Mandala Stained Glass Lamp Repair

This gorgeous lamp reminded me of a mandala, a balanced symbol or design that represents the cosmos.  After years of use, the cap disconnected from the dome, taking several piece of glass with it.  Here's how I went about the repair ..

Here's the top of the lamp showing the damage.

When repairing a lamp, its always better to keep the pieces which broke off.  Here are several .. I had to cut only one new piece.

After I cleaned off all the old solder and foil and foil residue from the loose pieces, I added new copper foil as shown here.

Tugging off some of the old solder and foil.  In order to build on existing pieces, the foil and solder always have to be refreshed.

When it can't readily be removed, I melt it off with a hot soldering iron as shown.

Here I'm using one of the original pieces as a template to trace a new one which was missing.  I had some glass in inventory which was a close match in color and in luminosity.

Then I ground the edges ..

 .. And applied new copper foil.  Here I'm burnishing it onto the glass using a "fid" or flat flexible plastic wand.

A view of the top as pieces are being replaced.

 

I'm preparing for the soldering of the pieces by adding new copper foil around the upper edge of the opening as shown.

A view from the inside of the dome showing all of the glass replaced.  There are a few pieces which extend into the circle.  I nipped them off with "groziers", one of my tools.

 

 Several of the pieces were still in place but they were a little bit loose.  Rather than take a chance, I removed, cleaned off, and replaced those as well.  My goal is always to do a strong repair.

After I added in all the pieces for the perimeter of the opening, I soldered on a single piece of wire which went completely around it.  This is to reinforce the pieces and support the weight of the dome.

 This lamp has an unusual feature .. Two caps!  One goes on the bottom of the glass, the other on the top.

Since the bottom cap is the one that bears all the weight of the lamp, I concentrated on strengthening it.  Here I'm using a brass brush to clean off the oxidation around the lip.

Then I melted on a thick bead of solder around the lip as shown.  Also shown are short lengths of flat, braided reinforcement wire.  I'm in the process of "tinning" them.  This means I coated them with liquid "flux" and then added a thin layer of solder, which, when melted, will adhere to the lip of the cap.

And here's the cap with the reinforcement wire spaced around the perimeter.  I've added several since these will help support the weight of the dome, along with the wire already in place on the inside.

View from inside the dome.  Note the "legs" of reinforcement wire which stretch into the dome.  These are very strong and supportive.

After I thoroughly reinforced and strengthened the underneath of the cap, I did the same to the top as shown.  I added strong beads of solder around the edge.  These beads connect the cap with the glass.  This solder will not be visible when the upper cap is in place.

Here I'm applying "patina" to the solder.  This is a chemical which turns the solder black.  After that sets, I clean it off and then wax it.  Since this lamp has two caps, I will not be physically attaching the top cap.  It will be clamped to the bottom cap by the screws and finial.

Here's the lamp, strongly repaired and ready for many more years of enjoyment!

Thank you Maomi, Gregory and Kristin for traveling all the way from Queens, NY with your beautiful lamp.  It was a pleasure repairing it for you!

For more information on my other projects, please click here to visit my website.

If you're on FaceBook, please click here to "like" my BoehmStained Glass Studio page to keep up with all the latest projects.  Thank you!

Pair of Free Form, Half Moon Stained Glass Windows

This project enabled me to interpret another artist's design and complete the look of the windows in a large, Southwestern style living room.

Here's the right side of the fireplace which shows two stained glass windows up top.  The half moon has tape across it because the inner layer of glass cracked, perhaps by a cleaning person.  My mission was to create two half moon windows which mimic the design of the other windows.  Identical windows are located on the left side of the fireplace as well.

A closer look at the window on the left ..

And its counterpart on the right ..

 Below are my computer renditions of the two windows.  The background glass is clear Artique.

After the designs were approved by my customer, I bgan the pattern making process.  Here are the three layers.  The top layer is the "cartoon" or computer-generated paper pattern.  The middle layer is carbon paper.  And the bottom layer is Manila folders.

