AdammsGallery

Stained Glass Repair & Restoration

    

After being in the stained glass business for over 40 years it is inevitable that we would be asked to repair and or restore windows that we have produced. More and more this is becoming the case wether it is because of carelessness on the homeowners part, children, uncontrollable parties, or burglaries.

     A few months ago we were asked to restore a beautiful stained glass window we had made over 30 years ago.  The people had moved from their previous home and built a new home in Malibu, California. They decided to hang the window outside  on their dining patio. Unfortuately the location they hung the window was extremely windy and in this case there were gusts up to 70 MPH. The window blew out of the window frame and folded down to the deck. In all there were over 200 broken pieces, with no damage to the frame other than a strip of molding and  repainting.

     Since the window was not particularly old we were able to obtain all the same type of glass used in the original.  This window was a copper foiled window(Tiffany techinique) approximately six feet wide and seven feet tall. It had always been one of my favorite designs(we have duplicated it in one form or another, for various clients, at least six times).

     The window was in eight major sections when I brought it back to the shop. We first layed it out on the work table. Next we assessed what glass we needeed and how many broken pieces we needed to replace.  All of this information used to determine the cost of the restoration. The price was forwarded on to the insurance company and they agreed to the full amount.

     The next step was to remove all the broken pieces and reposition the window to fit the pattern of the frame(window sash). As you may imagine this was very labor intensive.  Next we had to clean all the pieces that we had to refoil and foil them.  With the window now layed out in the exact position to assemble we began cutting the replacement glass. After the glass was cur and fit we copper foiled each piece.  Next we soldered the pieces together. We generally use 50/50 solder and did so on this project. Finally we replaced the border lead on the window, and used a copper patina on the solder(this was mixed with a black patina to aqge the copper finish).

We refinished the frame and installed the window. As a safety measure we added a 1/4 acrylic panel to the windward side(outward facing) of the window. Finally we returned the finished restored window the the home and hung it back in it's patio location.  The clients were very happy.

Stained Glass Restoration Pullman Railway Car

This project was a special treat. It involved the restoration of two stained glass quadrafoil windows in a Pullman railway car. The car itself was produced by The Pullman Palace Car Company in 1927. There are 4 quadruple stained glass windows. Two are adjacent to bathroom showers, the other two are in one of the salons. For this project we restored the two by the showers, as these were often abused during entry or exit from the showers. The windows appear to be at least 100 years old, and of European origin. They were pushed in and had numerous cracked pieces. For this project we flattened the panels, repaired or replaced the pieces( A few of which required repainting), resoldered the reinforcing bars, and re puttied them.

The car is being refinished at this time. All the woodwork is being cleaned and finished, electrical updated, undercarriage strengthened, etc. It is really a demanding project, and all the craftsmen are superb. The current owner is John Paul Dejoria, the owner of Paul Mitchell Hair Products, and Patron Tequila. It is interesting to see all the private rail cars behind Union Station in Los Angeles. It is a charming thought to visualize these cars, now fully restored, touring the country. When the owner wishes to take a trip they have Amtrak hook it up to one of their trains and off they go. Rail has always been an interesting way to travel.You can have a closeup look at the countryside, and stop and get off where you like. It is a very romantic get away.

Lighting Glass

 

by Dan Chase-Gritlefeld

_Lighting plays a significant role in the display of any art piece, but particularly glass art. Translucent glass loves light and vice versa. By placing your pieces in well lit areas, you will be able to expose yourself to the vibrant colors and/or rich detail that the artist intended you to see.

You can achieve the desired display by experimenting with various lighting methods. Utilizing natural light by placing your glass near windows or beneath a skylight is one way to achieve the desired effect. There really is no replacement for natural sunlight. But there are three downsides to natural lighting: 1) limited daylight/time, 2) weather (clouds vs. sunny skies), and 3) changing position of the sun throughout the day (although some people enjoy the variance in appearance from a gradually changing light source such as the sun). These three factors work against you by limiting your control of the light throughout the day. Additionally, when coming home at night, you won't be able to capture the brilliance of your piece since the sun has vanished for the evening.

