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THE QUARTERLY MAGAZINE OF THE STAINED ASSOCIATION OF AMERICA SPRING 2016

PUBLISHED CONTINUOUSLY SINCE 1906 THE QUARTERLY MAGAZINE OF THE STAINED GLASS ASSOCIATION OF AMERICA Vol. 111, No. 1 SPRING 2016 24 46

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4 18 32 42 President’s Message News & Opportunities Marcelle Ferron: Canadian No Need for Shame: 3 Ways Innovator in Modern Our Tests Can Make Us 6 22 Architectural Stained Glass Better Painters From the Editorial Board Seduction by Design By Kathy Kranias By Stephen Byrne and Williams By Jules and Terry Mominee Marcelle Ferron may have been Do you ever wonder why your 7 Designing for a client can be unfamiliar to many, until now. After stain is not consistent? Byrne and Advertisers Index perplexing. The Mominees break studying the post-WWII German and Williams guide us through the down the process to its essentials to French glass artists, this pioneering testing Ken Leap undertook to give help you focus on your approach. artist brought stained glass to the us answers, which he has published 8 secular world on a grand scale. in a very handy and useful book. From the Stained Glass 24 38 46 Director Stories in Glass: Artist J. Kenneth Leap Conrad Schmitt Studios: Illumination: The Story 9 By Sasha Silverman Determining Conservation of Tom Holdman and SGAA Membership Update Ken Leap is a bit of a wizard when Treatment Options for Holdman Studios Welcome, new members! it comes to painted figurative work. Several Projects By Amie Jane Leavitt Here he generously shares his By Gunar Gruenke Like many stained glass artisans talent and experience with younger With these brief case studies, fifth- Tom Holdman started his career in aspiring painters. generation studio owner Gunar his parents’ garage. He has excelled Gruenke shares his knowledge of in glass on the wisdom his father the restoration process in the U.S. shared with him growing up.

2 STAINED GLASS | SPRING 2016 STAINED GLASS THE QUARTERLY MAGAZINE OF THE STAINED GLASS ASSOCIATION OF AMERICA

EDITORIAL BOARD David Judson, Chair Kathy Barnard, Emily Carlson, Jim Piercey, Martin Rambusch, Susan Shea, Bryant Stanton

ART DIRECTOR Deb Stavin

CONTRIBUTING WRITERS Stephen Byrne, Gunar Gruenke, Mary Clerkin Higgins, Kathy Kranias, Philomena Lawrence, Amie Jane Leavitt, Colleen Low, Jules Mominee, Terry Mominee, Jim Piercey, Sasha Silverman, David Williams

PROOFREADER Colleen Low

BUSINESS MANAGER Katherine E. Gross

EDITORIAL AND ADMINISTRATIVE OFFICES 9313 East 63rd Street Raytown, MO 64133 800-438-9581 / 816-737-2090 816-737-2801 fax [email protected] www.stainedglass.org www.stainedglassschool.org www.SGAAonline.com

PUBLISHER 58 Stained Glass Association of America 9313 East 63rd Street Raytown, MO 64133 800-438-9581 / 816-737-2090 54 66 76 816-737-2801 fax [email protected] Jane Stanford’s Behind the Scenes Online Resources www.stainedglass.org Lasting Legacy at DHD Metals A directory of websites of interest By Philomena Lawrence By Jim Piercey to our readers. www.SGAAonline.com On a trip to New York, Mrs. Stanford You use it everyday, but do you really found just the right man to make the know where it comes from and how 77 Stained Glass magazine is in the for the University’s church, it’s made? Jim Piercey talked with the Classified Advertising collection of the Library of Congress. and his name was Fredrick Lamb… owners of DHD Metals on a visit inside Formerly “Stained Glass Mart.” not ! their facility and shines a light on this mysterious metal called . Printed on archival . 58 80 SGAA Officers Directory Conserving J&R Lamb’s 72 Beautiful Stanford Windows Suppliers By Mary Clerkin Higgins Products and services for the Mary Clerkin Higgins tells us of stained glass community. STAINED GLASS (ISSN 1067-8867, her recent work on the windows USPS 552-830) is published quarterly of Stanford University’s church. 75 for $36 (U.S.), $48 (Canada & Mexico), $59 (Foreign) per year and is the official Subscribe to Stained Glass journal of the Stained Glass Association of America. STAINED GLASS, 9313 East 63rd Subscribe online and receive Street, Raytown, MO 64133. Periodicals a discount. postage paid at Lee’s Summit, MO and additional mailing offices. POSTMASTER: send address changes to STAINED GLASS, ON THE COVER: 9313 East 63rd Street, Raytown, MO 64133. Tom Holdman, Galaxy (detail), 62 x 105 in., Orem, UT.

