The Story Behind One of the Oldest Art Glass Studios in the US

This blog post compiles recent articles and projects from Designboom focusing on the application of glass in art, architecture, and design. The collection highlights the versatility and aesthetic potential of glass, ranging from large-scale public installations to architectural facades and interior elements. The articles showcase how artists and designers are pushing the boundaries of traditional glass use, incorporating it into innovative structures and artistic expressions. Key examples include a luminous forest in Hanoi composed of mirroring steel branches, demonstrating glass's role in creating immersive public art. Another project features an 'invisible Tokyo bar' that utilizes heated, transparent acrylic glass panels to distort reality, illustrating glass's capacity for experiential design. Architecture projects frequently employ glass for facades, as seen in Selgascano's transparent seaside café in China with three parallel glass volumes, and Cossement Cardoso's Helsinki museum concept, which features a textured glass skin forming a curved roof. The DA VÀNG studio in Vietnam also uses 3,000 glass bricks to create a curved, translucent house facade, emphasizing both structural and aesthetic applications. The articles also delve into the use of glass in smaller-scale design and art pieces. For instance, Bottega Veneta's summer show features 'lucid murano blown-glass stools' that mimic sea waves, showcasing glass as a medium for elegant furniture and decor. Artists like Vincent Leroy use floating lenses in an optical mobile, and Ben Tuna transforms a Porsche 911 into an art car with cathedral-inspired stained glass, highlighting the material's artistic adaptability. Sarah Brahim and Ugo Schiavi explore ancient rituals through glass temples and vessels, linking glass to cultural and historical narratives. Further architectural applications include a gradient brick facade by Delmulle Delmulle in a Belgium house, transitioning from terracotta to glass, and Vinklu's triangular prism coffee shop in Romania, using glass to fill narrow urban gaps. SICIS uses decorative glass to create glowing swimming pool surfaces in Cambodian villas, while BBWORKSPACE's Thai café employs iridescent panels to evoke gemstones and refract light. EcoLogicStudio's microbial installation at Triennale Milano reimagines domesticity with glass components, and Apropos Architects use a translucent glass facade for the Czech pavilion at Expo 2025 Osaka, demonstrating its use in significant public structures. Industrial design also features glass, such as Bugatti's Brouillard Coupe, which includes a miniature glass sculpture in its gearshift. Fredrik Nielsen's Stockholm studio explores glass's resistance to fragility and embraces chance in its creation. Atelier Échelle’s lakeside gallery residence subtly integrates glass within dark clay brick structures, harmonizing modern elements with traditional aesthetics. The variety of projects presented collectively underscores glass's multifaceted role in contemporary design, from enhancing visual experiences and light manipulation to contributing to structural integrity and artistic expression across diverse scales and contexts. #GlassArt #GlassDesign #ArchitecturalGlass #PublicInstallations #InteriorDesign #ContemporaryArt #BuildingMaterials #DesignInnovation #SustainableDesign

Shed Brand Studios, a third-generation glassmaking business in Charlotte, North Carolina, represents a rapidly dwindling group of craftspeople. The company's history traces back to 1969 when Suzy and Roy Knight, along with their son Marvin, founded the studio in a rented shearing shed. Initially, they focused on ceramics, candle-making, woodworking, and various forms of glasswork, predominantly stained- and beveled-glass suncatchers and lamps. Marvin's wife, Ellie, later joined the family business. In 1972, Shed Brand Studios moved from its original location to a storefront in Wesley Heights, and Marvin and Ellie expanded their glasswork to include windows and doors. A significant event in their history occurred in 1987 when they completed over 100 stained-glass windows for televangelist Jim Bakker's Fort Mill compound. Following Bakker's arrest and the closure of his PTL Television Network, the Knights sold all these windows within a week by advertising them as "PTL windows" in front of their shop. In 1988, the studio relocated to its current premises on Iverson Way in South End, across from Lowe’s. Today, Shaylor Knight, Marvin's son and a third-generation artisan, manages the family business. Shaylor started assisting with window construction at the age of 12 and, at 52, possesses a level of experience and expertise that is increasingly rare in the glass artistry field. His parents, Marvin and Ellie, now in their late 80s, are retired, though Ellie continues to create pottery for sale in the studio's showroom. Shaylor’s wife, Natalie Bork Knight, a contemporary fine artist and former art teacher, serves as a lead designer at Shed Brand and helps oversee the business operations. She emphasizes that Shaylor’s skills are a result of extensive practice, likening his approach to traditional Italian artisans who master their craft through hands-on experience rather than solely relying on formal credentials. Shaylor's career is marked by diverse projects, including recovering Tiffany-glass windows from dumpsters, crafting brass-and-leaded-glass doors for the Mecklenburg County Courthouse, and restoring elements of the historic Morrocroft estate, such as its roof tiles and 200-year-old German glass windows in the sunroom. The studio also famously repaired an Irish-made door at Rí Rá Irish Pub multiple times, eventually using tempered glass to prevent breakage. As one of the few remaining glass artisans of his caliber, Shaylor and Shed Brand Studios maintain a robust workload. The business now specializes in "finer wood and glasswork," encompassing doors, entryways, windows, window jambs, tabletops, cabinet glass, mirrors, backsplashes, glass domes, and skylights. Ninety-five percent of their clientele are located in North Carolina, with approximately 90% of their work involving new constructions and the remainder dedicated to restoration. The Knight family has contributed to the stained-glass windows of numerous Charlotte-area churches across generations. In addition to their custom projects, Shaylor and Natalie offer stained- and fused-glass workshops. The studio employs eight individuals, all of whom are trained by Shaylor due to a scarcity of skilled tradespeople. Despite being overloaded with work, the studio prioritizes quality and is cautious about expanding too rapidly. The office and workshop reflect a long history of craftsmanship, with hand-drawn designs, finished pieces awaiting pickup, and a wide array of colorful glass sheets. Natalie views Shed Brand Studios as a "historic landmark" within the community. The question of a fourth generation joining the business remains open, as Shaylor and Natalie do not pressure their 12-year-old son, Eli, to follow in their footsteps, though he has grown up immersed in the studio environment, mirroring Shaylor's own upbringing. #GlassArtisan #CharlotteHistory #FamilyBusiness #StainedGlass #CustomGlasswork #ArtRestoration #Craftsmanship #LocalBusiness