To counter these obstacles, consider alternate lighting sources like floor lamps, desk lamps, overhead lighting, spot lights, flood lights, and other types of lights. Sometimes you can discover new features of your glass art when the light hits your piece at a particular angle. Remember, not all glass art is the same. So experiment with different amounts of light exposure.

For example, sometimes a subtle, small ray of light is all you need to allow for brilliant illumination. Other times, you may need full exposure. Don't be afraid to get creative and consider using light that is bounced off of a wall or ceiling.

If you'd rather play it safe, just remember these two rules of thumb:

1)      For glass that is mostly translucent (meaning light can pass through it), be sure to place your art in a position where the light comes from behind the piece to provide for full illumination. Again, natural lighting will allow your piece to shimmer and display the finer details of your piece. Also consider lighting your translucent piece from the bottom. This can produce a magnificent visual.

2)      For glass that is opaque (meaning light cannot pass through), consider lighting the piece from the front, side or overhead to achieve the optimal presentation. Lighting from behind or below, may only produce subtle effects for opaque pieces of glass. However, sometimes back-lit or bottom-lit opaque pieces can produce a beautiful glow.

When in doubt, feel free to stop by Adamm’s Gallery in Santa Monica, CA and ask for lighting suggestions.  Or you can send an email to adamm@adammsgallery.com and we’ll be happy to answer your questions.

Tommie Rush "The Joy of Being a Glass Artist"

          

 

I was speaking to Tommie Rush yesterday. Every time I talk to Tommie I feel full of laughter and joy. This woman is a wonderful, optimistic, and loving person. Her work reflects her radiance. I have known Tommie for at least ten years. Not only is she a wonderful artist, but an excellent business person. I can always count on her to deliver work on time, and without exception it is flawless.

Tommie makes very thick walled pieces which works very well with her designs. She works in a variety of palettes from pale greens and blues, to bright reds, yellows, and cobalt blue. All of her work is lightly sandblasted and sealed to give a soft matte finish which tends to glow with a comfortable radiance.

Many of her pieces are simple designs such as leaves and vines appliqued on the bowl of a vase or bowl. Then she also makes built up sculptural vases. Her tulip, daffodil, flowers and vines, and Iris vases feature three dimensional flowers fused to a colorful body. All of her work is very solid, and often quite heavy.

I am so please to have her work in my gallery, and to consider her a friend.

You can see Tommie's work at most major glass galleries in the U.S.A., and at Adamm';s Stained Glass & Gallery. Santa Monica, CA

 

 

 

 

 

 

 

 

 

 

 

Glass Sculptures of John Mc Donald

 

There are many types of glass sculpture. There is the fantastic and exotic hot sculptures of Richard Jolly. Blown glass and hot worked sculptures of William Morris, cast glass of Susan Gott, slumped and fused glass of Karen Ehart and Jane Tivol, and blown glass of Barry Entner. The styles and names go on and on. Each of the techniques has there appeal.

There are a multitude of relatively unknown glass artists that produce stunning work at reasonable prices. One of my favorites in this category is John McDonald. John learned much of his trade while working for Rollin Karg in Ketchi, Kansas, and at the prestigious Corning School of Glass in Corning New York. John works out of his studio in Valley Center, Kansas.

John is a very talented and innovative artist. His continuum sculptures are fluid, colorful, and very appealing to all ages. John also blows a variety of vessels that have wonderful depth, color, and engaging shapes.

Whenever we get some of John's work in the gallery it sells very quickly. If you are not familiar with his work I suggest you check it out.

MeridianStreetArtGlass.com

Adammsgallery.com http://www.adammsgallery.com/zcom/product/manufacturer.do?compid=31&manid=165

Stained Glass Restoration-Grace Church of Orange

 

BEFORE , Note buckling, and twisted zinc came divider

Early September 2011 we(Adamm's Stained Glass, Santa Monica, CA.) completed the restoration of the stained glass entry for Grace Church of Orange, Orange, California. We removed the entry stained glass, boarded up the openings, and brought them to our studio.

