Stained Glass

Belmont Chapel, Newport, RI

Belmont Chapel @belmontchapelfoundation in Newport, RI, has undergone a stunning restoration after years of vandalism and disrepair. In 2023, they engaged us to create four replicas of their lost angel windows. All we had to work with were the few remaining shards from the originals, which included broken pieces of a face, wings, cross pieces and a small portion of the original blue background. When we look now at the “before” and “after”, it seems so straightforward. But there was so much that we learned in the process.

Each aspect of these windows required study and consideration, from glass matching to painting style, to releading them in a manner that honored the originals.

With the very limited amount of reference, we did a lot of testing; background washes, line weights, pigment colors and more. If you’ve ever painted on glass, you know it’s a finicky and fragile process — adding and removing pigment to a surface that’s not really conducive to it. Starting with the the paper sketches we did beforehand. we were able to produce faces that are very close to the original painting style. 

The final four were painted on clear glass circles and then fired in our kiln. Afterwards, they were plated with etched glass circles to create a diffused and ethereal look in transmitted light, and to keep the painted elements from becoming lost in reflected light. 

The panels have two layers of glass throughout, to match the original. Before leading, the matching layers are wrapped in copper foil tape to block putty from getting between the layers in the course of the cementing process.

On July 9th, we traveled to the chapel to install the windows. The angels had been completed and sitting in our shop for weeks, so we’d gotten used to enjoying them… But seeing them in their rightful place was a whole different experience. 

They sit in a darker portion of the chapel, creating an intense effect when light beams through them. The angels’ faces change slightly based on the angle you’re viewing from, and the blue of the background can look green based on the amount of vegetation outside. The border glass is vibrant and looks great next to the new mahogany sashes. We were thrilled and relieved to see it all come together so beautifully.

We’re beyond proud of the work, especially given that each one of us contributed in a meaningful way. Dennis was the lead and coordinated many of the details, in addition to painting the faces. Patrick painted the wings. Heather painted the Maltese Cross pieces in the background. Tom and Dennis tackled the leading and Tracy brought it home by integrating the panels and prepping them for installation. 

We fretted every detail along the way. But, because of that, we were able to recreate them faithfully and be part of the remarkable restoration of this beautiful place. Many thanks to the Belmont Chapel foundation for engaging us in this project!

Dickson Chapel, Greenlawn Cemetery, Salem MA

In Spring of 2024, we completed an exciting project for Dickson Memorial Chapel. This important architectural landmark is located in the middle of the Greenlawn Cemetery, a beautiful cemetery in Salem, MA, designed by Frederick Law Olmstead.

The chapel was gifted to the City in 1894 in honor of Georgia Dickson, by her husband and has exquisite detail throughout. It once had an impressive glass arboretum that attached to the side of the chapel and housed a year-round garden. The structure has been lost and the building has suffered from periods of deferred maintenance over the years. Between that and the occasional acts of vandalism, the windows were definitely in need of attention by the time we got started. For reference, the yellow tape in the image below shows which pieces needed to be repaired or replaced.

Thanks to the efforts of Patti Kelleher, Salem’s Preservation Planner, and Christine Lutts from the Friends of Greenlawn, funds were secured in 2023 to restore the majority of the windows. (The Rose window had been restored prior to this phase.) 

The originals were designed by Phipps, Slocum & Co. from Boston. The individual panels range from complex multifoils to uniquely-shaped vents and tracery. The blues and ambers throughout the glass give the inside of the chapel a warm, yet somber feel. 

The specifications for the restoration were detailed by Julie Sloan, a leading stained glass restoration consultant. They follow the current best thinking in the field of stained glass preservation, and we were thrilled to find that our own studio processes are right in line with them. The scope of our work included removal, board up, wood/metal frame restoration, full restoration of nearly all the stained glass panels, installation of restored panels and installation of custom-cut, vented, laminated protective glass.

Throughout the process, careful documentation was required per the specs. This ensured that we capture this very important chapter in the windows’ history.  A comprehensive archive of the effort was created and delivered to the City. 

