Style

We have made several interesting discoveries while walking the dogs and exploring the Salado Creek Greenway (which is eventually intended to provide a long, green pocket wilderness park all across suburban San Antonio) but I think the very most interesting was nothing to do with the park at all. A particular stretch of the greenway parallels Holbrook Road; just where the road crosses over Salado Creek, there is a low hill with an enormous Southern mansion sitting on the top, white pillars, galleries, ancient oak trees and all. The mansion is called Victoria’s Black Swan Inn; now it’s a wedding and event venue, but originally it was a private home, built just after the Civil War, and on the site of the 1842 Salado Creek Fight. They say it is one of the most haunted places in the United States which it might very well be but that’s not the discovery that my daughter and I made.
That would be what is around in back of the Black Swan; when we noticed a long graveled driveway at the side of the property, and a little sign that said “Glass Studio.”

My mother has tinkered with making stained glass for years, even attempting to teach my daughter some skills in that direction, so we both have an appreciation for it. My daughter said, “Let’s go and see?” so we wandered up the hill, past some extremely eccentric and enormous wind chimes hanging from trees … which seemed to lead nowhere but into a tangle of sheds, aging automobiles and assorted intriguing junk pretty much your basic funky rural collection on stereoids.

At the top of the hill, the driveway curved around, underneath a tall pecan tree and a huge old wooden water-tank elevated on tall posts and there was the glass studio, housed in a tidy little shed about the size of a suburban bedroom and spilling over onto a couple of tables and an outside wall, in the back-forty of the Black Swan. Mr. Howard Redman the glass artist was there, as he usually is on weekends, and was happy enough to show us his glass creations, his workspace, and his scrapbooks of previous commissions and projects, allowing us to tromp through it all with the dogs and poke into just about everything.

It’s a darned odd place to find a glass gallery, let me tell you: his work is substantial, beautifully done, colorful everything from fused ‘jewels’ made of four separate layers of glass, to bowls on metal stands, platters, replica Tiffany and Frank Lloyd Wright style lamp-shades, hanging window panels and odd little tschockes sun-catchers, votive candle holders and paperweights. But Howard Redmond is in his eighties, and this is semi-retirement and he can do as he damn well pleases, after a whole career working in specialty glass. I looked at some of the panels in his scrapbooks and oh, my; original installations eight feet square, with four of five thousand individual pieces; that is some serious window-glazing, let me tell you.

Much of his professional work was done in Chicago, over the last thirty or forty years; I think his output now is more for fun, although he had many of his pieces in local galleries, and he does the occasional craft show. And nope, doesn’t even have a website, or an email address. Either catch him at a one of those shows, or come to San Antonio and search out the Black Swan Inn. Up to the top of the graveled drive, and around past the 1940s ambulance, the rusting restaurant stove, and the fallen-down bottle tree; next to a tall pecan tree and an old wooden water-tank on stilts: He’ll be at work in the little shed under the tree, with two rows of glass platters adorning the side.