Eve George, a glass blower and designer, chronicles her transformative residency in New York City, which profoundly influenced her artistic direction and the creation of her new glass collection, "Brume" (Mist). Co-founder of Atelier George in Burgundy's Côte d'Or, George typically works from a rural environment, producing collections every two years that reflect her surroundings. Her previous collection, "Cime" (Peak), was rooted in her rural setting and partly developed during the COVID lockdown. Her New York residency, from February to April 2023, was designed to provide a contrasting urban experience to inform "Brume." George describes her artistic process as a "choreographed sequence" akin to dancing with molten glass, an untamable material at 1100˚C that demands anticipation and memorization of gestures. The intense, productive atmosphere of New York served as a catalyst for her work ethic, encouraging her to seize opportunities and embrace a less contained way of life. This residency offered her a unique opportunity for exploration and artistic quest without immediate economic constraints, a freedom that often conflicted with the Americanized aspects of her life in France. During her stay, George navigated between different neighborhoods, experiencing the city through various encounters. A pivotal moment was attending Eva D’Oumbia’s "Autophagies" performance, which, combined with a communal meal, highlighted the profound symbolism of eating. This inspired her to delve into New York's "Foodie" culture, finding connections between culinary experiences and her artistic vision. She observed the cultural melting pot in places like Industry City, with its Japanese market and diverse eateries, noting how various cultures were combined and appropriated to create new culinary experiences, much like changing channels or swiping online content. An essential part of her residency involved an immersion at the Corning Museum of Glass upstate. This world-renowned institution, with its extensive historical and contemporary glass collections, workshops, and research facilities, allowed George to prototype her initial sketches with the help of expert glass blowers. She also researched the history of decorative table art, the ritual of meals, and the art of hosting, discovering 18th-century Italian engravings depicting tables as miniature gardens and early blown glass "snuff bottles" from the Far East. These historical findings and the concept of ritualistic tasting, inspired by a tea ceremony with a friend, led her to develop "scenting vials"—miniature bottles designed to hold aromas for a pre-tasting ritual. Returning to New York, George envisioned the city's layout as a vast banquet, with city blocks as placemats and skyscrapers as central decorations. She collaborated with Lucien Zayan, founder of The Invisible Dog Art Center, on a garlic-themed dinner, where her smelling vials were used to introduce a floral and woody garlic decoction, sparking memories and anecdotes among guests. Later, she met with Michael Anthony, chef at Gramercy Tavern, observing the restaurant's fluid hospitality and diverse dining areas. This experience, from the casual bar to the more formal dining room, underscored the American "savoir vivre"—a blend of sincere hospitality and innovation. The residency concluded with George returning to France, carrying glass samples imitating sea foam and water reflections, prototypes of tableware, and new ideas for her "glass city." She planned to integrate her new line of iridescent shot glasses into her table settings, reflecting her evolving artistic journey and the rich experiences gathered from Burgundy to Brooklyn. #GlassBlowing #ArtResidency #NewYorkCity #AtelierGeorge #CorningMuseumOfGlass #CulinaryCulture #DesignProcess #CulturalExchange #TablewareDesign

