Reviews on Nº 1 2012
2010 ICOM Glass Meeting Lectures: Finnish Glass in Scandinavian context. From Silk Road to Container Ship GLASS Interview: Markku Salo Edit
ICOM INTERNATIONAL COMMITTEE FOR MUSEUMS AND COLLECTIONS OF GLASS http://network.icom.museum/glass
Editorial and Board Members Paloma Pastor. Chair Jane Shadel Spillman. Secretary Karin Rühl. Treasurer Kaisa Koivisto Reino Liefkes Teresa Medici Susanne Netzer Anne Vanlatum
English text correction Jane Shadel Spillman
Coordinator of this journal Paloma Pastor
Cover illustration Alvar Aalto, “Savoy” Fundación Centro Nacional del Vidrio
Layout Cyan, Proyectos Editoriales, S.A.
© 2012 ICOM Glass and authors
ISSN: 2227-1317
Journal sponsored by ICOM. International Council of Museums
We thank all those people who have contributed to the creation of our new journal, and especially to Jane S. Spillman for correcting and checking each of the texts, Teresa Medici for developing the news and interesting information area of the journal, Kaisa Koivisto for her help and support, and finally Isabel Portero (the biotechnologist) for her good advice.
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. SUMMARY 6
Lectures 6 ICOM Glass Meeting in Finland and Tallin 7 Finnish Glass from the 1930s until today 13 Kungsholm glassworks in Stockholm. A modern producer of its time 15 Immigrant workers at Kosta Glassworks after World War II 23 Art and craft? Glassmaking in Moravia during 1850-1918 30 Applications for the Master of Glass Art and Science 2012/2013 in Lisbon are currently open 32 ICOM General Conference in Shanghai 33 Shanghai Museum of Glass: A Story of Cultural Exchange between China and the West 37 A preliminary approach to the study of chinoiserie glass in Europe in the 16th and 19th centuries 42 46
Interview Markku Salo tells about News 46 Projects becoming reality his relationship to glass, Spain and museums 50 Congresses & Exhibitions 52 54 Memories Members
FOREWORD
Dear Friends and Colleagues,
The Review on Glass, our new online journal, is now a reality and we believe it will be a success. Two years ago, we foresaw the necessity to edit a journal specialized in glass in order to provide a scientific and informative platform, and after a lot of hard work, here we are!. It is important to say that to achieve this objective, it has been essential to discuss the idea in depth, especially among the Board members who have worked as volunteers, sharing ideas and information. This was essential to defining the content and final design of the journal. Openness and the ability for dialogue are, in my opinion, some of the many strengths of our committee.
This Review, which starts with an annual publicition, attempts to show and explain our ICOM Glass annual meeting lectures and conclusions; but it is much more than only being a summary of our congresses. We try to capture the latest and most important news about glass, as well as expert interviews, museum trends and other information of interest to our readers. We launched the journal with our Finland Meeting inputs, and with our Joint Meeting in Shanghai, two meetings help in 2010. Before the end of this year, we hope to edit a second edition of the journal, which will cover the Spanish Meeting which was held in 2011.
The actual name of our journal has a curious history which I would like to share with you. The idea came during a peaceful walk in La Granja, when I and a doctor of biotechnology were talking about the idea of a journal. I shared my initial thoughts with her, and she gave me some ideas which finally came to be key inputs for the structure and also the most appropriate name for it. “You don’t try to discover, but you actually do so when showing the world great discoveries, as Plato reviewed and expanded the works of Socrates”. This made my eyes open wide... Interestingly, it was the connection between two people coming from very different areas of knowledge which helped the creativity arise. At the end, and especially now that we are facing hard times around the world, you need to innovate to surpass the crisis. And to innovate it is important to connect, open up new ideas for new people to discuss; and in our case, do our best to reinforce the glass network we have the pleasure to work in.
We hope that this journal will be of interest to all our readers.
Paloma Pastor Rey de Viñas Chair. ICOM Glass ICOM Glass Meeting in Finland and Tallin
6 LECTURES The ICOM Glass Meeting, 2010, was held September 6-10, in ICOM Glass Finland and Tallin. The meeting was attended by 23 people from 13 different countries. On Wednesday, we had the lectures Meeting in Finland in the Finnish Glass Museum around the topic: Finnish Glass in Scandinavian context, presented by Heikki Matiskainen, Director and Tallin of the Museum. Finnish Glass from the 1930s until today Kaisa Koivisto. Chief Curator. The Finnish Glass Museum
Finnish glass has become a part century, when the home market changes undergone by Finland, of the national identity. This is began to grow due to the from being a part of Sweden and why it is easily forgotten, that in industrialisation. later a Grand Duchy of Russia to relation to other industries, the national independence and glass industry is very small. Founded in 1793, Nuutajärvi is membership in the European When the glass industry began Finland’s oldest glassworks still Union. However, in the 1920s in Finland during the 18th in operation. Its history of over and 1930s, Finland’s largest century the main products were two centuries includes rises and glassmakers were the Ahlström window glass and bottles. Very falls, transition from craft-based corporation with its Karhula little household glass was manufacturing to an industrial (founded in 1889) and Iittala produced until the late 19th facility, and the many political (founded in 1881) glassworks
7 LECTURES
