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Second Reformed Church, NJ

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  • The Second Reformed Church, Hackensack, New Jersey <br><br> According to <a href="http://www.secondreformed.org/571348">the church website</a> The Second Reformed Church was organized in October 1855 with the first service in November 1855. Their first church building was erected in 1856 but was destroyed by fire in 1907. The cornerstone of the present church was laid in 1908. It is constructed of fieldstone taken from the stone walls of nearby farms. The education and administration wing was built in 1964-65 and is also constructed of fieldstone. The church features wonderful Louis Comfort Tiffany stained glass windows. The large angel window seen here, The Angels of Praise, was exhibited at the 1893 International Exhibition in Chicago. The church also features a 38 rank Austin pipe organ, installed in 1978. <br><br> The church is located at Union Street between Anderson and Ward Streets and is easily accessible by bus from New York City (#165 New Jersey Transit bus from Port Authority).
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  • The Second Reformed Church Goodness and Mercy Angels Window <br><br> From <a href="http://www.secondreformed.org/stainedglass">the church website:</a> <br><br> "Surely goodness and mercy shall follow me all the days of my life and I will dwell in the house of the Lord forever." Psalm 23:6 <br><br> “Tiffany incorporated the metal strips into the design as outlines... instead of using the cames, or frames, at regular intervals, as glass makers had done for centuries. Seen here, the lead cames follow the gradual lines of the angel's flowing robes and the clouds.” <br><br> Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. <br><br> He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. <br><br> From <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.” <br><br> “Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.” <br><br> At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902. <br><br> Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack. <br><br> After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window. The installation of these windows was competed before the dedication ceremony in 1909. <br><br> From the church website: <br><br> “The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church Goodness and Mercy Angels Window <br><br> From <a href="http://www.secondreformed.org/stainedglass">the church website:</a> <br><br> "Surely goodness and mercy shall follow me all the days of my life and I will dwell in the house of the Lord forever." Psalm 23:6 <br><br> “Tiffany incorporated the metal strips into the design as outlines... instead of using the cames, or frames, at regular intervals, as glass makers had done for centuries. Seen here, the lead cames follow the gradual lines of the angel's flowing robes and the clouds.” <br><br> Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. <br><br> He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. <br><br> From <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.” <br><br> “Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.” <br><br> At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902. <br><br> Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack. <br><br> After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window. The installation of these windows was competed before the dedication ceremony in 1909. <br><br> From the church website: <br><br> “The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church Goodness and Mercy Angels Window <br><br> From <a href="http://www.secondreformed.org/stainedglass">the church website:</a> <br><br> "Surely goodness and mercy shall follow me all the days of my life and I will dwell in the house of the Lord forever." Psalm 23:6 <br><br> “Tiffany incorporated the metal strips into the design as outlines... instead of using the cames, or frames, at regular intervals, as glass makers had done for centuries. Seen here, the lead cames follow the gradual lines of the angel's flowing robes and the clouds.” <br><br> Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. <br><br> He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. <br><br> From <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.” <br><br> “Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.” <br><br> At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902. <br><br> Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack. <br><br> After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window. The installation of these windows was competed before the dedication ceremony in 1909. <br><br> From the church website: <br><br> “The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church Goodness and Mercy Angels Window <br><br> From <a href="http://www.secondreformed.org/stainedglass">the church website:</a> <br><br> "Surely goodness and mercy shall follow me all the days of my life and I will dwell in the house of the Lord forever." Psalm 23:6 <br><br> “Tiffany incorporated the metal strips into the design as outlines... instead of using the cames, or frames, at regular intervals, as glass makers had done for centuries. Seen here, the lead cames follow the gradual lines of the angel's flowing robes and the clouds.” <br><br> Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. <br><br> He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. <br><br> From <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.” <br><br> “Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.” <br><br> At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902. Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack. <br><br> After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window. The installation of these windows was competed before the dedication ceremony in 1909. <br><br> From the church website: <br><br> “The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church The Angels of Praise Window <br><br> From <a href="http://www.secondreformed.org/stainedglass">the church website:</a> <br><br> “This window is truly magnificent! It is our largest window. It was installed as the church was being built and was so listed in the dedication services booklet of September 19, 1909. Tiffany has created a feeling of upward flight. The colors graduate from deep blues at the bottom through lighter shades of color toward the top. Vertical lines are predominant. This window is also referred to as "The Four Elements".” <br><br> This window was exhibited at the 1893 International Exhibition in Chicago. <br><br> Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. <br><br> He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. <br><br> From <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.” <br><br> “Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.” <br><br> At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902. <br><br> Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack. <br><br> After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window. The installation of these windows was competed before the dedication ceremony in 1909. <br><br> From the church website: <br><br> “The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church Christ, Christ, Knocking at the Door Window <br><br> From <a href="http://www.secondreformed.org/stainedglass">the church website:</a> <br><br> “Our hearts need to be opened to let Jesus enter. The lantern Jesus carries is symbolic of His being the Light of the World. This lantern radiates its light on the darkest day! <br><br> This was a very popular theme of the period and Tiffany Studios installed many windows similar to this one. The studios utilized this basic design concept and customized it for other churches. A variation was the addition of a crown to Jesus' head. Colors would have been coordinated to harmonize with the surroundings in each location.” <br><br> Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. <br><br> He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. <br><br> From <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.” <br><br> “Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.” <br><br> At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902. <br><br> Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack. <br><br> After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window. The installation of these windows was competed before the dedication ceremony in 1909. <br><br> From the church website: <br><br> “The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church Christ, Christ, Knocking at the Door Window From <a href="http://www.secondreformed.org/stainedglass">the church website:</a> “Our hearts need to be opened to let Jesus enter. The lantern Jesus carries is symbolic of His being the Light of the World. This lantern radiates its light on the darkest day! This was a very popular theme of the period and Tiffany Studios installed many windows similar to this one. The studios utilized this basic design concept and customized it for other churches. A variation was the addition of a crown to Jesus' head. Colors would have been coordinated to harmonize with the surroundings in each location.” <br><br> Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. <br><br> He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. <br><br> From <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.” <br><br> “Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.” <br><br> At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902. <br><br> Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack. <br><br> After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window. The installation of these windows was competed before the dedication ceremony in 1909. <br><br> From the church website: <br><br> “The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church Christ, Christ, Knocking at the Door Window <br><br> From <a href="http://www.secondreformed.org/stainedglass">the church website:</a> <br><br> “Our hearts need to be opened to let Jesus enter. The lantern Jesus carries is symbolic of His being the Light of the World. This lantern radiates its light on the darkest day! <br><br> This was a very popular theme of the period and Tiffany Studios installed many windows similar to this one. The studios utilized this basic design concept and customized it for other churches. A variation was the addition of a crown to Jesus' head. Colors would have been coordinated to harmonize with the surroundings in each location.” <br><br> Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. <br><br> He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. <br><br> From <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.” <br><br> “Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.” <br><br> At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902. <br><br> Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack. <br><br> After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window. The