Greene & Greene

Michael Carey Gallery, New York
William Doyle Galleries, New York, May 8, 1996, lot 138
Christie's New York, December 10, 1998, lot 28

Edward R. Bosley and Anne E. Mallek, eds., A New and Native Beauty:  The Art and Craft of Greene & Greene, London, 2008, pp. 161-164 (for a discussion of the leaded glass windows executed for the Tichenor commission)

Overall in very good and stable condition. As seen in the catalogue illustration, there are a few scattered cracks to the glass panels on each of the windows, which all appear to be stable. The windows were recently professionally conserved and cleaned by Judson Studios in Los Angeles, which including stabilizing the cracks with Hextal (an archival adhesive known for its properties in securing glass which has the advantage of not discoloring over time). In the window illustrated on the far left in the catalogue illustration, one larger network of cracks with an associated loss located in the side left panel was stabilized with Hextal. The window on the far right in the catalogue illustration shows evidence of an old prior restoration, which includes the addition of a lead line extending upward from the bottom border to the branch overlay above, and the addition of a smaller lead line extending inward from the interior lower left border just above the branch overlay (only partially visible from the front of the window, since it is largely concealed by the branch overlay). It is possible that the piece of opalescent glass set within these two newer lead lines has been replaced. If replaced, the glass is a good match, and does not detract from the overall composition. There are a few occasional areas where there are very minor separations between the leading and glass, and one area on the left window where there is a small gap (possibly a small edge loss to the glass) adjacent to the leading. The sheet lead overlays show gentle wear and natural surface discoloration consistent with age. The sheet lead overlay in the central register of the right window is slightly loose but stable. The original wood frames have been slightly reduced along the side edges, with some semi-circular notches (visible in the catalogue illustration). The wood frames show some surface scratches and abrasions consistent with age and prior use. Each perimeter side element of the frame has been drilled in the past with two holes (presumably from a prior installation), and a narrow vertical recessed channel has been removed from the bottom left corner of the frame on the left window. The windows present beautifully in person, and the colors of the opalescent glass are more subtle than they appear in the catalogue illustration, with vigorous striations and nuances.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Prior to 1905, Charles Sumner Greene and Henry Mather Greene had used stained glass in their houses, but it was not until a commission from Adelaide M. Tichenor for a house in Long Beach, California that their unique style ripened into what we know today.  This was due to a serendipitous confluence of talents:  the Greenes' wholehearted embracing of oriental imagery, and the opening of the Sturdy-Lange Stained Glass Studio that provided the Greenes access to craftsmen who could execute their designs.

The studio was the partnership of Harry Sturdy, a decorator from Chicago, and Emil Lange, a businessman from Davenport, Iowa.  They introduced the copper-foil technique to Los Angeles, which was then a small city with only a handful of stained-glass studios.  Best known as the construction method for Tiffany lamps, Sturdy-Lange's copper foiling incorporated overlays of sheet lead to create a pattern in silhouette against colored glass.  Solder was modeled on the surface of the overlay to suggest the texture of bark and the cupping of petals drawn by the Greenes in emulation of Japanese prints of cherry blossoms.  This new style would eventually culminate in the Greenes' masterworks of stained glass, most notably the front doors of the David B. Gamble and Robert R. Blacker houses (both 1907-09) in Pasadena. 

The three windows offered here are the northern- or left-most of the five windows set above the sideboard in the Tichenor dining room.  The dining room was positioned at the eastern end of the long open space comprising the living room, dining room, and reception room.  The windows were a cheerful greeting to guests upon entering.  The dining room was raised, like an altar or dais, two steps above the living and reception rooms.  This positioning gave it a sense of importance or formality that was enhanced by the inclusion of the only stained-glass windows found in this great space.  The riotously colored opalescent glass incorporates deeply saturated tones of green, pink, yellow, and orange, suggesting a sunrise seen through branches. 

The Greenes placed similar windows in the master bedroom on the first floor.  The seven bedroom panels acted as a single scene, depicting a flock of birds, probably seagulls, arching from one side to the other.  The birds were articulated in the same manner as the cherry blossoms, cut from a sheet of lead and textured with solder.  Located on the north wall where the light was indirect, the glass in the bedroom windows is slightly more subdued, incorporating mostly brown tones with green and yellow streaks. 

--Julie Sloan