Judges at fair make light of ugly lamps

When Trina Gibson's cousin in Miami fractured her leg, Gibson got a bright idea for reusing the cast — making a lamp out of it and entering it in the Ugly Lamp Contest at the Kentucky State Fair.




That might seem an odd thought, but Gibson said it came naturally because she's a regular visitor to the annual contest. “I've seen some of those ugly lamps,” Gibson said with a laugh.

The lamp's shade is fashioned from her cousin's X-rays. Protruding from the cast is a rubber foot contributed by another relative in Texas.

When Gibson, of Louisville, came up with the idea, she didn't even know this year's contest would include a special competition for lamps with a leg theme — a tie-in to Actors Theatre of Louisville's upcoming production of “A Christmas Story.” In one subplot of the story, a man wins a lamp shaped like a woman's life-sized leg.

Gibson's lamp won third place overall, as selected by a panel of judges Saturday, and first place in the leg-lamp category. She was awarded two tickets to “A Christmas Story,” which will be presented Nov. 3-28.

More than 100 lamps were entered in the contest, now in its 13thth year, said Patty Schnatter of Lynn's Paradise Café, its sponsor. Many of the lamps will end up in the restaurant, whose décor now includes about 50 ugly lamps, she said.

In addition to leg lamps, the contest had two other categories — “born ugly” for lamps submitted as they are and “made ugly” for lamps created for the contest. The latter was won by a lamp including what seemed to be a stuffed squirrel beneath a green shade with insects pinned to it.

The overall winner, and first in the “born ugly” field, was a multifunction lamp that appeared to be made of light-green marble but was actually metal and plastic. Beneath its mushroom-shaped shade, it featured a clock, phone, pencil holder and music-playing carousel.

“So you could listen to music, talk on the phone and have light all at the same time,” said Jonathan Boome, one of the judges, explaining its appeal. Boome, an interior decorator from Jeffersonville, Ind., said the judges “tried to choose some that we would put in our own apartments.”

When Trina Gibson's cousin in Miami fractured her leg, Gibson got a bright idea for reusing the cast — making a lamp out of it and entering it in the Ugly Lamp Contest at the Kentucky State Fair.







That might seem an odd thought, but Gibson said it came naturally because she's a regular visitor to the annual contest. “I've seen some of those ugly lamps,” Gibson said with a laugh.

The lamp's shade is fashioned from her cousin's X-rays. Protruding from the cast is a rubber foot contributed by another relative in Texas.

When Gibson, of Louisville, came up with the idea, she didn't even know this year's contest would include a special competition for lamps with a leg theme — a tie-in to Actors Theatre of Louisville's upcoming production of “A Christmas Story.” In one subplot of the story, a man wins a lamp shaped like a woman's life-sized leg.

Gibson's lamp won third place overall, as selected by a panel of judges Saturday, and first place in the leg-lamp category. She was awarded two tickets to “A Christmas Story,” which will be presented Nov. 3-28.

More than 100 lamps were entered in the contest, now in its 13thth year, said Patty Schnatter of Lynn's Paradise Café, its sponsor. Many of the lamps will end up in the restaurant, whose décor now includes about 50 ugly lamps, she said.

In addition to leg lamps, the contest had two other categories — “born ugly” for lamps submitted as they are and “made ugly” for lamps created for the contest. The latter was won by a lamp including what seemed to be a stuffed squirrel beneath a green shade with insects pinned to it.

The overall winner, and first in the “born ugly” field, was a multifunction lamp that appeared to be made of light-green marble but was actually metal and plastic. Beneath its mushroom-shaped shade, it featured a clock, phone, pencil holder and music-playing carousel.

“So you could listen to music, talk on the phone and have light all at the same time,” said Jonathan Boome, one of the judges, explaining its appeal. Boome, an interior decorator from Jeffersonville, Ind., said the judges “tried to choose some that we would put in our own apartments.”

