When the amount of a glass you have for a particular
project is limited and no more of it being made, it
is important not to run out of it, before all your pieces
are cut, otherwise you have a problem. I was lucky
to end with almost no waste, but used a saw to avoid
any risks in breakage. This Lins seems easy, but is
difficult to cut ( for me ), its structure and physical
density is changing considerably within inches.
for years, but had not enough courage to start with.
It requires a lot of preparation as the pattern has
to be sorted out before you can cut the first piece of
glass.The picture below shows the pattern as it fits
to my mold. This mold is self made, of styrofoam,
coated with plaster. I am happy there is almost no
overlapping, only1 cm to the bottom, which is ok.
This lamp, depicted in Duncan´s book Tiffany Lamps and Metalworks caught my attention as it looks so unusual compared to most other types of chandeliers known in general. It sold at Christie´s, I think in 2009 for about 200.000$ . It has 28" in diameter and a lot of pieces, but it´s worth to give it a try.
First step was to sort out the pattern...
and make it fit to the mold. The third attempt to adjust it accurately was finally successful.
I rarely question myself : " what are you doing here ? " , but sometimes it happens. As if I was trying to justify my existence, I switch on all the lights in the living room, then sit down, look around - and can´t help but feeling a bit like an idiot.
I started this one 3 days ago. It will have to rest now, as I have to work a little for a week or so. Good opportunity to get some distance to this project and then see, what needs to be changed . I found picture (on the left) showing an original lamp as reference. Slight differences in texture or color selection can be tolerated, I´m not going to change the border rows .
finally finished and quite happy with the result. Which one next ?
sometimes I can´t wait. Soldered the tiles on, none cracked. Soldered the bottom ring on.
It lays perfectly flat and straight as it should. Still a lot of soldering ahead, but I am happy with the result to the present. Proportions look fine, color selection seems acceptable to me ( tastes are very individual, yours might be different ) but I ´m trying my best to judge by quality, not by taste.
Foiled pieces are now tacked with solder in parts. I don´t want them to fall off and create cascades...
I´m not quite sure which will be the best way to procede with the large tiles; they stand out too much right now. Probably they will need to be tacked at two points only and then be set properly after the shade is removed from the mold.
I am slow. My hands being sore serve as an excuse. But in fact there is another reason which keeps me off rushing. As long as I don´t see the finished job, I can keep up the dream.
The "other side of the moon" would unveil too many pieces left to be mounted, so I´d rather not show it. I´m pondering about the best way to solder. Most pieces are stuck with tacky wax- which will need to be removed before soldering, otherwise removing the shade from its mold will cause too
many problems, as my mold is made of plaster and not fiberglass. The method I used on the Salamander lamp was better.
Most people who do stained glass on a higher level use to work
systematically. Am I not on a higher level or just sort of
disabled ? My
pattern sheets aren´t complete, because of some minor irregularities in comparison to the pattern sections of the mold. These are okay, and will not be noticed by the viewer, once the lamp is finished, so there is still a lot of tuning ahead.
The quality I can achieve will always depend on the material I have. In this particular case it´s
limited and the choice therefore just as well. The golden brown will have to be mixed out of various leftovers.
There is no need for hurry. My pattern is not absolutely precise in terms of regularity and the glass pieces will need individual adjustment again, so I can forget asking myself how long it will take to get finished. The journey is the reward.
It took me a while to make up my mind which one of the various zodiac colour combinations would suit me best. It was also a matter of glass that I have in stock. In this case Lins seemed the most suitable .
Shot with I-phone, which means the colours appear brighter than they are in reality. Still some work to do : change some glass pieces, add some to the back, finishing etc. The second picture was taken
with a Sony camera. Only one socket on this base.
Some time ago the " Tiffany girls exhibition " took place in Singer Laren, Netherlands. Of course I had to go there and take some pictures and study the "real" atmosphere of the shades. In my personal opinion that´s all, what it is about.The Double Poinsettia shown on the left side is part of the Egon Neustadt Collection, while the other one is my own work. The pictures were taken with different cameras and in different light conditions.
I started this some days ago. It still appears a bit messy, but will hopefully improve with final tuning.
It takes a while to find the right balance, particulary, when using so many various types of glass.
Most of it in this case dates back to the early 80ies, there is Uroboros, Oceana, Schlitz and Lins.
The reason for its title is, that my stained-glass art is closely related to Tiffany-Studios. It started as a hobby almost 30 years ago and soon became a passion due to the various challenges that occured during the process of learning. My lamps aren´t made to compete in the market and not priced to sell,which is, how I became a collector of my own works. If someone seriously intended to buy any of these,we could talk about it and perhaps find an agreement. I do accept comissions and am, of course, capable to create own designs and patterns if wanted.