SPRING 2016 | STAINED GLASS 3 PHOTO: M.C. HIGGINS T By Mary Clerkin Higgins Clerkin By Mary Beautiful Stanford Windows Lamb’s J&R Conserving and he enjoyed the Bay area so much that in 1922 at the age 1922 age in atthe much he so enjoyed that and Bayarea the time first for the coast west The tothe project brought Lamb craftsmen. of skilled firm’s team the supervised and design head of its was Frederick 1857 Village. in Greenwich Lamb, in Joseph uncle, Richard and and father byhis established was which Studio Lamb J. the &R. second torun generation the He was paintings. and murals, glass, stained for his known artist an was Lamb remarkable. quite is which years, work completed the three was Lamb, in Stymetz Frederick byartist Led new building. for the windows stained-glass later, 10 dedicated years 1903.was in 58 project atStanford Memorial Church onthecampus of Stanford University Clerkin Stained Higgins Glass recently astained undertook glass conservation STAINED GLASS |SPRING 2016 Mrs. Stanford hired the firm of J & R Lamb to make 51 tomake of J&RLamb firm the hired Stanford Mrs. co-founder of Stanford University with his wife Jane Jane church 1893 the He in died and Stanford. wife Lathrop his with University Stanford of co-founder he dedicated church is Stanford, toSenator Leland he died in 1928. in he died where summers, during Mendocino Coast the visiting and Berkeley in working Hills and of 59 living he moved there, as the Holy the Spirit. as above, aDove from emanating of light he added beams opening scene. reproducing elongated To out the the fill exactly almost colors, but changing original, tothe faithful very was Lamb horizon. on moon the crescent athin and atown contains The approval. background divine symbolize foreground the nature of Christ—lie next to Mary. Pink almond blossoms human the and apiece of the ofand bread—symbols in of wheat Shafts left. his with upward points her and toward hand right his Gabriel her extends head bowed as kneels, Mary toChrist. birth give she will that Mary Virgin tothe announces Gabriel Archangel the painting his In Pre-Raphaelites. the with closely associated Shields, who James was Frederick designer and illustrator, artist, British bythe Gallery Manchester the now in painting oil on an based is The Annunciation THE ANNUNCIATION The Holy Family. and The , Flight into The wide: 5½ feet Annunciation, by tall each15feet nave, of the arcade east the in windows aisle three the restored Higgins Clerkin openings. the fill to necessary as them altering and augmenting windows, glass stained into images those Lamb’s totranslate job was mind. in that with prints and of paintings images collected had for years and tolook like, windows large the wanted idea of she aclear what had Stanford .and Mrs. balconies the in 32 smaller,figures and single of Christ, life the depicting apsewindows and aisle 19 large are Lamb Frederick THIS PAGE: Front façade of . 2014. Church. Memorial ofStanford façade Front There are over 100 windows in the church. The church. 51 by the in overThere 100 windows are

PHOTO: MANCHESTER ART GALLERY PHOTO: M.C. HIGGINS PHOTO: PHOTO: PASQUALE BIANCULLI PASQUALE PHOTO:

THIS PAGE, CLOCKWISE FROM TOP LEFT: Frederick James Shields (1833–1911), The Annunciation, 1894, oil painting, Manchester Art Gallery. Frederick Stymetz Lamb, Lamb Studios, The Annunciation, 1903. Frederick Stymetz Lamb, The Annunciation, detail showing dirt trapped between the plates.