Church dedicates stained-glass windows to fomer pastors

Bethel Presbyterian Church dedicated two new stained-glass windows to two beloved former pastors during the church’s annual homecoming service Aug. 23. The windows were named in honor of the late Rev. Dr. James Sprunt and the Rev. Clifford “Kip” Caldwell for their long pastorates (11 and 23 years, respectively) from the late 1950s to the early 1990s.




The windows, two of five new windows recently installed, were the work of Dixon Studio of Staunton. The beautifully rendered glass was augmented by a new viewing area completed by David D. Turner, a carpenter/craftsman of Stuarts Draft, and by flooring provided by Wade’s Floor Covering and Interiors, also of Stuarts Draft. New brick and masonry work was completed by Elmer Miller.

After a worship service and inspiring sermon delivered by guest minister, the Rev. April Cranford, associate pastor at Tinkling Spring Presbyterian Church of Fishersville, a dedication service to the glory of God and to the honor of the ministries of the two former pastors was conducted outdoors near the new windows.

Melvina Busby, wife of the late Dr. Sprunt, and family, and the Rev. Caldwell and his family were present to receive the honors for their ministries. Representatives of Shenandoah Presbytery also attended.

A fellowship meal for the congregation followed the service.

Savoia's Auction Saturday, August 15, 2009 117 R Mclaren Road Ext South Cairo, NY 12482

MULTI ESTATE AUCTION Tiffany Studios items -leaded modeled green glass 14shade, nautilus lamp with base # D797, grapevine double frame #961, Stalagtyte glass hanging fixture #S625, base # 532 for 20 shade, Buddha bookends #1025, Candlestick #27369 with blown out glass, pair of Feud leis candlesticks # 1232, Pr of Art Deco enamel candlesticks # 368, grapevine planter # 833, grapevine thermometer , lamp base #533 for 16shade, reading glass pine needle pattern # 903, Venetian calendar frame # 1648, harp base # 27261, pine needle box # 800, pen tray modeled pattern # 113, zodiac pen tray #1000, grapevine blotter ends # 998, Tiffany Art glass including figural stamp, box lot of Tiffany parts and items, tiffany screws, etc Furniture & accessories Russian silver gilt & cloisonn enamel Koush, 74 oz Sterling Silver Tiffany & Co tray, Sterling Silver flatware inc Lunt poppy pattern approx 86.15 oz, Madam Jamul pattern approx 64.22 oz, West Moreland Co. approx 61.17 oz, King Albert approx 47.19, 19th C tall case clock, pair of Edward Axel Roffman chrome frame chairs, leaded stained glass shade on bronze Handel base, Pottery & Art Glass inc Moorcroft, Early dated Van Briggle, Wedgwood, Deldare, Russell Wright, Tiffany, Loetz, Kosta, Orrofor, Cartier drink set in original gift box, Silvercrest 5 pcs desk set, Art Modane desk lamp, wicker & bamboo 1 drawer stand, carved game table with 3 leaves, taxidermy inc elephant foot storage compartment, clocks, Eskimo art wall hanging, over dozen hummels, 30 1923-1960 Hardy Boys books, pedal car -fire truck, 4 hand colored engraved horse prints, framed plaque of Abe Lincoln in relief, Prints inc Metropolitan Museum large framed reproduction of Masters, World War I poster, Opening Night Woodstock Playhouse, Bali carvings, Bali Motto, pine hutch table, 1818 Sampler, Rosewood lap desk with brass trim, tortoise shell box, sterling bar set with stag handles, large silver & turquoise native American 3 pcs belt buckle, jewelry inc Movado watch, Pairpoint lamp base, Art Nouveau 3 branch hanging fixture, Bradley & Hubbard mirrored wall sconce, and much more.

We are looking at 2 more estates this week post auction deadlines

15% Buyers premium! Check, cash, Visa, M/C or Discover

There always items added after advertising deadline.