Between the 1860s and 1910s, Venetian glass, particularly from the island of Murano, emerged as a highly coveted luxury item globally, captivating both American elites and artists. This period saw a significant cultural impact in the United States, with homes and institutions being adorned with these glass creations. Art critic James Jackson Jarves, for instance, accumulated approximately 300 pieces, which he later donated to the Metropolitan Museum of Art. American artists residing abroad not only depicted glass objects in their works but also captured the essence of the Venetian glassmaking industry, including glass blowers, bead stringers, and glowing furnaces, in their paintings, watercolors, and prints. Venice had a long-standing history of glass production dating back to the Middle Ages. However, its economic decline, loss of political autonomy, and high tariffs in the 18th and early 19th centuries led to a cessation of its 500-year-old glassmaking tradition. The city itself also fell into disrepair by the 1850s. The revival of Venetian glassmaking began when Antonio Salviati, a lawyer, observed the deteriorating mosaics of St. Mark’s Basilica. He established a mosaic and glassmaking manufacturing business, bringing together descendants of old glassmaking families who helped rediscover lost techniques from the Renaissance and ancient Rome. To expand his enterprise, Salviati opened a showroom in London, exhibited his works at international fairs, and distributed his glass through esteemed American retailers like Tiffany & Co. His workers, meanwhile, developed innovative techniques and styles that attracted numerous American collectors, tourists, and artists. The book, "Sargent, Whistler, and Venetian Glass: American Artists and the Magic of Murano," edited by Crawford Alexander Mann III and published by Princeton University Press, delves into this resurgence of Venetian glass and its influence on American concepts of taste, labor, and beauty during this critical era. This extensively illustrated book accompanies a traveling exhibition, which has been showcased at the Smithsonian American Art Museum in Washington, DC. Artists like James McNeill Whistler, who visited Venice in 1879, found the city and its glass intoxicating. His 1880 etching, "Nocturne: Furnace," illustrates a glassblower working at night, observed from a gondola. John Singer Sargent’s paintings depict young women engaged in labor within the city and factories, offering a realistic portrayal of the work involved in producing glass, lace, and other crafts. Other American artists like Ellen Day Hale focused on the electrification of glass street lights and lamps in Venice, while Louise Howland King Cox portrayed glass pieces as delicate elements of daily domestic life. Over time, Venetian glass profoundly influenced American glassmakers and consumers. Venice further solidified its artistic standing by establishing its biennale in 1895, where Murano glassworkers frequently held concurrent exhibitions of their creations. As the reputation of Venetian glass grew, its perceived value increasingly shifted towards fine art, as encapsulated by Oscar Wilde’s observation that a painting, in its primary aspect, possesses no more spiritual message than an exquisite fragment of Venetian glass. This historical account highlights the significant interplay between art, industry, and cultural exchange, demonstrating how Venetian glass transcended its functional purpose to become a symbol of beauty and artistic expression, deeply influencing American aesthetic sensibilities and artistic production during the late 19th and early 20th centuries. The book and accompanying exhibition serve as a testament to the enduring allure and historical significance of Murano glass. #VenetianGlass #AmericanArt #MuranoGlass #ArtHistory #GlassMaking #LuxuryItems #CulturalExchange #ArtExhibitions #PrincetonUniversityPress

Erin Crosby, owner of Crosby Glass Studio, operates her business from a converted garage behind a Victorian home in Bellingham's York neighborhood. Her studio is a vibrant space filled with colorful stained-glass creations, including a portrait of her beagle, glass recreations of famous album covers, and a large custom window depicting blue ocean waves, a pirate ship, and an octopus, destined for the Cayman Islands. Crosby is known for her intricate work and is currently undertaking a significant restoration project: repairing all the 100-year-old stained-glass windows at Western Washington University's Wilson Library. The library's windows, installed in 1923, have suffered a century of damage, with every pane requiring attention. Crosby is the first to work on them since their original installation. The Wilson Library is named after Mabel Zoe Wilson, the university's second and most influential librarian, who was instrumental in establishing and growing the institution's library from a small collection to a dedicated building. She meticulously categorized books and advocated for a proper facility, eventually leading to the construction of the Romanesque-style building that now bears her name. Crosby's archival research reveals historical photos of children studying diligently in the library, suggesting its role as a community resource. Crosby's journey into stained glass began in childhood, inspired by her mother's projects. She recalls being more captivated by the stained-glass windows in church than by the sermons. Originally from Texas, Crosby moved to Bellingham and apprenticed with local artisan Lee Alexander for five years. Under Alexander's guidance, she refined her techniques, focusing on speed and quality. Upon Alexander's retirement, Crosby acquired her materials and established her own studio. Creating stained glass is a meticulous and time-consuming process. It starts with collaborative design between Crosby and the client, resulting in a 'cartoon' or line drawing. Once the design is finalized, Crosby scores and cuts the glass pieces to shape, then leads them together by soldering each joint and curve. The process concludes with the application of a glazing compound, filling the glass, and then polishing and waxing. Crosby also attended classes in Everett to learn hand-painting techniques for adding intricate details to glass, which are then permanently fused using a kiln. This hand-painting skill allows for a level of detail not achievable with leading alone. Crosby notes that she is one of the few individuals in the county who specializes in stained-glass repair and one of only two or three who take commissions. Her work extends beyond restorations to include creating new stained-glass windows for various clients, including churches, contributing to the artistic heritage of homes and historical buildings throughout the county. Her efforts continue to inspire new generations with the beauty of stained glass. #StainedGlassRestoration #ErinCrosby #CrosbyGlassStudio #WWUWilsonLibrary #HistoricalPreservation #GlassArtistry #BellinghamArtisan #WindowRepair #Craftsmanship

