Category Archives: Historic Artists


Shoplifting becomes a topic of conversation often in a retail store.  We think we have something in inventory because our computer data says we do, but when we are looking for it to fill a customer order we may find we do not have what we thought.  Most times this is because someone stole it!  Horrifying.  I often say, it is even more annoying because “I don’t sell anything that anyone needs.  They might want it, but they don’t need it”.  Of course, I am referring to that they are not stealing milk to feed the baby back home, or toast so the little one can have a sandwich or toast.

Even though not milk or bread, I have decided I will not say that anymore.  The longer I am in the art world, the more I think people do need art to complete their lives, to help them cope, to express themselves, to help them heal, to engage with other creative beings and as many other reasons as there are people.

Here are what some well-known folks have to say:

“Variety of form and brilliancy of color in the object presented to patients are an actual means of recovery.” ~ Florence Nightingale

“Art making has the ability to move people along their journey of grief and loss into a more balanced place of healing and hope. In the face of tragedy, the creative process can help re-calibrate a mourner’s life.” ~ The Chandler Gallery at Maud Morgan Arts

“If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him… We must never forget that art is not a form of propaganda; it is a form of truth.” ~ John F. Kennedy


The Emerald Green Healing Portal by Jaentra Green Gardener.  Jaentra has a series title “Healing Arts”.  To see more, click here:

I am convinced that art is needed but really does not need to be stolen!




This lamp is not only incredibly beautiful and an amazing amount of work, it was turning point for the Tiffany Studios.  In 1902, there was an event in Turin, Italy called the Prima Esposizione, Internazionale d’Arte Decorative Moderna.  This event put an emphasis on the aesthetic renewal of everyday objects.  Tiffany Studios received a grand prize at this event.  One of the designs for the award was for the Wisteria Library Lamp.  Electricity was now available.  Before electricity, the lamp bases had to serve as containers for oil and limited the design.  This transformed a previously utilitarian device in an electrified sculpture.

Take a close look at the top of the lamp.  There is an intricate bronze vine working its way down the design of the lamp.  Just beautiful.  This shade was designed by Clara Driscoll, who was the supervisor in the Women’s Glass Cutting Department.  Follow this link to learn more about Clara Driscoll.

Wisteria has more than 2,000 pieces which, of course, were hand cut.  The wisteria was a popular spring blooming vine in the 19th-century American gardens and loved by Louis Comfort Tiffany.  He planted them in abundance at his Long Island estate called Laurelton Hall.


1840s—window glass took a step forward from the cylinder method to experiment with cast and rolled glass.  This allowed larger sheets.

1800-1900s—John LaFarge and Louis C. Tiffany and glass chemist, Arthur Nash, were having success with color in glass.

1880s-1900—The Opalescent Age of Tiffany and LaFarge saw companies come and go.  Kokomo Opalescent Glass Company founded in 1888 and The Paul Wissmach Glass Company Inc. founded in 1904 were the only two that survived and are still in operation today.  Looking to repair an old piece of glass and need a match.  These two companies are where to start for your glass matching.

1920s saw the Great Depression come to be and the Opalescent Age begin to die.  This time also saw more of a need for better window glass and saw the development of the “continuous ribbon” production.

Continuous ribbon takes four separate processes and makes them a continuous flow.

  1. Mixing the raw materials.
  2. Melting
  3. Sheet forming
  4. Annealing

This creates increased production and more uniformity.

The continuous ribbon allowed for “float glass”.  The float method replaced the plate method and is the process used to crate the clear class you see in window glass today.  It is also the process that Spectrum Glass used.

1950s.  The Studio Art movement was gaining.  The legendary Harvey K. Littleton Studio of Toledo had students like Dale Chihuly, Marvin Lipofsky, Fritz Dreisbach, Boyce Lundstrum, Dan Schwoerer, and more.  These artist did so much to share the American studio glass movement.

This type of work demanded more glass of consistent quality.  1851


Glass Pioneer, Dale Chihuly

Fritz Dreisbach, goblet




It is a big decision.  It is a lot of money.  It is a big piece of equipment that will take up space.  There really is a lot to consider.

  • How much space do you have
  • Do you want to go to the expense of 220 line or get by with what you already have?
  • Size of the kiln
  • Programming

We sell Olympic Kilns at Stained Glass Express.   We love their support and we love the kilns.  Basically, you have a box made of firebrick that is attached to a controller.  So the support piece is BIG.

For your workspace you should be prepared to make it a fire proof space.  Easily done.  Flame resistant sheetrock or metal set away from the wall.  Put it on something that won’t burn.  Common sense kind of stuff.  Don’t burn your house down.

The big difference between having a 110 line and a 220 is the depth of the kiln.  When there are two elements in the kiln you can run it on a 110 line.  You just have to change the outlet to accommodate the commercial plug.

Consider what you want to make.  Jewelry and little dishes.  You are good with a little kiln.  If you think BIG, you will need a bigger kiln.  Maybe one with a clamshell feature so that it opens from the top and the bottom.  You can get one that bottom slides out.  Features to consider when thinking about putting things in the kiln and getting them back out.

If you want to do tall things like a drape lamp shade or vase you should consider bringing in that 220 line.  The 220 allows the kiln to have three elements and therefore it can be deeper.

Everyone I know, recommends upgrading to a digital controller.  One where you can save multiple programs.  We sell the RTC-1000 with great results.  We can store 6 programs which pretty much covers everything.

What you definitely do not want is one that you have to babysit and make sure it gets turned off.  You run around with a timer around your neck (seriously) and I have heard terrible results of kilns burning through when someone went to bed and forgot.

One more thing to put into your brain.  If you think you ever might get into glass blowing or bead making you might consider a kiln with a punty door that you can use to anneal your beads.

To see what Stained Glass Express offers