If you like the look of strong hands, start beveling glass.
Resisting the pressure of rotating iron, stone, cork, and felt as one grinds and polishes, is like Gold’s Gym for your hands.
Many years ago I stopped off at a plumbing supply store to purchase some solder. Discovering I didn’t have my checkbook, the owner smiled and said, “take the solder and mail me a check. I know you’ll pay me, I can tell by your hands.”
As a kid, my mother would tell me I had fingernails like a girl. But that’s another story.

Grace Episcopal Church

One of my favorite windows.

I designed and beveled the glass on my 1915 Henry Lang beveling machines, around 30 years ago.

Hand beveling on rotating iron, stone, cork, and felt, creates the minute, multiple bevels that give the overall window its character. I consider this the equivalent of woodworking with hand tools and to the beautiful craftsmanship of blacksmiths.

Over the course of my 48-year career, this character that comes from handcraftsmanship, is perhaps what I am most proud of.

Internal Reinforcing Structure

Over the years, we’ve strived to incorporate a more natural look in our windows, especially our branches, by eliminating reinforcing bars that created shadows through our designs.

We have achieved our goal by creating an internal structure of nails and reinforcing bars. Once secured, we are able to sculpture our branches, hiding all of the internal reinforcing structure.

Rainy Day

Rain is pouring down on the tin roof, fire in the woodstove, everyone’s full of turkey, and happy to be back at work.

Flameworked Studies

Every morning, around 7am, I unlock the door to my studio and enter my creative world.

There are almost always three to four projects in progress, two to three on the drawing table, and several that are finding their way between my conscious and subconscious.

One of the ways we manage this mass of information, to conserve our resources of time, labor, materials, and expenses, is to make studies.

Curved Stained Glass

Every now and then we get a restoration project that involves curved windows.

This project was for a mansion in downtown Richmond. We were commissioned to remove the windows, dismantle, and rebuild them with new zinc. Our goal was to make the windows look as original as possible, especially the patina on the zinc.

We also added 1/4″ reinforcing bars on the horizontal lines, to take the pressure off expansion and contraction off of the zinc. The final phase was to install curved tempered glass on the outside.


There are patterns…. and there are patterns.

Working on our laylight for a home in Potomac, Maryland. We’ll be posting updates as we go along.

Artist Craftsman

It is difficult making a living as an independent artist/craftsperson. Some days, I feel like a corporation reduced down to one individual. It’s not only the expertise one must constantly develop to practice one’s art, but also all of the peripheral skills like marketing, selling, website development, purchasing materials, making presentations, taxes, insurance, social media, communication, organizational skills, and working with the people who help me produce my art.


As I shuffle graphite around on paper, I often think of the connection between the pointed end of my pencil and the three-pound organ between my ears.
Billions of neurons, moving at 270 miles an hour, firing away while this pointed instrument records their “data.”
I believe it is important to take care of this “lighthouse.” Like the rest of our body, it only has so much strength and energy.
I have found, replacing needless stress with beauty that brings me pleasure seems to work.

Reinforcing Branches

This sketch is a presentation drawing for a laylight we’re beginning to create for a home in Maryland. It represents the branches we will solder sculpture and patina to look realistic. After we finish the basic window we will attach a multitude of our flameworked leaves in various colors to represent early spring to early summer.

The laylight is five feet by five feet. One of the challenges we face is how to support it’s weight while horizontal. Part of the solution is to insert overlapping finishing nails in the spaces for the branches before we fill them with solder. On the larger branches, we will solder 1/8 x 3/8 inch reinforcing bars in the spaces.

If everything works as planned, our finish design will be uninterrupted by traditional structural bars.

Inspiring Confidence

When I start a new project, I often have an overwhelming feeling of incompetence. How am I going to pull this off?

One of the ways I face this situation, besides walking around the shop, is looking through my portfolio and revisiting the volume and variety of what I’ve created over the last 48 years. This somehow seems to give me the push I need to start putting a few lines on paper.

This woodpecker is one of my favorite, inspiring confidence in my ability. It’s a reminder to me of the effort I went to, to create this fella’, and that I can do it again.

Behind the Glass

When we create our windows, we pay considerable attention to what is behind them. Vegetation generally works beautifully. A blue sky – not so much.

This blending of our art and nature is one of our favorites.


Much of what we’ve learned over the years has come from books and magazines. We’ve also spent a considerable amount of time walking around historic neighborhoods, especially at night, studying windows that were designed for the period.
However, we really enjoy it when we get a beauty like this in the shop to restore. Viewing the craftsmanship up close and studying the color scheme over a period of time, gives us an excellent opportunity to sharpen our skills.

Skylight Restoration

This is a skylight in a mansion in downtown Richmond that we refurbished. After flattening the bows, we applied our traditional glazing compound under all the zinc cames. Equal amounts of boiled and raw linseed oil, mixed with a handful of calcium carbonate, and a dash of lamp black.