New York-based design studio Trueing has unveiled its latest lighting collection, Cerine, at this year's NYCxDesign festival. The collection, which includes two pendants, a floor lamp, and a sconce, features bold, hand-formed chain links made from thick borosilicate glass in a variety of vibrant colors. The Brooklyn studio, co-founded by Aiden Bowman and Josh Metersky, aimed to offer an "interesting spin on the familiar" by reinterpreting traditional chain motifs found in jewelry, industrial settings, and architectural ornamentation. The design draws inspiration from diverse sources, such as delicate golden chain necklaces, robust metal chains seen in shipyards, and the decorative elements on Beaux-Arts building facades. Metersky explains that while chain is a common element in traditional lighting design, Trueing sought to create a fresh interpretation, making the chain itself the focal point rather than merely a functional component. Each individual chain link is precisely seven centimeters wide and twelve centimeters tall, and can be customized in seven opaque or transparent color options to suit various bespoke arrangements. Beyond their aesthetic contribution, the glass chains play a crucial role in the structural integrity of the lights, allowing them to be positioned and held in place. The metal finishes accompanying the glass elements are available in brushed brass, satin or polished nickel, and oil-rubbed bronze, providing a range of complementary material options. Metersky highlights the unique character of the hand-made links, noting that their individual imperfections contribute to a cohesive and natural overall appearance. The Cerine series showcases different applications of these distinctive chains to support mouth-blown glass bulbs. One pendant design uses two hooks to suspend the fixture from the ceiling, creating a significant, inverse-arch-like droop. The sconce variant incorporates three glass links that dangle from a metal arm, which in turn holds the light bulb. The floor lamp design features nine stacked pieces of Carrara marble forming its base, with five pastel pink glass links suspended from an arched arm that supports the glass orb. The glass orb itself can be specified in classic white opaline or a selection of custom colors. Trueing launched the Cerine collection through a partnership with Pas De Calais, a Japanese clothing store situated in Manhattan's Soho district. This collaboration was deemed a natural fit due to the shared design sensibilities between Trueing and the fashion label, both prioritizing purity, nostalgia, and a refined, elemental approach to traditional forms. Bowman emphasized that the collection's essence—recalling traditional design pieces rendered in a reductive manner—aligns perfectly with Pas De Calais's ethos and aesthetic. The Cerine exhibition at 482 Broome Street was open until the end of May, coinciding with NYCxDesign 2019, which ran from May 10th to 22nd. This marks Trueing's second collection, following their debut range launched in January at The Future Perfect in Manhattan. The NYCxDesign festival also featured other notable exhibits, including Workstead and Calico Wallpaper's designs showcased at New York's Arcade Bakery, and an immersive lighting installation by Snarkitecture. Photography for the Cerine collection was provided by Lauren Coleman, with additional images by Alan Tansey for the installation at Pas De Calais. #LightingDesign #GlassChains #NYCxDesign #ProductDesign #InteriorDesign #TrueingStudio #HandFormedGlass #DesignExhibition #CerineCollection

The article highlights six new collections that showcase the enduring appeal and versatility of glass in contemporary design. These works demonstrate designers' fascination with the fragile material, utilizing rigorous techniques to create both decorative and functional pieces. The featured collections primarily come from emerging designers who are challenging and elevating traditional glassmaking practices. One of the highlighted collections is Agmes Anniversary, a collaboration between jewelry brand Agmes and glass artist Anthony Bianco of Bianco Light & Space. This collection marks Agmes's sixth anniversary and includes an organically shaped handblown bud vase and a textured small dish, available in various colors, alongside personal accessories that revisit an earlier glass jewelry line. Another notable collection is PhilaTerra, a charitable initiative by Colony, a New York City-based cooperative design gallery, creative firm, and studio, in collaboration with artist Deborah Czeresko. Czeresko, a winner of Netflix's 'Blown Away,' produced a limited edition of 100 glass vases, some colorless and others vibrantly hued, designed by Colony founder Jean Lin. Proceeds from the PhilaTerra collection support the Environmental Defense Fund and the Rainforest Foundation US. Heath Ceramics, known for its experimental and collaborative approach beyond clay, partnered with glassblower Cedric Mitchell for a new collection. Mitchell, based in Los Angeles, created a series of elegant bottles and vases with subtle Memphis influences, as well as jewel-toned cocktail stirring glasses and tumblers. Mitchell is also an instructor and a team member of Crafting the Future, a nonprofit that funds young talent for craft school experiences to promote diversity in the field. Sophie Lou Jacobsen, a sustainably-minded glassware designer, introduced her "Asking for a Friend" collection at Assembly Line in Brooklyn. This collection, on display through July 1, features Jacobsen’s distinctive silhouetted works, which were produced at Keep Brooklyn’s studio. The "Vetro Alga" exhibition by multidisciplinary designer Dana Arbib, curated by Alex Tieghi-Walker’s Tiwa Select, was showcased during New York Design Week at Galerie Michael Bargo. Arbib's work explores her Libyan heritage through glass, collaborating with Venetian artisans to honor Venice's rich glassblowing history. The collection, whose name means "seaweed glass" in Italian, draws inspiration from her distant relative Salvatore Arbib, a prominent Venetian glassblower from the early 20th century, resulting in textured vessels and bowls made in Murano. Finally, Swedish artist Annika Jarring's Line vase is recognized for the Loewe Foundation Craft Prize. Jarring’s innovative technique involves shaping 392 small glass elements with silicone to create an architectural vessel. Inspired by the ornamental jade pieces of ancient Chinese burial suits, this sculptural piece is one of 30 works shortlisted for the prize and will be exhibited at the Seoul Museum of Craft Art. #GlassDesign #HomeDecor #ContemporaryGlassware #DesignCollections #EmergingDesigners #ArtisanCraftsmanship #InteriorDesignTrends #CharitableDesign #GlassArt