collection of engraved luxury example in the yearbooks of the objects for the Barcelona World’s Ornamo association of designers. Fair of 1929. This, however, did not mean that In the 1920s, design was given any central Arttu Brummer (1891-1951), role. Both Karhula and Riihimäki Swedish glass one of the great influential made bottles as their main design was the figures of Finnish design, wrote product, and accordingly the in the 1927 yearbook of the mechanization of bottle model for Ornamo designers’ association manufacturing and other of the Swedish concept of improvements in manufacturing designers “everyday products of greater were the main subjects of practically beauty” and the exemplary work interest for factory management. of the Swedish Society of everywhere, Industrial Design. He Finnish applied art and design emphasized, both as a teacher were showcased at World’s Fairs including and as a participant in debate, and other international the great importance of exhibitions. While applied art Finland individual craftmanship as a could also mean factory-made starting point and source of products, the items that were inspiration for industrial given publicity were almost production. Although Brummer always unique art objects, even and Riihimäki glassworks (later was branded as the leading in the 1930s. Industrial plants, Riihimäen Lasi Oy, founded in opponent of functionalism in including the Arabia porcelain 1910), with the Riihimäki, Finland, he nonetheless took his factory and Finnish glassworks, Kauklahti and Ryttylä students to the Stockholm sought to present a modern glassworks. Karhula was the exhibition of applied art in image by emphasizing Ahlström corporation’s main 1930. This exhibition has been mechanized manufacturing, factory, and Iittala was only a seen as a turning point. among other means. The small additional unit. Emphasis on the specific aesthetic of functionalism could properties of glass with the aid be seen for example in many of In the 1920s, Swedish glass of design was a new concept in the Karhula glassworks’ design was the model for comparison with design based advertisements. designers practically everywhere, on cut or engraved decoration. including Finland. Examples of In retrospect, the contribution Finnish glass design were rare. In 1932, Hans Ahlström, aged of Finnish glass art to the Paris Tyra Lundgren of Sweden only 27 at the time, was given World’s Fair of 1937 appears to designed a set of glassware and responsibility for developing the have been a turning point. The a few art objects for the corporation’s glass operations. In imitation of Swedish design was Riihimäki glassworks, beginning the same year a glass design now rejected for a more original her work in 1925. In 1928 the competition was held and Göran orientation. The pieces on show Riihimäki glassworks held a Hongell was hired as artistic in Paris were mainly individual design competition won by Henry assistant to the corporation. cut, engraved or sand-blasted art Ericsson, who began to Both the Karhula and Riihimäki objects, except for bowls and collaborate closely with the glassworks figured prominently vases by Alvar Aalto, which he glassworks, and designed a as sponsors of glass design, for displayed apart from the other
8 REVIEWS ON GLASS Nº 1 2012
applied arts exhibits after having fallen out with Arttu Brummer.
Finland became involved in the Second World War after the Soviet Union attacked Finland on 30 November 1939. This marked the beginning of the Winter War, which ended in the so-called interim peace on 13 March 1940. The war years, including the interim peace until the summer of 1941, were a time of shortages marking the cessation of almost all manufacturing of art glass.
The glass industry was dependent on imported raw materials, and suffered after the war from shortage well into the 1950s. Art glass, however, had an exceptionally strong position in the late 1940s. The year 1946 marked a kind of new beginning. The Iittala glassworks held a glass design competition that resulted in the hiring of Kaj Franck and Tapio Wirkkala as designers. Gunnel Alvar Aalto, “Savoy”, 1937. Fundación Centro Nacional del Vidrio. Nyman collaborated with the Nuutajärvi glassworks from 1946 to 1948, and the by Arttu Brummer, Kaj Franck, while waiting for better times. designer Helena Tynell was Gunnel Nyman, Helena Tynell, For Nuutajärvi, Gunnel Nyman employed by the Riihimäki and Tapio Wirkkala were on was so significant that when the glassworks. There was great display in several exhibitions, glassworks went on sale in demand for utility glassware, in Helsinki, Stockholm, 1950, the solid reputation of but owing to price controls it Gothenburg, Oslo and other Nyman’s work in design was was not profitable to produce it. cities. In the late 1940s, noted as the outmoded factory’s This did not encourage the Gunnel Nyman was the best- only attraction for buyers, in design of utility glassware. known Finnish glass artist in addition to its skilled workforce. On the other hand, art glass Scandinavia. Her works were represented the country in received positively everywhere, The success of Finnish glass Nordic exhibitions with a and her reputation could be put design in the 1950s was an measure of success. Works to use in domestic marketing integral aspect of the so-called
9 LECTURES
golden age of Finnish glass. In the Milan triennial of 1951, Tapio Wirkkala was the exhibition designer of the Finnish exhibition. He was awarded three Grand Prix, for the exhibition architecture, his plywood sculpture and his glass design. The success of Finnish design continued in the triennials of 1954, 1957, and 1960. Designers, including Wirkkala, Franck, Timo Sarpaneva and Nanny Still, became artists and celebrities, and most of them had the opportunity to make one-off pieces and prototypes in close collaboration with glassworks personnel. This opportunity to collaborate with glassblowers, cutters and engravers has been underlined as a special feature of Nordic glassmaking. The mid 1950s finally marked the end of post- was rationing. The end of the economic restrictions led to growing competition among the Finnish glassworks. New utility glass designed by ‘world-famous’ designers were introduced to the market. The new glassware was positively received by the press and consumers alike. The Nuutajärvi glassworks had already established its position as a leading maker of modern household glass. Now both Tapio Wirkkala, “Kantarelli”, 1947. Fundación Centro Nacional del Vidrio. Iittala and the Riihimäki glassworks realized the need to introduced.The i-line can be reconstruction. Modernism renew their operations in this described as the beginning of a became a style. sector. In mid 1950s, Timo new orientation underlining the Sarpaneva’s famous i-line of value of new design for its own Finland became an associate glassware and Nanny Still’s sake, and as the termination of member of EFTA (European Free pressed-glass Viiru series were the austere post-war years of Trade Association) in 1961.This
10 REVIEWS ON GLASS Nº 1 2012