Once the glazing has “cured” it will give the window much of its strength.

Beveling Machinery

Have you ever wondered what’s on the inside of a 1915 Henry Lang beveling machine? Here you go.

Every 15 or 20 years, we break our machines down to check for internal wear and general maintenance.

We probably only use our beveling machines around 300 hours a year, so all we’ve ever had to replace are the belts and oil.

Impressionist Flameworking

This is a recent commission to represent two Irish golf courses, one in Ireland, the other in New Kent County, Virginia.

By using our flameworking techniques, we wanted to give the effect of knife painting along with the play of light as expressed in impressionist painting.

I have never seen or heard of this process being used in stained glass before. It is certainly a milestone in my career.

Flameworking Impressionism

We’re trying a new concept here in our shop, to expand the range of our flameworking. A balance between knife painting and the role light plays in impressionist art.
Here is a small section, perhaps 1/10th of the window, to give you an idea. We’ll be posting the full window in a week or two.

Flameworked Lilies

From time to time, we look back over our work for inspiration and encouragement to inspire us with our current projects.

This is definitely one of our favorites, not only in the skills necessary to execute it, but it’s aesthetics.

The Family Crest

The family crest.

A front door window for one of the historic homes in Richmond, Virginia, created around 13 years ago.

Blown glass from Germany, painted, etched, and assembled with zinc.

Historic Richmond, Skylight

Richmond, Virginia is full of historical homes. I built this skylight in 2007, to replace the one that was beyond repair.

Skylights are such a rich focal point in architecture. This one is at the top of a 3-story staircase, which surrounded the view with beautiful millwork.

Farmhouse Transom
Bremo Bluff, VA

By beveling the background glass, a 1/8″ flash glass from Germany – gold on clear, I wanted to emphasize the light surrounding the floral image – halation.

I created this transom around 1990, for a beautiful old farmhouse. I feel fortunate to have spent my life creating thoughtful and beautiful accent pieces for architecture.

Beveled Glass Window

This is one of my favorite windows, created in 1986 for Grace Episcopal Church, Bremo Bluff, Virginia.
Starting with a blank piece of paper, a couple of #2’s, a big eraser and a boatload of perseverance, I wanted to bring something new to the world of sacred art.
Glue chipping glass for the background, beveling various thicknesses and angles, and with a multitude of tiny lights on the chandelier behind it, shimmering on the bevels as one walks around the sanctuary. It has often been referred to as our “spiritual window.”

Grace and Glory

In 2014, we built a series of windows for Grace and Glory Lutheran Church in Palmyra, Virginia.

This is one of my favorites, created almost entirely with blown glass from the Blenko Glass Company in West Virginia.

I especially appreciate the wide range of color, as it changes throughout the day, continually capturing my interest.

Transom Windows

One of three transom windows we just completed for a home in Warrenton, Virginia.
More and more, we are being commissioned to create windows that incorporate various techniques we have developed over the last 47 years.
We approach windows like this as little museums of our work.

Living with Color

For me, color selection is a balance between intellect and emotions.
My studio is surrounded by windows on all sides. This gives it a nice balance of light that allows my eyes to relax, allowing me to observe a wide range of colors, comfortably. We use the windows facing North, for consistent light, and South for a wider range of light throughout the day. Both windows have trees and sky behind them, which greatly influences the subtleties of stained glass.
Color selection is one of the first things I start when undertaking a project. It is important to “live” with the selections to really know how they will respond to light over time.
Thinking, observing and feeling my way through this process is a way of life, as I move around my workplace, pausing to reflect on the glass we have arranged in our windows.

The Artist Craftsman

What I like most about being an artist/craftsman, is my involvement in the creative process from start to finish.
The evolution of an object brings new insight as materials replace the original drawing. Depth, line, and color stimulate my mind to push forward, analogizing other possibilities. It’s those bursts of insights when I’m wide awake at 2:00am, stepping out of the shower, driving down the road, that I have some of my most pleasant moments.
I’m from the ’60s and ’70s, when one was encouraged to self-actualize. To be inwardly driven to be all one was capable of. To achieve fulfillment in life from one’s personal development.
So every day, I push the bounds of my art. Drawing, selecting, rarely totally satisfied but finally saying, that’s it.

Whippits and Greyhounds

Two windows we just completed for a couple who wanted to feature their whippits, greyhounds, home, and their beautiful setting between mountain ranges.

This was a great exercise in the push-pull of reflective and translucent glass, creating windows that changed throughout the day and evening.

We commissioned the painting to Daniel White, who always does a fabulous job.

Antique and Beveled Glass

One of our current projects for 3 transom windows which highlight the combination of our beveling, with its various thicknesses of glass and angles, and laminating it with colored translucent glass.

