The restoration of 1996 addressed only the damage sustained from a recent fall. Prior to this accident, the window is described in Vol.15 of Studies in the History of Art "Stained Glass before 1700 in American Collections New England and New York (Corpus Vitrearum Checklist I)", "A few stopgaps have been used near the edges, and there is severe breakage."

This panel quite possibly came from the Havemeyer House when it stood at 1 East 66th Street in New York City. Constructed of wrought iron, wound bronze gilded wire, and paisley-shaped glass cabochons, the elements found in this panel all appear in the balustrade around the third floor stairwell of the Havemeyer residence. With the razing of the Havemeyer House in 1930 a chapter in the cultural and socialite history of the City of New York was closed.

Window with Starfish ("Spring") and Window with Sea Anemone ("Summer") from the suite "Four Seasons Under the Sea" by Tiffany Glass and Decorating Company.

These two windows which are from a set of four transfer the theme "The Four Seasons" to the underwater realm of the Sea. Each panel is so divided as to represent in the upper section the sky and water's surface. Below a band of glass indicating a seawall and sandbar with shells, the viewer encounters starfish, urchins, and jellyfish as we plunge the depths of the water. The heavy use of rippled glass in plated layers quite convincingly affects the sea and its inhabitants.

This fine Tiffany window and a cloth antependium embroidered in gold and studded with semi-precious stones for the World's Columbian Exposition in 1893 are strikingly similar. From commentaries by Tiffany, it appears the stained glass window came before the cloth antependium. For further information on this very rare window contact Arlie Sulka at Lillian Nassau LLC, www.lilliannassau.com

From The Synopsis of the Exhibit... put out by Tiffany Glass & Decorating Company, "Lectern Frontal - This example of embroidery work has been made after entirely new designs, but upon strong ecclesiastical motives, as within it there is contained no end of symbolism for we see the crown of thorns, the cross, the Holy Name, the Alpha and the Omega, the Divine aureola, all of which are depicted in various colored silks, jewels, and gold, upon a background of deep crimson."

This important and extremely rare window designed by Ker-Xavier Roussel and fabricated by Tiffany Glass & Decorating Co. in 1895 was first exhibited at the Salon de la Société Nationale des Beaux-Arts in Paris. In December of that year "Le Jardin" was one of seven windows presented at Siegfried Bing's Galerie de l'Art Nouveau along with windows by Ranson, Bonnard, Ibels, Vuillard, Toulouse-Lautrec; all these artists belonging to the group of painters known as "Les Nabis". Lautrec's "Papa Chrysanthème" is in the collection of the Musée d’Orsay, Paris.

The panels of this window were removed from a non-original modern metal frame to be cleaned, previous repair leads removed and glass edge glued. Since this window depicts the chestnut trees in Tuilleries Garden in Paris a new wooden frame was designed to replicate the original, this time in chestnut wood. The new wooden frame also allowed for the correct registration of the four panels.

This window and its mate "Squash", for the private residence of George Kemp, represents Tiffany's first commission and officially begins his commercial stained glass career.

This restored panel was exhibited in Louis Comfort Tiffany and Laurelton Hall—An Artist's Country Estate at The Metropolitan Museum of Art, NYC.
November 21, 2006–May 20, 2007

Chicago's Columbian Exposition of 1893 establishes Tiffany's reputation as the world's preeminent designer of glass, and fostering his ascent in the commercial glass field to the Midwest and the rest of the United States. His "Chapel" demonstrates the rich variety of ecclesiastical works the firm is capable of producing. Tiffany is awarded fifty-four honorary medals at the Chicago Exposition.

A painting by Heinrich Hofmann, now in the Dresden Museum, was the model for this window, chosen because the face resembled that of the donor's daughter. This 6' x 20' window was donated by Mrs. Simon Somerville Reid in memory of her daughter Lily Reid Holt and her husband Alfred Lincoln Holt. Also by Tiffany Studios for First Presbyterian Church of Lake Forest: "FAITH" 1896 and "CHRIST & the PILGRIMS" 1897 restored by Venturella Studio, 1999 & 2000.

The Eagle, four Arabesque side panels, and five Decorative Urns surrounding four intimate views of the Spring, Summer, Autumn, and Winter originally made up Tiffany’s "Four Seasons" window. It was first exhibited at the Exposition Universelle of 1900 in Paris where Tiffany's exhibit was awarded the Gold Medal. Incorporated into a circular design under the eagle's right wing is "LCT", while "FAVRILE", also in a circular design is under the left. In 1905-06 Tiffany divides "The Four Seasons" and installs individual panels in Laurelton Hall, his home in Oyster Bay, Long Island.

