Reviews on Nº3 2014

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Reviews on Nº3 2014

2014 ICOM Glass Meeting Lectures: ICOM Glass Meeting in USA GLASS Interview: William Gudenrath

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ICOM INTERNATIONAL COMMITTEE FOR MUSEUMS AND COLLECTIONS OF GLASS http://network.icom.museum/glass

Editorial and Board Members Reino Liefkes. Chair Teresa Medici. Secretary Sven Hauschke. Treasurer Milan Hlaves Kaisa Koivisto Paloma Pastor Elvira Schuartz Anne Vanlantum

English text correction Jane Shadel Spillman

Coordinator of this journal Paloma Pastor

Cover illustration Dominick Labino, “Emergente Tour-Stage”, 1975. Collection of the Corning Museum of Glass

Back cover Illustration Jack-in-the-pulpit vase. United States, New York, Tiffany Studios, about 1912. Iridescent blue glass; blown and iridized. Collection of The Corning Museum of Glass

Layout Cyan, Proyectos Editoriales, S.A.

ISSN: 2227-1317

Journal sponsored by ICOM. International Council of Museums

We want to take this opportunity to thank the people who have collaborated in this Journal, particularly Jane Shadel Spillman and Teresa Medici for their effort and support.

No part of this magazine may be used or reproduced without the written permission of the publisher. ICOM Glass can not accept any responsibility for errors or inaccuracies in the information.

review_on_glass_3.indd 2 28/11/14 09:36 SUMMARY 6

Lectures 6 Brief History of American Glassmaking 13 The Table Set by Adolf Loos for J. & L. Lobmeyr, Vienna. An example of collaboration between artist and company 19 The Glass of Tiffany & Co. The designing and retailing of cut glass at Tiffany & Co. from 1837-1887 25 Not only in museums. Archaeological evidence of 17th century luxury glass in Portugal 31 Vetri Artistici del Museo del Vetro di Murano: a series of five catalogues of 19th century muranese glass is now available 34 38

Interview William Gudenrath News 38 Book Review 43 Congresses & Exhibitions 46 News 47 Others 48 50

Memories Members

review_on_glass_3.indd 3 28/11/14 09:51 review_on_glass_3.indd 4 28/11/14 09:36 FOREWORD

Dear Colleagues and Friends,

As your new Chairperson I am very proud to present the third Issue of Reviews on Glass, the official on-line publication of the Icom International Glass Committee. In this publication we present the main activities of our Committee, including a report of our annual meeting. The Reviews on Glass also provide a forum for our members to share common issues and remain up to date with the latest developments in our field.

In October 2013 we had our yearly meeting in Bratislava, Slovakia. Our Icom glass member Katarina Benova, from the Slovak National Gallery, organised a wonderfully rich and exciting programme for us. Our lecture programme with the dual topic ‘What is the future for contemporary studio glass and new discoveries in Slovakia glass’ gave us a good introduction to the Slovakian glass scene past and present. It also provided an excellent opportunity to meet and exchange ideas with our colleagues in Slovakia. In the Municipal Museum of Bratislava, curator Zezana Francóva gave us a tour of the permanent collection as well as the storage rooms with a little known but very interesting glass collection. We also visited a brand new private ‘Museum’ called Gallery Nedbalka, which offers a fairly comprehensive overview of the 20th-century Slovak art scene but also staged a special exhibition of the work of contemporary glass artist Asot Haas. Members with an interest in contemporary glass had a wonderful opportunity to meet a number of leading Slovak glass artists during exhibitions (Zora Palová, and Stepán Pala) and workshop visits (Pavol Hloska, Oliver Lesso and Palo Macho) and we made a visit to the very successful glass factory of RONA where witnessed the production, met some of the designers and had an opportunity to admire the factory museum.

During our General Assembly we elected a new board and discussed a number of issues, including our membership. Over the last few years out membership has slightly increased to 105 and we discussed how we could increase this number, especially in countries where we are poorly represented. We decided that each member should identify at least one person in their country or beyond who could become a member and ask them to join Icom and/or the International Glass Committee. I would like to urge all our members to take up this challenge so that we can continue to grow our international network of Museum professionals.

Finally I would like to take the opportunity to thank Paloma Pastor and Jane Spillman for editing and putting together this wonderful publication. In this issue we also publish a section of the papers presented at our 2012 annual meeting in Corning, New York. I would like to thank the speakers for their effort to turn their spoken papers into wonderfully illustrated published text.

Reino Liefkes, Chair Icom Glass

review_on_glass_3.indd 5 28/11/14 09:36 A Brief

review_on_glass_3.indd 6 28/11/14 09:36 LECTURES Between the 5th and 9th of June 2012 was held our annual meeting in USA, a very successful meeting very well organized by Jane Shadel Spillman and the Corning Glass Museum. In this issue we publish a section of the papers presented in this meeting. History of American Glassmaking Jane Shadel Spillman. Corning. New York

The English colony of business a failure. Other forbade all manufacturing in the Jamestown, Virginia was the first glasshouses were started in colonies, Wistar ignored the law European settlement in North Massachusetts, New York and and produced window glass and America, and when it was Pennsylvania in the 17th century, bottles, the types most needed established, the settlers brought but all were failures as it was in the new world, until 1783… a group of glassblowers with easier and cheaper to import Another German entrepreneur, them. The English investors European glass for windows and Henry William Stiegel, also thought that glass production tableware. started glass manufacturing, but would be a good use for the he concentrated on tableware in limitless forests of the New The first successful glass his production, which lasted World. England, at this time was manufactory in the colonies was from 1763 until 1774. The third being rapidly denuded of wood that of Caspar Wistar, a successful glasshouse in the and the government thought Philadelphia brass-button United States was started by saving the existing trees for manufacturer, who had another German, John Frederick shipbuilding was important. immigrated from Germany. He Amelung, who, unlike Wistar and However, the hardships of the imported German glassblowers in Stiegel, was a glassmaker when new world, and the cost of 1739 to staff the factory he he came to the United States, shipping the glass made back to established in southern New and he came here with workmen, its markets in England made the Jersey. Although English law to start his own glass business in

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Covered tumbler, “Tobias and the Angel”. United States, Frederick, Maryland, New Bremen Glass Manufactory of John Frederick Amelung, 1788 (dated). Collection of The Corning Museum of Glass, Corning, New York.

After American Flask with portraits of George Washington and Zachary Taylor. United States, Philadelphia, Pennsylvania, Dyottville Glass Works, about 1847-1848. independence Aquamarine glass; mold-blown. H. 17.8 cm. Collection of The Corning Museum of Glass, Corning, New York. was achieved in 1783, a Frederick, Maryland in 1784. He have a number of pieces reliably was a member of a successful attributed to this early factory, number of glass glassmaking family in Germany while with Wistar and Stiegel and was financed by a group of fewer than a dozen pieces can factories were merchants in Bremen. He named be reliably attributed to those started his factory the New Bremen glasshouses. Glass Manufactory and was successful for a decade, until After American independence 1795. He made tableware, and was achieved in 1783, a number employed an engraver, who of glass factories were started, decorated a number of pieces sixty-three between 1790 and and dated and signed them. 1820, but half of them failed Because of these, we are able to because of the competition from

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Jack-in-the-pulpit vase. United States, New York, Tiffany Studios, about 1912. Iridescent blue glass; blown and iridized. H. 47.6 cm. Collection of The Corning Museum of Glass, Corning, New York.

location.

Sculpture, “Emergence Four-Stage”. Dominick Labino (1910-1987). However, as settlers moved west, United States, Grand Rapids, Ohio, 1975. Hot-worked, internal air trap and they created new markets for veiling. H. 22.4 cm. Collection of The Corning Museum of Glass, Corning, New York, purchased with the aid of funds from the National Endowment glassware and production moved for the Arts. west as well. The first glasshouse west of the Allegheny mountains was started in the 1790’s and imported goods. However, glass the workers were allowed to several others were started in the production continued to increase make table wares on their own next decade. Pittsburgh was an throughout the 19th century. time and for their families. New ideal location for manufacture of The first successful glass factory England, New Jersey and New all kinds, because river in New England was the Boston York were the centers of transportation to the entire Crown Glass Manufactory, which glassmaking until the 1830’s, western frontier guaranteed a started production in 1793 and partly because they could ship ready market, and nearby coal made some bottles and their products up and down the deposits provided readily tableware as well as window East Coast and by rivers to the available fuel. By 1817, when glass. Most of the glasshouses west. Western New York was full President Monroe wanted a glass started in the early years were of trees to fuel the glasshouses, service for the White House, he for bottles or window glass, but which also made it a good ordered it from Benjamin

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Bakewell’s Pittsburgh glasshouse. This was the largest factory in Pittsburgh for many years, shipping glass East and West, and to Mexico and the Indies. From Pittsburgh, the glass industry spread down the Ohio to western Virginia and the Western Reserve after the War of 1812. Twelve factories were started in western Virginia, Kentucky and Ohio by 1825.

While window glass and bottles were the most common types of glass made in the early period, some glasshouses did produce table wares, most of which copied English styles since that was what customers were used to. However, American factories did develop some types of their own, including decorative flasks for whisky, which was a significant American product, and also pattern molded table wares. Some of the patterns used for the table wares imitated the more expensive cut glass patterns. However, in the 1820’s the pressing machine was developed and it soon greatly speeded the production of table wares. The machine tripled American production of table wares. It took only two men to operate the press, one to bring the gather of hot glass from the furnace and drop it into the mold, and the second to pull the Sculpture, “Upward Undulation”. Harvey K. Littleton (American, 1922- plunger and operate the press. A 2013). United States, Verona, Wisconsin, 1974. Kiln-formed sheet glass; piece came out of the press aluminum base. Overall H. 161.5 cm. Collection of The Corning Museum of completely shaped and Glass, Corning New York, purchased with the aid of funds from the National decorated in a minute. The Endowment for the Arts. invention of the pressing

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In 1903, Michael Owens invented the automatic bottle blowing machine which signalled the end of an era, since hand-blown containers were no longer made

Covered sugar bowl in “Roman Rosette” pattern. United States, probably Pittsburgh, Pennsylvania, probably Bakewell, Page & Bakewell, 1830-1840. Colorless glass, pressed. Collection of The Corning Museum of Glass, Corning, New York, purchased with funds from the Gladys M. and Harry A. Snyder Memorial Trust (2013.4.26).

machine was the single most the National Flint Glass and than twenty-five per cent was for important contribution of the Lime Association, and the windows and half of production American industry to glass Chimney Manufacturers was for table wares and better technology until the 20th century. Association. Wages were higher quality containers. As the 19th than those in Europe and century wore on, less and less Labor continued to be a problem production was less, so hand finishing was necessary, in the glass factories, although manufacturers charged higher and finally, in 1903, Michael after 1860, there was less use of prices and there was in Owens invented the automatic European laborers. Unions were increasing use of child and bottle blowing machine which organized in the 1860’s and by female labor to save money. signaled the end of an era, since the 1880’s wages and prices in Tariffs protected manufacturers hand-blown containers were no the entire glass industry were to some extent from European longer made. closely regulated by the unions competition. In 1880, more than of the Window Glass Blowers, twenty-five per cent of the glass Luxury glass wares remained an the Flint Glass Works, and the made in the United States was important part of American Glass Bottle Blowers, as well as for common bottles; slightly less production throughout the 19th

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Kerosene Parlor Lamp. United States, Corning, New York, T. G. Hawkes and Company, 1890- 1900. Colorless glass; blown, cut; brass. Overall H. 90.7 cm. Lily-pad pitcher. Eastern United States, 1845-1860. Transparent deep blue Collection of The Corning glass; blown, tooled, applied. Overall H. 17.6 cm. Collection of The Corning Museum of Glass, Corning, New Museum of Glass, Corning, New York, gift of Kenneth Lyon and Sylvia York, gift of Helen Chambers in Applebee Lyon (2009.4.71). memory of Marvin W. Chambers.

and early twentieth centuries. Massachusetts, New York and Mass production Colored “Art Glass” and “Art New Jersey produced similar Nouveau” glass as well as very glass wares as well. However, mostly took over elaborate cut glass were made in mass production mostly took over the American glass large quantities from the 1880’s the American glass industry in until the 1920’s. Production of the 1920’s and hand-made industry in the the colored art glass was mostly glassware almost disappeared in New England and West until the emergence of Studio 1920’s and hand- Virginia, while cut glass was glass in the 1960’s. The Studio made glassware centered in Corning, New York movement has greatly increased and Toledo, Ohio as well as some in the United States and abroad almost disappeared other areas. When the art since then and there are small nouveau style became popular, glass studios around the United until the emergence one of the chief producers was States, hand blowing artistic Louis C. Tiffany, whose factory glassware. So both factory made of studio glass was in eastern New York. The and hand made glass are in in 1960’s Steuben glasshouse in Corning, production in the United States and several others in now and both are important.

review_on_glass_3.indd 12 28/11/14 09:36 REVIEWS ON GLASS Nº 3 2014 The Table Set by Adolf Loos for J. & L. Lobmeyr, Vienna An example of collaboration between artist and company Ulrike Scholda. Vienna

The Austrian glass-company Lobmeyr is known to people interested in glass just as the Viennese architect Adolf Loos (1870-1933) is known worldwide as a champion of modern architecture at the turn of the century and beginning of the 20th century. He held strong views on design, lifestyle and other aspects of daily life – drinking being one of them.