agreement both increased Flora, introduced in 1966, foreign glass imports and became a very successful series improved the Finnish export of products. It was developed potential. Until the beginning into a complete set of tableware, The success of of the 1960s, the Finnish glass which naturally increased sales. industry had operated with Finnish glass hardly any competition. For the The international studio glass design in the labour-intensive industry, movement proceeded from the dependent on imported raw artist’s own form of expression 1950s was an materials, it was obvious that and from the process of design was its prime factor of personally making the pieces. integral aspect survival. Still mould blowing is In 1970, the Ornamo design of the so-called usually a less expensive method association held a seminar on than turned mould blowing. A glass in association with the golden age of completely smooth surface is Institute of Industrial Art (later technically difficult to achieve, University of Art and Design Finnish glass both in the still mould blowing Helsinki). The seminar was process and in pressed glass. taught by Marvin Lipofsky, a Decorative patterns cover small pioneer of the American Studio surface flaws. Patterned glass Glass Movement. Heikki Kallio, looked new and interesting after who participated in the course, expected even of art objects. the stylish simplicity of the constructed his own furnace and Nevertheless, the studio glass 1950s. Timo Sarpaneva’s began work as a glass artist in movement’s concept of glass Finlandia series from 1964 is keeping with the ideals of the as art media has not been regarded as the beginning of the international studio glass forgotten. new trend. These objects were movement. In the late 1970s, still-mould blown into wooden Heikki Kallio began to hold The year 1973 can be regarded moulds which burned, giving the studio-glass courses at the as a turning point in the Finnish glass a texture resembling ice. University of Art and Design glass industry. The energy crisis Helsinki, where glass design suddenly raised costs and at the Glass made in this technique became a graduate subject in same time Finland’s trade exhibited a different character the following decade. Studio agreement with the EEC at different glassworks. At Iittala, glass also influenced one-off and introduced growing amounts the ice-like texture became a unique glass pieces made within of foreign glass on the Finnish trademark. The best known still- the glass industry. It should be market. Owing to high labour blown series is probably Tapio noted, however, that works of costs and the dependence of Wirkkala’s Ultima Thule from glass art and ‘studio glass’ were the industry on imported raw 1968 which is still in already made at Finnish materials, design gained production. At Nuutajärvi, works glassworks in the 1950s, and increasing importance as a core in this technique vary according even earlier. Since Finnish glass element of competitiveness. The to the designer. Objects by Kaj is particularly known for its high focus of manufacturing began to Franck were geometric down to standard of design, its shift from household glassware the ornamental patterns, while relationship with art has to decorative items and interiors. Oiva Toikka presented complete sometimes been regarded as The Finnish glassworks followed narratives in his glass objects. problematic. Functionality is highly different strategies in this
11 LECTURES
new competitive situation. The Nurminen retired in 2007, there a large number of entrepreneurs Riihimäki glassworks completely are no longer any designers and crafts skills into this sector. ended the handcrafted employed on a full-time basis by Most artists and designers must production of glass. The Iittala Finnish glassworks and designers employ themselves in one way glassworks mechanized of products operate on a or another. The glass industry’s production with the intention freelance basis in the glass ability to provide employment has of ending the mouth blowing of industry. Finnish design as a disappeared almost completely pieces. Although Iittala achieved whole has become more in the case of designers, more efficient production, a international. Many products are glassblowers and other considerable proportion of its made abroad and Finnish glass professional groups. In everyday output is still handcrafted today. is designed by Finns and non- use, Finnish glassware was The Nuutajärvi glassworks, in Finns alike. In 2003, products replaced decades ago by imported turn, improved and intensified in various materials by Iittala, glass made on a fully automated its production of pressed glass, Nuutajärvi, Arabia and other basis, but products of an while underscoring the companies for uses ranging from individual character are importance of work by hand. cooking to formal dinner settings increasingly appreciated and Nuutajärvi underlined aspects of were assembled under the Finns still buy a great deal of craftsmanship, as for example in international Iittala brand. Since domestic glass products, for a small series of art objects sold 2007, Iittala company is owned example as wedding gifts. under the ‘Art’ label since 1975. by Fiskars, an old Finnish In 1981 the label was changed company specialised in metal The future of Finnish glass to ‘Pro Arte’. The best know Pro industry. Iittala’s marketing still depends ever more clearly on Arte series is ‘Birds by Oiva emphasizes the importance of individual glassmakers, Toikka’. The first birds came to the Nordic tradition of design. glassblowers, design and art. production in 1980, and since Small manufacturers can offer that time hundreds of different These major changes do not highly distinctive products in species have been designed. concern the Finnish glass various ways. Wine glasses, The birds are very popular industry alone. It is no bowls and vases of unique particularly in Germany, Sweden, exaggeration to say that the character are acquired for and the United States. Nordic glass industry never special occasions. Designers recovered from the effects of the need collaborative networks to Iittala and Nuutajärvi glassworks energy crisis. In the 1980s, have their designs produced. merged in 1988. Iittala- almost all glass production was Some skilled glassblowers have Nuutajärvi operated as an provided by factories. There were specialized in subcontracting for independent company during only a few studio glass artists. At brands as well as individual 1988-1990 and was bought by present, many designers work in artists and designers. Although Hackman in 1990. Brands and glass alongside a variety of other only a few can concentrate strategies changed at a quick materials. There are over thirty solely on making glass, art is an pace under the new ownership. glass studios in Finland open to intellectual resource for a The group’s broad sector the public, and there are a large correspondingly greater number specializing in tableware and number of glass artists and of glassmakers, which interior design included, among designers in addition to makers introduces new thinking in other companies, Iittala, of beads and jewellery. The ‘Finnish glass’, a concept that Nuutajärvi, Arabia and Rörstrand expansion of training in glass is evolving into ever more of Sweden. Since Kerttu making and design has introduced diverse forms.