For us, the project was a great one. It was an enormous amount of work, but the payoff was huge. Special thanks to Patti Kelleher, the City of Salem, MA, the Greenlawn grounds crew, Christine Lutts, The Friends of Greenlawn, and the rest of the Greenlawn Community.

Northeast Harbor, ME

This was one of our ‘23-’24 winter projects. We did a full restoration of five 8’ tall doors as well as 10 very large casement windows from a home in Northeast Harbor, ME. The home is situated on a site that’s lovely, but very exposed, which means the windows naturally require more maintenance. 

The diamonds were ready to be completely releaded. That means all the panels are disassembled, cleaned and put back together again. The majority were built with a basic flat lead, but for a portion of them, we needed a colonial style lead profile that we couldn’t source. Instead, we worked with DHD Metals to have a new dye made based on pieces of the original. They did an excellent job creating a match for us.

In the studio, Patrick devised a system wherein he pre-cut the lead came to various lengths. This gave us a great deal of efficiency once we went to build the large number of windows.  As you can imagine, these panels are heavy and require a great deal of support. (Flipping the massive doors during the soldering process was no easy task!) New bars were installed on all the panels and doors, and new interlocking weatherstripping from our colleagues at Window Restoration Supply matched the original nicely. 

The homeowners have worked with E.L. Shea for many years to maintain the woodwork, and as a result, the sashes and doors were in very good condition. We did just a light restoration before integrating the leaded panels. This included stripping some of the finish on the interior due to dogs scratching through the clear coat over the years. Tracy stained and finished it to match the original perfectly.

We were able to complete the work and install the windows just before Memorial Day — in time for the home to be opened up for the summer season. 

Special thanks to Nate and the rest of the crew from E.L. Shea for helping us hang and tweak the doors. They were all closing perfectly by the time we left. We look forward to Phase 2 over the winter of 2024. 

First Church, Clerestory and Nave

We’re a bit overdue, but we thought we’d do a look back at our work for First Church Christ Scientist in Concord, NH from throughout 2021. In Spring, we began with the restoration of 30 clerestory panels, and in Summer got to work on the windows that line the Nave and Narthex.

The removal of the Clerestory windows proved to be challenging, starting with the fact that they’re 50 feet in the air. Without the benefit of interior staging, we removed the windows from the exterior using a lift, carefully transporting them to ground and back to our studio. From there, we got right to work disassembling, cleaning and preparing them to be rebuilt.

The windows are all the same basic design. so once we got to releading them, our task was a lot more straightforward. To match the original, we worked with a fairly wide, flat lead profile and opted to “tuck” the lead at the joints, adding strength to the lead structure. From there, they were puttied, cleaned and readied for reinstallation.

Once installed, we moved on to the removal of the Nave and Narthex windows. The Nave windows are a cluster of four panels; three lancets topped by a circle, and they share colors and design elements. They needed a fair amount of glass repairs , including a mix of copper foil, tinted conservation grade silicone and epoxy. Some pieces were beyond repair and needed to be replicated altogether. But, thanks to Dennis’ painting and firing skills, the replacement pieces are indistinguishable from the originals.

We completed the reinstallation just before Thanksgiving, and removed the next batch from the East and West elevations. We’ve been working on them over the winter and plan to reinstall them in April. This year, we’ll be working on the large and beautiful transept windows that flank the North and South sides. Stay tuned — these are gorgeous windows and we’ll be sure to get some pictures posted.

Union Chapel Update

Over the last year, we’ve had the pleasure of restoring the stained glass windows from Union Chapel. (See previous post here.) As this project nears completion, we’re taking a look back on our work. 

One of our first tasks was to repair the deflection of the Connick panels. This repair involved scraping out old putty, cutting lead joints and slowly flattening the lead over low heat. Depending on the severity of deflection, some panels required nearly 50 cuts on both sides, a labor intensive process for sure. (See blue tape spots on image below.) But we were able to save the original lead. Once the panels were flattened, we resoldered all the lead joints and puttied the panels on both sides. 

Some of the glass was smashed beyond repair. New pieces were acid-etched, painted and fired to match the originals. You’d be hard-pressed to tell which pieces are the replacements.