After 47 years, it is so nice to create windows that have evolved from all those years of “thinking-and-doing.”


When our children were growing up, there are 5 of them, they would all work with me in the shop during the summers and some weekends.
My father took me to work with him when I was their age. When I look back on those days, they were some of the most important experiences I’ve had in life.

Creative Beveling

One of our current projects involves creative beveling. We are using our imagination to create just about every angle we can, on several different thicknesses of glass.
The next stage is to laminate various colors of translucent glass, to give the bevels a jewel-like quality.
When we create windows of this nature, we like to think of them as little museums of our work.

Stained Glass Dome

In 1990, I was in a partnership with Geraldine Powers. Geraldine would design and I would build.
We created this dome for the Jefferson-Pilot Building in Winston-Salem, North Carolina.
This 12 foot-wide dome was built like a drop ceiling. A steel framework was created and the stained glass windows were inserted into the open spaces. We gently curved the window at the lead joints to fit the dome and reinforced the curvature with steel reinforcing bars.

Painted Glass Restoration

Daniel White, one of my step-sons, does all the painting for our studio. This is a piece he reproduced for the restoration of a 100-year-old window.The color selection, application of paint, along with the various firing temperatures makes for a very complicated process, which Daniel excels in.

Beveled and Carved Sketch

This is an idea sketch I created around 30 years ago for a front door. I had planned on beveling 3/8″ thick glass, into which I would carve the floral design and assemble with heavy zinc came.
It’s still sitting in my portfolio and ready to be refined and brought to life.

Historic Restoration

Today is the beginning of the restoration of 10 curved windows in a historic home in Richmond, VA.
We will disassemble the windows and rebuild them with new zinc, along with the traditional cleaning, puttying, patinaed, and reglazing.
There is always a lot to learn through our restoration projects and we enjoy the break from our more creative projects.

Zinc Caming

Zinc came is a challenging material to work with, but what I like are the crisp, straight lines and smooth curves. It’s also especially nice for beveled glass, which is thicker than the typical stained glass windows and requires more structural strength.
It also patinas down nicely, so it doesn’t compete with the glass.

Stylized Peacock Windows

An entryway for a home in Richmond, VA that I created around 1999.
A stylized peacock design with many variations that are popular throughout the South.
This one is my favorite.

Heart Window

This was a special project in which a single mom and her two teenage sons came to us with an idea for their new home.

In the daytime, it’s barely noticeable, but at night it comes alive.

Lamberts and Hand Beveled Glass

A study for one of our current projects.
This is a process where we combine our hand beveling with blown glass from Germany. We can actually silicone them together, much like your windshield.
They say it will last forever.

Beveling Project

This is a progress shot of two sidelights we beveled around 30 years ago. After the final inspection, and before we begin to zinc them together.

There was a time, many years ago, when we would take progress photographs and mail them to our clients. Our thought was, that they would have these around their home to show their neighbors and friends – a form of our early marketing.

Today, of course, we just email them.

Antique Sculpted Mirror

This is a mirror I created around 20 years ago.
I started by beveling each piece of glass at a very steep angle to capture the light of the sconces on each side.
By contaminating the silver, I was able to create an antique effect that complemented the patina on the sculptured tree.
I really like the shadows and the moving light as one walks through the narrow hallway, creating a romantic mood in an intimate space.

Art Deco Window
Richmond, VA

Circa 1980, back when I created an Art Deco series for the 5th Avenue Restaurant across from Pleasant’s Hardware in Richmond, VA. We found it interesting, the effect we were able to create with different textures of clear glass.

Beveled Glass Window

This beveled glass window was created in 1988 for the entrance door of the Fork Union Military Academy’s Alumni House. Most of our beveling is done on 1/4″ or 5/16″ glass, like the windows you see along Monument Avenue in Richmond, VA. This was one of our first windows using 3/8″ glass. We started using the thicker glass so our windows would, “hold their own” when surrounded by heavy trim molding. The areas that appear dark are actually emerald green glass.

Beveled Glue Chip Windows

This is a collaboration with the owner of an 1880’s home in Churchill, Virginia that we installed yesterday. An excellent example of how our patrons expand our perception of our art.

Carved Table

This is a tabletop I carved in 1987 and posted last Friday.

One can see how easy it would be to lose the whole project by simply over-carving or having the resist come loose.

There are two motivations when working on a project like this. One is to create a beautiful object, the other is fear of losing my independence.

Glass Carving

Carving glass is very tedious.
This was a 3/4″ thick tabletop that I carved an Art Deco design into. Getting into the right frame of mind, and maintaining it, in order to create such a large, intricate piece is a large part of the project that one rarely hears about.

Visiting Blenko Glass Co.