Art Nouveau, a pervasive design movement from 1890 to 1910, distinguished itself through its characteristic sinuous curves, intricate ornamentation, and stylized interpretations of natural forms. Drawing inspiration from Japonisme and the English Arts and Crafts movement, Art Nouveau emphasized material experimentation, allowing artists to translate the beauty of the natural world into highly individualistic expressions. Many prominent figures of the movement delved deeply into nature or traveled to diverse locales, seeking inspiration from unfamiliar flora, fauna, and insects. The core genius of Art Nouveau artists lay in their capacity to render the organic delicacy of natural forms using rigid materials such as glass, wood, and metal. Specialists like Victoria Tudor from Christie's Design department highlight the pivotal role of glassmaking, woodcarving, and marquetry during this period, with fruitwoods, mahogany, and satinwood being common choices. Designers skillfully manipulated structured materials to evoke the movement found in nature, mirroring the forms of flower stems or leaves. The masters of Art Nouveau, including Tiffany, Gallé, and Daum, excelled in working with their chosen materials, transforming themes and emotions into tangible art forms rather than merely words. Several key designers significantly shaped the Art Nouveau movement. Daum, founded in 1878 by Jean Daum, initially produced tableware. However, under the artistic direction of Antonin Daum and Henri Bergé, the company embraced floral designs in colored and cameo glass, greatly expanding its artistic range and production volume. Daum also engaged in significant collaborations, notably with Louis Majorelle, a key figure in the Ecole de Nancy, resulting in notable pieces like the 'Nénuphar' table lamp. Emile Gallé, another founder of the Ecole de Nancy and based in the glassmaking hub of Nancy, France, created works celebrated for their elegant forms, rich colors, and nature-inspired decorations. He pioneered experimental techniques such as glass marquetry and acid etching, creating complex layered glass pieces, often with inclusions like gold leaf. Gallé also introduced 'verreries parlantes' or 'speaking glassware,' which incorporated poetic inscriptions, requiring the viewer to interact with the object to read them. René Lalique dominated Art Nouveau jewelry and decorative objects. After achieving fame for his modern jewels, he began experimenting with glass around 1890. Lalique later opened a shop at Place Vendôme, showcasing both his jewelry and glass objects. He revolutionized the perfume industry with his glass bottles and, by the 1920s, focused exclusively on glassmaking, developing a distinctive technique of contrasting clear and frosted glass. His extensive output included numerous vases and other mass-produced items, and his business continues to thrive today, having adapted to subsequent styles like Art Deco. Louis Majorelle, renowned for his woodworking, operated a substantial atelier that produced a wide range of furniture, from standardized designs to exclusive commissions. He worked with a diverse palette of global woods, creating tonal designs, gradients, and fine art-like floral marquetry. Majorelle was a vice president of the Ecole de Nancy and maintained multiple shops across France. Tiffany Studios, led by Louis Comfort Tiffany, focused on stained glass design and production. Working with skilled American artisans, Tiffany Studios developed patented processes, such as for iridescent Favrile glass, and created iconic leaded glass lamps. Tiffany drew immense inspiration from his estate, Laurelton Hall, which was meticulously designed to reflect his artistic vision and served as a retreat for artists. Despite the estate's destruction by fire, the legacy of Tiffany Studios endures through its vibrant lamps and other decorative creations in glass, ceramics, enamel, and metalwork, which remain highly valued by collectors. The global influence of Art Nouveau extended to various international variations and localized movements. Italian designer Carlo Bugatti produced architectural furniture, while the Vienna Secession featured artists like Gustav Klimt. Cities such as Barcelona, with Antoni Gaudí's works, and Paris, with Hector Guimard's contributions like the Métro entrances, showcase the ambitious scope of Art Nouveau creators. The interplay between architecture and furniture design was crucial for many Art Nouveau designers, underscoring the holistic nature of their artistic approach. These diverse examples highlight the widespread and transformative impact of the Art Nouveau movement on design and art across Europe and beyond. #ArtNouveau #CollectingGuide #DecorativeArts #DesignHistory #Glassmaking #FurnitureDesign #TiffanyStudios #EmileGalle #ReneLalique #LouisMajorelle #Daum

Identifying antique and vintage glassware can be a fascinating endeavor, yet it often presents challenges due to the diverse production periods and styles throughout history. Glassware is generally classified as antique if it is over 100 years old, while items at least 40 years old are considered vintage. Regardless of its exact age, these pieces can be elegantly integrated into home decor. To begin the identification process, careful observation is crucial. Examining the piece's shape, surface texture, weight, and overall quality can offer initial clues. Key questions to consider include whether the glass is transparent, opalescent, or iridescent, and if any decorative elements provide hints about its origin or maker. Following observation, checking for signatures or marks is a vital step. These identifiers are typically found on the underside of the glass, though some may be located on the body. If a signature is faint, rubbing the glass with a charcoal pencil can help make it more legible. Leveraging online resources is another effective method. Many auction houses, such as Live Auctioneers, maintain publicly accessible records of past sales, allowing enthusiasts to compare their pieces with similar items that have been auctioned. Additionally, numerous online communities and websites dedicated to glass collectors provide extensive documentation. A notable example is loetz.com, which meticulously details the history and products of a specific art glass firm. Social media platforms, particularly Facebook, also host various groups focused on nearly every imaginable type of glass, offering a collaborative space for identification. For pieces suspected of being particularly valuable, professional consultation with an auction expert is recommended. These professionals can assess the item's worth and determine if it meets the criteria for auction. While glass production spans many eras, a significant portion of glassware found in second-hand shops or inherited collections dates from the late 19th and early 20th centuries. This period is often regarded as a pinnacle for the medium. However, it's important to note that 90 to 95 percent of such glassware is relatively common. The most valuable category is art glass, which comprises pieces created solely for aesthetic appreciation rather than practical use. Two prominent makers from this 'apex' period are Thomas Webb & Sons and Tiffany Studios. Thomas Webb & Sons, based in the U.K., specialized in cameo glass, employing layered glass that was acid-etched or carved to reveal Neoclassical designs. Their creations often depicted mythological scenes, drawing inspiration from ancient Roman glass unearthed at the time. In the U.S., Louis Comfort Tiffany's Tiffany Studios produced Favrile glass, known for its handmade quality and iridescent finish. Tiffany was influenced by the iridescent effects observed in ancient Roman and Egyptian glass, and his studio successfully replicated this appearance. Tiffany Studios is widely recognized as one of the most significant glass manufacturers in history, with its pieces often commanding high values. Most Tiffany pieces are signed, though contemporaries also produced similar styles, sometimes with hard-to-identify marks. Ultimately, regardless of its monetary value, any piece of glassware can serve as a beautiful and meaningful addition to a home. #antiqueGlassware #vintageGlass #glasswareIdentification #artGlass #ThomasWebbAndSons #TiffanyStudios #homeDecor #collectibleGlass #decorativeArts