12 REVIEWS ON GLASS Nº 1 2012 Kungsholm glassworks in Stockholm A modern producer of its time Micael Ernstell. Curator, Applied Art and Design. Nationalmuseum, Stockholm
In 1676, a new glassworks was Venetian glass was the most false marquis title convinced started in Stockholm. Its’ high fashionable at that time, which both the Swedish authorities, artistic goals, good marketing explains why the Italian who and the prospective shareholders and demanding shareholders came to Stockholm in the fall to support the project. The succeeded in creating the first of 1675 with promises of starting government saw the great glassworks in Sweden, which a glass factory drew local interest. national economic benefits, manufactured glass design at He promised to use domestic and hoped to avoid the costly an international level. Swedish raw materials to produce importation of window glass engraved glass could now be windows and mirrors as well as from Germany and Holland. On used as diplomatic gifts by the tableware. Giacomo Bernardini January 24, 1676, King Charles king. Scapitta using a false name and XI issued the privileges that
Covered römer with china influenced motifs, c 1720. Kungsholm glassworks, Stockholm, Sweden.
13 LECTURES
including a blacksmith, a priest, and a doctor. After a period of unrest between the glassmakers and the town’s population, rules were introduced in 1683, that regulated the work week and dictated various punishments. For instance the work was done in six hour shifts and the day began and ended with prayer and those who did not attend received heavy fines.
There were three sales shops in Stockholm in the beginning, and eventually seven of them as well as a traveling salesman.
Almost all the glass from the Kungsholmen glass has glass disease, caused by mixing the raw materials in the wrong proportions. Because of that, the glasses are affected more by moisture and carbon dioxide in Goblets with cover with combined monogram, 1680s. Kungsholm the air. The deterioration in the glassworks, Stockholm, Sweden. glasses was found only after several decades. The surface enabled the start of the monogram - CU V., and showed becomes dull and cracks grow Kungsholmen glassworks in great technical skill. until the glasses fall apart. Stockholm. The first glassblowers came from Kungsholm was the most The initial capital came from 12 Venice, so the shape and important glassworks in Sweden shareholders. Among the main decoration of the glasshouse for a long time. Not until the clients was the court, which was products was at first much late 1700s was there allowed to rent the glass at influenced by Italian glass. Later increasingly fierce competition major festivals. glassblowers came from Germany from the growing number of and Bohemia, and then the glassworks which had been The owners of the glassworks glassworks was able to show great started around Sweden. In 1815 were proud to deliver gifts to skill with engraved glass. A short the company closed down. King Charles XI’s wedding to the period was also directly influenced Danish princess Ulrika Eleonora by English glass. Nationalmuseum in Stockholm in 1680. These wineglasses had has the largest and most varied elaborate stems that had been The glassworks had two furnaces, collection of glass from the formed by the bridal couple’s and about 75 employees, Kungsholmen glassworks.
14 REVIEWS ON GLASS Nº 1 2012 Immigrant workers at Kosta Glassworks after World War II Gunnel Holmér. Senior Curator. Swedish Glass Museum, Växjö, Sweden
Background dependent on knowledge from Sweden1, foreign workers had abroad. The first glassblowers been employed from its Handmade glass has been came from Germany and Italy founding in 1742 until modern produced in Sweden for about in the 16th century, and wage times. Working conditions as five centuries. During this time, records and contracts from the well as daily life in the despite its somewhat remote 18th century show that this surrounding village in the 19th location, Sweden has been well kind of craftsman had a very century is thoroughly described connected with the mainstream privileged position at the in two doctoral dissertations of developments in art and craft works. Although Swedish about this company2. Both in Europe and elsewhere. Until glassworkers were employed these dissertations also deal the eighteenth century, glass was from the 19th century, foreign with German craftsmen working a luxury product, accessible only labour was still needed until at this glassworks in the 19th to a small, wealthy segment the 20th century. For more century. Inspired by this former of society. In the nineteenth than four centuries, most research, some years I ago century, technological of the immigrants to the decided to study the innovations in manufacturing glassworks came from German- immigration to Kosta in the processes made glass cheaper to speaking countries, but in the 20th century3. Earlier, only produce, and glass objects soon 1960s other nationalities skilled craftsmen had been became part of everyday life. became more common. After recruited by the company, but Thanks to the close cooperation the 1970s, immigration to the according to my investigation, between artists and artisans, Swedish glass industry almost many non-skilled workers were Swedish glass in the twentieth stopped. So far the history of employed after World War II. century established its own the immigrant workers at In this paper I will explain why identity, and gained international Swedish glassworks has hardly this was the case, but I will also recognition for excellence. been studied at all. show what kind of tasks the immigrants were assigned to, However, for a long time, glass At Kosta glassworks, located in and where the immigrants came production in Sweden was the south eastern part of from.
1. See map at http://en.wikipedia.org/wiki/Kosta,_Sweden and information about the company at http://www.kostaboda.com/ 2. Johansson, Christina: Glasarbetarna 1860-1910. Arbete, levnadsförhållanden och facklig verksamhet på Kosta och vid andra glasbruk vid industrialismens genombrottsskede (1988) and Ottosson, Mikael: Sohlberg och surdegen. Sociala relationer på Kosta Glasbruk 1820-1880 (1999). A lot of useful information about German immigrants in the glass industry can be found in: Fogelberg, Torbjörn & Holl, Friedrich: Wanderungen Deutscher Glashüttenleute und Schwedens Glasindustrie in den letzten fünf Jahrhunderten (1988). 3. Holmér, Gunnel, Kosta glasbruk – en etnisk smältdegel? Arbete och arbetskraftsinvandring 1943-1973. Licentiate thesis, Växjö University, 2009, Kulturspridaren Förlag, Växjö 2009.