The relationships we develop along the way are a large part of the richness of our lives.
I wish I could remember this gentleman’s name, at the Blenko Glass Company in West Virginia, but I do remember his genuineness and kindness.


Turning a strip of glass into a 3-dimensional leaf took me years to perfect. I would often show guests baskets of hundreds of tries that I rejected before I was satisfied with something we could use.

I’m not sure what possesses me to go through this journey, but I am thankful to teach my fellow artist/craftsmen how to carry on and expand on this technique.

Carved Glass Shadows

This is a fireplace screen we created around 40 years ago for a couple who had a room dedicated to art deco.
When we delivered it, all of us were so taken by the light and shadow casting from the carved and clear glass, that we ended up finding another place for it.


Nearing the completion of our window with the extended branches.
Critical decisions will be made today. Much discussion, one can just feel the excitement.
I wish I could say we break out into the Electric Slide to break the tension, but that’s not quite true.

Wayne Cain

I feel fortunate to head up an organization that is so sensitive to the needs of the elderly.

I explained to my fellow artist/craftsmen last summer that we will probably keep on doing this up until the time I’m setting over in a corner looking like the late Stephen Hawkins did in his final years.

Embellishing a Traditional-Styled Transom

I have always enjoyed the challenge of embellishing a traditional design.

By slightly varying the widths of this fan transom, I believe it contributes to the inviting charm of this entryway into a well-appointed sun porch.

Richmond, Virginia, where I grew up and began my career as an artist/craftsman, was an excellent place to study the details of architecture. I am fortunate that my work has taken me into many of the historical homes where craftsmanship was highly regarded.

Flameworking and Ideas

Today, once again, we are pushing the boundaries of our art. Just the beginning, but it lets us know that our idea will work and we can move forward.

This is a transom over a stairwell, with one side at normal height and the other side a 1/2 story lower. There is a skylight above the transom.

We thought it would be interesting to create wire “branches” to extend the leaves and petals beyond the surface of the window so the light from the skylight would filter down through our dogwood tree top.

Fused Glass Doors

I created these two, double panel doors for a third-floor kitchen in a beachfront home in Duck, North Carolina.
Being high up, I thought it would be nice to have a feeling of being in the clouds while cooking and dining.

This was around 1985 when some of the glass factories began offering glass that made it possible to fuse different colors together. By cutting the glass slightly larger than the patterns, overlapping the edges and firing to the melting point, I was able to make these panels without lead lines. This allowed the sunlight to “hang” on the fused joints, moving from joint to joint as the day progressed. An unexpected and surprising discovery from this new process.

“Parts” Windows

This is what we call a “parts window.”
The biggest challenge on the restoration of an older church, in this case, 1906, is finding glass that matches the original glass. One of the first things we look for is a window that is visually isolated from the main windows in the sanctuary. This window was in the vestibule. If we’re fortunate to have one, we’ll dismantle it and use the “parts” to match the original glass in the sanctuary windows.
Then we will rebuild the window with new glass that comes as close as possible to the original glass.

Glass Jewels

Glue chipping is a process where hot animal glue is poured onto the sandblasted surface of clear float glass. As it dries, the glue shrinks, removing flakes of glass from the surface.

This is one of six sheets we are currently making that has been chipped three times to achieve its beautiful character. In a few weeks, it will be cut to pattern, beveled and provide the background glass for the entryway in an 1880’s home in Richmond, Virginia.

Triple Glue-Chip

Glue chipping is a process where hot animal glue is poured onto the sandblasted surface of clear float glass. As it dries, the glue shrinks, removing flakes of glass from the surface.

This is one of six sheets we are currently making that has been chipped three times to achieve its beautiful character. In a few weeks, it will be cut to pattern, beveled and provide the background glass for the entryway in an 1880’s home in Richmond, Virginia.

Carved Bevels

I appreciate how the vanishing line brings depth and perspective to a work of art.

I am especially fond of how it engages the imagination of the viewer, providing them with their own unique view of the object.

Carving in glass, with its delicate technique, is one of the best ways glass artist can express this concept. With the changing of light, the effect is even more striking.

Skylight Restoration
Baltimore, MD

This was a skylight from the stairwell of a three-story townhouse in Baltimore, Maryland. There is a general rule in color, that if one can not match it, choose another that works but is different. The idea is that it’s better to look like the choice was intentional and not a “missed hit.”
Fortunately, the centerpiece was missing which gave us the opportunity to practice this theory.

Beveled Glass Design

I created this design about 25 years ago for my own enjoyment.
My thought was to bevel various angles on 3 different thicknesses of clear glass for the accent pieces. Then surround them with the beautiful striations and bubbles of blown glass.
I also find it interesting, the symbolism one can read into one’s work when drawing in a “free association” state of mind.