Lobmeyr, founded in Vienna in 1823, had started to collaborate with artists in the 19th century and continued into the 20th century. Adolf Loos is one of the most famous artists who worked for Lobmeyr, though he designed only one table set and this was nearly at the end of his life. I have been involved in the research about this unique collaboration.

Usually the development of a glass from idea to execution The drinking set No.248 (decanter and tumblers), Adolf Loos, J.& L. Lobmeyr (Copyright: Lobmeyr, Vienna). cannot be traced; not so with the Loos-glasses. Loos led a

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situation at the beginning of the thirties.

Initially, the drinking set that Adolf Loos designed was meant to be used for water, beer, champagne, wine and liqueurs as proposed in his first drawing. They are all made in the subtly- shaped neary cylindrical tumbler without a stem. Loos’s originality was to combine this ‘simple’ form with diamond-cutting the base of the glass with the traditional cross-hatched cutting, the so called ‘Steinelschliff’. This surprising detail makes the glass particularly special. Loos wanted to combine his ideas on purity of form with an enhancing eye- catcher and to revive the tradition of glass-cutting. He found what he was looking for in an Empire Period glass dated c.1810, the so called Napoleon glass which is Water-tumbler, drinking set No.248 (Copyright: Lobmeyr, Vienna). now part of the Treasury of the Imperial Collections of the tumultuous life which resulted in It is with this drawing that the Habsburgs in Vienna. This glass the loss of most of his designs, story started years ago. In had already been copied and used letters and other written February of the year 1931 the by Lobmeyr in 1903 to create a documents. However, the bulk of architect Loos – then living in special table set. The Loos set the correspondence between him Prague – sent a drawing of had the cutting on the base of and Lobmeyr still exists in the several glasses to Lobmeyr in these glasses-traditionally it would Albertina (Architectural Vienna without being asked. have been the base and sides. Collection) in Vienna. The They all had the same shape archives of the Lobmeyr – a nearly cylindrical tumbler – After different inputs from both company, which are stored in only the size varied. sides – designer and producer – Vienna and partly in the UPM, they achieved a result both were Museum of Applied Arts in Stefan Rath (1876-1960), the content with. The order books Prague, also provide a lot of owner of the company at that reveal that an eleborate information. Not only could time, was very interested in this production process began in drawings, sketches and minimalistic concept, but was June 1931. papercuts be found, but also the wary of its innovativeness and first drawing Adolf Loos sent to time-intensive execution because Adolf Loos was known for his Lobmeyr still exists. of the difficult economic attention to the function of

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The drinking set No. 248 (decanter, tumblers, bowl), Adolf Loos, J.& L. Lobmeyr (Copyright: Lobmeyr, Vienna).

everyday objects: in this case One shape for all beverages was beakers for beer. Lobmeyr was he wanted to create an entirely quite different to the traditional involved in the development of new prototype of drinking drinking sets offered at that drinking sets from the inception glasses that could be used for time. From the 18th century on, of the company. different beverages. Loos it was common to produce series designed a tumbler drinking-set of drinking glasses with different The type of cylindrical tumbler using a simple shape but shapes and sizes. Generally a was in use since the begin of the adding the surprising detail goblet with stem for wine, 19th century (maybe before) of the cutting. tumblers for water, and footed beside a lot of other shapes with

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Papercut of the wine tumbler Lobmeyr order-book for glassworks Zahn & Göpfert, 1931 (Copyright: (Copyright: UPM, Prague). Lobmeyr, Vienna).

as “ordinary tumblers”. Soon additions to the Loos’ table “Modifications Industrial developments with set followed under his new technologies for blowing supervision, but he became ill may come with glass and producing ordinary soon after production began and time” Adolf Loos glass resulted in the died in August 1933. The bottle standardisation of shapes for that was part of the set from about his table everyday glasses. May 1932 seems to breathe the spirit of Adolf Loos as well as set to Stefan This table set seemed to please the cylindric bowl with its plate. as it became one of Lobmeyr’s Several new shapes were Rath, May 1931 drinking services in 1932 getting invented later by the company the number 248. The Loos set for this set that has been was radically different compared produced in the traditional way and without a foot. The simple to other drinking sets of the since 1931 without interruption. shape was preferred for cutting time. The shape of the tumbler Each glass is blown and hand as well as for painted decoration for wine and other beverages was cut, the cutting is matt-polished until the 20th century. At the not new, but not very common. A – now again in the same same time it was the shape of tumbler was usually used for glassworks as in 1931. The an ordinary drinking glass for water while wine is mainly glasses were made in the water that became suitable for served in goblets with a stem glassworks Zahn & Göpfert in mass-production, partly in even today. One of the Loos Blumenbach (today Kvˇetná) in pressed glass. glasses is often used for whisky Moravia. After the Second World nowadays, though this has not War Lobmeyr worked with other Also Rath described the shape of been the original function and firms within the Austrian the glasses in one of the letters concept of Loos. borders, but the glasses are now

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Drinking set No. 248: bowl, champagne glass, beer glass, decanter, whisky glass, water glass, wine glass size 1-4. liqueur glass. (Copyright: Lobmeyr, Vienna)

being produced again in their place of origin.

Nowadays tumblers in nine sizes are produced: for wine size I to IV, liqueur size V, beer, water, champagne and the so-called ‚Double old fashioned’ tumbler of special size for the American market.

As well as the tumblers, there is a decanter with stopper, a jug, a flower vase, a finger bowl and a fruit bowl („Kompottschale neu“). The latest innovation (as a kind of birthday present in Tumblers of drinking set No.248 with illustrations of Stefan Sagmeister 2011) is a new water jug using for J.& L. Lobmeyr (Copyright: Lobmeyr, Vienna) the original ‘old’ Loos design that was not produced before. In 2005 the company started a illustrations of the seven deadly They follow proposals of Loos collaboration with contemporary sins and the seven heavenly and his quotation: artists to interpret Lobmeyr’s virtues on the bottom of the “Modifications may come with ideas in their own way. The glasses designed by the designer time”, as he had written to latest artistic interpretation show Stefan Sagmeister in 2011. Stefan Rath in May 1931.

review_on_glass_3.indd 17 28/11/14 09:36 LECTURES The

Set of Perfume Bottles featuring Japanese Chain and Fluted glass with sterling silver mounts. Manufactured by Tiffany & Co., c 1882. Tiffany & Co. Archives. B1993.56.

review_on_glass_3.indd 18 28/11/14 09:36 REVIEWS ON GLASS Nº 3 2014 Glass of Tiffany & Co. The designing and retailing of cut glass at Tiffany & Co. from 1837-1887 Amy C. McHugh. Tiffany & Co., USA

In September of 1887 a examine Tiffany & Co.’s letterheads from 1848 lists representative from The expanding involvement in glass glass as one of the fancy goods Jewelers’ Weekly was granted a retailing from 1837 to 1880, sold.3 The firm realized that, to tour of Tiffany & Co.’s Union focusing on their cut-glass please their customers, they Square store where he reported patterns, created by Tiffany’s needed to retail goods that there were “large bins filled with designers, from 1878 to 1883. reflected the latest European cut-glass articles, such as trends, and sent weekly saltcellars, scent bottles, flasks, From the firm’s very beginnings requests to Europe for these &c., which will be soon mounted Tiffany & Co. took an active role popular goods, including richly in silver.”1 This brief description in retailing glass objets. Charles cut glass. Keeping abreast of of Tiffany’s back-office Lewis Tiffany (1812-1902) and the latest fads, in 1845, the operations provides insight to the John Burnett Young (1815- firm published the first edition importance of silver-mounted 1859) established Tiffany & Co. of the Blue Book, Tiffany’s mail glass and cut glass as a in 1837, as a fancy goods store order catalog. Entitled commodity the firm designed named Tiffany & Young.2 “Catalogue of Useful and Fancy and retailed. This paper will Advertisements and receipt Articles,” an entire section was

1. “Tiffany’s,” The Jeweler’s Weekly 17 (September 28, 1887): 2021. 2. The firm became Tiffany & Co. in 1853, when Charles Lewis Tiffany obtained full ownership of the company. Claire Phillips, ed. Bejeweled by Tiffany 1837-1987. Exhib. cat. (London: Gilbert Collection, in association with Yale University Press and Tiffany & Co., 2006.Phillips, Bejewelled), 293. 3. Unidentified Receipt and Letterhead dated 1848, “Clippings Book 2,” 1848–71, Shelf G6/6, Clipping Book Collection, Tiffany & Co. Archives.

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Sets, Punch Bowls, Cordial Sets, Night Lamps, Candlesticks, & etc. mostly those brilliantly coloured and ornamented descriptions at present so deservedly admired and sought throughout the fashionable world.”4

Offering some tableware to their customers, Tiffany’s selection also included decorative art glass. This same entry reappeared in the Blue Book the following year, in 1846, under the heading “Bohemian Glass.”5

After publishing the 1846 Blue Book, two major changes occurred, transforming the manner in which Tiffany & Co. acquired glass. First, in 1850, Tiffany & Co. opened a buying office in Paris named Tiffany, Reed & Co., allowing the New York branch access to a wider selection of European goods, including additional types of glass.6 Tiffany & Co.’s “Wants Book” contained weekly wish lists and responses sent between the New York office and their Hollowware Blueprint for Claret Jug Glass Mount, Pattern 2148, c. 1861. Paris representatives with Tiffany & Co., New York. Paper. instructions on what to purchase. The first mention of purchasing devoted to describing their “Toilet Bottles, Vases, Flower glass directly from Europe was stock of “French and Bohemian Stands, Fruit Stands, Decanters, made in September of 1853.7 Glass.” The objects they carried Goblets, Wine Glasses, The Paris representative wrote to included: Champaign Glasses, Ver d’Eau the New York office that “ a

4. Tiffany, Young & Ellis, Catalog of Useful and Fancy Articles (New York: Tiffany, Young, & Ellis, 1845), 8. 5. Tiffany, Young & Ellis, Catalog of Useful and Fancy Articles (New York: Tiffany, Young, & Ellis, 1846), 7. 6. Gideon French Thayer Reed, former associate of the Boston jewelry firm Lincoln, Reed & Co., partnered with Charles Lewis Tiffany, to open a Paris store and later a London store. For more information see, Bejeweled, 27.

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glassman from England” packed the requested goods in crates to be sent back to New York. Tiffany & Co. imported English glass, as well as French and Bohemian glass, to fulfill the customers’ demands.

The second change occurred in 1851 when Charles Tiffany purchased John C. Moore’s (1802-1874) silversmith shop, one of the most prominent firms in New York. Tiffany & Co. now had direct control over the production of goods, positioning themselves as trendsetters. Remaining as the head of silver production, Moore began incorporating glass into hollowware designs and quickly began producing silver-mounted glass. It was Moore’s son, Edward C. Moore (1827-1891), who became Tiffany’s first design director and was responsible for overseeing the creation of Tiffany’s earliest cut glass patterns. In January of 1856, Tiffany ’s New York office Sketches of cut and cameo glass with precious metal mounts, c. 1860-70. requested from Europe a “new Tiffany & Co., New York. Paper. glass dish for [a]... butter dish,” with specific instructions on the size of the dish.8 Inserted as a dating to 1861.9 The jug’s glass glass mounted with precious lining, instead of being mounted, body was probably decorated metal at this time, which have this was the first documented with geometric-patterned cut been documented with elaborate request for a piece of glass for a glass, as this was the popular design drawings.11 These hollowware design. The earliest type of glass to use then.10 drawings are the first blueprint for a silver-mounted Tiffany & Co. also produced documentation for mounted glass object is a claret jug, scent bottles with cut and cameo glass designed and retailed by

7. Tiffany & Co., “Wants Book,” c. 1842-65, Accounts Ledger, Shelf G1/7, Silver Manufacturing Collection, Tiffany & Co. Archives. 8. Tiffany, “Wants,” January 1856. 9. Tiffany & Co., “Silver Manufacturing Ledger,” Pattern No. 2148, Tiffany & Co. Archives.

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Photograph of Glass and Pottery Department at Tiffany & Co., New York, c. 1887. Clipping Book Collection. (Photo: Pach, December 14, 1887).

Tiffany & Co. The vast number of With the success of their silver- floor.”12 Photographs of the the silver-mounted glass mounted glass designs and the Pottery and Glass Department blueprints during this time firm’s large stock of European show tables covered with stacks indicates that Tiffany & Co. glass, Tiffany & Co. created the of these goods. The glass understood the popularity of Pottery and Glass Department in selection was not limited to cut glass as a medium for design 1873. They “carr[ied] one of the glass, as Tiffany & Co. also sold and the need to create their own most comprehensive collections decorative and utilitarian glass, cut-glass patterns to capitalize of high-graded pottery, porcelains, including Bohemian, Venetian, on this demand. art glassware, and bric-a-brac… cameo, engraved, and etched from the principal markets of the glass. This vast selection of glass world, displayed on the third

10. For design drawings for silver-mounted glass, see, drawers E12/2-E12/5, Tiffany & Co. Archives. 11. Tiffany & Co., “Volume 15,” c. 1860-1870, 19th Century Jewelry Sketch Collection, Tiffany & Co. Archives.