New york State Thruway to Exit 21 get off make the first right than the first left onto Route 23 W. Go to second traffic light make a left and follow the signs to the New York State Trooper.We are the big red and white building next to the troopers

New stained glass window at New Westminster church commemorates saint who pioneered World Mission Sunday

“Let there be light!” said Father David Hughes, and there is light, new light, in the vestibule of Holy Spirit Church in New Westminster.
It’s all thanks to the installation on June 4 of a striking stained glass window depicting Blessed Joseph Allamano of Italy.

Blessed Allamano, founder of the Consolata Missionaries, was named Pioneer of World Mission Sunday by Pope Paul VI. He was beatified by Pope John Paul II on Oct. 7, 1990.

At the age of 29 he was appointed rector of Turin’s biggest Marian shrine, which is dedicated to Our Lady of Consolata. He founded the Institute of Consolata Missionaries on Jan. 29, 1901, and the following year sent four missionaries: two priests and two brothers, to Kenya.

In 1910 he established the congregation of Consolata Sisters. Today over 3,500 Consolata priests, brothers, sisters, and volunteers serve in 25 countries.

The new Holy Spirit window, designed and painted by Vancouver glass artists John and Laura Gilroy of Gilroy Stained Glass, shows Blessed Allamano standing beside a lady holding a child, representing the African Missions.

Behind her is a man in Argentinian national dress, representing the South American continent. A little boy kneeling on the left stands for the North American continent and a young girl to the right with outstretched hands evokes the people of Asia.

Behind the left shoulder of Blessed Allamano is a representation of the icon of Our Lady of Consolata traditionally considered to be a relic of the Blessed Mother and Child which pious tradition attributes to St. Luke. The relic, buried in a chapel for centuries, was re-discovered in the 12th century in pristine shape, and is credited with restoring a blind man’s sight.

Blessed Allamano is the patron of the Knights of Columbus Council of Holy Spirit Parish. The council was founded on June 29, 1994, said Father Hughes.

“Choosing him as the subject for our new window was appropriate,” the pastor added. “We also have many of the ethnic groups in the window represented in our parish. One of our parishioners actually knew Blessed Allamano; another was with the Consolata Missionaries in Africa. We have people from South America, Africa, and Asia, where the Consolata missionaries serve.”

The faces of the figures, Father Hughes added, are exceptional.

“The Gilroys did a masterful job on the expressions which, unlike what is seen in some stained glass, are very lifelike. The work is superb and we are thrilled.”

Millville's arts district finally lives up to name

Millville's downtown was named the Glasstown Arts District to celebrate the city's rich glassmaking history.

Aside from a few shows and the occasional piece on display, however, glass as an art form has been relatively absent from the district.

Today, two galleries specializing in glass art will open, giving the arts district permanent showcases for several glass media.

Tucked away in the Village on High, Diane Brunetta showed off the evolution of 15 years of experience in stained glass art hanging on her wall. Although her work often incorporates designs of traditional stained glass, she said she would categorize herself, if she has to, as a modern stained-glass artist.

A piece on the wall at the Cedar Creek Stained Glass Gallery - one, like all the others, that she conceptualized and mapped out in a laborious process - incorporates positive and negative space to create a sort of three-dimensional effect.

Another piece, a cascade of geometry, is an abstract building, another looks like a landscape. Still other pieces incorporate the uniform symmetry that is common among traditional stained glass art.

Brunetta was content with working out of her home studio but at the urging of friends decided to open a small gallery to showcase her art.

"I enjoy doing it. I'm putting it out there, and I think people do want to see it," she said. "I'm dead beat but excited. I've gotten really good feedback, and there's been a lot of positive energy."

She also is excited that her location is opening alongside another High Street glass gallery.

The thing about glass art, Brunetta said, is the variety: There is stained glass, blown glass, kiln glass, glass jewelry, glass marbles and countless other glass forms that artists create.