Once we had them in the studio we disassembled them removing all the leading and then cleaned the glass.The lead was a variety of 1/4", 1/2" and 5/8" wide. Many of the pieces were broken, so we either re-leaded in at the beaks or replaced the pieces completely. Matching the variety of colors was not a problem as the windows were just over 50 years old. Much of the glass we either had in stock or was easily available. We generally use Mad Dog Stained Glass(Van Nuys ,CA), or Hollander Glass(Stanton, CA) as our suppliers. However, if necessary we will use Bendheim, Kokomo Opalescent , Uroborus, or Bullseye Glass directly.

It is interesting to note that the side light panels did not have reinforcing bars. As a result the panels were creasing(bending) on the diagonal leading. When we re leaded we added reinforcing bars along the lead lines. The panels originally were installed using 3/4" zinc came as dividers. These cames did not hold up over the years and the panels were bowing and twisting from the weight.When we reinstalled the central panels we used 1" T bar for support between the panels. This relieves the pressure on the bottom panels and makes them much more sturdy. The windows cleaned up like gemstones. We were told that the congregation was greatly relieved to see the windows restored. Evidently they were very weary of walking under them with their condition being so dangerous. They were very pleased with the results, and we were very gratified .

AFTER

 

Adamm's Stained Glass Gallery Show "Firefox & Co."

We kicked off our Gallery show "Firefox & Co." on August 11th. We had a wonderful reception for the artists, Danielle Blade of Gartner and Blade Glass and Paul Allen Counts. Stephen Gartner, the other half of Gartner and Blade wasn't able to make the trip out from their home base of Ashley Falls, MA. The show was well attended, especially considering the economy, and our guests were delighted to see and hear Danielle and Paul talk about their inspirations, techniques, and history with glass. Danielle was born on The Isle of Wright, England. Here father is a glass blower as well as her two brothers. Danielle visited the United States in 1985 and decided to stay. She met Stephen Gartner while she was working as a glass blower in Arkansas. Shortly after they left to start their own studio. After a few years of blowing glass on their own in Arkansas they decided to move North to Ashley Falls. Their work is a collaboration. Danielle blows the forms and Stephen does all the sculptural work. They are constantly evolving and creating new forms and introducing new colors and patterns. Danielle had a large quantity of worked shipped out for the show.

Paul Allen Counts is a Southern California native. He began glass blowing at Palomar Junior College and received his Masters in Fine Arts-Glass at California State College Fullerton. He has worked and studied with the masters of the world including Venetian giants Lino Tagliapiertra, and Pino Signoretto.Paul is well known for his whimsical teapots, fish, and vases. One glance of his work will bring a smile to your face and joy to your heart. Paul resides in Southern California with his wife and children.

The show was a great success, although the turnout was less than expected. Actually these days we didn't really know how many to expect. Everyone one had a wonderful time discussing techniques with the artists and art glass in general with one another. Sales, while not the most important aspect of the show, were much higher than anticipated and set a record for all the shows.

With a great selection of these artist's work in the gallery we look forward to continuing interest.

Wendy Lin Jewelry Designer

  

I met Wendy LIn in Baltimore earlier this year at the American Craft Council show. Immediately I was struck with the originality, and wonderful quality of her work. Wendy creates what she calls caterpillar bracelets that are filled with fascinating beads that move with wrist movement, and are comfortable to wear. They are easy to put on with a convenient and safe snap. 

Her lariat necklaces are made with thousands of tiny beads with either pearl or jade accents.  Her earrings are expertly designed for color, texture, and above all style. Wendy uses combinations of pearls and semi-precious stones such as aquamarine, carnelian, and garnet along with Venetian glass.

 

        



All of her pieces have the same style and sopistication that she has. I am vary happy to have her work in my gallery, and already see how fascinated my customers are with her work.

Wendy is a life long knitter who applies textile techniques to jewelry. A journalist for 25 years, she began her second career when a friend brought her gold mesh bracelet to the editors of InStyle magazine.