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secured Tiffany & Co.’s position as a major supplier of cut and artistic glass in the United States.

It was during this time, the late 1870s, that Tiffany & Co. began designing cut glass patterns, having proven their success in retailing imported glassware and designing for pre-manufactured glass. The “Hammering and Mounting Ledger 1”, located in the Tiffany & Co. Archives, lists the various glass patterns Tiffany & Co. designed, including the pattern’s name, type of object produced, and production dates. Dating from 1878 to 1883, the thirteen cut-glass patterns can be split into three different categories, including geometric, nature, and ‘Exotic.’13

Tiffany & Co.’s geometric designs Cut glass flask mounted in sterling silver dating to c. 1870. Mounts by comprised the largest group of Tiffany & Co. Glass by unknown maker. Tiffany & Co. Archives. B2011.03. designs, composed of six different designs including: patterns, Hobnail, Diamond, Hobnail, Flutes, Diamonds, Plain Disque or Festoon, accented the Square, Disque, and Festoon. neck or shoulder of the vessel. It was during this Although these cuts were similar This is different from designs time, the late to other patterns designed and created by glass houses that manufactured by other Tiffany & Co. purchased, where a 1870s, that Tiffany glasshouses, the way Tiffany’s single glass pattern would cover designers combined the patterns the vessel entirely. & Co. began was unique. Tiffany & Co. would combine many patterns on one Patterns inspired by nature were designing cut glass object. They used the simpler the second type of popular cut patterns patterns, Flute or Plain Square, glass Tiffany & Co. designed and to cover the entire body of the retailed. These cuts include vessel, while the more intricate Scroll and Trefoil, Wave Line and

12. Tiffany & Co., Blue Book (New York: Tiffany & Co., 1898), 2. 13. Tiffany & Co., “Hammering and Mounting Ledger,” Pages 80 – 85, Tiffany & Co. Archives.

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sides. Cuts in the form of diamond and sun motifs decorated the bottom of the vessel. This pattern is very different from Hammered, where the glass was cut to mimic the hammered surfaces of Tiffany’s Japanese silver. Reminiscent of fish scales, the vessel’s shoulder was accented with deep straight cuts, similar to a fish’s gills. Lastly, Japanese Chain and Flutes featured hollow flutes accented with cross motifs. The chain pattern appears in many 19th century Japanese pattern books that were part of Tiffany’s Designer Hollowware Blueprint for Claret Library. In addition, renderings Jug Glass, Gourds, c. 1881. of the Japanese Chain pattern Tiffany & Co., New York. Paper. Hollowware Blueprint for Claret (Copyright: Tiffany & Co. Jug Glass, Indian, c. 1878. appear in Edward C. Moore’s 14 Archives). Tiffany & Co., New York. Paper. personal sketch books.

Tiffany & Co.’s unlikely history Scrolls, and Gourd. Noted on the their silver designs cannot be in importing artistic and table blueprints for these glass substantiated, currently. glass from the 1850s and designs is “see model,” 1860s for retail in the New indicating that a glass vessel Lastly, the newly accessible York store enabled the with the cut glass pattern cultures of the Far and Near transition into designing rich already existed or Tiffany’s East inspired the last group of glass cuts a natural shift. designers created the design ‘Exotic’ glass cuts, including Although not specified, John from replicating contemporary Indian, Hammered, and Hoare & Sons, C. Dorflinger & hollowware. For example, the Japanese Chain. Indian appears Sons, T. G. Hawkes & Co., and plump gourds on vines trail down on a number of different Thomas Webb & Son did supply the side of the claret jub, vessels, but usually on clarets Tiffany & Co. with glass.15 This reminiscent of the mixed metal or other pitcher forms. Inspired brief study of Tiffany’s cut- gourds that Tiffany & Co. used to by the traditional Indian bib glass designs just grazes the decorate a tea set shown at the necklaces, the glass cut was surface of the firm’s rich 1878 Paris World’s Fair. Whether highly ornamented at the top of history of glass designing and Tiffany’s designers directly the vessel with droplet cuts their vast archive of silver- copied their glass designs from descending down the vessel’s mounted glass designs.

14. Edward C. Moore, “Sketch Book 1,” Tiffany & Co. Archives. 15. The names “Hoare,” “Dorflinger,” and “Hawkes” are written on hollowware blueprints and in entries in the “Manufacturing Ledgers” throughout 1890-1920.

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Teresa Medici. VICARTE, Lisbon, Portugal

Data collected from Besides, it has been very at Tarouca and at two Poor archaeological excavations exciting to discover evidence of Clares nunneries, located at can provide helpful insights into types of glass which are not so Coimbra and Moura (Fig.1). the consumption of glass often documented in vessels in modern times, not archaeological contexts and Mould-blown vase only for the objects related to until now not even recorded in everyday life, but also for Portugal. I will examine some A fragment of a colourless vase special types. of them, unearthed at the (h max 70 mm), found at the Cistercian monastery of S. João Monastery of San João at In the frame of my PhD Tarouca, Northern Portugal, is dissertation, some rich 17th c. mould-blown in high relief, with Portuguese archaeological glass gadroons in the lower part complexes, coming from of the body, and two human monasteries, are being studied. faces on either side of festoons A huge quantity of glass with superposed rosettes fragments produced in common (Fig. 2). glass and related to everyday life was found. They offer a broad Vases and bottles with the body outlook on several categories of decorated with festoons glass vessels in use during the alternated to human faces, or to 17th c., from tableware to lion heads, are well known. medical instruments, and permit They are generally attributed to to recognize a range of shapes Venetian production, except a Figure 1. Location of the and models peculiar to the monasteries mentioned in the text. couple of bottles identified as country1. Catalan and decorated with

1. M. Ferreira. ‘Espólio vítreo proveniente da estação arqueológica do Mosteiro de Sta. Clara-a-Velha de Coimbra: resultados preliminares’. Revista Portuguesa de Arqueologia 7.2, 2004, p. 541-583; T. Medici, F. Lopes, A. Lima, M. Larsson, A. Pires de Matos, ‘Glass bottles and jugs from the Monastery of Sta. Clara-a-Velha, Coimbra, Portugal’ in Annales du XVII Congrés de l´Association Internationale pour l’Histoire du Verre (Antwerp 2006). Antwerp, Association Internationale pour l’Histoire du Verre, 2009, p. 391-400. The investigation received the support, during 2007 and 2008, of the Portuguese Science and Technology Foundation (FCT – MCTES), grant SFRH/BD/27351/2006.

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Pezzoli, Milan, and a vase blown in lattimo glass incamiciato by yellow transparent glass at the Museo del Vetro, Murano3. Another item which is fairly similar to our glass, because of the presence of rosettes associated to festoons, is a vase at the Hluboká nad Vltavou castle, Czech Republic4.

Most of the known specimens show lion masks alternated to festoons, blown mainly in colourless glass, sometime decorated with filigrana or with Figure 2. Mould blown vase found at São Joao de Tarouca; h mm 70 the “ice glass” technique, as (photo: the author). those at the British Museum and at the Musée national de la Renaissance, Ecouen5, and the dancers2. The proposed one sketched in the Giovanni Most of the know chronology usually spans between Maggi’s Bichierografia6. the second half of the 16th c. specimens and the beginning of the 17th c. Millefiori and speckled glass show lion masks Among the ones decorated with A group of 17th c. finds is also alternated to human masks, it is worth related to a typical Venetian mentioning a fragment found on decoration technique, as the festoons the Gnali´c Wreck, Croatia, a millefiori glass is. Some of them bottle at the Museo Poldi are quite well preserved, as two

2. Barcelona, Museu de les Arts Decoratives, 4974, and Paris, Musée du Louvre, MMR 125: C. Fontaine-Hodiamont, ‘La remar- quable aiguière du Musée du Verre à Liège: nouveau regard sur un «façon de Venise » Catalan, seconde moitié du XVIe - début du XVIIe siècle’ in Bulletin de l’Institut Royal du Patrimoine Artistique 32, 2009, p. 201-224, nos. 23-24. 3. I. Lazar and H. Willmott, The Glass from the Gnalić Wreck. Koper, Annales Mediterranea, 2006 type S16, p. 51, fi g. 61, pl. 16, 1; E. Roffi a and G. Mariacher, ‘Vetri’ in Museo Poldi Pezzoli. Ceramiche - Vetri - Mobili e Arredi. Milano, Electa, 1983, p. 165-307: cat. no. 136, p. 182, fi g. 134; A. Bova, ed., L’avventura del vetro. Dal Rinascimento al Novecento tra Venezia e mondi lontani, catalog of exhibition (Trento, Castello del Buonconsiglio, 26 giugno - 7 novembre 2010). Trento, Skira. 2010. 4. Inv. no HL-HL-06881: K. Hetteš and J. Vydrová , Bená tské sklo = Vetro veneziano = Venetian glass / [Katalog vý stavy usporˇadané Umelˇeckopr˚umyslový m muzeem v Praze. Redakce katalogu Karel Hetteš ]. Praze, UPM, 1973, cat. no. 149. I would like to thank Markéta Vejrostová for providing information about this glass. 5. H. Tait, Five Thousand Years of Glass. London, The Trustees of the British Museum, 1991, fi g. 213, p. 169, inv. no MLA 1924.0311.1. CR, colourless, and S 661, with fi ligrana – vetro a retorti; fi g. 219, p. 170, inv. no MLA 55.12- 1.129, ice glass; C. Vaudour, Mémoires de verre de l’archéologie à l’art contemporain. Conseil général du Val D’Oise et Conseil général de Seine- Maritime, 2009, inv. no CL2918, p. 128, no 290. 6. A.-E. Theuerkauff-Liederwald, Venezianisches Glas der Kunstsammlungen der Veste Coburg. Die Sammlung Herzog Alfreds von Sachsen - Coburg und Gotha (1844 - 1900). Venedig, à la façon de Venise, Spanien, Mitteleuropa. Lingen, Luca Verlag, 1994, p. 81, Abb. 7.

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small bottles, coming from Moura (Fig. 3-4), while others are in fragments (Fig. 5).

Millefiori glass is well known from museum’s collections, and in fact one of the small bottles from Moura finds its best parallel in a specimen at the British Museum: it has the same white thread on the rim, the same ribbed decoration, only it is impossible to say if the Portuguese one is also gilded7. On the other side, it is worth noting that some glass objects, among these millefiori ones, show some peculiarity. For Figure 3. Millefiori glass from Figure 4. Millefiori glass from example, bottles having the the Monastery of Santa Clara at the Monastery of Santa Clara at shape of a double-gourd are very Moura (cat. no. 485VID/1533, h Moura (cat. no 486VID/1534, h common in Portugal during the mm 65; © Câmara Municipal de mm 100; © Câmara Municipal Moura). de Moura). 17th c., blown in transparent glass of every color and size8. known glass compositions, most We still lack sufficient of the fragments appear to be information about glass quite different, mainly because production in Portugal to discuss of the high content in alumina. the origin of these glasses. The surprising news is, on two of Nevertheless, some chemical the analyzed fragments, the body analyses have been made on a and the decoration show set of fragments of millefiori and dissimilar compositions, being speckled glass from the the decoration comparable with monastery of Sta. Clara-a-Velha, the Venetian production. It is Figure 5. Millefiori glass from Coimbra, leading to some therefore possible that some of the Monastery of Sta. Clara-a- interesting conclusions. the studied objects have been Velha, Coimbra (cat. no V108; Comparing the Portuguese locally produced and decorated photo: Miguel Munhós, © DRCC specimens with others with with imported coloured glass9. / Mosteiro Santa Clara-a-Velha).

7. Inv. no S801: H. Tait, The golden age of Venetian glass. London, Published for the Trustees of the British Museum by British Museum Publications Limited, 1979, p. 105, no 166; T. Medici, ‘Revisiting the “Moura glass treasure”: new data about 17th century glass in Portugal’ in D. Ignatiadou, A. Antonaras, eds., Annales du 18e congrès de l’Association Internationale pour l’His- toire du Verre (Thessaloniki 2009). Thessaloniki, AIHV Association Internationale pour l’Histoire du Verre, p. 442-447. 8. See for example Medici et alii, 2009. 9. A. Lima, T. Medici, A. Pires de Matos, M. Verità, ‘Chemical analysis of 17th century Milleﬁ ori glasses excavated in the Monas- tery of Sta. Clara-a-Velha, Portugal: comparison with Venetian and façon-de-Venise production’. Journal of Archaeological Science 2012 (5), p. 1238-1248.

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unrefined rims has been linked to metal lids (found on the same place), as often happens in bottles and flasks made by calcedonio (Fig. 7-8).

Final remarks

After examining these examples, what can we infer about the production and consumption of luxury glass in 17th c. Portugal?