Just a few blocks down the street, friends of Scott Meyer worked on the cosmetic features of his new gallery and glass workshop. The space is called Glasstown Art Glass and will feature Meyer's work as well as well as the work of other artists.

The gallery will be open to guests today during Third Friday but will not celebrate its grand opening until September. The space includes a workshop with everything Meyer needs to create glass art, including a furnace that reaches 2,400 degrees and can hold as much as 200 pounds of molten glass.

Meyer's brother, Mike Meyer, has been helping him get ready for the opening. He was surprised to find that glass art has not been more prevalent downtown.

"This is the first time there's actually going to be a glassmaker downtown in the Glasstown Arts District," he said.

Wheaton Arts, a popular tourist destination, produces glass art. Some of its artists have become world-renown for their work, which has included glass paper weights, ornaments, vases and other decorative items. Wheaton Arts, however, is far removed from the downtown.

Brunetta said the addition of two glass galleries downtown will add to the area's appeal. She said people are drawn to the color and the craft and the style of glass art, as she was.

As a child growing up in Millville Brunetta learned from Pat Witt, Millville's reigning artist laureate. Throughout the years, she has painted and even spent time as a potter. When she left the business world and moved to Cape Cod 15 years ago, however, she found her passion lie in stained glass.

Opening a gallery is the culmination of her years of work, she said: "This really is a life dream of mine."

Artful Arranging: Designer Secrets

Ever notice how some people (especially in those glossy mags we like to ogle) can toss, say, a piece of driftwood, two books and a lamp on a coffee table and end up with a perfect, camera-ready display? Yet the rest of us can rearrange the same objects endlessly and come up with the anarchic look of Nana's knickknacks.

Displaying accessories is one of the trickier bits of decorating any room. How much is too much? How little is too little? Which objects will marry beautifully on which table? For David Jimenez, a genius-level visual merchandiser and gifted decorator (his homes have graced those glossy mags), tablescaping is the difference between a house and a home.

"It's easy to furnish a room by the books," says Jimenez, a vice president at Hallmark Cards and former VP at Restoration Hardware and, before that, Pottery Barn. "But when you pull together collections of the items that you love, you start to tell the story of who you are as a person. That creates a soulful space you can call a home."

In his 1906 Georgian Revival mansion in Kansas City, Mo., Jimenez's vignettes exude a sense of effortless style. You, too, can get the look, he says. "Ultimately, this is about creating arrangements that reflect you and your unique sensibilities. From that standpoint, there's really no getting it wrong." That said, here are his guidelines for getting it right:

If you're serious about this, consider getting mildly to very geeked out at the magazine rack. When putting together his rooms, Jimenez clips imagery that catches his eye from shelter magazines. In the plastic sleeves of the three-ring binder, he organizes the sheets according to room. "Be as general or as specific as you like," says Jimenez. "You might be inspired by the overarching mood in one photo. In another, you might like the way a throw is styled over an armchair."

When you later review your binder, the imagery will often reveal a clear, aesthetic point of view. You might discover an undeniable fondness for puce. Or you might confirm (again) your love of Tuscan villas. "When these visual threads start to emerge," says Jimenez, "you have something very specific to build on." (One place to get inspired: Jimenez's Web site, djimenez.com.)

"There's something infinitely more interesting about groupings of items that vary in height, texture and scale," says Jimenez. "When there is variance, each item can stand out on its own, and simultaneously it can be part of the grouping." To maintain order, even as you introduce items of different shapes and sizes, work in layers.

When placed on a console or fireplace mantle, a tall mirror (such as the one above) becomes the base on which to add those layers, starting with a framed piece of art. Casually lean it against the mirror. (The effect: You've just stumbled into high style, a happy accident.) From that point, you can introduce more textural variance. "Try placing something made of shiny glass next to a rough-hewn piece of pottery," says Jimenez. "Because of the contrast, the glints of light off the glass will seem a little brighter."