SPRING 2016 | STAINED GLASS 59 THE FLIGHT INTO EGYPT spindle, thread from the distaff on her left. The Flight into Egypt is based on a print by Bernard Plockhorst, carries a measure and square, which together form the shape of a German painter and graphic artist, whose work, especially a cross, to Joseph, who holds an ax for shaping the thick beam his print, The , was frequently used in stained before him. Three doves sit outside their birdhouse above and glass design. Walking in a landscape, a small angel with wings a hen with chicks, roosts below. Lamb has again successfully holds the donkey’s lead, guiding the way. Mary, with Jesus translated the print into stained glass, changing some colors, at her breast, gazes at Joseph, who looks back as he walks but removing extraneous details like the hen and chicks. alongside. Lamb is again very faithful to the original. He has EARTHQUAKE added putti in clouds above as well as lush tree branches. All three windows were in place by the dedication in 1903. THE HOME IN NAZARETH Three years later a massive earthquake hit, severely damaging Johann Heinrich Hofmann was a German painter of the late the church’s front façade and the tower above the crossing. Nine 19th, early 20th century best known for his many paintings windows in the church were totally destroyed, though none of depicting the life of Christ. Both he and Plockhorst were them were Lamb’s, whose windows each averaged about 10% influenced by the Nazarene movement, as were the Pre- of damage. All the stained glass was removed for restoration Raphaelites, with their goal to revive honest expression and while the church was rebuilt. They decided not to rebuild the spirituality in art and abandon the strictures of the academy tower and to redesign the front façade, with a larger, differently and salon art. In “The Home in Nazareth” Mary sits with her shaped and a smaller dedication.

LEFT: Bernard Plockhurst (1825–1907), The Flight into Egypt, print. RIGHT: Johann Heinrich Hofmann (1824–1911), The Home in Nazareth.

60 STAINED GLASS | SPRING 2016 PHOTOS, THIS PAGE: PASQUALE BIANCULLI

LEFT: Frederick Stymetz Lamb, Lamb Studios, The Flight into Egypt, 1903. RIGHT: Frederick Stymetz Lamb, Lamb Studios, The Home in Nazareth, 1903.

SPRING 2016 | STAINED GLASS 61 The inside plate is glass with mainly and and the It was possible to eliminate a number of lead repairs using outside plate is clear, hammered glass painted with enamels and silver stain. silicone fill repairs. Top: Before, Bottom: After. ALL PHOTOS: M.C. HIGGINS There were numerous instances of extreme cutting. Some survived Loss of vitreous paint along glued cracks the years (and earthquakes), while others did not. was inpainted with “cold” paint.

PROBLEMS TO ADDRESS dimming the light passing through, and making the figures In the last 100 years, the windows have been worked on look like they needed a good bath. Cleaning the window was as necessary. The most compelling reason to undertake another motivation for treatment. this conservation treatment was the condition of the . Glass had broken over the years. Some breaks had been Numerous cracks had developed throughout the lead repaired, others not. Sometimes flanges covered the breaks on network, significantly reducing its structural integrity. The each side, other times glass was ground away along the break individual sections are very large and heavy and most leads edge to make room for a repair lead. In a few places original were cracked and weakened. Before removing the sections glass had been replaced. Removing as many of these extraneous from the frame, it was necessary to tape them on both sides— leads as possible was another goal while treating the windows. avoiding any painted areas—to ensure the glass did not fall As each section was removed from its frame it was apart when lifted out of its frame—which is when it’s at its immediately enclosed in a foam and foam core support, before most vulnerable. The tape was removed when the panels it left the scaffolding. These packages went immediately into arrived at the studio. crates that were then handled by fine-art shippers for the trip Most of the windows were two layers of glass, stacked in the to the studio in Brooklyn. leads, with three or four layers in places. Over time inaccessible TREATMENT dirt, dried out putty, an uneven black film of soot, and tide The first step was to take documentation photographs of marks from water entering the interspace and moving the dirt each panel: the front in transmitted light (where light passes around, were trapped between the layers, clouding the glass, through the glass) and both the front and back in reflected