The article details a midcentury home renovation project in Seattle, undertaken by three creative sisters for their mother, Cynthia Chua. The property, identified by architect Sarah Smith of Best Practice Architecture and Julia Smith of Unique Art Glass, was purchased with the intention of transforming it into a forever home. The renovation involved extensive structural and aesthetic changes, highlighted by the addition of unique design elements such as fish scale shingles, vibrant paint colors, and custom stained glass windows. These stained glass pieces were designed by one of the siblings, showcasing a personalized artistic touch. The project reflects a collaborative family effort, leveraging the distinct skills of each sister. Sarah's architectural expertise guided the structural and spatial reorganization, ensuring the home met modern living standards while preserving its midcentury character. Julia's background in custom stained glass allowed for the integration of unique, handcrafted art into the home's facade, contributing to its distinctive and cheerful aesthetic. The decision to incorporate these specific design elements underscores a thoughtful approach to renovation, aiming to create a residence that is both functional and deeply personal. The home's exterior features, such as the fish scale shingles and punchy paint, were carefully chosen to revitalize the midcentury structure, giving it a contemporary yet respectful update. This blend of old and new design principles was central to the renovation's philosophy. The interior spaces were likely reconfigured to enhance flow and natural light, common goals in midcentury remodels, though specific interior details are not provided in this excerpt. The overall objective was to transform the house into a comfortable, stylish, and enduring home for their mother. This renovation serves as an example of how a family's combined talents can lead to a successful and meaningful home transformation. The article emphasizes the journey of revitalizing an older property through thoughtful design and craftsmanship, resulting in a residence that reflects the personality and collaborative spirit of its creators. The Seattle midcentury house, now adorned with personalized details, stands as a testament to the sisters' dedication and vision for their mother's long-term dwelling. #MidcenturyHome #HomeRenovation #SeattleArchitecture #FamilyCollaboration #StainedGlass #BeforeAndAfter #HomeDesign #BestPracticeArchitecture #UniqueArtGlass

The Worcester Art Museum's exhibition, "Radiance Rediscovered: Stained Glass by Tiffany and La Farge," explores the works of two prominent Gilded Age artists, Louis Comfort Tiffany and John La Farge, focusing on their contributions to stained glass. The exhibition prominently features several windows commissioned for the Mount Vernon Congregational Church in Boston, which moved to a new location in the Back Bay in the 1890s. The church engaged Tiffany Glass and Decoration Company for its Byzantine-style interior and John La Farge for several stained glass windows. La Farge had previously established his reputation with his interior design for Trinity Church in the 1870s. The featured windows from the Mount Vernon Congregational Church were acquired by the museum after the church closed in 1975. They remained in storage for decades until conservation efforts began in 2017, taking over a year to meticulously restore them. Curated by T. Amanda Lett, a PhD candidate, the exhibition showcases these newly conserved pieces, presenting them in their original brilliance. The show highlights the rivalry between Tiffany and La Farge, both of whom independently patented the use of opalescent glass between 1879 and 1881, a material that became highly fashionable in stained glass design. The exhibition contrasts Tiffany Company's "Angel of the Resurrection" windows, which are attributed to Louis Comfort Tiffany but likely designed by Frederick Wilson, with La Farge's "The Pool at Bethesda" windows. Tiffany's works are characterized by a sweet, lambent quality, depicting an angel in opalescent robes emerging from lilies, framed by Corinthian columns. In contrast, La Farge's "The Pool at Bethesda" windows, illustrating a scene from the Gospel of Saint John, captivate with their dynamic composition and narrative depth. La Farge uses various types of glass to tell the story of an ailing woman and a man awaiting healing, with an angel disturbing the water. He employs irregular shards of colored glass for garments and opalescent glass to give solidity to architectural elements. The artist also ingeniously uses a green canopy to connect the two panels, with the angel's slightly awkward, human-like pose adding to the piece's character. The mirror-like quality of the water below the angel serves as a metaphor for self and spirit, and the depiction of the scene at a critical narrative moment before healing imbues the work with hope, possibly reflecting La Farge's own experiences with ill health. The exhibition further includes additional works to provide a broader context, such as watercolors and a smaller, highly detailed window by La Farge depicting a peacock, created after his trip to Japan and inspired by Asian aesthetics. This particular piece, a technical marvel, incorporates layered plates, unfired paint, colored putties, fused glass, and mosaic elements. The conservation of this peacock window involved distinguishing between intentional cracks and natural degradations over time. While the exhibition is limited in its scope for a comprehensive comparison, especially given that Tiffany himself didn't design the featured "Angel of the Resurrection" windows, it effectively reasserts John La Farge's artistic brilliance and his significant, albeit sometimes overshadowed, contributions to stained glass art. #ArtReview #StainedGlass #TiffanyGlass #JohnLaFarge #WorcesterArtMuseum #GildedAgeArt #ArtConservation #ReligiousArt #OpalescentGlass