So much of what you do in assembling a room is about balance and visual symmetry. Most likely, for instance, four chairs surround your kitchen table, and two end tables flank your sofa. "That's why items generally look better when they're grouped in odd numbers," says Jimenez. "That odd item gives the eye a visual break from all the coupling in the rest of the room."

A tablescape can do as much for the color profile of a room as a coat of paint. And if you're not the type to embrace floor-to-ceiling fuchsia, it's a commitment-free way to indulge. Your first step, says Jimenez: Determine your color objective. Do you need this tablescape to support an existing palette or add contrast in a neutral room?

Books are most often grouped according to size and subject, but Jimenez likes them for their color potential. Pile up a fat stack of sea foam green books, found on the cheap in secondhand bookstores, to complete a beach-inspired room. For rooms that need contrast, look to nature: A bundle of flowers or bowl of fruit—try green apples—can provide a practically audible pop of color. In this room, a painting, a chair and a couple of pillows pull a bright thread of blue through a mostly neutral room.

Jimenez once got a call from a friend who realized that, in her home of many years, it looked as though she'd just moved in. She enlisted Jimenez's help. Instead of hitting the stores, he looked in her drawers. There, he unearthed hidden treasures, such as the set of fine china and leather-bound books now smartly arranged in a cabinet that, for years, had rattled with emptiness. "It's almost as if people stop noticing the things they own," says Jimenez. "But sometimes, all the elements are already there for people. It just takes looking at things a little differently." Open shelves, such as the ones below, might make a great home for objects currently collecting dust behind closed doors.

Dowling: Painting with glass

(HOST) Commentator Leora Dowling has some thoughts on why the Louis Comfort Tiffany exhibit at Shelburne Museum is so appealing.

(DOWLING) On a recent evening, in a rare break between showers, I watched the sun set over Lake Champlain. Bright white changed to shimmery yellow, pale apricot, and then an intense pink, as the wind moved low wispy clouds through the deepening blue. I had seen similar effects in the work of Louis Comfort Tiffany at the Shelburne Museum and was struck by how authentic the colors and sense of movement are in a Tiffany sky.

I'm a seasonal guide at the museum, so I've had the opportunity to linger over Tiffany’s iconic creations, and I’ve decided that my favorite part of the exhibition is an often-overlooked display case filled with pieces of unused, vibrantly colored Tiffany flat glass. Studying these individual shards of hundred-year-old glass, I’ve come to appreciate what makes Tiffany glass so distinctive and important.

The intense colors and unique dappling, feathering, marbling, and opalescence his glass makers were able to create were an artistic breakthrough. Tiffany refused to paint ON glass, as had been the custom for centuries. Instead, his glass makers improved on techniques dating back to ancient Rome and medieval Europe. They found a way to paint WITH glass, incorporating color, design and texture INTO the glass while it was still in a thick liquid state.

Ladles of colorful molten glass were poured out and mixed together to form sheets of flat glass. Then, as if they were making a puzzle, the designers would search for just the right pieces for soon-to-be petals or leaves. Then they would painstakingly encircle the pieces with copper foil and solder them all together. Bit by bit, the whole picture would emerge.

The pieces of colored glass were, in essence, Tiffany’s paint. When combined with light, his glass caught the ephemeral nature of clouds, the life cycle of a water lily, the energy of dragonflies, and even a summer afternoon in Vermont.

Today there are Tiffany windows in more than a dozen Vermont towns. In most of his church windows, natural motifs surround ecclesiastical figures; but there are three windows at the Union Church in Proctor that are devoid of human beings, leaving God and nature to eloquently speak for themselves.

During the Gilded Age, owning a Tiffany lamp or commissioning a window was de rigeur for the wealthy. But the twentieth century marched in, and World War I changed peoples’ priorities. Extravagant art nouveau was replaced by sleek, modern art deco. Conspicuous consumption went out of style, and Tiffany did, too. All over America people relegated their Tiffany glass to attics - or worse, to the dump.