This restored panel was exhibited in Louis Comfort Tiffany and Laurelton Hall—An Artist's Country Estate at The Metropolitan Museum of Art, NYC.
November 21, 2006–May 20, 2007

The color images represent existing sections of The Four Seasons, arranged in their original placement for the Paris Exposition 1900. "Eagle", "Urns", and "Border Panels" were restored by the Venturella Studio in 2000 and were exhibited in Louis Comfort Tiffany and Laurelton Hall—An Artist's Country Estate at The Metropolitan Museum of Art, NYC.
November 21, 2006–May 20, 2007

This window originally designed as one in a group of three by Prairie School architect George Maher, was placed in the inglenook next to the fireplace in the James Patten House, Evanston, Illinois. The house's decoration exhibited a personal design philosophy that Maher described as motif-rhythm theory This theory created a visual unity in later commissions notably with the Thistle in the Patten House in Evanston (1901), the Coral Lily at Rockledge in Homer, Minnesota, (1911), both demolished, and the Poppy in the Ernest Magerstadt House in Chicago, (1908). The demolition of the Patten House in Evanston was considered a loss to the North Shore. Of the two matching panels one is in the collection of the Metropolitan Museum of Art, New York, and the other is in the collection of The Boston Museum of Fine Arts.

Hanging chandelier, one of four designed by Frank Lloyd Wright and fabricated by the Linden Glass Co. for the Living Room of the William R. Heath House, Buffalo, NY, 1904. When these chandeliers were removed from the house approximately 60 years later the metal hardware from which the glass shades were suspended was lost. Using archival photographs and analysis provided by CV A, the Venturella Studio was able to accurately recreate the hanging apparatus for this magnificent lamp.

Claudio Veliz, Architect
www.cvarchitect.com

This 4' diameter, triple plated allegorical window depicts an aspect of life in the State of Pennsylvania.

There is no name for this Wright design. Small pairs of casements were set around the first floor of the Martin House. Those which were located on the four sides of the massive, hollow interior piers by which the house was heated were later removed. Many of these are now in museum and private collections.

This 4' diameter, triple plated allegorical window depicts an aspect of life in the State of Pennsylvania.

This window depicts a sheep farm in Ireland and was commissioned in 1905 for the Greensburg, Pennsylvania, residence of Thomas Lynch who was born in 1854 in Uniontown, PA. According to the family, the farm depicted in this window is that of Thomas' grandfather, in Ballyduff near Dungarvan, Ireland, in County Waterford. A period photo of 1896 provided by Lynch's descendants confirms this.

The sumac motif, executed in gold iridized glass repeats the pattern of the Dining room breakfast nook in the Susan Lawrence Dana House in Springfield, Ill.

Five verre eglomisé panels from The Chariot of Thetis, one of four murals designed by Jean Dupas and fabricated by Jacques Charles Champigneulle for the Grand Salon of the French liner NORMANDIE in 1934. The Grand Salon designed as the equivalent of the Hall of Mirrors at Versailles also included Dupas' murals entitled The Birth of Aphrodite, The Rape of Europa, and The Chariot of Poseidon. Each consisting of approximately 104 individual panels was 20 feet high and 50 feet wide and fabricated in the reverse painting on glass technique of Verre Eglomisé using gold, platinum, and palladium as the medium.

Inspired by the flesh and portrait painters of late 19th & early 20th century glass artists, works done by Indre McCraw are 100% hand painted and fired. There is no silk screen, photo transfer, airbrush, or any other mechanical process by which she achieves the final look of the piece.

Work done by Indre McCraw is 100% hand painted and fired. There is no silk screen, photo transfer, airbrush, or any other mechanical process by which she achieves the final look of the piece.

Designed and painted by Indre McCraw for a private residence in Sturbridge, MA. A varied multi-colored palate used to represent various fruits, vegetable, seafood, cheeses, breads, chocolates, and nuts all lay against a backdrop of Indian corn. This acid etched and hand painted window was fabricated in both lead and copperfoil.

Designed and painted by Indre McCraw for a private residence in Huntington Bay, NY. The palate consisted of two colors; clear mouth blown antique glass and red flash on clear antique. Much of the red was acid-etched off leaving isolated areas of red which became the cardinals. The lone goldfinch is executed in silver stain to achieve its gold color. The entire window is hand painted in vitreous paints which have been fired for permanency.

Designed and painted by Indre McCraw for a private club. These are only four elements of a much larger skylight which includes globes of the world and highly decorated borders of oak leaves and birds.