Deborah Strawn, an Alabama-based artist, transitioned from a career in audiology to become a leading expert in stained glass, a craft she discovered in the 1980s. Largely self-taught, Strawn enhanced her skills through intensive courses at prestigious institutions like the Penland School of Crafts in North Carolina and the Pilchuck Glass School in Seattle. Her work spans a wide range, from intricate photo slide-sized pieces to expansive church windows. Operating from her home studio in Loachapoka, near Auburn, Strawn primarily sells her creations through social media platforms like Facebook and Instagram, word-of-mouth referrals, and appearances at events such as the Southern Makers show. She also offers guidance to aspiring stained-glass artists, emphasizing the necessity of a dedicated studio space due to the time-consuming nature of the craft. Strawn's portfolio includes significant commissions for religious institutions. Approximately three decades ago, she began crafting church windows, including abstract bird designs for the Unitarian Universalist Fellowship Church in Auburn. More recently, she completed eight traditional windows for a historic church in Waverly, which was rebuilt after a lightning strike, receiving considerable support from the congregation throughout the project. Beyond spiritual works, Strawn also designs and creates original stained-glass windows for residential and commercial spaces. She recounted securing a commission for a funeral home by highlighting her ability to precisely interpret a client's vision. For the past two decades, her artistic endeavors have also extended to three-dimensional artworks, where she integrates found objects with leaded glass. A current project involves a series of portraits titled 'My Life's Strong Southern Women,' featuring influential women in her life, with the inaugural piece dedicated to her Aunt Hazel, known as 'Aunt Zinnia,' envisioned to evoke a vibrant memory as light passes through it. Her product offerings range from small, framed stained-glass pieces, priced between $25 and $65, to custom windows for homes, businesses, and churches. Strawn's artistic journey exemplifies a dedication to craftsmanship and a versatile approach to stained glass, allowing her to imbue diverse spaces with light and color, transforming both secular and sacred environments. Her work reflects a profound connection to her artistic medium and her commitment to sharing its beauty. #stainedGlassArt #AlabamaMakers #DeborahStrawn #glassArt #homeDecor #churchWindows #Loachapoka #artisan

Designer Annie Kern undertook the renovation of a 1913 Kansas City, Missouri, home, focusing on preserving its unique character while updating its interior to be more approachable and comfortable. The house, built by a Frank Lloyd Wright protégé, features distinctive stained-glass windows, reportedly custom-made by Indiana’s Kokomo Opalescent Glass Co. These windows, with their jewel tones, amethysts, ochres, and aubergines, served as the primary inspiration for the home's new color palette, guiding the selection of fabrics, wall coverings, and decorative elements throughout the expansive 14,000-square-foot residence. The design aimed to replace the previous owner's opulent and glitzy décor, which included silk damask walls and peachy colors, with a more inviting aesthetic. A significant challenge in redecorating the six-bedroom home was its sheer volume and the acoustic issues posed by its reinforced concrete construction and shot-sawn limestone cladding. To counteract the echo and create a warmer, more intimate atmosphere, Kern incorporated upholstered walls backed with batting. These wall coverings, featuring diverse patterns such as Mulberry Home’s plaid Braemar in the billiard room and a sunshine yellow gingham in the playroom, were chosen not only for their aesthetic appeal but also for their ability to absorb sound and envelop the rooms in a tactile sumptuousness. The music room, for instance, received Phillip Jeffries grasscloth walls to soften its plaster relief barrel-vaulted ceiling, complemented by custom shades on pendant lights. The redesign extended to various living spaces, each meticulously detailed. The main entry hall features a two-story stained glass window that immediately establishes a grand tone, with a custom sofa in Brunschwig & Fils fabric and Vaughan table lamps. The music room, designed with an “old-school, dapper, and prim” vibe, includes a custom sofa in Pierre Frey fabric, a custom ottoman, and a Ferrell Mittman armchair, all grounded by a Bellbridge rug. In the living room, Claremont Furnishing Fabrics wall coverings and Filippo Uecher draperies with Samuel & Sons trim create an elegant backdrop, while custom armchairs in Fermoie fabric and a Charles Edwards ceiling light add to the sophisticated ambiance. The snug offers a cozy retreat with Ferrell Mittman swivel chairs in Sanderson fabric, a Soane Britain ceiling light, and Les Indiennes wallcovering, alongside a Highland House sofa. The billiard room evokes a “Roaring Twenties–like parlor feel” with chairs from Esperance Gallery in Le Gracieux fabric and Mulberry Home wallcovering. The kitchen features a custom Gieske range hood, Armac Martin cabinetry, International Materials of Design tile, and Viking appliances. A high-gloss painted bar area includes custom cabinetry by Refined Finishes and Carthage Stoneworks backsplash and counter. The dining room, embracing a low-light setting, is painted in a high-gloss inky finish by Fine Paints of Europe, furnished with a New Classics dining table and Rose Tarlow dining chairs. Bedrooms also reflect the home’s renewed character. The primary bedroom boasts Schumacher wallcovering bordered with dark aubergine grosgrain, a Vaughan table lamp, and a custom bed. The children's bathroom combines whimsical and sophisticated elements with Scalamandré wallcovering, Visual Comfort & Co. sconces, and a Caldwell Green vanity by Benjamin Moore. The playroom, with its yellow gingham wallcovering by Romo and a Coleen & Company ceiling light, coordinates with the stained glass, offering a fun and vibrant space. Externally, a simple yet impactful change was the removal of hedges that had obscured the landmarked property for years, allowing the home to be visible and admired once again, signifying a complete transformation both inside and out. #HomeRenovation #InteriorDesign #HistoricHome #StainedGlass #ColorPalette #LuxuryInteriors #KansasCity #DesignInspiration #HouseTour