So those glorious bits of colored glass that were both paint and palette to Tiffany also speak to me of the cycle of innovation, popularity, obscurity, and rediscovery that is so intimately a part of the making of art.

Stained-glass workshop at Stephen Foster State Park

The Florida Department of Environmental Protection's Stephen Foster Folk Culture Center State Park will host a beginning stained-glass workshop on Sunday, August 16, from 11 a.m. to 3 p.m. and Monday, August 17, from 10 a.m. to 2 p.m.


Each workshop is one day only.

Taught by demonstrator, Pat Blaney, this beginners workshop, will cover the basics of the copper foil method of stained-glass artistry.

Participants will learn to cut and shape stained glass, copper-foil the cut pieces and solder the pieces together into a finished project - a colorful butterfly sun-catcher.

The cost is $40 and includes supplies and park admission.

For additional information or to register for the workshops, please call the park Gift Shop at (386) 397-1920

Stained glass memorials for victims of bombings

Families of those killed in the Omagh and Claudy bombings are to gather across Ireland and Spain to unveil a series of new memorials.


The stained glass windows, which were designed and created by the bereaved relatives, will be located at Buncrana, Claudy, Omagh and Madrid as a permanent tribute to the 38 people and two unborn babies killed, and also to the scores injured, in the 1971 and 1998 bombings.

Entitled the Windows of Hope project, the initiative was instigated by the co-ordinator of the Londonderry-based Shared City Project, Jeanette Warke, and has been funded by Derry City Council and the Community Relations Council of Northern Ireland.

The families worked together at a series of workshops coming up with ideas for the stained glass window that would reflect their grief and sadness and their hope for a better future.

Nine people were killed in the Claudy bombing of July 31, 1972.

Three bombs exploded in the centre of the village, killing six people outright while three others died later from their injuries.

The Omagh bombing was the most lethal atrocity of the Troubles. The Real IRA attack on the centre of Omagh on August 15, 1998, killed 29 people, among them a woman pregnant with twins.

Three of the children killed in the bombing came from Buncrana in Inishowen — Oran Doherty (8), Sean McLaughlin (12) and James Barker (12).

Two Spaniards, Rocio Abad Ramos (23) and Fernando Baselga (12), who were staying in Buncrana on an exchange programme, were also killed.

Scoil Iosagain Primary School in Buncrana will host the first of the Window of Hope stained glass window unveiling ceremonies on Saturday at 3pm.

At the Central Library, Omagh relatives will unveil their window on Sunday at 3pm, a day after the 11th anniversary of the bombing.

On Saturday, August 29, the relatives of those killed in Claudy will gather at the Diamond Centre at 3pm.

Jeanette Warke said working on the project has been a moving experience for everyone involved.

She said: “It was a great honour for me to be part of the project and to afford the families temporary relief from the trouble and pain they continue to endure with the loss of their loves ones in the horrific aftermath of the bombs in Claudy and Omagh.

“The families hope that the windows will send out a message of hope to all affected by the Troubles on the island of Ireland,” she said.

Ms Warke is planning to travel to Madrid later in the year to present their stained glass window.

Blenko celebrates glass with annual festival

Blenko Glass Co. threw its second annual Festival of Glass event Friday, Aug. 7, and Saturday, Aug. 8, at their Milton plant. Everyone who attended received a free Blenko stamped medallion commemorating the event and was given a chance to sign up for limited room only glass classes.

Guided factory tours, and glass classes were part of the agenda set for visitors on both days of the event. The classes included sandblasted medallion class, ring holder/paperweight class, dalle chipping class, and mobile class all of which could be taken for a small fee.

For a fee of $350, visitors could participate in a full-blown glass workshop. This workshop allowed each participant to experience first hand the process necessary to create a piece of handmade glass. The process began by making a hot glass ball that would later become the finished glass masterpiece. The hot glass ball would then blown by the participant, under the watchful eye of the skilled craftsman. Workshop attendees were able to work on at least 2-3 pieces of glass each.