installation of these windows was competed before the dedication ceremony in 1909. <br><br> From the church website: <br><br> “The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church Christ, The Three Marys at the Tomb Window <br><br> From <a href="http://www.secondreformed.org/stainedglass">the church website:</a> <br><br> “Observe how the angel radiates light that illuminates the scene. The artist captures effect of the light on the hair of the women. Artists strive to achieve this look on canvas with a brush and a variety of paints. Here there has been no application of paint. The streaks of color within the glass give the appearance of strands of hair. This utilization of Tiffany glass is particularly beautiful on the kneeling women. Note the plated glass effects. Plating is a method of building layers to modulate the light coming through to achieve special effects and colors. A large piece of glass was layered over the top of leaded pieces that make up part of the rocks. Used here, the plating helps to diminish the importance of the rocks in the design. The viewer instead focuses on the figures. A metal bar was designed to conform to the head of the angel, thus providing the necessary structural support and enhancing the overall design. Imagine how a straight support bar crossing the angel's head would have interfered with the beauty of this work.” <br><br> Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. <br><br> He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. <br><br> From <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.” <br><br> “Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.” <br><br> At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902. <br><br> Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack. <br><br> After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window. The installation of these windows was competed before the dedication ceremony in 1909. <br><br> From the church website: <br><br> “The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church Christ, The Annunciation Window <br><br> From <a href=" http://www.secondreformed.org/stainedglass">the church website</a> <br><br> “Notice how all the lines radiate from the Angel. This Angel has appeared to tell Mary that she is with Child. Look at the beautiful classical drapery of the Angel's robes. The glass is full of color in the folds. Lead lines follow the contours. There are lilies surrounding Mary. Note how the Angel's glowing form sheds light over Mary and illuminates her upper body.” <br><br> Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. <br><br> He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. <br><br> From <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.” <br><br> “Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.” <br><br> At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902. <br><br> Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack. <br><br> After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window. The installation of these windows was competed before the dedication ceremony in 1909. <br><br> From the church website: <br><br> “The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church Rose Window <br><br> From <a href="http://www.secondreformed.org/stainedglass">the church website</a> <br><br> “When our current building was built, Tiffany was commissioned to create this beautiful window which is very interactive during morning worship. Sometimes the deep olive green predominates. Some days a beautiful blue is seen at the outer edge. Other days when the sunlight strikes it directly, it is golden and so radiant that the star in the center is not able to be seen. <br><br> The Metropolitan Museum of Art noted at the time of the installation in 1909, "...under the personal supervision of Mr. Louis C. Tiffany, has been placed in the Church-'a magnificent Rose Window containing a jeweled cross, extending through many openings in the circle with an illuminated background representing the sky'"." <br><br> Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. <br><br> He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. <br><br> From <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.” <br><br> “Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.” <br><br> At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902. <br><br> Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack. <br><br> After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window. The installation of these windows was competed before the dedication ceremony in 1909. <br><br> From the church website: <br><br> “The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church Rose Window <br><br> From <a href="http://www.secondreformed.org/stainedglass">the church website</a> <br><br> “When our current building was built, Tiffany was commissioned to create this beautiful window which is very interactive during morning worship. Sometimes the deep olive green predominates. Some days a beautiful blue is seen at the outer edge. Other days when the sunlight strikes it directly, it is golden and so radiant that the star in the center is not able to be seen. <br><br> The Metropolitan Museum of Art noted at the time of the installation in 1909, "...under the personal supervision of Mr. Louis C. Tiffany, has been placed in the Church-'a magnificent Rose Window containing a jeweled cross, extending through many openings in the circle with an