The assemblage of artifacts that came to light in the excavated monasteries suggests that during the 17th century Portugal’s monastic sites were in a period of wealth and expansion. At Tarouca, most of the monks came from the nobility, or at Figure 6. Cup made by white opaque glass, decorated with red, blue, and aventurine dots, from the Monastery of Sta. Clara-a-Velha, Coimbra (cat. no least from wealthy families, as V005, diam. rim mm 100; photo: Miguel Munhós, © DRCC / Mosteiro Santa reflected by the quantity of Clara-a-Velha). pottery with coats of arms, or inscriptions related to the owners as well10. At Santa Clara-a- Two fragments, among the Calcedonio glass Velha, Coimbra, other classes of analyzed glass, are genuine luxury materials, as Chinese Venetian, as it was expected Also a surprising number of porcelain, are abundant. because of their stylistic feature: fragments of calcedonio glass made by white or light blue came to light at Coimbra, some Was glass identified by opaque glass, and decorated of them speckled with contemporaries as a luxury item, with red, blue, and aventurine avventurina. It hasn’t been at that time? It has been dots, they are a typical outcome possible until now to underlined that, unless gold or of the Muranese 17th c. reconstruct a complete vessel; silver, glass had no real value production. Several specimens however, it is likely that they when it was broken, because a have been recovered at the derive mainly from small bottles damaged glass was almost Monastery of Sta. Clara-a-Velha, and flasks, possibly employed impossible to repair. So, a large the best preserved of them being as containers of small quantity use of glass “would have a cup with two handles, almost of liquid, as perfumes or drugs. denoted a very visible complete (Fig. 6). Some fragments of cut, conspicuous display of wealth,

10. A. Sampaio e Castro, Cerâmica europeia de importação no Mosteiro de S. João de Tarouca (séculos XV-XIX), Master thesis, FCSH - Universidade Nova de Lisboa, 2009, p. 223.

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one that was completely lost if the vessel needed to be replaced”11.

Rather interesting is the case of the glass belonging to the Clarissan monastery of Sta. Clara-a-Velha, at Coimbra.

Investigations on post-medieval and early modern European monastic environments made clear the existing gap between the rules and the real life and practices12. According to the principle that all material good should be banned, in order to be free from worldly ties and better serve God, in the cells of the nuns only a limited categories of stuffs were allowed. Several objects were thought inappropriate, as for example mirrors and jewels. Also colours, Figure 7. Calcedonio glass from the Monastery of Sta. Clara-a-Velha, Coimbra evoking the idea of pleasure, (photo: Miguel Munhós © DRCC / Mosteiro Santa Clara-a-Velha). should be avoided 13.

Nevertheless, despite the diverging strongly from the ideal This general trend seems to suit seemingly strict rules, in upper- poverty recommended by the the Portuguese case, as class convents nuns succeeded rules, was mirroring, in some suggested not only by the in creating their own private way, the domestic and social archaeological remains but also quarters, and individual cells background from which the nuns by other sources of information. were furnished with all sort of came and to which they were valuable objects, also received still linked. More, the convent At the beginning of the 18th c., as a gift from their families and was meant by the nun’s families the Portuguese priest father friends. As a result, the and acquaintances as an Manuel Bernardes, the author of environment created within the extension of their domestic and several moralist poems, walls of the monasteries, social sphere of influence14. described the decoration of the

11. H. Willmott, Early post-medieval vessel glass in England c. 1500-1700. London, Council for British Archaeology, 2002, p. 28. 12. See for ex. S. Evangelisti, Nuns. A history of Convent Life 1450-1700. New York, Oxford University Press, 2007, p. 28-29. 13. Evangelisti 2007, p. 28-29, quoting the following sources: Biblioteca Apostolica Vaticana, Vat. Lat. 11914, Regulae et Co- stitutiones pro monasteriis ab ordinario episcopo compositae, cc. 33, 60 v - 61 v, and 66r; Archivio Segreto Vaticano, Prattica del governo spiritual e temporale de Monasteri e delle Monache secondo le regole et constituitioni de Santi Padri loro fondatori e del Sacro Concilio di Trento e di Sommi Ponteﬁ ci [1604], cc. 119r - 120v, 129v and 132; Teresa of Avila, Regole per la vita conven- tuale, Palermo, Sellerio, 1995, p. 33-36.

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cells of a nunnery as being full seu perfume” (after finishing the of rich furniture and ornaments; work, putted her perfume on the comparing them to the house of clothes)17. a recently married woman, he uses these terms: “Ver huma To conclude, these cella destas, que não são Santa archaeological finds add relevant Clara, he de ver huma casa de information to what we knew estrado de huma noiva” (looking from documentary sources, at the cells of these, that are not about the importance of glass as Saint Claire, is the same that a luxury item in the 17th c. looking at a room of a recent Portuguese society. Not only married woman).15 luxury glass was imported from Venice, but seemingly also some Therefore, we can assume that “regional” elaboration of the selection of objects Venetian and façon de Venise composing the material culture patterns and techniques took Figure 8. Reconstruction of the use related with the monastery life, of a metal lid on a fragment of place, in order to satisfy specific being both the result of gifts and calcedonio globular flask from the tastes and needs of local the personal choice of the nuns, Monastery of Sta. Clara-a-Velha, customers. Where this is reflecting the taste of the Coimbra (cat. no V101; drawing: production took place, is a social groups associated to Nuno Santos). question still without any them, giving us a wider answer, but we are confident in interpretation of the glass the prosecution of our objects employed in the convent. several texts, a glass container investigation, being evident how for it is mentioned16. It was a – also for modern times – It is also remarkable that the widespread custom, concerning archeological data can supply special glass so far discovered is monastic sites as well, pointed valid information, integrating not related with tableware, but out not only by the cell what we know from archives and with other categories of objects. descriptions mentioned above, museum’s collection. For example, most of the but also by the biographic texts millefiori and calcedonio glasses left by the nuns. For example, a Acknowledgments seem to be small bottles or vials, report about the life of Sister possibly used as scent bottles. Elenna da Crus, a nun that died The attendance at the in 1721 at the age of ninety, conference was kindly supported We know that the use of perfume notes that the woman, having to by the AHG - Association for the was common in the Portuguese sew the clothes of her confessor, History of Glass and by ICOM high society of that time, and, in “concertado o habito lhe deitou Portugal.

14. Evangelisti 2007, p. 53-54. 15. Padre Manuel Bernardes, Nova Floresta, ou silva de vários apotegmas e ditos sentenciosos, espirituais e morais, com reﬂ exões em que o útil da doutrina se acompanha com o vário da erudição, assim divina como humana. v. 5, Lisboa, Na ofﬁ cina de Joseph Antonio da Sylva, 1726-1728, p. 31, quoted by F. Belo, Rellaçaõ da vida e morte da serva de deos a veneravel madre Elenna Da Crus, por Sóror Maria do Céu. Lisboa, Filomena Belo & Quimera Editores, 1993, Belo, 1993, p. 111, nota 55. Our translation. 16. See for ex. Frei Lucas de Santa Catarina, Espadana/Torina/Porcessionario/Facetico…, in História e Antologia da Literatura Portuguesa nº. 34, p. 66-68. 17. Our translation from Belo 1993, p. 143.

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Vetri Artistici del Museo del Vetro di Murano: It is always good news a series of five catalogues hearing that the th catalogue of a glass of 19 century muranese glass collection has been is now available printed, even more when the published one Teresa Medici. VICARTE, Lisbon, Portugal belongs to the Museo del Vetro di Murano (Venice, Italy). In 2013, the fifth volume of the been systematically published, series Vetri artistici has been although a number of them released, integrating the series appeared, scattered in an of books devoted to the 19th uncountable amount of books, century glass held by the catalogues and journal’s articles. museum (Bova, A., and The only exception, until now, Migliaccio, P. eds., 2013. Vetri was the catalogue of the ancient artistici. Il recupero dell’antico glass, issued in the frame of nel secondo Ottocento. Museo another series promoted by the del Vetro di Murano. Corpus same association, the Corpus delle Collezioni del Vetro Post- delle Collezioni Archeologiche Classico nel Veneto, 5). del Vetro / Corpus of the Archaeological Glass Collections The series is promoted by the (G.L. Ravagnan, Vetri antichi del Italian Committee of the AIHV – Museo Vetrario di Murano. Association Internationale pour Collezioni dello Stato, Comitato l’Histoire du Verre as a part of a Nazionale Italiano AIHV: Venezia/ long-term project having the Murano 1994, reprint 2000). ambitious aim of cataloguing and publishing the complete In front of the wide range of glass collection of the museum possibility offered by the of Murano. museum’s possessions, the decision was made, to start with As every scholar interested in the glass dating to the century Venetian glass knows, the that saw the institution opening museum treasures have never its doors, in 1861; beads were

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excluded, as they are planned to intended to create an archive Salviati and to the Compagnia be the object of a separate related to the muranese glass Venezia Murano; finally, the fifth consideration, in the near future. art. and last catalogue deals specifically with the revival of the The five volumes composing the A big effort was made by the ancient glassmaking that sequence, released from 2006 to authors of the books in permeated the muranese 2013, have been edited by a identifying every single object. production at the end of the panel of authors, working together In an attempt to attribution to century. on the same book, or alternating: specific glasshouses, all kind of Attilia Dorigato, who was the useful sources, as old All the specimens composing the former director of the Museo del inventories, manuscripts, and collection, including the Vetro di Murano, Aldo Bova, and reports of the national and damaged or the mutilated ones, Puccio Migliaccio, the curators of international exhibitions, where are published. Each is described several exhibitions concerning the muranese glass masters and in detail and illustrated muranese 19th c. glass. A decisive dealers send their products, individually by a color role in the project was played by were compared. Nevertheless, it photograph, resulting from Vladimiro Rusca, the keeper of the has been impossible to give campaigns conducted on collections. each glass an exact purpose. The reproductions of provenience. pages of the “Salviati & The vast assemblage related to Company”, the “Salviati &C.º”, this chronology, held by the The work is organized by both and the “Salviati Dott. Antonio” museum, was almost unknown chronological and thematic catalogues are offered at the end before the beginning of this criteria. The first volume of the volumes, as well as a work. It originated mainly as the approaches the 19th century series of eight pictures, result of donations from local muranese glass until 1866, that supposed to be representative of furnaces, positively reacting to is, produced before the opening the works of the Barovier during the call for a gathering of of the Antonio Salviati furnace; the first period of the Salviati documents and objects, made the following three are entirely production, between 1872 and by Vincenzo Zanetti, who dedicated to the work of Antonio 1877.

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The books are introduced by Liberale Ongaro or Vincenzo sources, as catalogues and local essays, recreating the historical Zanetti, and the mention of magazines. period and focusing the main eminent exponents of the families issues of the investigation. Along Seguso, Barovier, Moretti, Toso The complete series is funded the reading of the five volumes, Borella, Castellani is recurrent. by the Regione del Veneto (the we became elucidated about the Regional Council of Veneto); the history of the museum, the Each volume also includes a publisher is Marsilio Editori reasons of its creation, and the bibliography, especially extensive s.p.a., Venice. The release of a people involved. The relevant when concerning 19th century 6th volume is expected soon. personality of Antonio Salviati, the role accomplished in the revitalization of the muranese References glass industry, as well as the Bova, A., Dorigato, A., Migliaccio, P. eds., 2006. Vetri artistici del primo turmoil of its business, is indeed Ottocento. Museo del Vetro di Murano. Corpus delle Collezioni del Vetro particularly emphasized. Volume Post-Classico nel Veneto, 1. no 5 is entirely devoted to the Bova, A., Dorigato, A., Migliaccio, P. eds., 2008. Vetri artistici. Antonio intriguing phase that led the Salviati 1866-1878. Museo del Vetro di Murano. Corpus delle Collezioni muranese glassmakers to the del Vetro Post-Classico nel Veneto, 2, Dorigato, A., and Migliaccio, P. eds., 2010. Vetri artistici. Antonio Salviati rediscovering of the Roman Ages 1866-1877. Museo del Vetro di Murano. Volume II. Corpus delle techniques, as the cameo glass, Collezioni del Vetro Post-Classico nel Veneto, 3. the gilded glass, or the mosaic Bova, A., and Migliaccio, P. eds., 2011. Vetri artistici. Antonio Salviati e la glass, the so called vetri murrini. Compagnia Venezia Murano. Museo del Vetro di Murano. Corpus delle Most of the characters Collezioni del Vetro Post-Classico nel Veneto, 4. responsible for the 19th c. glass Bova, A., and Migliaccio, P. eds., 2013. Vetri artistici. Il recupero dell’antico nel secondo Ottocento. Museo del Vetro di Murano. Corpus delle renaissance are depicted, as Collezioni del Vetro Post-Classico nel Veneto, 5. Pietro Bigaglia, Domenico Bussolin, Antonio Colleoni, More info: Lorenzo Graziati, Lorenzo Radi http://www.storiadelvetro.it/ (father and son), Angelo e