62 STAINED GLASS | SPRING 2016 aided by microscopes light and boxes. swabs solution cotton and enzymatic organic, amild with gently very cleaned was glass Painted drips. paint and putty toremove old where necessary were used Scalpels interspace. and front the on the in trapped was what window, dirt of well as the as back of surfaces amount significant the remove to Orvus, surfactant, agentle waterand box with over alight cleaned the window. releading then and process the during glass out the for laying were done more rubbings Two wires. tie of the location whether were, the as well as panel, back of the or the front layers were on the they additional any where glass, the in breaks any of lead, types different the with annotated was vellum process. treatment the during constantly were consulted and report treatment of the part are (whereglass).the light off bounces These light photographs Takuji Hamanaka glazing the large top section on on section top large the glazing Takuji Hamanaka Once removed from its leads the unpainted glass was was glass unpainted the leads its removedOnce from One on archival of eachsection. were taken rubbings Three The Flight into Egypt into Flight The . aren’t fully readable from the exterior unless lit from inside, inside, from lit unless exterior readable the from fully aren’t and La Farge Studios byTiffany windows Opalescent church. the of effect overall tothe outside, immeasurably adds which the from features the read to us allowing glass, white of layer inner the back off bounces light some of the colored enamels, with painted is which outer glass, the clear through passes light As layered. and painted been has clever glass of the waythe because mainly is This for stained-glass. unusual very is which building, of the exterior the readfrom easily be can they that is colored enamels. with primarily painted rolled glass clear was as well as some colored-enamel paint, washes. brown black and with primarily painted glass opalescent The exterior layer white layer was The front/interior were of painted. which both The flesh pieces layers, surface. were two glass tothe fused condition—well good very in was paint that inscriptions—and flesh and the -mainly painted was glass of the Very little GLASS PAINTED One wonderful aspect of the windows at Memorial Church Church atMemorial windows of the aspect wonderful One SPRING 2016 |STAINED GLASS 63

PHOTO: M.C. HIGGINS PHOTO: PASQUALE BIANCULLI PASQUALE PHOTO:

East arcade of the nave, Stanford Memorial Church. because there is usually white glass on the outer layer of the glass color in transmitted light. The panels’ additional layers faces. Memorial Church does not have protective glazing on of plating help hide the fill. Wherever the silicone fill was to be the exterior, which many opalescent windows have. With the exposed to the elements it was protected with a clear exterior mild California climate, the church has never needed protective glass plate that had a little texture on it (i.e. not flat double- glazing and for aesthetic reasons it never should have it. strength glass which would be too reflective). The edges of GLUING GLASS any pieces with silicone fills were sealed and strengthened by Breaks were cleaned well and glued using Hxtal NYL1 filling the gaps between the layers with a small bead of silicone conservation epoxy, which has done very well in accelerated to better hold all the pieces together. aging tests and has a refractive index close to that of many GLASS FILLS modern architectural . There were a number of replacement pieces in the windows, SILICONE FILLS some of which were disturbing and called for replacement. There were several instances where a broken piece of streaky If fills were fine they were left in place. It can be extremely opalescent glass had been grozed (ground) along the break edge difficult to find appropriate replacement glass, so what I was to make room for an opaque repair lead. Epoxy fills in streaky aiming for was a more accurate match. I have a of old opalescent glass are a challenge because the color changes glass at my studio that I have bought from past “old timers” are so frequent and dramatic within one piece of glass. Since which is a wonderful resource for finding glass. Lamb’s aesthetic was to have large fields of color not broken INPAINTING up with leads, I eventually decided to try a new way to fill the There are almost always chips missing along a break line which gaps using colored silicone mixed in small batches to match must be carefully filled and then in-painted to replace both the varieties of color in one piece of glass, working across the the missing glass and vitreous paint. There were instances break line. where original paint was missing in small drips and such, and Silicone fills have been done before, but an innovation needed to be touched up. These were delicately in-painted that struck me as I started these fills was to use colored glass using Artist’s Alkyd enamels as the colorants. They are essentially finely ground up SEALING INTERSPACE glass with great color stability and they mix and bond well with As mentioned earlier, these windows do not have protective silicone. Most studios have a large range of colors on hand and glazing and for aesthetic reasons never should. In the past dirt, they are more stable than dyes—though dyes work better when soot, and dried putty had migrated between the two layers of matching transparent blown glasses. My goal was to match the plates, so this time it was decided to seal the space between