Beveled Glass Window

Traveling through the Church Hill section of Richmond Virginia last week, I came across a beveled glass window I created for an entryway around 1982.
If you look close, you will notice the variable bevels, wider at the larger end and tapering to the narrow. In order to create this effect, I needed to work with 3/8″ glass. It takes considerable skill to cut glass that thick and bevel it so it fits into a relatively narrow zinc came.
It was quite gratifying to see how beautifully my work fits into this historical neighborhood 37 years later.

Wild Honey – The Beach Boys

It’s not often a client comes to our studio with an album cover in hand, requesting that we use the background from the Beach Boys, Wild Honey album as inspiration in creating a transom window for his listening room.

For us, it was a wonderful opportunity to be playful with color, our flameworking, and the push-pull effect of opaque and translucent glass in the same window.

Flameworked White Lilies

Here is a beautiful example of what some of us glass artists call, “the moodiness of glass.” This particular effect was enhanced by the inner-city street lights.
Ever since we started flameworking 6 years ago, in our pursuit of recreating the translucency of nature in glass, we have had many surprises. This window was a giant step in the evolution of our work.
This white lily window is one of our favorite. It is now in the home of two professors in Germantown, Ohio.

Huguenot Society Restoration

Last Friday, we spent the day performing light restoration on the stained glass window at the Manakin Church, just west of Richmond, Virginia. The church was built in 1895 for $129.00, using mostly materials from the previous church that burned.
The only stained glass window, the “Parable of the Sower” depicts the sower scattering seed, a symbol of the Word of God. Some seed has fallen along the wayside and is being devoured by birds, while another seed has fallen on stony ground where it will die. The seed that fell on fertile soil will flourish, symbolizing the virtuous life.
When I first started my career in stained glass, it was very difficult obtaining commissions. I ended up performing a lot of restoration work, mostly on churches in impoverished areas that were heavily damaged.
It was hard, dusty work but a wonderful learning experience.

Silvered Mirror

This is a mirror I created around 25 years ago.
The only request my client had was to use some tiles that she was quite fond of.
After designing and beveling the glass, I silvered the outer pieces darker by contaminating the silver solution. Then silvered the large centerpiece lighter so it would draw the user into the mirror.
Sculpturing the solder to hold everything together and applying a patina completed the piece. I am especially fond of the way the roots are squeezing through the tiles.

Lead Rosettes

Over the years we have restored quite a few leaded glass entryways. Many of them had little rosettes used to embellish the joints between simple lead lines.

Whenever we found a rosette, we would always make a mold so the design could be reproduced.

Wild Honey Stained Glass Window

One of our current projects is recreating the design for The Beach Boys album, “Wild Honey” cover with stained glass.
Our first goal was to create a jewel-like effect for the centers of the flowers. By experimenting with many different colors of glass and how they reacted to flameworking, we were able to find ones that would reconfigure themselves into the jewel-like quality we were seeking.
Now that we have our focal points, we will begin creating the rest of the window around them.

Newcastle Stones for Beveling

The smoothing stone on our 1915 Henry Lang beveling machine was mined by the Newcastle Stone Company in England. This was the only mine known that had the consistency of sandstone, free of any imperfection that would scratch the glass being smoothed.
The company is no longer producing these stones, they are being replaced by modern, man-made stones. So far, I have worn one out, but have 3 in reserve that I found over the years.
A finely adjusted stream of water “lubricates” the surface, from there, the quality of the bevel is up to the skills of the craftsman.
Starting with firm pressure and finishing with a light touch gives the finished piece a smooth surface but leaves the slight facets of a hand-made bevel. This is what gives the finished window the desired prismatic effect.
What I have found most interesting is how the process requires constant focus and attention, leaving little room for the mind to wander.

Monterey Presbyterian Church

We installed a window we’ve been working on for the last 6 months, a restoration project of a 100-year-old window.

The challenge in these projects is finding matching glass. We visited The Paul Wissmach Glass Company (1904) in West Virginia and found some of the border colors. For the background, we worked with Kokomo Opalescent Glass Co. (1888) in Kokomo, Indiana, who found matching glass in their storage.

Beveled Glass Window

I created this window for an elevator door in a home around 30 years ago. I believe it is the first time I started using extended lines in my work.

Traditionally, the lines in art glass stop when they connect to another line. I believe the extensions developed in my design process of drawing lines on paper, erasing, redrawing and finally realizing in seeing the new lines overlaying the shadows of erased lines, the possibility of a new design element.

Value in Developing Art

One of the reasons I was so drawn to becoming an artist/craftsman was that I saw the value in being able to develop a piece of art from start to finish.
Starting with a piece of paper, a pencil, one’s imagination, an idea, and then seeing how the materials interact completes the design process.
Being able to make a living through creativity has given me enormous satisfaction throughout my life.