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Shortage of labour in the risen. More teenagers had also than 400 skilled workers then. Swedish Glass Industry become interested in being Therefore, in a record from educated in other fields of 1945, the board suggested The shortage of labour was a activities rather than glass recruiting glassworkers from serious problem all over the production7. Sudeten Germany10. A Swedish glass industry after calculation made by The World War II. As late as 1965, The employers primarily wanted Swedish Labour Board11 two the director of Kosta glassworks glass blowers, cutters and other years later shows that of the said that this still was the specialists, but workers for 2,644 immigrants from Sudeten, biggest problem of the trade4. A simple tasks were also needed Germany, 134 were glassworkers, primary reason for the flight from within the labour-intensive glass and that ten Swedish glassworks the glass industry was that industry. Much of this work then wanted them for their wages were comparatively low could be done by people without production12. Consequently 37 and remained so for a long previous training, but it was Sudeten Germans (26 adults and time5. Furthermore, it took a important since production came 11 children) came to Kosta in long time to get better paid by as a result of team work. During 1948-49. promotion in a workshop, as the World War II, refugees from war- turnover of master blowers and torn countries found their way to In 1949, The Swedish Crystal other specialists was slow. Some the Swedish glass factories, Manufacturers Association of those who finally had reached where they temporarily replaced accentuated the fact that it still the top-level after many years, many of the Swedish workers, was impossible to fill the gap were not willing to move, and who were called up for military with Swedish labour. In the increase of older master service8. consultation with the County blowers was therefore another Labour Board 13 it contacted The problem. In 1955, the average After the war, the glass industry Royal Swedish Labour Market age of a master blower was 52 failed to find a sufficient number Board14 about help with years old!6 At the same time the of Swedish workers and the employment of “younger foreign glassworks were eager to keep solution was to employ glassblowers”15. In the middle of these skilled workers as they also immigrants. The Swedish the 1950s, it was reported that were of great need of specialists glassworks which were members some glassworks tried to recruit of this kind. Consequently young of The Swedish Crystal skilled labour from Germany, people moved to towns where Manufacturers Association9 with while in some other cases the the number of vacant jobs had 3,000 employees, needed more problem had been solved by
4. Växjöbladet, May 21, 1960; Fabriksarbetaren, no. 4, 1965. 5. Krantz, Olle, Structural Changes in the Swedish Household and Ornamental GlassIindustry in the XXth Century, Paper to the EBHA Second Conference, Deindustrialisation and reindustrialisation in Europe in the XXth Century, in Terni, Italy, 24-27 September 1998, p. 10. 6. Kronobergaren, June 30, 1960 and May, 18, 1961. 7. Nordström, 1962, s. 153; Glasindustrins Arbetsgivarförbund, Record, August 19, 1960; Kronobergaren, June 30, 1960. 8. Glasindustrins arbetsgivareförbund 1908-1958, Växjö, 1958, p. 192. 9. Svenska Glasbruksföreningen. 10. Svenska Glasbruksföreningen, Record, December 13, 1945. 11. Svenska Fabriksarbetareförbundet. 12. Fogelberg, Torbjörn and Holl, Friedrich, 1988, p. 47. 13. Länsarbetsnämnden. 14. Kungliga Arbetsmarknadsstyrelsen, AMS. 15. Svenska Glasbruksföreningen, Record, December 13, 1949.
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employing released glassworkers payrolls, records of employees, The rest (in all 8%) were from Denmark16. Before the the company’s annual reports, immigrants from Belgium, 1960s, most of the immigrant trade union protocols, etc. The England, France, The workers came from German- register of foreign labour Netherlands, Italy, Russia, speaking countries, but during became a useful basis for Switzerland, Spain and Hungary. this decade the majority came statistics covering the number Five of the newcomers were from Greece, and from former of immigrants, nationalities, stateless, born in Germany, The Yugoslavia. At Kosta in 1966, number of women and men, Netherlands and Poland. Around almost 20% of the 350 age, former occupation, position 20% of the immigrants were employees were foreigners at Kosta and length of women. representing Greece, Yugoslavia, residence. Germany, Austria, etc17. The immigrants at Kosta were In total, 627 foreigners were from a general point of view, Immigrants at Kosta Glassworks employed by Kosta glassworks young. 50% of the foreign male 1943-1973 during the period 1943-197319. workers at arrival were younger Most of the immigrants came than 25, and their average age Written sources from both from Greece (22%), Germany/ was 30. Also, most of the women employers and workers were Sudeten Germany (19%) and coming from other countries to crucial to my study of Kosta, and Denmark (18%). In addition, this glass factory were younger also material from government other nationalities were Baltic than 30 years old. Many of them authorities. A register of Foreign (9%), Polish (7%), Yugoslavians were married and – like their Labour at Kosta Glassworks (5%); Norwegians (5%), Finnish husbands – gained employment 1943-197318 from the archives (4%) and Austrians (3%). from the glass factory. of the company was decisive for the choice of the investigation period. This register was 70 compiled by a person who was 60 responsible for the personnel administration. He also had to 50 forward information about the 40 immigrants to the local police authorities. From the passports, 30 he noted the names, date and place of birth, home town and 20 occupation title in the old 10 country. These data were supplemented with date of 0 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 arrival, position at Kosta, date of employment, date of removal Number of immigrants at Kosta glassworks 1943-1973. Source: Register of and address. Other sources were Foreign Labour at Kosta Glassworks 1943-1973, archives of Kosta glassworks.