Tracy Guarino, an entrepreneur residing in Forest Hills, sought to infuse a sense of tranquility and modern Zen into her expansive 11,328-square-foot home. Collaborating with interior designer Ray Booth, the objective was to create a peaceful sanctuary that contrasted with Guarino's active professional life. The residence, situated within the gated community of Bancroft, presents a classic facade with Mediterranean architectural influences, featuring native stone, exotic wood, and a rust-colored barrel tile roof, extending across six acres. Inside, the home transitions into a modern aesthetic with an open floor plan, high ceilings, and a luxurious grayscale palette. Booth addressed the initial vastness of the space by incorporating floor-to-ceiling draperies made from Holly Hunt's 'Soft Spoken: Pale Silver' fabric. These semi-sheer panels create defined dining and living areas without fully enclosing them, offering a sense of intimacy and gentle transition. The draperies were instrumental in softening the previously 'cold and hard' interior, adding a crucial element of 'pause' before entering spaces like the master bedroom. Elegant details are found throughout the five-bedroom home. A hand-carved teak panel from Thailand and a Shakuff’s Kadur Drizzle multi-pendant chandelier contribute to the luxurious atmosphere. Guarino's passion for collecting is evident in various art pieces, including sculptures by Herb Williams made from crayons, an abstract commission by Ed Nash in the kitchen sitting room, and graphic artworks derived from the animated film 'Destino,' a collaboration between Walt Disney and Salvador Dalí. The master bedroom continues the theme of elegance with a velvety Italian carpet and a tufted gray chaise in the master bath. The outdoor space is designed to resemble a luxury resort, featuring a uniquely shaped infinity-edge swimming pool surrounded by cabanas and a secluded screened-in porch with an outdoor shower, which Guarino prefers over her exquisite indoor master bath shower. Functionality for entertaining and business is also a key aspect of the home's design, which includes a professional kitchen alongside the family kitchen, two offices, and a gift-wrapping room. The family kitchen, located strategically between Guarino's and her sons' bedrooms, serves as the home's social center. Ray Booth integrated 'appliance garages' made of Bendheim architectural glass in this space, allowing cabinets to be concealed for a seamless look. This kitchen is a central gathering point for Guarino's extended family, particularly on Sundays when she prepares large meals, reflecting her Italian heritage where the kitchen is considered the heart of the home. #ForestHills #HomeDesign #InteriorDesign #ZenAesthetic #ModernLuxury #RayBooth #NashvilleHomes #ArchitecturalGlass #ArtCollection

French design duo Ronan and Erwan Bouroullec have launched a new collection of architectural glass panels, developed in partnership with Skyline Design. This collection, which debuted at NeoCon, received a Silver award in the Architectural and Decorative Glass category. The project represents a thoughtful exploration of color, light, and scale, drawing inspiration from various observations in their daily lives. The design process began with the brothers capturing photographs of their surroundings, ranging from natural landscapes to urban scenes. The aim was to distill the inherent sensations of colors and light present in these everyday moments. From a selection of eight initial images, Erwan Bouroullec utilized a custom computer script to analyze the color information. This script then condensed the captured colors into a unique base color for each panel, simultaneously transforming the rhythmic qualities of the original images into distinct patterns. A subsequent layer of translucent patterns further enhances this foundational color, resulting in a multitude of additional color variations. The patterns are delineated by a darker outline, intentionally designed to evoke the lead lines found in traditional stained glass. This technique aims to mimic how lead frames shape the visual experience of stained glass, with the lines in the Bouroullec panels subtly influencing the distribution and density of colors, creating an almost imperceptible shift. The Bouroullec brothers specifically sought to reinterpret the captivating qualities of stained glass found in medieval cathedrals. Their objective was to translate the immersive and atmospheric experience of these historical artworks into contemporary architectural glass. The complex interplay of color and line within their panels is designed to create a sensation of being enveloped within an abstract landscape, evoking a similar sense of wonder that one might experience in a medieval cathedral. Skyline Design’s digital print and manufacturing capabilities bring these designs to fruition. The panels offer considerable customization options in terms of size, scale, and color, allowing them to be adapted for diverse applications. The collection features four distinct pattern variations: Oblique Regular, Oblique Bold, Chevron Stroke, and Chevron Fill. Each of these patterns is available in four monochromatic color schemes or four polychromatic palettes. These versatile glass panels can be integrated into various architectural contexts, both internal and external. Potential interior applications include feature walls, space dividers, and stair railings. For exterior use, the panels can be incorporated into facades, railings, and canopies, demonstrating their adaptability to different design needs and environments. #BouroullecBrothers #StainedGlass #ArchitecturalGlass #SkylineDesign #ColorAndLight #DesignInnovation #InteriorDesign #ExteriorDesign