Sculpted Tree

Introducing sculpture into our work around 25 years ago opened up so many new design possibilities.
Traditionally, we were limited to designing with lead cames of consistent widths.
I have no idea how long I spent sketching this idea, trying to build character. Nor, how long it took Daniel to bring it to life.

Painted Grapes on Glass

In February 2013, we completed 2 rose windows for the Priory at St. Thomas Aquinas Church in Charlottesville.

This is one of the sections that shows the highly developed painting skills of artist, Daniel White.

The surrounding glass framing the painted piece was carefully chosen to compliment the painting, while at the same time not distracting from it.

My First Wife

Next month, I will celebrate the beginning of my 48th year of working in art glass.

Fresh out of college with a degree in sociology, I knew that I wanted to be self-employed, have my own product, and be compensated in relation to the effort I put into my career. My philosophy was that one should work and make the money needed to live the life one desires, balanced with the freedom to enjoy life’s other pleasures. I also knew I would never be happy in a structured work environment, following someone else’s direction.

In June of 1972, I drove my 1962 VW bus to Whittemore-Durgin Stained Glass Supplies, in Rockland, Massachusetts to purchase some sheets of stained glass, foil, lead came and solder to begin my journey. I remember sleeping in my bus to save every penny I could to buy my first supplies. Those of you who know me, know I’m a rather “thrifty” fellow.

Literally starting on the kitchen table, I made hanging apples, pears, cherries and chickens that stood on one leg, selling them at craft fairs and gift shops by the dozens. I was one happy fellow, finally free of what everyone else wanted me to do and heading down my own self-directed path.

This is Sue, my first wife, showing off my creations. The most tolerant and supportive woman a fellow could ever hope for.

Behind the Bevels

Some of the magic we’ve discovered over the years, working glass over our 1915 beveling machinery.

Cutting 3/8″ and 1/2″ glass to a pattern, and free-handing them over large steel, stone, cork, and felt wheels that are rotating around 200 RPM, one is able to create various angles that bring character to the overall project.

We achieve the gold by using an old mirror we found that still had some of the tarnished silver. By carefully cutting and going through the beveling processes, we were able to preserve enough to give the pieces a special antique sparkle. Under the round bevel, we placed a piece of iridized glass to reflect light.

Over the years, we have discovered many little techniques such as this through our constant “thinking and doing, doing and thinking.” Thank you, Goethe.

Preparations for Projects

A lot of thought goes into the preparation of our art.
Communication with our client, often visiting the site, designing and design approval, creating patterns, color selection, and pulling together the materials are all necessary for a successful project.
We estimate that we are halfway through a project before we even cut the first piece of glass.

Design Evolution

These two drawings show the evolution of my traditional beveling designs to my contemporary style over the last 40 years.
When one views symmetrical windows, the mind remembers the design quickly and it soon becomes another object in the room. By beveling various angles and thicknesses of glass, blown glass from Germany in the background, in an asymmetrical arrangement, I was able to create windows that would challenge one’s mind by breaking the spell of consistency.

Beveled Sidelight

A couple of sidelights we beveled on our 1915 machinery. By holding the glass over rotating iron, stone, cork, and felt, one achieves many small facets that give our bevel glass windows their sparkle.

Glass Kew Roses

Close-up photographs of our recently completed The Four Seasons of The Kew Rose

Flameworked Kew Rose Windows

We were commissioned to express the 4 different seasons of the kew rose in two different transom windows.

Cain Lampshade

I created this lamp in 1982 for a couple in Richmond, Virginia. We picked up the carving design from an oriental rug that was below it, beveled the glass on our 1915 machinery, and assembled with zinc came.

Beveled Glass Design

This is a drawing I did around 30 years ago. I was getting bored with doing traditional bevel glass designs and wanted to expand my ideas into a more creative and contemporary style.

The Craftsmen’s Signatures

One of the reasons I enjoy my work so much is that I like the people I work with. It gives me great pleasure to see their signatures alongside mine.

Kew Rose Comparison

Here we overlaid the branch of a kew rose onto our glass interpretation for one of our current stained glass window projects.
Please visit our Instagram and website to see the many projects we’ve created over the past 46 years.

Stained Glass Craftsmen

In our studio, we strive to maintain a very upbeat attitude towards our work. It is important that we share ideas in a positive way. Negativity dulls our senses and stifles our creativity.

Flameworked Kew Roses

The beginning of our current project, the 4 seasons of the kew rose.

Colored Bevels

Around 1990, I started experimenting with beveling 1/4″ colored glass on our 1915 machinery. In some openings, it created a very subtle jewel-like quality for the architecture.

Working with My Children

During the summer of 2003, our 5 children and I created this window for their school, Tandem Friends School, Charlottesville, VA.
We wanted to express the energy and excitement this wonderful environment provided for it’s students.
Over the years they have often commented on the value and influence they received while there.