16. Svenska Hushållsglasfabrikanters Förening, Annual Reports 1954-55. 17. Glasindustrins Arbetsgivareförbund, May, 31, 1955; Växjöbladet, May 8, 1969. 18. The register is kept at Kosta Glassworks. 19. The diagram shows employment of 668 foreigners at Kosta glassworks. However 41 of these newcomers had left Kosta after some time but had later returned. In total I have registered 627 individuals.
17 LECTURES
Immigrants’ professional that they most probably had who had been working at Kosta background and tasks at Kosta been working with hot glass in between the 1940s and the a smelting house. Some others 1970s. Of these people, 18 A total of approximately one had been cutters and one had were from Denmark, Finland, hundred different occupations been glass polisher. The “glass Germany, Austria, Yugoslavia, could be found in the register. group” also included an engraver Greece and Spain and the other Most of the immigrants had and a mould maker. The majority four were Swedish. Below, I will worked in trade, industry or with previous experience in glass present some of the interview agriculture. The most common making came from the Nordic subjects: title was casual labourer, but countries – most of all from probably this category belonged Denmark – and from German The cutter Hans Mutschlechner to any of the branches just speaking regions.These traveled from Austria to Kosta in mentioned. Those who had professionals’ knowledge 1964 and was then 20 years old. supported themselves at sea, – especially that of the cutters – Behind him he had a three-year mainly Baltic and Germans, were was in great demand. Therefore education from a glass school in also common. Among the more many of them got the same kind Kramsach, and professional unusual titles mentioned were of jobs as they had had before. experience from the Tyrol businessman, ballet-dancer, artist, Glashütte in Kufstein. Once in teacher, musician and policeman. Interviews with some Kosta he was able to immediately According to the register, most of of the immigrants start working in the cutting shop. the women had been house wives. Both men and women, who had As a complement to the written They needed glass cutters never worked with glass before, sources, I interviewed 22 people here (in Sweden) at the time. became assistants in the hot shop. They had to wet or open and close the moulds before the glass blowing occurred or they simply had to carry the hot glass objects from the workshop to the annealing lehr. Takers-in, mould- holders and other kinds of helpers were needed until the end of the 1960s, when their working operations were mechanized. Some women also worked cleaning glass items before packaging.
Only 12% in total of the 497 male immigrants had in their passports occupation titles linked to glass production. Some of them had titles like glassblower, glass assistant or The cutter Franz Ludwig came from Sudeten Germany to Kosta in 1948. glass worker, which indicated Photo: Harrys Fotoateljé och fotografiska affär, Lessebo.
18 REVIEWS ON GLASS Nº 1 2012
It’s not like today that you It was the first week I came will have to wait for work to Kosta, it was in the permits etc. I came here on a summer and I had no Saturday, I remember, and on vacation. There were a lot of The immigrants Monday I sat here cutting. I tourists, and then I really got had to start immediately with to speak much German. At at Kosta were almost the hardest thing and 6 am we started working, from a general that was cutting a service but the tourists did not come called Kent. They really until 9-10 o’clock, so in the point of view, tested me, I had to sit there morning I worked for the and I was a little nervous and artist Vicke Lindstrand. He young, their all stood behind and watched. had planned a large exhibition average age But it worked well and I at the NK in Stockholm, in became one of the team 1968 it must have been. It was 30 directly. I was not fully paid was the best period in all my when I entered the Swedish “glassblower life”. Vicke team, I know, the others had could really inspire us - more. After some time I got I grew when I was blowing more used to the job and of glass with him. before we became course I was working just as accustomed. Then we ended hard as they did. Then I had Both Mutschlechner and up in various shops and had to say that I wanted to get Zirnsack represented by their to hold the moulds. If you paid as much as them. I think extensive training the skilled were a little tired in the I got it rather soon, but I was artisans at Kosta. Also some morning then the master gave not like that from the immigrants, who never had you a kick. When we had food beginning. It was piece work, worked with glass before, learnt break we ate fast as hell, in I remember, and I was the handicraft. One of them was 15 minutes, then we trained surprised because glass is Risto Latvaniemi from Finland, and blew all sorts of things. supposed to look fine and be who joined the company when All the young people trained cut carefully and everything. he was 21 years old. Thirteen during every meal break, they When it’s piece work you get years after he was hired he had no time to eat. Then I got stressed and then you cut became a master blower. He still a definite place in the faster and not so perfect. remembers well his first time workshops of Jan-Erik That I never understood. at Kosta: Ritzman and of Bengt Heintze,, in those two The German glassblower Arthur I had to start as an workshops. I became Zirnsack joined Kosta in 1968. apprentice. There was an responsible for the colours Behind him he had a three-year elderly gentleman there, who the artists wanted for their course at Glaswerk Sauerland, spoke a strange dialect, too, pieces. and when he came to Sweden but I think he was a genuine he already had several years of old Swede from Småland. In the glass factory there were professional experience. At Kosta He showed us how we should at the same time a large number he soon became a skilled master start blowing. Then we had of simple tasks that did not blower, who worked with various to try working with the glass require any experience in the artists. ourselves and we got burnt glass trade. Most of the labour
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immigrants coming in the 1960s, had been farmers, but could get work as mould holders or takers-in in the smelting house. One of them was Ioannis Tsavtaridis, who came from Greece in 1965:
We came as tourists. We asked Greeks here in Sweden if they knew were we could find a job. We met a Greek man whose wife had traveled with us, we had helped her, she had a lot of luggage. He drove us to Kosta and there they said right away that we could start working. We were four from my village, who bought train tickets and traveled together. Three of us Anastasios Apostolidis visiting the hot shop at Kosta glassworks in 2005. began at Kosta and the fourth Photo: Gunnel Holmér. one went to Boda glassworks.