I carefully trace all of the lines and numbers onto the folders below.  Then I write in the type of glass needed. I then sort each pattern piece by glass, in recycled junk mail envelopes.

Here are the stained glass cutting shears.  They are double-bladed and cut a thin strip between each pattern.  This allows room for the copper foil which I will add later.

I'm tracing the pattern pieces on the clear Artique glass using a black Sharpie.  I'm writing on the smooth, non-textured side of the glass.  I want the textured side to face out, therefore, I'm laying the pattern pieces upside down.

Coating the markings with lip balm to prevent the wet saw from washing them off.

I start the cutting process by using my ring saw which coats the blade (and the glass) with a fine spray of water.  This keeps the blade from over-heating.  Here I'm using a larger sheet of glass with several pieces which I'm carefully and slowly separating with the saw.

After the larger pieces are cut, I do the finer cuts by hand with an oil-filled, pistol grip glass cutter, shown.

 

Here I'm using a pair of groziers to nip out a crescent of glass which I cut with the glass cutter.

Now all of the glass is cut for one of the two half moons.  Notice the "fence" or metal band across the bottom and the line of push pins around the curve.  These are to hold the glass in position as I add them to the "cartoon".

Here's another tool called "breaking pliers" which I use to separate glass which has been "scored" with the oil-filled pistol grip glass cutter (purple tool).

After I cut a bunch of pieces, I bring them to the electric grinder for finishing.  This makes them safe to handle and permits the copper foil to adhere properly.

Lots of small slivers cut for the windows.

Now all of the clear Artique is cut for the background, as well as the pops of color.

Next, I apply 7/32" adhesive copper foil to the center of the edges of each piece of glass. Then I "burnish" the foil using a "fid", which is a flat, plastic, flexible wand.

Now both windows have been foiled.

Next, I use an electric Dremel tool to etch my name, month, and year into the bottom of  each window.  (I use the Dremel upside down .. Its more comfortable for my small hands).

My signature .. Barely visible unless the light hits it just right.

Here I'm applying liquid "flux" which serves as a catalyst to enable the molten solder to flow evenly over the foil.

Action shot, soldering.  I wear this protective mask to protect my lungs from harmful lead fumes.

Now the windows are "tack soldered".  This means I've added small dots of solder evenly throughout each window, just enough to attach all the the glass together.

Now I've released the metal band at the bottom as well as all the push pins.  I'm sliding the "cartoon" out from under the window.  This will protect the paper from the chemicals which follow.

Now my husband Eric steps in to custom cut the frame for the bottom of each window.

Then I use a flexible brass channel and snap it around the entire perimeter of the curve.

After the frames have been soldered on, I apply "flux" to the backs of each window and solder them as well.

Here's a look at the "decorative solder" which my customer requested.  It matches the existing windows.

After I clean off all the flux and residue from the soldering process, I apply "black patina" which is a chemical that turns the silver solder to black.  After this sets for a while, I wash the entire window again. After the windows are dry, I apply "stained glass finishing compound" which is a light wax.  This shines the patina and protects the windows from dust.  It also makes the glass shine.

Close up view of one of the windows.

One of the windows, completed and ready for installation ..

And here's the other one ..

The decorative solder after being patina-ed.

The Andersen window on the right presented a challenge .. The inner layer of glass cracked but it took Eric some time to carefully extract the pieces while being careful not to damage the outer window.  It was worth the time .. All of the glass came out cleanly.

And here are the windows after installation .. (Special thanks to Derek for the photos, taken the next day).

And here's the other window, in the morning sunlight.

And here's a view of this beautiful room, now with coordinating stained glass windows.
Thank you very much, Marci, Harvey and Derek, for your hospitality and for inviting us to create these windows!  We hope you enjoy them for many years to come.

For more information on my other projects, please click here to visit my website.

If you're on FaceBook, please click here to "like" my BoehmStained Glass Studio page to keep up with all the latest projects.  Thank you!