The Blenko Glass Co. was founded in 1893 by William J. Blenko in Kokomo, Indiana. After a few failed ventures at running a glass factory Mr., Blenko took a job with Tiffany's in New York for $50 a week. In 1921, at age 67 he decided to move to Milton and worked alone blowing glass cylinders, and hit the road in an effort to sell them.

The company's early successes include providing glass for the stained glass windows of St. Patrick's Cathedral in New York City, helping the company earn national renown. The work of the company's first designers achieved much critical acclaim, including having several designs receiving the Museum of Modern Art's Good Design Awards in 1950.

Two Blenko documentaries, gave the company national exposure and led to Blenko glas being frequently featured in PBS pledge drives nationwide. Fourth-generation company President Richard Blenko often personally participated in these pledge drives, generating a spike in publicity and positive effects for the company.

The tourist business has remained strong over the past few years, while the antique and design business has dwindled. Company officals said when the visitors' center and glass museum are open the license plates reflect a greater amount of out of state visitors then local visitors. The visitors' center receives up to 1,000 people a day.

On Jan. 31, 2009, Blenko ceased production of glass due to a judgment against them, which led to their gas supplier cutting off their fuel used to melt glass. The company even discussed bankruptcy with their legal advisors. But on March 9, 2009, Blenko resumed limited production at its facility.

Company chairman William Blenko Jr. said, "as you know we were forced to shut down for about six weeks. This allowed us to get a few things straightened out and we have been building back up again."

William Blenko commented about the company's future. "No one knows about the future. At one time there were hundreds of glass companies in this state. Now we are down to about two. We have managed to survive this far. We are 116 years old now and I guess the first 116 years are the hardest. Hopefully, we can continue this."

Meyda Custom Lighting Unveils the "Borough Hall" Collection

Perfect for large residential, commercial and institutional applications, Meyda Custom Lighting unveils the Borough Hall Collection of decorative lighting. Meyda Custom Lighting is the nation's leading manufacturer and designer of custom and decorative lighting.

Meyda Custom Lighting's "Borough Hall" family offers an old world look that features simple elegance paired with an impressive size that complements most interior design schemes used in larger spaces. Reproduced from an antique Transitional Craftsman design, the fixtures are handcrafted with kiln-bent Revival White art glass and a variety of handsome metal finishes.
Featured in the enclosed photo is the 14" Wide Borough Hall Pendant (109137) is handcrafted with 12 panels of kiln-bent Revival White art glass and Craftsman Brown finished brass. It includes a ceiling canopy, which measures 5 inches wide, and a six-foot foot chain.

The Borough Hall family is handcrafted with meticulous attention to detail by Meyda artisans in the Yorkville, New York manufacturing facility.

Matching pendants, wall sconces and outdoor fixtures are available for a complete decorative look.

About Meyda Custom Lighting

Meyda Custom Lighting is a Meyda Tiffany Company and the nation's leading manufacturer and designer of decorative and custom lighting. Although founded in 1974, the firm's roots actually date back to the early 1900s, supplying Louis Comfort Tiffany and Tiffany Studios with lighting products, and creating the original Coca-Cola stained glass lamps and chandeliers.

Meyda Lighting offers thousands of in-stock stained glass lighting and decor designs, with more than 50,000 customizable lighting options. Its vast line includes: Coca-Cola stained glass lighting group; Old Forge Collection of Rustic and Lodge styled lighting/décor; Craftsman Signature Series of Outdoor/Indoor Lighting (including new Landscape lanterns) featuring Arts & Crafts designs; Stained Glass Lighting featuring Victorian, Nouveau and a broad range of styles; Art Glass Windows and Fireplace Screens; Tiffany Gifts and Home Accents; and The Metro and Metro Fusion Lines of contemporary art glass and fused glass designs. In addition, Meyda Lighting offers Extensive Custom Capabilities to create the custom lamp, fixture, window or accessory of your dreams.