illuminated background representing the sky'"." <br><br> Below the window is the 38 rank Austin pipe organ, installed in 1978. <br><br> Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. <br><br> He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. <br><br> From <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.” <br><br> “Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.” <br><br> At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902. <br><br> Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack. <br><br> After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window. The installation of these windows was competed before the dedication ceremony in 1909. <br><br> From the church website: <br><br> “The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church Rose Window <br><br> From <a href="http://www.secondreformed.org/stainedglass">the church website</a> <br><br> “When our current building was built, Tiffany was commissioned to create this beautiful window which is very interactive during morning worship. Sometimes the deep olive green predominates. Some days a beautiful blue is seen at the outer edge. Other days when the sunlight strikes it directly, it is golden and so radiant that the star in the center is not able to be seen. <br><br> The Metropolitan Museum of Art noted at the time of the installation in 1909, "...under the personal supervision of Mr. Louis C. Tiffany, has been placed in the Church-'a magnificent Rose Window containing a jeweled cross, extending through many openings in the circle with an illuminated background representing the sky'"." <br><br> Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. <br><br> He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. <br><br> From <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.” <br><br> “Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.” <br><br> At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902. <br><br> Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack. <br><br> After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window. The installation of these windows was competed before the dedication ceremony in 1909. <br><br> From the church website: <br><br> “The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church Christ's Farewell Interview with His Disciples Window <br><br> This window is John Gordon Guthrie (1874–1961), a Scottish immigrant, known professionally as "J. Gordon Guthrie". Guthrie had first designed windows for Tiffany Studios. He left Tiffany in 1906 and worked for Duffner & Kimberly until 1914. The New York City company produced leaded glass and bronze lamps at approximately the same time as Louis Comfort Tiffany. He then worked with Henry Wynd Young (1874–1923) until Young's death in 1923, when Guthrie took over the management of Young's studio. Guthrie began his own firm in 1925, and was active as a stained glass designer until his death on June 23, 1961, according to <a href="http://en.wikipedia.org/wiki/Duffner_and_Kimberly ">Wikipedia.</a> <br><br> From <a href="http://www.secondreformed.org/stainedglass">the church website:</a> <br><br> The window “…is easily distinguished from the Tiffany windows by the gold borders. But, there are many similarities, as well (perhaps due to Guthrie's experiences at the Tiffany Studios). Notice the drapery glass, the limited use of enamel painting and the plated (layered) areas. “
  • The Second Reformed Church Christ's Farewell Interview with His Disciples Window This window is John Gordon Guthrie (1874–1961), a Scottish immigrant, known professionally as "J. Gordon Guthrie". Guthrie had first designed windows for Tiffany Studios. He left Tiffany in 1906 and worked for Duffner & Kimberly until 1914. The New York City company produced leaded glass and bronze lamps at approximately the same time as Louis Comfort Tiffany. He then worked with Henry Wynd Young (1874–1923) until Young's death in 1923, when Guthrie took over the management of Young's studio. Guthrie began his own firm in 1925, and was active as a stained glass designer until his death on June 23, 1961, according to <a href="http://en.wikipedia.org/wiki/Duffner_and_Kimberly">Wikipedia.</a> <br><br> From <a href="http://www.secondreformed.org/stainedglass">the church website:</a> <br><br> The window “…is easily distinguished from the Tiffany windows by the gold borders. But, there are many similarities, as well (perhaps due to Guthrie's experiences at the Tiffany Studios). Notice the drapery glass, the limited use of enamel painting and the plated (layered) areas. “
  • The Second Reformed Church Christ, Gethsemane Window by John Berrian 1953 <br><br> From <a href="http://www.secondreformed.org/stainedglass">the church website:</a> <br><br> “A news clipping from the dedication in 1953 stated: the window was "an interpretation of (the painting) Christ Praying in the Garden". Notice the moon and the stars in the Gethsemene window. They have no lead surrounding them! Lead lines in this location would not have given as pleasing an effect as this. The technique used to create the moon and stars is called acid etching of flashed glass.When flashed glass is fabricated, a thin layer of color is fused to the surface of another piece of colored or clear glass (in this case, blue and white). The piece of flashed glass is masked to protect the areas not to be etched (the blue sky). Hydrofluoric acid is applied to remove one of the layers of the flashed glass and reveal the remaining color (the white of the moon).”