Anastasios Apostolidis from were perfect or if any of them The next day my wife started Greece had a similar background should be discarded. I earned working - directly. First she as Ioannis Tsavtaridis and also 500 SEK per month. Every worked in the glass mosaic came to Sweden in 1965. 15th, I received 100 SEK in department, but when it For him, employment at Kosta advance and later the rest, closed after 3-4 months she meant a permanent job with 400SEK. At that time, 500 worked at the furnace in the regular income. He was then SEK, was a lot of money. smelting house. Very soon we 26 years old, married and had I survived – the rent was very traveled back to Greece to a child. More than 40 years had cheap – and I could even bring our daughter to Sweden. passed since Apostolidis left send some money to my wife Kosta, when he visited the in Greece. I wrote to her that The interviews have been very glassworks one day in 2005. I had found a job. Everything useful for my research. Above all He could still in detail remember was fine! In October, she they confirmed much of the his first time there: came to Sweden, but our information I had found in the little daughter had to stay written source material, but in Here I worked at the furnace. in Greece. The personnel addition they raised many new We made drinking glasses, manager in Kosta, he was questions often related to the ashtrays and such things, a fantastic man, everyone work in the glass factory. Still special crystal glass. I worked wanted to help. Through interviews belong to the methods as a taker-in and as a the head of Kosta we got that have been questioned by controller to see if the glasses an interpreter and a teacher. traditional historians for source-
20 REVIEWS ON GLASS Nº 1 2012
critical reasons. However through registers with notifications of oral history it is possible to change of address they moved describe lives and experiences of within Sweden – and in some individuals. Writing about the cases even to other glass villages – Their generally immigrants at Kosta would have but most of them returned to been very difficult without using their home countries20. short stay at this method in combination with the glassworks the documents from the archives. One reason behind the high turnover rate of foreign workers made Conclusion was – like for many Swedes – the relatively low wages and the professional For a long period of time, the limited opportunities for income learning and common opinion was such that growth. Many professional the Swedish glass industry – not craftsmen and most of the subsequent least of all Kosta – had been unskilled workers from abroad dependent for production on left Kosta for these reasons. advancement highly qualified craftsmen from For instance it is clear from the other countries, especially interviews that several Greeks very difficult Germany. The need for skilled already at the time of emigration workers was constantly discussed had intended to return home even after World War II. From after having saved money for this point of view it is very a better future in their home we would return to Greece. surprising that about 90% of the country. Therefore, they We got 800 SEK am month employed immigrants coming to preferred industries with shift in the paper mill instead of Kosta between 1943 and 1973 work and higher wages than 600 SEK at Kosta. Then we never had worked with glass the glass industry offered. For could save a little more before. The spread of former example, a paper mill in the money. It was not because occupations – from laborers to neighbourhood of Kosta in the I did not like it there in the officials – was especially high 1960s applied shift work, which glass factory, or that it was among post-war refugees. The had not yet been introduced at hard work. majority of the Greeks joining the glassworks. One man the company in the 1960s, by explained this in the following Like most of the foreigners contrast, had been farmers. way: at Kosta during my period of At Kosta few immigrants without investigation the majority of the any experience of glassmaking I was not uninterested of the Greeks had no experience in became skilled glass artisans. glasswork, but we earned glass production. For this reason Their generally short stay at the more in the paper mill they were – at least initially – glassworks made professional through the shift work. I have offered only the simplest tasks. learning and subsequent always worked shifts for the Furthermore, they were aged advancement very difficult. The money. As I said, we did not 25-40 years old upon arrival majority left after less than a come to Sweden to stay. As and were considered “too old” year and often only after a few soon as possible, when we to start training to become months. According to the parish hade earned a little money, glassblowers. The Swedes from
20. The Regional Archives in Vadstena: Parish register, SE/VALA/00071/BI/3:2-3.
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the region had already in their of the immigrants the short earlier teens worked as period at the glass factory assistants to the artisans, became only an “introduction” and when they were in their to the Swedish society with twenties had “climbed the all of its possibilities and career ladder”. For many limitations.
References
Anderbjörk, Jan-Erik (ed.) Kosta glasbruk 1742-1942, Kosta, 1942. Fogelberg, Torbjörn & Holl, Friedrich, Wanderungen Deutscher Glashüttenleute und Schwedens Glasindustrie in den letzten fünf Jahrhunderten, Smålands museums skriftserie nr. 3, Växjö, 1988. Glasindustrins arbetsgivareförbund 1908-1958. Växjö, 1958. Holmér, Gunnel, Kosta glasbruk – en etnisk smältdegel? Arbete och arbetskraftsinvandring 1943-1973. Växjö University, Kulturspridaren Förlag, Växjö 2009. Johansson, Christina, Glasarbetarna 1860-1910. Arbete, levnadsförhållanden och facklig verksamhet vid Kosta och andra glasbruk under industrialismens genombrottsskede, University of Gothenburg, 1988. Krantz, Olle, Structural Changes in the Swedish Household and Ornamental GlassIindustry in the XXth Century, Paper to the EBHA Second Conference, Deindustrialisation and reindustrialisation in Europe in the XXth Century, in Terni, Italy, 24-27 September 1998. Nordström, Olof, Svensk glasindustri 1550-1960 – Lokaliserings- och arbetskraftsproblem. Meddelanden från Lunds universitets geografiska institution, avhandlingar 41, Lund 1962. Ottosson, Mikael, Sohlberg och surdegen. Sociala relationer på Kosta Glasbruk 1820-1880, University of Lund, 1999. Svenska Glasbruksföreningen SHF-SG 1912-1962. Växjö, 1962. Tempsch, Rudolf, Från Centraleuropa till folkhemmet – Den sudettyska invandringen till Sverige 1938-1955. University of Gothenburg, 1997.