Career Day

Me, showing off at Career Day.
April 2013.

Solder Sculpted & Beveled Sidelights

A couple of sidelights I created, around 20 years ago, for a couple who owns a vineyard in Whitehall, VA.
I wanted to create the illusion of ice on the early morning vine. To achieve this, I beveled short, steep bevels around some of the design.
By sculpturing the vine with solder, I was able to compete a realistic winter scene.

Wayne Cain & John Williams

When I moved from Richmond to Bremo Bluff, 36 years ago, my first helper was John Williams, who was 17 at the time.
I suppose by the duct tape on our aprons and the smiles on our faces, you can tell we were two happy fellows.
John had many other occupations over the years, as well as serving in the navy. He is now back working with us with a new apron and a bigger smile.

Contemporary Beveled Door

I created this window for a couple in Richmond, VA around 30 years ago.
They contacted me about a week later saying they ordered a pizza last night and when they opened the door, the pizza delivery fellow said, “Oh, you have a Wayne Cain window!” I consider this one of my greatest compliments.

Flameworked Wisteria

Our recently completed Wisteria window, for a home in Chicago. Each petal and leaf was created individually to create an original window, never to be reproduced.

Working with Fire

Working a strip of stained glass over a flame has advanced our goal of emulating the translucency of nature into our work.

Asymmetrical Design

I created this drawing 30 years ago when I was going through my rebellious period concerning symmetry. Of course, it went over like a lead balloon, so I thought I would revive it in my “mature years” to see how it’s received.

Painted Holy Bible

I’m always amazed by the effort that goes into our symbols. The contour of the pages, the positioning of the text, and the look of age takes considerable study. By waxing the glass to a clear background glass, we are able to study the effects of natural light before assembly. Painting by Daniel White.

2007 Wood Badge

For the past 15 years or so, we have been honored to make the annual stained glass award for the T. Brady Saunders branch of the Boy Scouts of America.

Applying Patina

This photo requires close inspection. Here we are sculpturing tree branches on copper wire so they intertwine with the zinc structure of the window, and then applying patina for a lifelike effect.

Living with our Work

We always enjoy living with our work before installation.

Flameworked Dogwood

We are so pleased with how our flameworking continues to improve.

Painted Dove

Sometimes the background and symbols just seem to work together so beautifully. Painting by Daniel White.

Contemporary Bevel Sculpture

Look closely for the clear glass sculpture that we incorporated into this stained glass window. A nice balance of subtlety and drama with the background blown glass from Germany.

Stained Glass Restoration

We learn so much from the restoration of historic windows. This is one of our favorites.

Flameworked Close-Up

This is one of our favorite selections from our flameworking, highlighting the translucency of nature.

Stained Glass Design

This is a design that evolved while I was playing around on the drawing table one day. My hunch is, I was influenced by the vines that grow up the VDOT signs this time of year.

Art Glass Holy Cross

By moving around the sanctuary, the lights reflecting off of the colored mirror created an interesting focal point in the sanctuary.
We worked in collaboration with the wonderful people at St. John’s Lutheran Church in Emporia, VA to create this beautiful visual addition to their church.

Last Light of the Day

This was one of the most pleasant surprises we’ve had in a while. Our newly installed window capturing the final light of the day.

Stained Glass Craftsmen

Went to Richmond yesterday and had our studio portrait made by @tintype_rva. If you ever want to be in the presence of a true artist and walk away with a piece of art, you may want to visit Emily.

Flameworking Station

No excuses, it’s up to the artist now!

Stained Glass Design

This is a design that kinda got away from me on the drawing table. It reminds me of a window from a deserted building.

Wayne Cain’s Finishing Touches

Wayne checks and re-checks details all along the way.

Silver Stain

By using silver stain, we transformed the background glass from simple clear glass to gold. This transformed this private chapel into a warm glow. Painting by Daniel White.

Daniel White

My stepson, Daniel White, is the painter on all of our projects.

Billy Ireland Museum

A painted section from our Bily Ireland Museum project. Painting by Daniel White.


A restoration we completed several years ago at the historic Hotel Richmond. The skylights spanned over 12 feet wide and were hidden under over a hundred years of filth.

Living with Color

One of the best parts of our job is living with beautiful colors.

Norman Rockwell


This is not Norman Rockwell.

Shop Tools

Starting a new series of projects so someone did a clean sweep of the shop and put all the tools back. When I walked by, seeing this, it startled me to the point I had to take a picture.

St. Thomas Aquinas Priory Window

A window we created for St. Thomas Aquinas Chapel in Charlottesville, VA. Painting by Sean Flaherty.

Color Selection

We take color selection very seriously for each project that we undertake.

Stained Glass Restoration

A window from one of our restoration projects. This required touch up painting that was performed by Daniel White.