  • The Second Reformed Church The Good Shepherd Window <br><br> From <a href="http://www.secondreformed.org/stainedglass">the church website:</a> <br><br> “Please look carefully at the grain in the wooden staff, the bark of the tree, the rich colors in the folds of the garments, as well as the thickness variations of the drapery glass. Remember every piece of glass was planned for and created to be used in that specific place in this particular window. There is no lead separating the sky and mountain. This helps the mountain recede into the distance.” <br><br> Louis Comfort Tiffany (1848-1933) was one of America’s most acclaimed artists and is most associated with the Art Nouveau and Aesthetic movements according to <a href="http://en.wikipedia.org/wiki/Louis_Comfort_Tiffany">Wikipedia.</a> He focused in the decorative arts and is best known for his work in stained glass. He was the son of Charles Lewis Tiffany (1812-1902), founder of Tiffany & Company. Lewis chose to pursue his own artistic interests rather than joining the family business. <br><br> He began his career as a painter and traveled extensively through Europe. In the late 1870s, Tiffany turned his attention to decorative arts and interiors. In 1881, he did the interior design of the Mark Twain House in Hartford Connecticut. His most notable work was in 1862 when President Chester Arthur refused to move into the White House until it had been resorted, according to Wikipedia. He commissioned Tiffany, who had begun to make a name for himself for interior design work, to redo the state rooms. Tiffany worked on the East Room, Blue Room, Red Room, the State Dining Room, and the Entrance Hall. <br><br> From <a href="http://www.metmuseum.org/toah/hd/tiff/hd_tiff.htm">The Metropolitan Museum website:</a> “By late 1892 or early 1893, Tiffany built a glasshouse in Corona, Queens, New York, and, with Arthur Nash, a skilled glassworker from Stourbridge, England, his furnaces developed a method whereby different colors were blended together in the molten state, achieving subtle effects of shading and texture. Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.” <br><br> “Of all of Tiffany's artistic endeavors, leaded-glass brought him the greatest recognition. Tiffany and his early rival, John La Farge, revolutionized the look of stained glass, which had remained essentially unchanged since medieval times when craftsmen utilized flat panes of white and colored glass with details painted with glass paints before firing and leading. Tiffany and La Farge experimented with new types of glass and achieved a more varied palette with richer hues and greater density. By 1881, each had patented an opalescent glass, a unique American phenomenon that featured a milky, opaque, and sometimes rainbow-hued appearance with the introduction of light. Internally colored with variegated shades of the same or different hues, Tiffany's Favrile glass enabled craftsmen to substitute random tonal gradations, lines, textures, and densities inherent in the material itself for pictorial details.” <br><br> At its peak, his factory employed over 300 artisans. He was appointed as art director at Tiffany & Company upon his father’s death in 1902. <br><br> Tiffany lived during the Gilded Age, a period of rapid church expansion; one source reports that there were 4,000 churches under contraction in the U.S. in the 1880s according to a recent <a href="http://www.nytimes.com/2013/01/01/arts/design/louis-c-tiffany-works-at-museum-of-biblical-art.html?ref=louiscomforttiffany">The New York Times article</a> on an exhibit of Tiffany’s ecclesiastical work. There was a great demand for artists that could create great and inspiring stained glass windows, mosaics, rederos, and altars. Many churches turned to Tiffany to create such beautiful works. His work in New York churches include Saint Michaels, Advent Lutheran, Saint Ignatius Loyola, Temple Emmanu-El, Church of the Incarnation, Holy Trinity Lutheran Church, Eldridge Street Synagogue; in New Jersey, numerous windows are in Second Reformed Church of Hackensack. <br><br> After fire destroyed their first church, The Second Reform Church in Hackensack, New Jersey contacted Tiffany requesting windows depicting events in the life of Christ and contracted Tiffany Studios for five windows, according to <a href="http://www.secondreformed.org/clientimages/42874/stainedglasswindows/stained%20glass%20window%20info.pdf">the church website.</a> The church also contracted Duffner & Kimberly Co. for one window. The installation of these windows was competed before the dedication ceremony in 1909. <br><br> From the church website: <br><br> “The New York Times (May 4, 1979) wrote: "Some of Tiffany's favorite windows are in the Second Reformed Church in Hackensack ,... Tiffany frequently visited there with clients in tow, using the visit to help them select appropriate design for their purposes." For each installation, the design was customized as the client requested and reworked to fit the window's opening size and shape requirements. Colors were coordinated to harmonize with the surroundings in each location.”
  • The Second Reformed Church <br /> <br /> I love the detailed hand carved oak pews found at old churches.
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