64 STAINED GLASS | SPRING 2016 PHOTO: M.C. HIGGINS with an additional ⅛" for movement. The three bottom ⅛" bottom for additional movement. The three an with were leads replaced. other window.the All of thestability one place, would doing since so not affect this lead work in original the decided it topreserve so was inlays, lead hand-cut numerous have windows three on all arches top the in bands The narrow pieces of glass. large and shapes, interlocking cuts, for Lamb’s fragile penchant with especially challenging, extremely complex was these windows Glazing RELEADING than others. of piece more any vulnerable some know are shapes we all break, can glass while And yet. haven’t, others broke, shapes Some not—but Or it one jolt it’s breaking. leaving arisk. awayfrom window, the into avulnerability building be may cutting—you extreme with danger long-term a there’s experience, and skill of degree took agreat this While or water-jetsaws cutters. glass modern-day without make—especially to difficult very be can deep cuts it and outyou where toplan have tostress where it it to. you For tobreak shapes want encourage difficult to surface or of “scores,” scratches, aseries glass on the making involves Cutting glass. to achieve in achallenge are originals the in found some shapes that was glass stained into painting or aprint translating faithfully problem with One had Lamb EXTREME GLASS CUTTING usual. as possible.long The puttied as releaded was window for as clean interspace tokeep the glass, stacked of the edges the around copper-foil wrapped layers using base tape two the New in treatment conservation ofthe aspects various on worked all and Stanford at installations and removals the did Mary and Marie, Gordon. Larry and Takuji Hamanaka, Phipps, Foucault Marie Benson, Will Nicholson, Nancy Higgins, Clerkin Mary left: From Frames often catch ⅜" just often Frames of apanel’s on edge eachside, Clerkin Higgins Stained Glass. Clerkin Higgins of andPresident for Conservation, Institute of the American Associate aProfessional Guild, president Glass ofThe American NY. in Brooklyn, aFoundingstudio Sheis Director andpast ather worksaround ofart while new the country, creating also andinstitutions to the museums present for numerous century lectured internationally, andrestored the 12th stained from glass worked about, who since 1976. written in has stained She glass has Mary Clerkin isanaward-winning andconservator Higgins artist experience. whole the project adelightful make William Yeung, as well as everyone administrator and else Sapna Marfatia, Lesley Bone, architect at Stanford helped eachwindow. site On conservator install toremove and Stanford flew out to myself) and Foucault-Phipps, Gordon, Marie Larry The (Takuji crew Hamanaka, out toCalifornia. trip for the crate went the into before everything were again photographed sections the all copper wires adding tie and puttying After INSTALLATION size. necessary the reaching while lead structure toprovide covered with glass clear with out built was window moves out the of so plane, easily and malleable is alone Lead frame. toreachthe lead came extra with arch top out of built tobe the atthe needed and short all were The panel. top sections the weakening without size the out tobuild were pieces inserted of bar steel Small width. in ½" extra the “spread” tobe needed togain sothey others, the would ½" than be they smaller tightly Ifglazed them. above those than were smaller cut windows three all in sections SPRING 2016 |STAINED GLASS York. Takuji, Larry, Takuji, Larry,  65