Grace and Glory Lutheran Church

The altar window at Grace and Glory Lutheran Church in Palmyra, VA.

Painted Monarch

A detail from one of our windows at Grace and Glory Lutheran in Palmyra, VA. Painting by Daniel White.

Working by the Woodstove

Working by the wood stove on a cold rainy morning.

Chapel Window

One of our restoration projects completed several years ago.

Jacuzzi Window

A window we created to go over a jacuzzi.

Moon Cycles

A window we created for the foyer of a new home.

Painted Vines

A section from one of our painted windows.


Concentration and focusing play a large role in our work.

North Facing Window

Our north-facing window that we use to study the glass for one of our current projects.

Embellishing with Chickadees

Embellishing one of our windows with chickadees.
Painting by Daniel White.

Solder Sculpted Winter Tree

This window was made using Uroboros 65-95. By pulling from different areas of several sheets, we were able to get the variation we wanted to create this window.

Flameworked Wisteria Close-Up

A section from one of our flameworking projects.

Current Restoration Project

One of our current restoration projects.

Hand Painted Carriage Medallion

A medallion for some windows we created for a carriage museum, painted by Daniel White.

Beveled Glass Window

A beveled glass window I made over 25 years ago, using our 1915 Henry Lang machinery.

Flameworked Gift


A flameworking study that I gifted to my wife.

Dogwood Close-Up

An example of our flameworking.

Delivering Our Window


Delivering our window to the Unitarian Universalist Church of Arlington in Arlington, Virginia.

White Lilies Flameworked Stained Glass

This window is a combination of many of the techniques we have developed over the years. It is a reflection of the sharing of ideas and processes that are a part of our everyday life in our studio.

The Shop

One corner of our shop. (If you can’t find it, you can’t use it)

Contemporary Window

The finished window.

Assembling Windows

Beginning to assemble one of our contemporary windows.

Drawing Stained Glass


Drawing Stained Glass - ©Cain INC

We’ve been finalizing designs for a few different projects currently in the shop, and are excited to have the chance to explore and express our art.

Beveled Glass Door

The other day I did some minor repairs to a door Geraldine Powers and I created 35 years ago. We were partners back then. Jerry did the designing and I was the craftsman.

Stained Glass Window in Lake Monticello


A recent piece we crafted for a private residence.

Amelia Presbyterian Church Stained Glass Windows

This photograph shows a third of the windows in this sanctuary. By using a hand blown translucent glass from West Germany, we were able to blend the trees and bushes on the exterior into our concept. The striations in the glass give movement to the windows as one walks through the sanctuary. This was my first complete church project, over 30 years ago.

Painted Stained Glass Vine

This wonderful window was commissioned for a historic home in Crewe Virginia, to complement the finished renovations. Coming forth from a hill, the briar vine weaves up and through the geometric window, giving this piece a light, airy feel. Painted on completely transparent German mouth-blown glass, this window allows the room to remain light while creating a jewel in this home.

Autumn Stained Glass Tree


A solder sculpted and flameworked Autumn tree stained glass window we created for a home in Boston, MA.

Flameworked Stained Glass – Dogwood Tree

This wonderful window is a lovely example of how glass is uniquely able to capture the movement and beauty of nature. The dogwood blossoms and leaves against the interweaving sculpted solder branches bring this piece to life. The flameworked blossoms and leaves free us from traditional lead lines, allowing us to explore the playfulness and spontaneity of a natural tree.

Beveled Glass Entry
Richmond, VA

I created the beveled glass door on the left for a gentleman who was starting his own real estate investment company 30 years ago. He has recently moved into a much larger office with a larger door. One of our projects this month was to modify the original glass with our 1915 Henry Lang beveling equipment and install it in the new opening.
The office staff had become quite fond of their entry door. Many consider it their signature piece.

Lampworked Lamp
Barboursville, VA

One of my first lampworking projects, a panel for a pool table lamp depicting the fall leaves of a Dogwood tree.

Objet D’Art
Richmond, VA

I created this wall hanging around 1985, back when I was using a simple point-and-shoot camera.
I made the structure out of bronze, cut various stones for the inserts, and silvered and solder sculptured the tree area.
This was a rare attempt for me to create something different for a hallway, where I only had reflective light to work with.

Contemporary Seasons
Troy, VA

It’s rare that we get a project where we’re only working with reflective light. This is only the 3rd one that I can remember over the last 47 years.

If you look closely, you can see the little tiles and marbles we used to give this window a playful look.

Tudor Home Window
Richmond, VA

This was a series of 4 windows I created for a home in Richmond, Virginia somewhere around 30 years ago. My intention was to pick up on the design elements in the Tudor home.

This gave me an opportunity to use our 3/8″ thick glass to compliment the heavy interior wood molding and glue chipped glass, for privacy.