review_on_glass_3.indd 33 28/11/14 09:36 William Gudenrath

Interviewed by Jane Shadel Spillman

Resident advisor JS: How did you get started in When I saw the glass transform glass? from brittle and hard, to plastic for the Studio at the and soft as glass does when it’s Corning Museum WG: It began with a Christmas heated—I’m not sure what of Glass, he is a present from my father in 1962: happened! It must have shaken glassblower, scholar, a ‘chemistry set’ that contained – my eleven year old understanding as well as all sorts of dangerous of things. In retrospect, that’s lecturer, and teacher. chemicals – three lengths of five surprising: by that age we’re He is an authority millimeter diameter glass tubing accustomed to seeing water on historical hot and an alcohol lamp. freeze and ice melt; we see wood burn and turn to ashes. I still glassworking techniques The goal was to heat the middle don’t know why that particular from ancient Egypt of a tube, then bend it. The transformation affected me so: to through the Renaissance instructions also showed to heat this day – I’m sixty-three now – one end of a tube until it molten glass still amazes me. narrowed and closed, then blow into the other end to form a JS: So how did you get from that bulge in the softened glass. experience to a career as a glass Ironically, some of our earliest historian? More transformations, I closely – datable inflated glass suppose… artifacts were made just this way: the blue tubes, ca. mid- WG: Exactly: before New Year’s, first- century BC found in I’d run out of glass tubing. I Jerusalem. looked up ‘glassblowing’ in the

review_on_glass_3.indd 34 28/11/14 09:36 INTERVIEW Yellow Pages (the business phone historically informed performance book) and, by luck, spoke with practice: trying to sound as the owner of a laboratory glass players from much earlier eras apparatus company. He not only may have. So today when I work sold me a pound of five at a wood-fired furnace, rolling millimeter soda-lime tubing (for the blowpipe back and forth on 56 cents!), but wound up hiring thigh-boards instead of the arms me for the next six summers as of a post-17th century-style an apprentice laboratory glassblowing bench, I suppose glassblower. that’s very similar to playing Bach on an 18th century style organ My interest in historical glass using just toes on the pedal started at the same time from board and early fingering patterns looking up ‘glass’ and on the keyboards instead of ‘glassblowing’ in every 19-century organ-playing encyclopedia available. For techniques. It all comes from the whatever reason, my eyes were same fascination with processes most drawn to ‘Roman glass’ and of the past. ‘Venetian’ glass – For the longest of Glassmaking in front of me, time I tried to learn what the my fascination with this JS: OK, I certainly see the latter had to do with the planet intriguing, unknown topic might connection. But it looks like Venus… I was twelve years old! have been squelched and I may music is pushing glass out, at this well have lost interest. As it is, point. In 1965, I bought Glass by my interest today in historical George Savage, but was glassworking techniques is WG: It did! I didn’t touch glass or frustrated to read no mention of greater than ever. really think about it between how objects had been made. With about 1969 and 1979. I played an uncle, that same year we JS: That’s all early background; the my New York debut in Carnegie made a pilgrimage – I grew up in seed experiences, so to speak. Did Recital Hall in 1995 and tried to far-away Houston, Texas – to the college move you along further as a make a living as a musician in Corning Museum of Glass. history enthusiast? New York City. The short of it is Though it was barely fifteen years that as I began to see that dream old, it was well-known to me from WG: Sort of but not as you might fade, glass began to slip back photo-credits. expect. My bachelor’s degree is in into my life: first, briefly, as a organ performance and my laboratory glassblower, then in Optimistically, I inquired in the master’s degree from Julliard is 1979 as a student learning museum’s library hoping to find in harpsichord: both those glassblowing at the furnace, or explanations of historical instruments and their repertoire off-hand glassblowing as it’s manufacturing techniques. are mostly about historical music. sometimes called, with the metal Fortunately, the librarians only So yes, I suppose my fascination blowpipes, furnace of molten came up with a book about with historical process continued. glass, etc. By luck, that year I’d laboratory glassblowing In the late 70’s and 80’s, I was, met Joe Upham, one of the techniques. I say fortunately with in a very small way, part of the founders of Urban Glass, a non- hindsight: if they’d put, say, early instrument movement – now profit public-access studio, now Appsley Pellat’s 1849 Curiosities often referred to as ‘HIPP’ – in Brooklyn. I taught classes

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there and developed my furnace CD-rom titled ‘The Story of Studio of the Corning Museum of glassblowing skills. Glass’. It was a general history of Glass in May of 1996. By every glass that attendees at both measure it has been a great In 1981, a number of New York museums could peruse on touch success. I know that David state glass artists were invited to screen computer pods in the considered it one of his major the opening of the new Burkitz galleries…very cutting edge at accomplishments. building at the Corning Museum the time. Yes, by the late 80’s I of Glass: at that time I met was very busy with historical JS: Your title is ‘Resident Advisor”… Dwight Lanmon, then director. glass concerns. What do you do? Is historical Two years later, I met Hugh Tait investigation part of your job? at the British Museum, then in JS: You began at CMOG in 1995. 1988 David Whitehouse at a Did you come intending to be a WG: It’s an oddly non-specific conference in Basel. All three curator? title isn’t it? David and Amy understood the value of either thought it up. We had a big laugh learning how a glass object was WG: No. Although both Dwight when I told them that made or at least investigating the and (later) David had asked me to ‘Gudenrath’ in German means possibilities. Particularly with become a curator of European ‘good advice (or council)’! Hugh and David, over the years a glass, I knew that I had to be Yes, happily historical work is pattern began of them showing primarily a hands-on glassmaker. part of my job. I also teach me an object (with parallels, Throughout the 80’s and early glassblowing and occasionally we when possible), my making 90’s my career as a practicing offer a week-long general history experiments at the furnace (or at glass artist selling my work in of glass course. As you know, the lamp, or in a kiln) to try and stores and galleries grew: I soon because you’ve participated in recreate telling technical features was outselling Steuben, Baccarat, them three times, the curators on the original, then returning to and Lalique at NYC’s very posh give talks in the galleries and I the museums to check my store Bergdorf Goodman. I also demonstrate in the afternoon. results. Dwight and I worked taught more and more: my together mostly on the Robert activities as a glass historian was Making sure that The Studio is, in Lehman collection of glass at the a sideline that I fitted in when I every way, world class is also part MET in New York City. could. of my responsibility. Truthfully, I’m in that regard, I’m now a bit JS: So by 1990 you were pretty I moved to Corning in 1995 redundant as Amy and her staff active in the community of glass because David Whitehouse and have only the highest standards. historians? the museum’s board of directors But things seem to get busier each invited my wife Amy Schwartz year: I’ve got a number of WG: Yes. I worked with Hugh on and me to start a glassworking interesting projects in the works. 5000 Years of Glass, which we school as a new department of published that year; also David The Corning Museum of Glass. JS: Like what? and I spent a lot of time together Amy had been a glassblowing studying the Portland Vase: we student of mine at Urban Glass WG: I’m the author of CMOG’s first published articles together in the and was, professionally, a E-book to be published next year. 1990 JGS. Also that year, I made systems manager in a large Wall It’s about the techniques of the videos of glassworking Street firm. David thought that Venetian glass ca. 1500–1750 processes that were embedded in the combination would work and their differences with later, the joint V & A and CMOG well…and it did. We opened The post 1850, or so, practices. I’ve

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spent decades investigating the The latter will be published in century or later production, not often rather huge differences: I the 2015 J.G.S. That volume will doubt in Venice. A neat and very was always skeptical when I heard be dedicated to the memory of tidy ‘crown-type’ pontil mark gave or read that ‘glassworking in David Whitehouse. it away. A circle about two inches Murano is essentially unchanged in diameter formed by five small since the Renaissance’. JS: Do you have a favorite period, divots sat perfectly at the center of or maybe a favorite case-study? the bottom. There should have Understanding and noting those been a rather huge, deep central differences can really help in WG: Favorite period no, case- gouge with evidence of a second dating objects. I think that the study yes. My expertise and, no pontil-mark within that. E-book format will be the perfect coincidence, curiosity ends in the medium for my work: there will 18th century. Before that, most As I explain in my 2006 JGS be embedded full length videos any glass object can become article on the history of of twenty five key objects from fascinating to me. enameling on pre-1800 glass the CMOG collection and videos vessels, a double pontil mark is of ten specialized techniques. My favorite case-study concerns always to be expected in a Together they will illustrate every our mosque-lamp that was medieval period vessel technical aspect of the earlier accessioned in 1953, long thought decorated thusly. The high-fire Venetian glass. to be from the medieval period. In enamels of the period require preparation for writing my chapter repontiling the decorated blank As for 19th century and later in our 2000 publication (and in order to get it hot enough for practice, a video survey of many exhibition) Glass of The Sultans, a through firing. of those techniques will help I examined every relevant object make my points. Eventually when on display – and many off display. That is the quickest diagnosis the catalog of Venetian glass in David and I did this together many I’ve ever made! Tom Buechner, CMOG is published as an times, usually during the hour the museum’s founding director E-book, the two will cross- before opening time. One morning, never believed that it was reference each other. a guard warned us that we were ‘wrong’. I’ve always felt oddly running out of time: the display guilty about unseating our Also, next year I will make videos case needed to be closed. The last otherwise perfect mosque lamp… to accompany Erwin object was our mosque lamp. I But that’s the beauty of knowing Baumgartner’s exhibition in said to go ahead and close the what to look for: the object, held Switzerland associated with the case: I’d handled plenty of these carefully in the hands (preferably 2015 A.I.H.V. congress. I’ll also at the BM and MET. Perhaps he ungloved!) unfailingly has more demonstrate techniques ‘live’ at a regretted it later, but David said: to show you with each encounter. furnace during one afternoon of “It’s here, you’re here – go ahead!” Handling and closely examining the congress. Two publications Everything about the lamp was beautiful, often very important, with British Museum colleagues typical of medieval production, historical glass objects has been will come out in 2015: a study of both in manufacture of the object one of the most enjoyable aspects the Waddeston Collection’s famed and in the treatment of the gold of my career. turquoise betrothal goblet in a and enamel decoration. I almost BM publication, and a study of a put it back on the shelf, but JS: Do you have any plans to retire? mold-blown opaline lidded box turned it over to have a look at its long thought to be Venetian, now bottom. In an instant, the mosque WG: Heavens no! CMOG is a understood to be Bohemian. lamp revealed itself to be of 19th fantastic place to work!

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Medieval to early post-medieval were mostly wealthy London tenements and Middle Eastern citizens, most of them imports. Excavation at Plantation merchants, with a few Italian, Place, City of London, 1997-2003 Dutch, and other foreign Ken Pitt with Lynn Blackmore, traders, documented from the Tony Dyson and Rachel Tyson. early 16th century. London, Museum of London Archaeology, 2013 (MOLA The reports on the artefacts Monograph 66). 138 pp. focus mainly on metalworking, pottery, and glass. Coins, plaint Ever since I was informally remains, and animal bones are shown the picture of some of considered as well. the glass fragments from Plantation Place, London, by Due to our specific interest, I Rachel Tyson, some years ago, I will discuss the glass collection, was waiting their publication whose study has been carried with great anticipation and out by Rachel Tyson, a curiosity. The singularity of the renowned specialist on British finds was striking, and I was deals with the evolution of the medieval glass, and the author, looking forward to know more area from Late Saxon to modern among other contributions, of about the whole glass complex times; it examines, among other the book Medieval glass vessels and the related archaeological finds, a surprising group of late found in England c. AD 1200 context. My expectations are medieval and early modern – 1500 (York, Council for now fulfilled. glass. British Archaeology, 2000).

Medieval to early post-medieval Detailed information of the The glass assemblage, covering a tenements and Middle Eastern explored tenements is provided chronology spanning from the imports. Excavation at combining archaeological data 12th-13th to the 16th-early 17th Plantation Place, City of with a comprehensive study of century, is presented as one of London, 1997-2003, by Ken the documentary sources, the largest of this period found in Pitt with Lynn Blackmore, Tony available especially from the London. A selection of c 180 Dyson and Rachel Tyson 13th century onward. The vessels is examined in this book, (London: Museum of London medieval to early modern whilst the full catalogue, Archaeology 2013 - MOLA neighborhood was composed of including 351 entries from Monograph 66), is the first of shops, warehouses, small medieval to modern, is available two planned publications houses, larger residences, and on request at the site archive. All devoted to the archaeological extensive gardens. An important the fragments discussed are investigations carried out by early medieval evidence for described in detail, being the Museum of London Archaeology precious metal working was also most relevant accompanied by (MOLA) at Plantation Place, in recorded. During the whole of good quality drawings and color the City of London. The volume the medieval period, residents photographs.

