A window has no colour of its own.

It has whatever the light gives it. Everything below is the same glass — move the light and see what happens to it. That is the whole argument for doing this work well.

3rd

Generation of the family

60+

Years of service under Peter A. Rohlf

NYC

St John the Divine · Grand Central

Yale

Law School · Sterling · Berkeley · Rep

A wide multi-light figurative stained glass window, richly coloured, seen straight on.

Leaded glassEvery colour you see is glass with light behind it. Nothing here is printed or painted on.

A blue stained glass lancet showing two robed figures meeting.

Figure workPainted, fired, leaded and glazed in the studio.

A close view of a restored stained glass panel: four figures gathered around a golden vessel.

Grace EpiscopalAfter restoration.

The interior of the Cathedral of St John the Divine, New York, with a great stained glass window above the altar.

St John the DivineWindow and frame restoration and conservation, New York.

IThe argumentWhy the hour matters

Glass is chosen for the hour it will be seen in.

A studio does not pick colour on a bench under a lamp. It picks it for a north wall in February and a south wall at four in the afternoon, for the depth of a reveal and the height of a sill. Which is why the slider above is not decoration: it is the single variable the craft is organised around.

Drag it. The photographs do not change — only the light does.

IIThe workRestoration · conservation · new commissions

Cathedrals, a railway terminal, and a law school.

The Tiffany glass clock face at Grand Central Terminal, gilded Roman numerals on coloured glass.

Grand Central TerminalTiffany clock — stained glass panel restoration and repair.

The reading room of Yale Law School, tall leaded windows down one wall under hanging lamps.

Yale Law SchoolStained glass window restoration, New Haven.

The sculptural group and clock on the exterior of Grand Central Terminal.

42nd StreetThe same clock, from the street.

A narrow stained glass lancet window from St Paul's Church, Mount Vernon.

St Paul’s ChurchMount Vernon, New York — the studio’s own town.

A tall figurative stained glass lancet restored for Fordham University.

Fordham UniversityRestoration, replication, releading, glazing.

A large contemporary stained glass window installed in a shopping centre interior.

Kasugai SeibuNagoya, Japan — commercial commission.

Also on the list

New York State Assembly · Saks Fifth Avenue · St Patrick’s · St Matthew’s, Los Angeles · Grace Episcopal

IIIYale Repertory TheatreOne window, twice

The same window, before the studio and after it.

Restoration is not cleaning. The panel comes out, the lead is cut away, every piece is documented, matched, replaced where it must be, and the whole thing is releaded, cemented and reglazed. Then it goes back into the opening it came from.

The Yale Repertory Theatre window before restoration, dulled and structurally tired. — Before

The same Yale Repertory Theatre window after restoration, colours clear and lead lines sound. — After

IVThe studio783 South Third Avenue

Three Rohlfs, one bench.

Peter A. Rohlf, C.E.O., with over sixty years of service. Peter Hans Rohlf, President — “as a 3rd generation family member, I have worked at Rohlf’s Studio from the ground up.” Gregory E. Rohlf, Vice President.

Peter A. RohlfChief Executive Officer · 60+ years of service

Peter Hans RohlfPresident · third generation

Gregory E. RohlfVice President

Studio

Rohlf’s Stained & Leaded Glass Studio, Inc.
783 South Third Avenue
Mount Vernon, New York 10550

Telephone

800 969 4106

Post

RSG@rohlfstudio.com

Work

Restoration · conservation
New commissions · liturgical