Next our attention turned to the large, plated opalescent window that sits above the altar. The panels have 2-3 layers of glass that work together to bring a sense of perspective to the scene. It’s a gorgeous window. By carefully removed failed lead, we were able to inspect and clean the glass between the layers. Seeing the rippling water effect up close was a highlight. We wrapped the layers of glass with copper foil to keep dirt out for good. Once the lead replacement was completed, we carefully puttied both sides of the panels. 

Union Chapel sits on a very exposed site, close to the ocean. As a result, many of the sashes required new lower stiles and bottom rails. The smallest sashes needed to be remade entirely. The originals had slipped to “firewood” condition.

The operable metal vents at the base of each window required even more restoration. We didn’t think they were salvageable, but our colleague Alaina, from A.M. Design and Fabrication in Providence, RI convinced us to let her try. She did an incredible job — they’re unrecognizable from their former selves.

We are making a big push in the next six weeks to get the windows completed and installed. We look forward to getting them back to their beautiful home by the sea. While there are question marks surrounding everything in peoples’ lives right now, we join the trustees of Union Chapel in hoping that this summer will still allow for the special moments and celebrations the chapel has always been known for.

Union Chapel — North Hampton, NH

We are thrilled to be well under way on an exciting local project. Residents of the Seacoast may recognize, or perhaps even have attended a wedding here. Union Chapel is in the Little Boar’s Head area of North Hampton, NH, beautifully situated between The Fuller Gardens and the open ocean. We are in the process of restoring all 16 stained glass windows, while Bedard Preservation & Restoration is at work preserving the exterior. (See more recent post for updates.)

NH State House — Hall of Flags

This has been a fascinating project. During our initial site visit, we assumed the panels were traditional leaded glass. Once we got them back to the studio, we realized they were unlike anything we’ve ever worked on.  

We determined that they were made using a decorative copper alloy that was riveted together. Upon further inspection, we found a thin brass matrix, separating the pieces of glass between the rivets. This kept the glass from cracking during the initial fabrication.

During the documentation process, we discovered that the overlay was stamped with The Metallic Setting Co of Providence RI and a Patent Number 500,587 from April 1894. Working with the Providence Preservation Society, we found an article referencing The Metallic Setting Co and it’s founder, George B. Lee. The article quoted him as wanting to re-establish “line and mass”, that he felt was missing from the decorative arts at that time. His unique approach bypasses the traditional methods of using varying thicknesses of lead cames or flanges.

He invented an entirely new alloy to accomplish his vision. The article also referenced his other commissions, Abbey’s Theater on Broadway in NYC and Keith’s New Opera House in Boston. Tragically, both theaters have since been demolished. The Metallic Setting Company disappeared from the Providence directory by 1897, so the NH State House may be only window that has survived.

With this knowledge in hand, we decided the best course of action was to leave much of the metal work intact. The cracked glass along the edge could be replaced by cutting the perimeter alloy. But any attempt to replace cracks in the interior of the panels would likely result in causing more damage. Additionally, the original glass selection was so purposeful, with individual pieces of glass selected from specific areas of the sheet. All the panels slowly transition from the darker perimeter glass to the light of the interior. It’s a beautiful effect.

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The original putty that acted as a weathertite seal between the alloy had become brittle and was falling out. The remaining putty was removed and new putty was applied to both the interior and exterior sides of the panels. Once cured, this process also strengthens the overall window, making individual pieces part of a collective whole.

Now that the panels were restored, we turned our attention to the frame. The original steel frame was installed into the jamb with only a few narrow stops holding it in place — there was no perimeter frame. This caused the frame to flex in windy conditions, weakening the joints. After being exposed to those conditions for the last 125 years or so, the structural integrity of frame had become weakened to the point of nearly falling apart. We engaged Sona Welding of Eliot, ME to fabricate a new stainless steel perimeter frame and weld it to the original. After a re-sizing, the panels fit perfectly. Upon installation, the frame was dramatically stiffer with much less play. We these improvements, the Hall of Flags window likely won’t need another restoration for over 150 years.