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by Teresa Medici. VICARTE

The collection’s main interest What was quite unexpected is Egypt between the 12th and the resides in the fact that, beside the number of vessel whose 14th century; later, they were the expected amounts of vessels shape is closely related to manufactured also in Venice. considered as characteristic for Middle Eastern glass, To reinforce the idea of a the above mentioned suggesting an exotic western production (and use?) chronology, others were found, provenance. of these vessels during the late showing a variety of almost 16th century, we can add to the unparalleled shapes and The most evident among them quoted high quality specimen decorations. are the fragments of sprinklers, at the British Museum, objects undoubtedly connected decorated with filigrana,1 As a matter of fact, it is not with the Islamic world, called in the ones recovered in surprising to find on the site Arabic qumqum and used for Venice2 and from the Gnali’ some specimens originated not rosewater and perfumes, at Wreck (Croatia),3 as good only from local production but home and in religious rituals. A examples of the plain versions also from other known European complete blue one was found in circulating in the Mediterranean. glassmaking centers. According an early medieval context, while The author reminds the use of to the previous work of R. Tyson, more came to light in a later rosewater in 14th century Spain, both the recorded colorless context. The author refers that as suggested by the mention of a beakers with blue trails, possibly several examples have been sprinkler in the inventory of King imports from German workshops, recovered from other Martin of Aragon in 1396, and the flasks with long neck archaeological sites in the City recording an almorratxa and globular body, reminding the of London, underlining that, “decorated with the work of 14th century Italian inghistera, when a chronology is available, Damascus” (p. 72, quoting are typical features of the they are usually later, showing Frothingham A. W. 1963. medieval glass found in England. continuity in the use of this Spanish glass, Faber During the later periods, the object in the town from the monographs on glass. Faber and Venetian or façon de Venise Middle Ages until the 16th Faber, London, p. 22). goblets and bowls, and the century. Incidentally, it is to be remarked locally produced green utilitarian that the almorratxa, as we know glass, are abundant, as expected As it is stated (p. 71-72), it today, looks different from from the comparison with other sprinklers were first produced the sprinkler we are speaking British complexes of similar in 12th century Syria and about: the Catalan word (of chronology. became common there and in Arabic origin4) in fact

1. BM, no S.609. 2. Minini M. 2009. Reperti vitrei da un’indagine archeologica presso piazza S. Marco a Venezia: l’intervento nell’ex cinema San Marco. In: Intorno all’Adriatico. Atti delle XII Giornate Nazionali del Vetro del Comitato Nazionale Italiano AIHV (Trieste-Piran 30-31 maggio 2009). Quaderni Friulani di Archeologia XIX: 197-204; Minini M. 2011. Reperti vitrei da uno scavo archeologico nell’isola della Giudecca a Venezia. In: Produzione e distribuzione del vetro nella storia: un fenomeno di globalizzazione. Atti delle XI Giornate Nazionali di Studio in onore di Gioia Meconcelli (Bologna 16-18 dicembre 2005). Museo Civico Archeologico, Bologna - Association International pour l’Histoire du Verre, Comitato Nazionale Italiano, Bologna - Murano: 147-153. 3. Lazar I., Willmott H. 2006. The Glass from the Gnali´c Wreck. Annales Mediterranea, Koper.

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designates a much more similarities are found with has only been partially covered by articulated vessel, with up to fragments of necks from a blob of glass” (p. 101). I four vertical spouts, often with a medieval contexts in the Beirut wonder if this “blob of glass” pedestal base.5 Souks, likely to be locally could be related to the scar left produced, except for the by a pontil, suggesting in this The majority of the considered absence of the handles. It way that the painted object was finds were recovered from two seems indeed rare to find such reheated exposing it to the cesspits and, unfortunately, they bottles with two handles on the furnace, in order to definitely fix lack a defined chronology, neck, the only quoted parallels the gold to the glass, according coming from fulfillments that being an example from Exeter, to the technique we know was in have released pottery dated from a cesspit deposit dated to use in both Middle Eastern and from the 13th to the beginning the late 16th or early 17th Venetian glass workshops. No of the 16th century. century, and a 17th century exact parallels have been found bottle at the Hermitage, for these glasses: “elements can A group of fragments, blown in attributed to Granada. It is be seen in Byzantine, Islamic, green glass of various tinges, worth noting that several similar Venetian and other Italian are presented as belonging to fragments of necks are reported designs but none are convincingly “non-European flasks” (p. 72). as found in the past and now in similar enough to these two All have a bulge in the neck and the Museum of London, all from vessels” (p. 101). Chemical flattened bodies. Some show undated (or even unknown) analysis reveals the goblet to be two handles, attached to the contexts. made with a soda-rich plant ash neck and the upper body, and glass, with an unusual boron one retains traces of enamel The most exceptional vessels content possibly suggesting decoration. Although recovered on the site were a blue Turkey as the origin place. The underlining the difficulties in goblet and its probable cover, source of cobalt, responsible of indicating a sure origin of this blown in cobalt blue glass. They the blue color, is Egypt, thus it is material, the author remarks both display an elaborated gilded not in contrast with an Eastern that “it is to the Middle East decoration, comprising quatrefoil, Mediterranean attribution. and southern Spain that we overlapping scales with a star in must look for possible parallels” each scale, leaf foliage, and other Among the imported European (p. 73). Taking into account the patterns. The gilding technique is vessels discussed in detail, it is scarcity of published finds of referred as “cold gold-painted worth mentioning two flasks this chronology from Middle decoration” (p. 76). However, with pouring lip and the body East and Iberia, a wide range of describing the cover, it is said decorated with mould blown parallels is offered, spanning that “inside the center of the pattern of ribs on a second from Turkey to Portugal, ‘bowl’ there is a hole when it has gather, supposed to be including Greece, Lebanon, and been constricted to create the originated in Central Europe, and southern Spain. The closest adjacent part of the stem, which a lid in pale turquoise glass with

4. According to the Gran diccionari de la llengua catalana, it derives from the Arabic al-mi‚irášš (www.diccionari.cat/lexicx. jsp?GECART=0006514). Accessed on 16.07.2014 5. See for ex. Philippart J.-P., Mergenthaler M. (Eds.), 2011. Frágil transparencia. Vidrios españoles de los siglos XVI a XVIII. J.H.Röll, Dettelbach, p. 30, ﬁ g. 7, e p. 123, no 36.

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the 17th century.7 Also traces of enameled decoration preserved on two fragments could suggest a link to the Mamluk Syrian production. More Islamic-style glasses have been previously identified by the author among the glass found in medieval England.8 The proposal is that they reached the country mainly by trade, without excluding the possibility of diplomatic gifts, or the paper played by the Crusaders. In absence of new archaeological data, this import seems to stop during the 16th century. Glass finds from Plantation Place, City of London, UK © Museum of London Archaeology, 2013. Regarding the objects coming from contexts chronologically less remains of gilded decoration, for medieval pottery, as the 14th-15th defined, spanning from 13th-14th which Venice or Netherland are century Mamluk fritware albarelli, to 16th-17th century, the proposed as origin.6 possibly from Syria, make of suggestion advanced by the course consistent the proposal of author of a Southern Iberian Despite the great effort made, a Middle Eastern provenience provenience seems to me quite looking for exhaustive parallels at also for some of the glasses, at plausible. It could be reinforced a wide range of geographical least the ones with earlier by the similarities the glass from regions, the author admits that chronology, as the sprinklers, and London seem to share with some the chronology and the perhaps some of the bottles with Portuguese 17th century finds, as provenience of most of these bulged necks, although the bulge for example a couple of gourd- Islamic-style glasses remain on the neck is a feature clearly shaped bottles coming from eventually uncertain (p. 78). The shared by both western and Moura, one of them with two presence in the same contexts of Middle Eastern bottles and handles applied on the expanded a rare group of Middle Eastern flasks, from the Middle Ages to portion of the neck and on the

6. The turquoise glass is perhaps opaque or translucent. 7. Different types of bulges are known, from a simple ring, as on medieval Italian fl asks, to the more expanded ones, as in some Portuguese and London specimens. Flattened bulged ribbed fl asks were used in medieval France (Besançon: Munier C. 1990. Le verre. In: Se nourrir à Besançon au Moyen Age. A la table d’un vigneron de Battant. Ville de Besançon, Besançon: 53-61) and in 16th c. Italy, as showed in the Last supper painted by Girolamo da Santacroce around 1540-50: on the table, there is a small bulged fl ask with a rather lenticular ribbed body (Barovier Mentasti R. (Ed.) 2006. Trasparenze e rifl essi. Il vetro italiano nella pittura. Banco Popolare di Verona e Novara, Verona, p. 112, fi g. 47). 8. Tyson R. 2000. Medieval glass vessels found in England c. AD 1200 - 1500, CBA Research Report. Council for British Archaeology, York.

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shoulder.9 Also the ribbed occasions significant amounts of descriptions in a second part, decoration on the body using the previous unknown models. We located at the end of the book. second gather technique is a can surely join the authors of the To be honest, I found this feature that became rather book (p. 82) in wishing “that organization a little confusing, common in 16th-17th century more parallels will be discovered because the separated bottles and flasks, both in the ... providing more information information obliges to browse Eastern and Western regions of about their source and date”, constantly between the two the Mediterranean, as showed by not only, as they say, “in eastern sections. 2. The paragraph findings in Istanbul10 and in Mediterranean excavations” but, referring the results of the Portugal.11 hopefully, also in the Iberian chemical analyses on two Peninsula. selected fragments is quite To conclude, I really welcome short; in my opinion, it would the publication of this important In addition, just two minor have deserved more space, archaeological record, bringing remarks. 1. The data about the enabling a larger discussion of material for future discussions finds are spread in two different the promising data, especially on glass production and trade in chapters, apparently with the about the possible Venetian Europe. Late medieval and early aim to offer the unspecialized origin of the inghistera type modern archaeology keeps on reader an overview of the most flask. Hopefully this will challenging our knowledge of relevant topics, keeping the be offered in a further glass, uncovering on several drawings and the detailed publication.

9. Medici T. 2012. Revisiting the ‘Moura glass treasure’: new data about 17th century glass in Portugal. In: Ignatiadou, D., Antonaras, A. (Eds.), Annales du 18e congrès de l’Association Internationale pour l’Histoire du Verre (Thessaloniki 2009). AIHV Association Internationale pour l’Histoire du Verre, Thessaloniki : 442-447, p. 443, fi g. 2. 10. Canav-Özgümu,s Ü. 2012. Recent glass fi nds in Istanbul. In: Ignatiadou, D., Antonaras, A. (Eds.), Annales du 18e congrès de l’Association Internationale pour l’Histoire du Verre. Association Internationale pour l’Histoire du Verre, Thessaloniki: 326-332. 11. Medici T., Lopes F. M., Lima A., Larsson M. A.,Pires de Matos A. 2009. Glass bottles and jugs from the Monastery of Sta. Clara-a-Velha, Coimbra, Portugal. In: Annales du XVII Congrés de lÁssociation Internationale pour l’Histoire du Verre (Antwerp 2006). Association Internationale pour l’Histoire du Verre, Antwerp: 391-400.

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GLASS CONGRESSES The scope of the colloquium GLASS EXHIBITIONS covers the corrosion of historic 2015 glass and its consequences for conservation and for other Le Stanze del Vetro, Island of VICARTE - Glass and Ceramic for materials (e.g. metals) in contact San Giorgio Maggiore, Venice, the Arts / Parques de Sintra – with the glass. The conference is Italy: Monte da Lua organized by the State Academy Tomaso Buzzi at Venini, from 13 Collecting through Connections: of Art & Design Stuttgart in September 13, 2014 to January Glass and Stained-glass Collectors cooperation with the Glass 11, 2015. and their Networks in the 19th Deterioration Group of the ICOM- The exhibition will focus on Century CC Glass & Ceramics WG and Buzzi’s works in the years when Lisbon, Portugal, the Landesmuseum he collaborated with the Murano 4 - 6 February 2015. Württemberg. glassworks (1932-1933). http://eventos.fct.unl.pt/collecting- info: gerhard.eggert@abk-stuttgart. www.lestanzedelvetro.it through-connections/ de The Corning Museum of Glass, Italian Committee of the AIHV - The Glass Art Society Corning, New York, U.S.A.: Association Internationale pour 44th Annual GAS Conference René Lalique: Enchanted by Glass, l’Histoire du Verre “Interface: Glass, Art, and from May 17, 2014 to January XVIIIe Giornate Nazionali di Studio Technology” 4, 2015. sul Vetro / 18th National Glass San Jose, CA, U.S.A., June 5-7, Designing for a New Century: Study Days 2015. Works on Paper by Lalique and his “VETRO E ALIMENTAZIONE” / http://www.glassart.org/_San_Jose. Contemporaries, from May 17, “GLASS AND FEEDING” html 2014 to January 4, 2015. Pavia (Italy), 16-17 May 2015 Constellation, from March 20, http://www.storiadelvetro.it/ 2016 2015 to March 20, 2016. The new Contemporary Glass AIHV – Association ICOM Glass Annual Meeting Galleries, opening March 20, Internationale pour l’Histoire du The ICOM Glass Annual Meeting 2015, will feature a gallery Verre 2016 will be organized during dedicated to special temporary 20th AIHV Congress the next ICOM General projects including large-scale Fribourg and Romont, Conference in Milan, Italy, 3-9 installations. Switzerland, 7- 11 September July 2016. America’s Favorite Dish: 2015. info: http://network.icom. Celebrating a Century of Pyrex, www.aihv2015.ch. museum/icom-milan-2016/ from June 6, 2015 to March 17, 2016. State Academy of Art and Design The Glass Art Society and the It commemorates the history of Stuttgart, Germany Corning Museum of Glass Pyrex brand housewares, Glass Deterioration Colloquium 45th Annual GAS Conference developed by Corning Glass 2015 Corning, New York, U.S.A, The Works in 1915. 20-21 February 2015. Corning Museum of Glass, 2016. www.cmog.org

