
Space-age application of super thin, clear layers of metal oxides
which allows for either transmitted or reflected color, depending
on the viewer’s viewing position.
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.
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.
Exterior Glazed
Glass set from the exterior of the building.
Exterior Stop
The molding that holds the light on the exterior of the frame.
Facade
The front of a building.
Faceted Glass
Stained glass windows made of Dalle glass and a matrix.
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.
Glass Globs
Thick, round pieces of glass, from .5" to 2" in diameter.
Glass Jewels
Small pieces of clear or colored glass that have been faceted,
molded or domed.
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.
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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.
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.
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.
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Opaque
Not transparent.
Narthex
The vestibule, or entrance of a church.
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.
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.
Paint (for glass)
A mixture of finely ground glass, metallic oxides and a liquid
mixing agent, such as water and gum arabic, used for painting on
glass. It has to be fired for permanent adhesion.
Palladian Window
A window with three panels, the center panel being wider, with
an arched top.
Panel
unit of stained glass leaded together and made to fit an opening
in the framework of a window. May be of any shape.
Pivoted Window
A window that swings open on pivots at the top and bottom.
Plate Glass
Clear window glass that exceeds 3 ⁄16" 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.
Obscure
Non-transparent glass resulting from painting, sandblasting or
acid etching.
Oculus
A circular window without stone tracery. Also called Occhio,
Occhi, Oculu.
Opak
White opal flash on a colored antique.
Presbytery
The east end of the church housing the altar.
Quarries
Diamonds or rectangles of glass leaded together in a lattice
design.
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.
Ring Mottled
Opaque glass with spots of a translucent color.
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The Stained Glass Association of America
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.
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.
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.
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 1 ⁄16" thick.
S.A.
Semi-antique glass.
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.
Transom Window
A window above a door.
Transparent
Admitting the passage of light with a clear view beyond.
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.
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 people’s 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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The Stained Glass Association of America
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Sourcebook 2015
The Stained Glass Association of America
CONTACTING THE STAINED GLASS
ASSOCIATION OF AMERICA
THE STAINED GLASS QUARTERLY
SGAA HEADQUARTERS
RIChARD h. GROSS, MTS
EDITOR & MEDIA DIRECTOR
9313 EAST 63RD STREET
RAYTOWN, MO 64133
stainedglassquarterly@gmail.com
www.sgaaonline.com
www.stainedglass.org
800-438-9581
816-737-2090
816-737-2801 FAX
KATEI GROSS
EXECuTIVE ADMINISTRATOR
9313 EAST 63RD STREET
RAYTOWN, MO 64133
headquarters@sgaaonline.com
www.sgaaonline.com
www.stainedglass.org
800-438-9581
816-737-2090
816-737-2801 FAX
ADDRESS AND TELEPHONE INFORMATION FOR THE
ELECTED OFFICERS, DIRECTORS AND STANDING COMMITTEE
CHAIRS OF THE STAINED GLASS ASSOCIATION OF AMERICA
CAN BE FOUND ON PAGE TWO OF THIS PUBLICATION.
VISIT US ONLINE:
www.StainedGlass.org • www.SGAAOnline.com
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