We were all thrilled to have been part of this project. We know we are just a part of the continuum of craftsmen and women who have come before us, but it has truly been an honor to help uphold the original beauty of the NH State House.

New Hampshire State House

COMING SOON: A full rundown of a project we are excited about in the studio. It’s the restoration of a historic window for the NH State House. See below for removal pics of the beauty that welcomes visitors to the Hall of Flags.

BACK BAY PIANO WINDOW

This was a great project from the past that I never got around to posting. I loved this little window, right on Beacon Street in the Back Bay. My client called it her piano window. (It was directly above her piano.) I don’t know if that’s a technical term, but I like it regardless.

Porter Square Windows

I am working with a client that owns multiple building in Cambridge MA. We have set up a multi phase restoration plan for her windows. I have completed the minor restoration on two units. The first only required an extensive onsite cleaning, putty, and re-glazing. The difference is striking.

The second set are double hung stained glass panels in a stairwell. Luckily, they are higher up the wall then normal and have escaped extensive damage. There was some slight deflection on the lower border that needed to be addressed.

The panels were cleaned, puttied and glazed.

Another future project will be fabricating new stained glass panels to replace the originals that were lost. We were able to find archival photos of the home at the Cambridge Historical Society that showed the original Oriel windows. We designed new windows that are an excellent match to the originals.

Somerville Sister Windows

I was contacted by a client after 2014’s ice dams. Remember those? After having their home inspected for damage, the condition of the windows and sashes became apparent. A fairly normal combination of neglect and years of homeowner repair needed to be addressed. There were signs of serious deflection (when the window is bowing out or collapsing onto itself). But except for two sashes, it was all repairable. The work involved fabricating two new sashes to match the original wood and profiles. All the missing and cracked glass was replaced with nearly exact matches to the original glass. This can be one of the most time consuming parts of the job, finding the correct color and texture of the existing glass. Previously, painters had siliconed and painted over the border glass, completely obscuring these parts of the windows. All of this was removed. The windows were puttied, cleaned and re-glazed into newly painted sashes. They should be problem free for another 80 years or so.

When the sun is out, it shines through my rejuvenated stained glass window in such a brilliant way. The colors dance! What a difference your careful attention has made.

Belcher Mosaic Windows

This was an interesting project. A high Victorian in Newton, MA had some original mosaic windows made by Henry Belcher, some time between 1950-65 (we’re guessing.) Belcher constructed these by sandwiching tiny pieces of glass between layers of asbestos and then pouring lead over it to create a lead matrix. It was an experimental technique that ultimately proved to be problematic. When I went to see the windows, glass pieces were literally falling out of the sashes. Once the windows were back in my studio, they took 6 weeks just to flatten out. I was able to stabilize them but I needed to find a way to keep the glass from falling out again. After a lengthy consultation with the owner — whose desire to preserve the windows did not come with a limitless budget— we landed on a solution wherein I used clear, conservation grade sheets of laminate, adhered to the exterior of the window. It was a time-intensive approach that supported the window without sacrificing the view. More importantly, the windows are back in their rightful place and the client is thrilled.

Middle Street Restoration

An outdated and neglected home on Middle Street is being brought into the 21st century. It’s new owners are proving themselves to be stewards of preservation by retaining many of the home’s unique and historic details while updating others. The original stained glass windows were in need of repair. One major piece of one of the panels had been smashed some time ago and one piece was missing. Through a process known as Edge Gluing, I was able to mix powdered pigment into conservation grade silicone to infill the missing glass. The damage is hardly noticeable and the window has regained nearly all of its original glory.

It was a relief discovering someone of your talent and attention to detail to repair our stain glass windows. 

As you know when it comes to something over a 100 years old you have to trust the individual doing the work will do a good job and maintain the historic integrity of the piece while at the same time doing everything in their power to preserve the windows for future generations. i feel fortunate to have stumbled onto you and was very pleased with the job you completed.

And to anyone out there considering Tom you will not find a more honest and talented craftsman, I highly recommend him. 

— Richard M. Cyr & Lisa DeStefano

Newton Leaded Glass

Here's another set of windows I restored for a longtime client in Newton.