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by Teresa Medici. VICARTE

Bergstrom-Mahler Museum The Metropolitan Museum of Art, info: [email protected], www. of Glass, Neenah, WI, U.S.A.: from December 9, 2014 to April vicarte.org Beauty Beyond Nature: The Art 13, 2015. of Paul Joseph Stankard, from www.metmuseum.org EGE /European Glass Experience September 13, 2014 to The Corning Museum of Glass, PROJECT: Riihimäki (FI), Segovia February 15, 2015. from May 16, 2015 to January,4, (E), Marinha Grande (P) and http://bergstrom-mahlermuseum.com/ 2016. Murano (I) http://www.cmog.org/collection/ Promising Young Names in European Petit Palais, Paris, France: exhibitions/upcoming Glass - International touring Baccarat, crystal legend, from exhibition 2014 – 2015. October 15, 2014 to January 4, VICARTE (Lisbon, Portugal) and 2015. Istituto Veneto di Scienze, Lettere Promising Young Names in To mark Baccarat’s 250th ed Arti (Venice, Italy) European Glass Art is an anniversary, the Grandes Galeries WITHIN LIGHT / INSIDE GLASS. An international touring exhibition of at the Petit Palais will host the intersection between art and 40 works of art glass and 38 first Baccarat retrospective in science, Palazzo Loredan, Venice, drawings. The exhibits were France since the Bicentenary Italy, from February, 8 to April 19 chosen through a competition exhibition at the Musée des Arts In 2015, proclaimed by the involving over 200 young glass Décoratifs in 1964. United Nations as the artists (aged 18 – 40) from 22 http://www.petitpalais.paris.fr/en/ “International Year of Light and European countries. An expositions/baccarat Light-based Technologies”, international jury consisting of VICARTE (a research unit of the museum directors, curators and The Metropolitan Museum Faculty of Science and glass experts from Italy, Germany, of Art, New York / The Corning Technology of the Universidade United Kingdom, Poland and Museum of Glass, Corning, NY, Nova de Lisboa and the Faculty Finland selected 40 works U.S.A of Fine Arts of the Universidade representing glass art in seventeen Ennion: Master of Roman Glass de Lisboa), is producing an art countries. The jury also selected Glassware signed by Ennion, the exhibition to communicate to a 38 drawing. The exhibition began most outstanding Roman mold- large audience the results of its tour at the Finnish Glass blown glass in the early first scientific researches in the field Museum in Riihimäki, Finland, century A.D., was traded over a of glass and light interaction. A from 28 March to 8 June 2014, vast area that spanned the entire group of 15 international artists with 20 works and all the Mediterranean world, from Israel were invited to develop projects drawings. From the 28th July to to Spain. Examples by other on the topic of glass and light. the 16th November 2014, a named glassmakers of the period The results are very different second exhibition took place at (Aristeas, Jason, Neikais, and works which speak about the Fundación Centro Nacional del Meges), as well as unsigned blown interaction of these two subjects Vidrio in Segovia, Spain, with the glass that illustrates Ennion’s from a formal and conceptual other 20 pieces and the drawings, profound influence on the nascent point of view. Curated by Rosa this exhibitions will move to Roman glass industry, will also be Barovier Mentasti and Francesca Marinha Grande, from December on view. Giubilei. 2014 to February 2015. In the

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spring of 2015, all 40 works and Alexander Tutsek-Stiftung GLASS EVENTS the drawings will be on show at Foundation, Munich, Germany Higher education course Study the Museo del Vetro in Murano, Ann Wolff | Persona, from Days on Venetian Glass 2015: Venice, Italy. October 17, 2014 to June 12, The Birth of the great museum: A further selection of ten works 2015 the glassworks collections between was made from these drawings, to http://www.atutsek-stiftung.de/en/ the Renaissance and Revival be realized in glass by the master ausstellungen.html Istituto Veneto di Scienze, Lettere glassmakers of Murano in the ed Arti, Venice, Italy, March autumn of 2014. These pieces Vitromusée Romont, Romont, 11-13, 2015 will be on display at the exhibition Switzerland info: [email protected] in Venice in the spring of 2015. From Historism to Art nouveau. The This exhibition is part of the stained-glass workshop of the Vitromusée Romont, Romont, European Glass Experience Röttinger family in Zurich, Winter Switzerland project. Starting from the idea that 2014 – 2015 Vitrofestival Romont 2015, glass art is a common European Venetian Glass in Switzerland, 18 – 19 April 2015 intangible heritage, the City of Summer 2015. The Vitrofestival Romont is a Venice (Italy), together with Venetian and façon de Venise celebration of the arts of glass and partners from Finland, Spain, Renaissance glass from Swiss glass painting, and is the only Sweden, Poland, and United collections. event of its kind in Switzerland. Kingdom, promoted the EGE www.vitromusee.ch The bi-annual festival started in project (European Glass [email protected] 2009. Each of the three festivals Experience), supported by the to date has attracted some 5000 European Commission in the ESGAA - International Biennale du visitors – lovers of glass crafts as frame of the Culture 2007-2013 Verre, from October 15 to well as professionals working in art Program. The aim of the project is November 30, 2015, Alsace, glass: they all come to enjoy the spreading this concept and France. festive atmosphere in Romont. The exploring its unexploited potential, large number of glass artists taking especially by fostering young Musée du Verre de Charleroi, part illustrates the importance artists’ production. Marcinelle, Belgium: of this event. The aim of the To concretely support the The Glass Museum of Charleroi festival is to promote contemporary circulation of glass artworks in is organizing for 2015 the stained glass and glass art. The Europe, one of the project’s exhibition Ombre et lumière à creations of recognized artists are actions foresees three international Charleroi, about stain glass in on display in the galleries; there is exhibitions to be organized by the private houses at Charleroi a crafts market, as well as various glass museums that figure during the 19th and the 20th demonstrations of many of the amongst the partners, namely the centuries. With this aim, an techniques used in making glass Museo del Vetro (Murano, Venice, inventory of the stain glass still objects of all kinds. As part of the Italy), The Finnish Glass Museum existing in the town is under festival, a conference is organized (Riihimäki, Finland), and the construction. for the dissemination and Fundación Centro Nacional del http://charleroi-museum. exchange of information among Vidrio (La Granja de St. Ildefonso, be/2014/01/08/ombre-et-lumiere-a- glass artists and experts. Segovia, Spain). charleroi/ www.vitromusee.ch http://egeglass.eu/ [email protected] [email protected]

review_on_glass_3.indd 45 28/11/14 09:36 NEWS News

Making glass in the ancient way: the where discussion and debate help throughout the day, following the “Glasdag” of Velzeke - Belgium to better understand the working inspiration and possibly satisfying by Maria Grazia Diani and Luciana conditions of the ancients and, the incoming requests. In the Mandruzzato consequently, the solutions that morning, during the coffee break, (ICOM GLASS, ICOM Italy and were likely to be adopted. the pieces produced the previous AIHV) day, for which the annealing is Among the glass-blowers present completed, are ‘discovered’. It is At Velzeke (B), in the municipality in the 2013 edition the following particularly unpleasant to verify of Zottegem, about an hour from can be mentioned: Mark Taylor that, occasionally, cracks are Brussels and not far from Gent, in and David Hills, well known to present on valuable objects, which the park of the Provincial glass scholars as the “Roman have required a long processing. Archaeological Museum (PAM) Glassmakers” (http://www. (http://www.pam-ov.be/) each year, romanglassmakers.co.uk/); Bill Need to specify that a small group the first week of September the Gudenrath, from the Corning of willing collaborators during the “Glasdag” takes place. Museum of Glass, an expert in night keep the ovens heated, manufacturing Venetian glass; stoking the wood, to prevent an It is an interesting activity of François Arnaud, of PiVerre excessive decrease of the experimental archaeology, which (www.piverre.fr) temperature, which would includes the lightning of a glass compromise the processing. furnace and two “muffle kilns”, The typical day in Velzeke during i.e. annealing furnaces, in order to the ‘Glasdag’ develops as follows: The most interesting aspect of work glass using an ancient the master glassmakers reach the what could be defined a workshop technology. oven early in the morning to start on ancient glass is the possibility the work, applying their capacities of exchanging knowledge between The ovens are built with clay and to any subject that might come to different artists, artisans and glass Roman tiles and wood is used for mind or be brought up by the scholars. Confronting one another firing. Ignition occurs on Monday scholars attending the event (for on working experience and know- and from Thursday the production example mould-blown glass, or how helps to better understand the of vessels takes place. how the handles of skyphoi were ancient technology and to raise worked out, or working ‘the new questions in search of new The tools used are as close as venetian way’, etc.). It continues answers. possible to those used in antiquity and even the individual protections are limited.

Almost spontaneously, artisans interested in working the glass the ancient way, young artists and scholars of ancient glass have begun to meet every year in Velzeke. It’s a sort of open seminar

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Hopefully this innovative and implications for the wider public: In fact, Saturday and Sunday, experimental experience could be the involvement generated from when an historical re-enactment exported to other countries and in practical experience is always is set in the Museum’s park, the different contexts. In addition to very strong and very effective and visit to the glass furnace is open the validity from the research is a valuable tool for the to anybody and the and study point of view, this dissemination of the culture of demonstrations continue until experience has very significant glass. dusk.

Others

Arch-glass: a new glass mailing list doors on October 2013. Located light on all aspect of glass A new mailing list for all in a new glass building, thought to manufacture, created the researchers working on chemical, be a complement to the existing History & Heritage of Glass typological, archaeological, and facilities of the Museu do Vidro, it Special Interest Group. It is historical research into the past hosts the museum’s permanent intended as “a meeting place for production, trade and collection of glass art, covering 25 sharing ideas and insights across consumption of glass has been years of Portuguese glass the boundaries which all too recently created. Its purpose is to creations. International glass art easily segregate the glass share research, pose questions, from the 1980’s onward is also community.” and generally interact as a displayed. The temporary http://www.heritage.sgt.org/ community interested in all exhibition “O Lado Feminino do info: [email protected] aspects of the study of glass and Vidro – Glass seen through other vitreous materials in the feminine eyes” has been organized Musée du Verre de Charleroi past. to celebrate the opening. Curated received a collection of photos Anybody wishing to subscribe by the Portuguese glass artist and movies. should go to: Teresa Almeida, it gathered the The Musée du Verre de www.jiscmail.ac.uk/arch-glass work of sixteen women from 13 Charleroi, Belgium, has been different countries, using glass as awarded with a notable gift. It The Glass Museum at Marinha a medium of artistic expression. received from the investigation Grande (Portugal) reopened center of AGC-Glass Europe (the Between June and October 2013, Núcleo de Arte Contemporânea (NAC) - European branch of AGC Glass, the Museu do Vidro / Glass Museu do Vidro the world’s largest producer of Museum reopened at Marinha Edifício da Resinagem flat glass) a collection of almost Grande (Portugal), after a period Praça Guilherme Stephen 25.000 negatives and of refurbishing. Beside the Marinha Grande. Portugal photographs, plus nearly 100 permanent collection, presented info: http://ww2.cm-mgrande.pt movies 16 mm, concerning the in the old building with a new activities of Glaverbel between exhibition display, a new section, The Society of Glass Technology 1960 and 1990. They will be the NAC – Núcleo de Arte opens to History and Heritage inventoried and digitized by the Contemporânea, devoted to The Society of Glass Technology, museum. contemporary glass art, opened its born in 1916 with the aim of shed http://charleroi-museum.be/

review_on_glass_3.indd 47 28/11/14 09:36 MEMORIES ICOM Glass Meeting in USA, 2013

