For centuries, elegant and beautiful stained glass has enhanced churches, homes and other buildings. Its popularity continues today as increasing numbers of homeowners, interior designers, and craftspeople turn to this attractive form of decoration. Now stained glass workers can have a treasury of attractive, usable designs at their fingertips, ready for use in almost any stained glass projects. This collection includes over 160 patterns -- in both traditional and contemporary styles -- all easily adaptable as templates for stained glass work. Landscapes, geometric shapes, florals, and birds are among the wealth of motifs presented. What's more, the designs come in a wide variety of sizes and shapes, making them ideal as patterns for windows, mirrors, panels, sidelights, and other stained glass configurations. Immediately usable and royalty-free, these designs also lend themselves to a broad range of other art and craft projects.
Stained glass craftspeople looking for authentic Victorian- and Edwardian-era designs will find them in this rich collection by period stained glass expert Hywel G. Harris.
Prompted by a desire to preserve authentic specimens of domestic stained glass designs -- rapidly disappearing in postwar England because of destruction, adulteration, and neglect -- the author photographed a multitude of windows, transoms, sidelights, and other stained glass elements in houses constructed between 1890 and 1920. The designs in this practical compendium have been directly rendered from those photographs and presented in a wide range of sizes and shapes. Included are lovely floral and foliate motifs, a remarkable array of geometrics, transitional designs showing the influence of Art Nouveau and more.
Of immense value to stained glass workers, this impressive, easily affordable sourcebooks will also function as an inspiration for graphic artists and a useful reference for architectural historians.
This brand new book introduces both specialists and generalists alike to the remarkable world of glass manufacture and design from the Ancient World to the present day, as presented in one of the world's great collections of glass.Published on the occasion of the opening of the new Glass Pavilion at the Toledo Museum of Art, designed by Kazuyo Sejima and Ryue Nishizawa, lead architects of SANAA Ltd., Tokyo, in 2006, this book draws on the superb quality of the collections at Toledo. The Museum has consciously collected the best examples of the glassmaker's art across all ages. Today the Museum is internationally renowned for the quality and scope of its glass collection. The Museum has trail-blazed new areas of glass collecting. Thanks to its founder, glass industrialist Edward D. Libbey, the Museum has collected art in glass for more than a century. The Museum was also the birthplace of the Studio Glass Movement in the 1960s. The opening of the Glass Pavilion will further enhance the Museum's leading position in this field of art - it will offer visitors the matchless experience of being able to see a broad range of historic glass next to studios where glass artists are creating works. In this way the Museum and this publication will provide a unique insight into the design and working of glass through the ages, all within the context of a purpose built art museum space. This volume presents more than 100 major examples of the glassmaker's art from ancient times to the present, accompanied by discursive texts written by leading writers. The combination of these thought-provoking entries and the wealth of illustration makes this title a must for specialist collectors and generalists alike.
Arguably the most famous glass artist since Louis Comfort Tiffany, Dale Chihuly has been credited with elevating blown glass from delicate decorative object to groundbreaking fine art. Chihuly's "Blanket Cylinders," "Seaforms," "Persians" and chandeliers are exhibited and collected throughout the world, and many volumes have been devoted to his bold, complex, fiercely colorful work. Little documented, however, though crucial to an understanding of his art, is the role played by physical space in his overall aesthetic--installation spaces, work spaces, but also spaces for living and for housing his extensive personal collections. Chihuly: Through the Looking Glass focuses on the artist's pieces and installations in relation to the spaces that generate, shape and surround them. The text, a mix of critical exegesis and Chihuly's own commentary (much of it solicited specifically for this book), provides a new entr e into the work, mind, and creative process of one of America's most critically and popularly acclaimed artists.One of the few contemporary artists who is truly a household name, Dale Chihuly (born 1941) studied interior design and architecture before beginning to experiment with glassblowing. After receiving degrees in sculpture and ceramics, Chihuly worked with master glass craftsmen in Murano, Venice. On returning to the United States, Chihuly established the glass program at the Rhode Island School of Design in 1968 and cofounded the Pilchuck Glass School in 1971. In 1979, after losing an eye, Chihuly ceased to blow glass himself, though he maintains a firm hold on the artistic direction of his studio.
Bound like an artist's sketchbook this book documents the culmination of this amazing artistic odyssey that took the artist from his Seattle Boathouse hot shop to Nuutajarvi, Finland; Waterford, Ireland; Monterrey, Mexico; and finally Venice to blow glass. In the factories in those locations, Chihuly and his team of American glass blowers worked with native artisans more accustomed to making functional objects than art. Together they created the 14 chandeliers that graced the campos and canals of Venice for a remarkable time in September 1996. In her essay Dana Self, curator of the Kemper Museum of Contemporary Art and Design, muses on the relationship of Chihuly's glass and 'The Spectacle of Beauty'. She concludes that Chihuly's fantastical explorations demonstrate that beauty does produce a meaningful experience of the world. Writer William Warmus chronicles the culmination of this two-year project with his diary entries. Full-colour photographs record for readers the installations as they were assembled. An extensive chronology traces the artist's career.
This book highlights the Chinese glass collections of Mr. and Mrs. Barney Dagan, Dr. Alan E. Feen, and Walter and Phyllis Shorenstein. Together these collections provide a rare opportunity to comprehend the range and depth of Chinese work in glass. Through the 103 examples of glasswork included in this book the history of Chinese glass artistry comes into focus as never before.
-The Glass collection of contemporary glass represents the greatest achievements by a large and diverse group of important American and international artists This publication commemorates the public unveiling of the Sherwin and Shirley Glass Glass Collection at the Flint Institute of Arts in its new wing, dedicated to contemporary craft. Amassed during a ten-year period by Atlanta-based collectors Sherwin and Shirley Glass, this contemporary glass collection represents the greatest achievements by a large and diverse group of important international artists. With glass masterworks by more than 85 artists representing 19 countries around the world, this collection shows an explosion of creativity in the medium of glass from the late 20th through the early 21st century. In this catalog, FIA Executive Director John Henry demonstrates why Flint, Michigan, is an ideal location for a contemporary craft wing; Habatat Galleries Founder Ferd Hampson discusses how the Glasses collecting interests represented a "quest for the best;" and Patricia Grieve Watkinson contextualizes the Glass Glass Collection within international and American glass movements. Contents: Contemporary Craft in Flint - John B. Henry; A Quest for the Best - Ferdinand Hampson; Tradition, Innovation, and Meaning: The Sherwin and Shirley Glass Collection - Patricia Grieve Watkinson.