Wendy exhibits at juried craft shows. She lives in Great Neck, NY.

Michael Jackson Etched Limousine Window by Adamm's Stained Glass

    
In 1993 Adamm's Stained Glass in Santa Monica, CA. was commissioned by a company called Electronic Entertainment. The commission was to replace the original divider window in Michael Jackson's Rolls Royce limousine with a new window with Michael's Jacksomn's  Neverland Ranch logo etched into it.

     In order to produce the new glass we needed the original. The original window was slighly curved and was made from laminated toughened glass. The original manufacturer was Triplex Safety Glass of St. Helens, England, now a subsidiary of Pilkington Glass. They initially made glass for MG automobiles.Their logo has a number of symbols that identify not only themselves, but also the date the glass was made. We had a company called Glass Pro in Santa Fe Springs, CA make the glass using the original glass for a pattern and mold.

     The design for the Neverland Ranch logo was given to us.  As a sample we used the original window and etched the logo on it.The process we used was:

                  1.Tape the window with 280 tape from 3M.

                  2. Draw the logo design on the tape.

                  3. Using an exacto knife cut the logo and peal away the area to be etched.

                  4. Using sandblasting equiptment sand blast the etched area.

                  5. Remove the excess tape and clean the window.

     The sample came out perfectly so we repeated the process on the new glass. The window was installed in the limousine with no problems.

    To this day we still have the original window with the etched design.

California Preservation Foundation

 

On Sunday May 15th I set up a booth at the 36th California Preservation Foundation Conference. This year the conference was held at the Fairmont Hotel in Santa Monica.

For many years now we have been restoring and repairing stained and leaded glass as well as etched and beveled glass. He have developed quite a name for ourselves, and have directed our efforts more towards this area of stained glass work in recent years. Among the more notable projects we have worked on are :

The Doheny Mansion at Chester Place Campus

Mt St Mary's College, Los Angeles, CA

St Joseph Chapel at Santa Teresita, Duarte , CA

2nd Church of Christ Scientist, Los Angeles, CA

The Hollyhock House, Barnsdall Park, Los Angeles, CA

The Oviatt Building, Los Angeles, CA

Sinai Temple, West wood, CA

Korean Philadelphia Presbyterian Church, Los Angeles, CA

Kerkoff Hall, UCLA, Westwood, CA

Royce Hall, UCLA, Westwood, CA

Hershey Hall, UCLA, Westwood, CSA

Woodlawn Cemetery, Santa Monica, CA

New Bethel Baptist Church, Venice, CA

St.Albans Episcopal Church, Westwood, CA

Beit T’shuvah, Synagogue, Los Angeles, CA

Pilgrim Lutheran Church, Santa Monica, CA

Metropolitan Community Church, Los Angeles, CA

Westwood United Methodist Church, Westwood, CA

The Kabbalah.Center, Los Angeles, CA

Adat Shalom Synagogue, Los Angeles, CA

Motown Mansion, Bell Air, CA

George Washington Faulkner House, Santa Paula, CA.

In the beginning it was somewhat difficult getting restoration jobs. The feeling was. "You are not qualified if you haven't done anything notable".

This began changing once we established a record of notable projects. Before this however, it was a catch 22. Now people look at our track record and tell us that "you are the guys to use". The conference was very well attended in comparison with past conferences. There were in excess of 640 participants. Among the businesses that set up booths were architects, structural engineers, cultural historians, photographers, book sellers, contractors, and various state and federal preservation organizations.

For the first couple of days we were dissapoi9nted by the small number ofpeople that actually came into the display hall. By the end of the second day however, it became obvious that the businesses in the booths were exactly the people we had to network with. The result was, by the end of the confernces, we had a well established network. Most of us considered the show to be successful. The cloeing Gala was a lot of fun with a very nice banquet at the Annenberg Beach House on the beach in Santa Monica. The Beach House is located alongside the Marriane Davies Estate which was built by William Randolph Hearst.