review_on_glass_3.indd 48 28/11/14 09:36 49

review_on_glass_3.indd 49 28/11/14 09:36 MEMBERS

INSTITUTIONAL MEMBERS AUSTRIA SUOMEN LASIMUSEO (FINNISH GLASS MUSEUM) Riihimäki, FINLAND ALEXANDER TUTSEK-STIFTUNG Dr. Gerhard NAUER www.suomenlasimuseo.fi Eva-Maria FAHRNER-TUTSEK Wien, AUSTRIA München, GERMANY Ms. Marjut KUMELA http://www.atutsek-stiftung.de Ms. Carola Marie SCHMIDT Helsinki, FINLAND Hallein, AUSTRIA SCHLOSSMUSEUM BRAUNSCHWEIG FRANCE Helena HORN Dr. Phil. Ulrike SCHOLDA Braunschweig, GERMANY Baden, AUSTRIA Mlle. Verónique AYROLES http://www.braunschweig.de/kultur_tourismus/museen_ Paris, FRANCE gedenkstaetten/schlossmuseum/index.html BELGIUM Mr. Jean-Claude BRUMM THE TOLEDO MUSEUM OF ART Mr. Luc ENGEN ASSOCIATION DES MUSÉES LOCAUX D’ALSACE Jutta-Annette PAGE Liège, BELGIUM Wingen Sur Moder, FRANCE Toledo OH USA www.musees-alsace.org http://www.toledomuseum.org Mme. Rina MARGOS MUSÉE DU VERRE Mme. Anne-Laure CARRÉ KNAUF GIPS KG KNAUF-MUSEUM IPHOFEN Charleroi, BELGIUM MUSÉE DES ARTS ET MÉTIERS, CONSERVATOIRE Mr. Markus MERGENTHALER/Mr. Lothar Knauf http://www.charleroi-museum.org NATIONAL DES ARTS ET MÉTIERS Iphofen, GERMANY Paris, FRANCE http://www.knauf-museum.iphofen.de Mr. Willy VAN DEN BOSSCHE http://www.arts-et-metiers.net Schoten, BELGIUM MUSÉE DE L’ECOLE DE NANCY Mme. Annie Claire DUCREUX Mme. Valérie THOMAS BRAZIL Paris, FRANCE Nancy, FRANCE www.ecole-de-nancy.com Regina MELLO Mme. Juliette DUPIN UNIVERSIDADE PRESBITERIANA MACKENZIE Paris, FRANCE MUSÉE DU VERRE São Paulo, BRAZIL Mme. Rina MARGOS Mme. Isabelle DUTTER-GEORGES Marcinelle, BELGIUM Elvira SCHUARTZ Dunkerque, FRANCE http://www.charleroi-museum.org ESPAÇO ZERO, INSTITUTO DO VIDRO São Paulo, BRAZIL Mr. Jean-Luc OLIVIÉ MUSÉE LALIQUE www.espacozero.com.br LES ARTS DÉCORATIFS Mme. Veronique BRUMM Paris, FRANCE Wingen-Sur-Moder, FRANCE CHINA http://www.lesartsdecoratifs.fr www.musee-lalique.com Mrs. FANG Jing Mme. Liliana SCOTEE MUSÉE-ATELIER DÉPARTEMENTAL DU VERRE Mr. ZHANG Lin Paris, FRANCE Mme. Anne VANLATUM SHANGHAI MUSEUM OF GLASS Sars Poteries, FRANCE Shanghai, CHINA Mme. Emilie RAMBAUD http://museeduverre.lenord.fr/fr/Accueil.aspx http://www.shmog.org Paris, FRANCE MUSÉES BACCARAT CZECH REPUBLIC Mme. Françoise REGINSTER Mme. MICHAELA LERCH-MOULIN CONSERVATION DÉPARTEMENTALE, DÉPARTEMENT Paris, FRANCE Dr. Milan HLAVES DU LOIRET http://www.baccarat.fr/fr/univers-baccarat/patrimoine/ UMELECKOPRUMYSLOVÉ MUSEUM V PRAZE Orléans, FRANCE musees.htm (MUSEUM OF DECORATIVE ARTS PRAGUE) Praha, CZECH REPUBLIC Mme. Anne VANLATUM MUSEU DO VIDRO DA MARINHA GRANDE http://www.upm.cz MUSÉE-ATELIER DÉPARTEMENTAL DU VERRE Catarina DE SOUSA CARVALHO Sars Poteries, FRANCE Marinha Grande, PORTUGAL Dr. Jitka LNENICKOVÁ http://museeduverre.lenord.fr/fr/Accueil.aspx http://ww2.cm-mgrande.pt Praha, CZECH REPUBLIC Mme. Catherine VAUDOUR REGIONE LOMBARDIA - DIREZIONE GENERALE Mrs. Markéta VEJROSTOVA Mantes la Jolie, FRANCE CULTURE,IDENTITÀ E AUTONOMIE DELLA LOMBARDIA Brno, CZECH REPUBLIC Mme. Maria Grazia Diani GERMANY Milano, ITALY http://www.cultura.regione.lombardia.it DENMARK Dr. Susanne EVERS STIFTUNG PREUßISCHE SCHLÖSSER UND GÄRTEN RÖHSSKA MUSEET (RÖHSSKA MUSEET FÖR MODE,DESIGN Mrs. Dagmar BRENDSTRUP BERLIN-BRANDENBURG OCH KONSTSLÖJD) GLASMUSEET. Potsdam, GERMANY Mr. Ted HESSELBOM Ebeltoft, DENMARK http://www.spsg.de Goteborg, SUEDE [email protected] http://www.rohska.se Mrs. Ruth FABRITIUS Mr. Jørgen HEIN GLASMUSEUM RHEINBACH SHANGHAI MUSEUM OF GLASS THE ROYAL DANISH COLLECTIONS Rheinbach, GERMANY Mr. Xiaowei ZHUANG København K, DENMARK Shanghai, CHINA http://dkks.dk/English Dr. Anna-Barbara FOLLMANN-SCHULZ http://www.shmog.org Bonn, GERMANY Susann JHONSEN THE CORNING MUSEUM OF GLASS KUNSTAKADEMIETS DESIGNSKOLE BORNHOLM Dr. Sven HAUSCHKE Karol B. WIGHT Bornholm, DENMARK EUROPÄISCHES MUSEUM FÜR MODERNES GLAS Corning, NY, USA www.dkds.dk/Bornholm Coburg, GERMANY www.cmog.org Mag. Jan KOCK Dr. Katrin HOLTHAUS UMELECKOPRUMYSLOVÉ MUSEUM V PRAZE (MUSEUM Højbjerg, DENMARK Petershagen, GERMANY OF DECORATIVE ARTS PRAGUE) Dr. Milan HLAVEŠ Mrs. Birte POULSEN Dr. Margret HONROTH Praha, CZECH REPUBLIC Odense C, DENMARK Bonn, GERMANY http://www.upm.cz Mrs. Berit RASK Dr. Rüdiger JOPPIEN Holte, DENMARK MUSEUM FÜR KUNST UND GEWERBE INDIVIDUAL MEMBERS HAMBURG Mr. Jørgen SCHOU-CHRISTENSEN Hamburg, GERMANY Vanløse, DENMARK www.mkg-hamburg.de AUSTRALIA Mr. Torben SODE Dr. Dedo von KERSSENBROCK-KROSIGK Ms. Maxine HOLDEN Bronshoj, DENMARK STIFTUNG MUSEUM KUNSTPALAST Yarragon, AUSTRALIA Düsseldorf, GERMANY FINLAND www.smkp.de Ms. Kaisa Marjatta KOIVISTO Dr. Käthe KLAPPENBACH Mr. Heikki Olavi MATISKAINEN Potsdam, GERMANY

review_on_glass_3.indd 50 28/11/14 09:36 Dr. Jens KRÖGER NORWAY Berlin, GERMANY Mlle. Sylvia FÜNFSCHILLING Mrs. Randi GAUSTAD Augst, SWITZERLAND Dr. Ingeborg KRUEGER Oslo, NORWAY http://www.augusta-raurica.ch Bonn, GERMANY PORTUGAL Dr. Christine KELLER LÜTHI Dr. Hannelore E. MARSCHNER SCHWEIZERISCHES LANDESMUSEUM (MUSÉE München, GERMANY Prof. Dr. António PIRES DE MATOS NATIONAL DE LA SUISSE) UNIVERSIDADE NOVA DE LISBOA, FACULDADE Zürich, SWITZERLAND Dr. Frank MARTIN DE CIÊNCIAS E TECNOLOGIA http://www.musee-suisse.ch Berlin, GERMANY Lisbon, PORTUGAL Sarah KELLER Dr. Susanne NETZER Sra. Teresa Medici VITROCENTRE/VITROMUSÉE KUNSTGEWERBEMUSEUM BERLIN VICARTE Romont FR, SWITZERLAND Berlin, GERMANY Lisbon, PORTUGAL www.vitrocentre.ch http://www.smb.museum/museen-und-einrichtungen/ www.vicarte.org kunstgewerbemuseum/home.html Mr. Otto-Jolias STEINER QATAR STEINER SARNEN AG FÜR KOMMUNIKATION Dr. Helmut RICKE Sarnen, SWITZERLAND Dusseldorf, GERMANY Michelle WALTON MUSEUM OF ISLAMIC ART, Mme. Bettina TSCHUMI Mrs. Karin RÜHL Doha, QATAR MUDAC - MUSÉE DE DESIGN ET D’ARTS GLASMUSEUM www.mia.org.qa APPLIQUÉS CONTEMPORAINS Lausanne, Frauenau, GERMANY SWITZERLAND www.glasmuseum-frauenau.de ROMANIA http://www.mudac.ch Ms. Bettina K. SCHNEIDER Mrs. Simona Violeta GHEORGHE UNITED KINGDOM Berlin, GERMANY MUZEUL OLTENIEI CRAIOVA (THE REGIONAL MUSEUM OF OLTENIA) Mr. Peter HARDIE Ms. Andrea SCHWARZ Craiova, ROMANIA Bristol, UNITED KINGDOM Berlin, GERMANY www.muzeulolteniei.ro Mr. Reino LIEFKES Mrs. Siegmut SEEGER Ingrid Diana POLL VICTORIA AND ALBERT MUSEUM Bonn, GERMANY MUZEUL DE ISTORIE SI ARTA AL MUNICIPIULUI London, UNITED KINGDOM BUCURESTI www.vam.ac.uk Dr.-Ing. Manfred TORGE Bucuresti, ROMANIA Hoppegarten, GERMANY Ms. Janet Hume NOTMAN RUSSIAN FEDERATION Edinburgh, UNITED KINGDOM GUATEMALA Oxana LOPATINA Mrs. Jennifer OPIE Sra. Susana CAMPINS THE PUSHKIN STATE MUSEUM OF FINE ARTS Teddington, UNITED KINGDOM MUSEO VICAL DE ARTE PRECOLOMBINO Y VIDRIO Moskva, RUSSIAN FEDERATION MODERNO www.pushkinmuseum.ru Dr. Oliver WATSON La Antigua, GUATEMALA London, UNITED KINGDOM http://[email protected] SLOVENIA USA ISRAEL Mr. Joze RATAJ POKRAJINSKI MUZEJ CELJE (REGIONAL MUSEUM Mrs. Kelly Ann CONWAY Mrs. Yael ISRAELI CELJE) THE CORNING MUSEUM OF GLASS Jerusalem, ISRAEL Celje, SLOVENIA Corning, NY, USA www.pokmuz-ce.si www.cmog.org Mrs. Ayala LESTER ANTIQUITIES AUTHORITY SPAIN Dr. Amy GOLAHNY Jerusalem, ISRAEL State College, PA, USA Sra. Teresa CARRERAS ROSSELL ITALY Barcelona, SPAIN Mr. Sidney M. GOLDSTEIN Saint Louis, USA Luciana MANDRUZZATO Sra. María Cristina GIMÉNEZ RAURELL Trieste, ITALY MUSEO CERRALBO Ms. Amy MCHUGH Madrid, SPAIN Parsippany, NJ, USA Giulia MUSSO http://museocerralbo.mcu.es MUSEO DELL’ARTE VETRARIA ALTARESE Ms. Katie PHELPS Altare, SV, ITALY Sra. María Luisa MARTÍNEZ GARCÍA MUSEUM OF GLASS www.museodelvetro.org MUSEO DE ARTE EN VIDRIO DE ALCORCÓN (MAVA) Tacoma, WA, USA Alcorcón (Madrid), SPAIN museumofglass.org Chiara SQUARCINA www.mava.es FONDAZIONE MUSEI CIVICI DI VENEZIA Prof. William E. RAY Venezia, ITALY Dra. Cristina MUR DE VIU REED COLLEGE, FRENCH DEPARTMENT http://www.visitmuve.it/ PATRIMONIO NACIONAL, PALACIO REAL DE MADRID Pórtland, USA Madrid, SPAIN JAPAN www.patrimonionacional.es Ms. Jane Shadel SPILLMAN Corning, NY, USA Ms. Ruriko TSUCHIDA Dra. Paloma PASTOR REY DE VIÑAS SUNTORY MUSEUM OF ART MUSEO TECNOLÓGICO DEL VIDRIO Dr. Audrey WHITTY Tokyo, JAPAN San Ildefonso, Segovia, SPAIN THE CORNING MUSEUM OF GLASS ttp://www.suntory.com/sma/ www.fcnv.es Corning, NY, USA www.cmog.org LATVIA SUEDE Dr. Karol B. WIGHT Ms. Ilze MARTINSONE Dr. Karl Johan KRANTZ THE CORNING MUSEUM OF GLASS MUSEUM OF ARCHITECTURE SMÅLANDS MUSEUM (THE SWEDISH GLASS MUSEUM) Corning, NY, USA Riga, LATVIA Växjö, SUEDE www.cmog.org www.archmuseum.lv www.kulturparkensmaland.se Ms. Diane C. WRIGHT NETHERLANDS Mr. Anders REIHNÉR CHRYSLER MUSEUM OF ART Hägersten, SUEDE Norfolk, VA, USA Dr. Clasina ISINGS www.chrysler.org Soest, NETHERLANDS SWITZERLAND Dr. Pieter Cornelis RITSEMA VAN ECK Erwin BAUMGARTNER ’s-Gravenhage, NETHERLANDS Basel, SWITZERLAND Mrs. Susanne BRENNER KIPFER Gümligen, SWITZERLAND

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