An Exploration of the American Stained Glass Industry

Explore the rich history of American stained glass and the niche industry that supports so much of our architectural art glass environment. Looking to the future of stained glass restoration, we find ourselves at a pivotal moment. Success hinges upon our willingness to embrace creativity, and our ability to draw insights from past endeavors and forge collaborative pathways with communities. Fortunately, our history is steeped in a tradition of collaboration, service, and ingenuity, providing a sturdy foundation upon which to build.
About Our Presenter:
Megan McElfresh is a third-generation stained glass artisan who became Executive Director of the Stained Glass Association of America (SGAA) in Fall of 2017. Her background in operations management and art history gives her unique qualifications as the leader for the National Trade Association as it celebrates its 120th anniversary of service to the industry. In her role with the SGAA, McElfresh is focused on sowing the seeds of long-term change and expanding the SGAA’s core programs. Her focus is on showcasing the Association as a hub for the industry through strong partnerships with manufacturers, preservation and stewardship groups, and education centers. By bringing together the nation’s foremost architectural art glass studios in technical skill and integrity, the Stained Glass Association’s cumulative knowledge can be combined for the benefit of all who are tasked with the care and investment of our nation’s living stained glass museum.
The Stained Glass Association of America, founded in 1903, is a 501(c)6 national professional trade association serving the architectural ornamental art glass industry across
North America and Internationally. In December 2017, the national headquarters office moved to Buffalo, NY. Coming up on its 120th anniversary, they are focused on strengthening their 501(c)3 Foundation, expanding their mission, and serving our nation’s emerging professionals.
The SGAA Foundation was founded in 2020 to promote public appreciation and knowledge of the stained glass and mosaic art form and champion the provenance of the material in architectural art. The mission of the Foundation is to foster proactive, responsible stewardship of our nation’s architectural art glass and mosaic treasures. Beauty must be abundant and accessible and we must collaborate with like-minded organizations to bring new voices into our industry while providing more resources to protect our nation’s stained glass heritage.

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No one then or since has had behind them what LCT had. Money, connections, and knowing what he wanted to do and hiring those who could make it happen. There were no holds. How did they do those multiple deep cuts? Somehow, I doubt it was done with a glass cutter. Even with todays Toyo you cannot repeat this without losing a lot of pieces especially drapery. That is why I use a diamond saw, belt sander, and diamond grinders to not lose that expensive and sometimes only piece that will do the job. It is slow, but works. They could have also used acid as we know they used it. Now the big problem, as I see it, is no longer Oceana and Uroboros. Who makes drapery now?