Archives of Swedish Glass Museum, Växjö
Svenska Glasbruksföreningen (The Swedish Crystal Manufacturers Association):records and annual reports Svenska Hushållsglasfabrikanters Förening (Federation of Swedish Household Glass Manufacturers):annual reports Press cuttings (daily papers: Smålandsposten, Kronobergaren, Växjöbladet; magazines: Fabriksarbetaren, Home, RLF-tidningen, SIA, Svensk Hotell-revy)
Archives of Kosta Glassworks
Records, annual reports, register of immigrants 1943-1973
The Regional Archives in Vadstena
Parish register, Ekeberga Parish: SE/VALA/00071/BI/3:2-3
22 REVIEWS ON GLASS Nº 1 2012 Art and craft? Glassmaking in Moravia during 1850-1918 Markéta Vejrostová. Curator. Moravian Gallery in Brno
You were aquainted with my influenced the glass industry project on glass manufacturing development in Moravia. These in the area of Moravia between companies are renowned as the years 1850-1918 at our producers of glass lighting, hot last meeting in Nancy two years and sheet glass, but their luxury ago. The present results of and decorative production, which the research will be presented constituted their reputation and at an exhibition which is part indicated their manufacturing of the research project on skills and interests is less well the origin and making of the known. collections of The Moravian gallery in Brno. The Reichs
In the light of present results At the beginning of the 19th today’s presentation will be century, the Reichs owned or ran devoted to the intoduction and seven glassworks and small heat- evaluation of the luxury and treatment plants which formed decorative production of S. part of them in many places. Reich & Company and J. With the gradual expansion of Schreiber & Neffen Company production, the company was in the context of Czech and rapidly developing business Middle-European glass contacts, and thus in 1864, manufacturing. established its export house and refinery in the heart of the North During the secong half of the Bohemian glass region near Bor 19th century, the production of (Novy Bor today) near the town the two companies S. Reich & Ceska Lipa. This area was the Co. and J. Schreiber & Neffen headquarters of several became part of the industrial art companies doing business with Decanter with Stopper, J. Schreiber & museums’ collections. Both European, Asian and overseas Neffen; before 1874; clear, colourless these companies were notable countries and was also the site glass; cut, engraved; h. 33,5 cm. glass producers in Austria- of many outstanding engravers, Moravian Gallery, Brno. Hungary and that vitally painters and glass cutters, with
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S. Reich & Co. and J. Schreiber & Neffen were notable glass producers in Austria-Hungary and that vitally influenced the glass industry development in Moravia
which Reich’s refinery has cooperated throughout its existence. Their background in the second half of the 19th century ensured specialist glass Vase, J. Schreiber & Neffen; before 1881; clear, colourless glass; lustered, painting with enamels, gilded; h. 26,5 cm. Moravian Gallery, Brno. schools in Kamenicky Senov (1856) and later a similar school in Bor (1870). Teaching drawing and sometimes it also was there he triumphed with polished and modeling, gradually supported by its designs. and engraved glass characterized extended by painting, engraving by a precious enamel and or glass studios, usually led by Along with glass schools masterpiece rendition of a his graduates of schools of industrial Viennese entrepreneur Ludwig design. S. Reich & Co. company arts, who, along with painting Lobmeyr fundamentally shaped along with other Austro- techniques and artistic the form of engraving work in Hungarian glassworks had sensibilities, conveyed arranging the local area; his main area of participated in display of arts style and contemporary trends to interest was the luxury range. and crafts products inspired by students. School education The world exhibition in Vienna in Italian Renaissance, which, greatly assisted local industry 1873 brought him prestige, according to art theorist Jakob
24 REVIEWS ON GLASS Nº 1 2012
Falke, was closest to their contemporaries in terms of the harmony of shapes and decors. While the book published on the occasion of the exhibition and its co-author L. Lobmeyr notes in particular Reich’s commercial production of color or crystal glass, J. Falke mentions his blue, white enamel decorated vase, and points to an analogy with painted products of J. & L. Lobmeyr Company. They were created by Valentin Teiricha design in collaboration with then student Mary Ritter of Kunstgewerbeschule in Vienna around the year 1872. So called “Lobmeyr style” is also evident on some engravings that Reichs most likely realized in their refinery in northern Bohemia. A bowl from the collections of the Museum of Applied Arts in Vienna, created in the Neo- Renaissance style, is attributed by J. Brozova to the glass master Peter Eisert from Mistrovice who as an excellent engraver worked for the firm of J. & L. Lobmeyr and since the school year 1881/1882 he had Vase, J. Schreiber & Neffen; before 1880; green glass; applications at the fire, painting with enamels; h. 29,5 cm. Moravian Gallery, Brno. been teaching at the c. k. vocational school for the glass industry in Bor. In terms of Along with the artistic creations in century. In the applied arts, this visual quality this dish can be the neo-Renaissance style, glass new source of inspiration described as extremely exhibits of oriental-inspired decor manifested itself in patterns in successful, because other and morphology were on display at Arabic, Persian, Syrian, Indian or examples, such as a wine the World Exhibition in Vienna. Chinese style. In all their glory service from the same museum Due to the increasing intensity of they showed themselves for the collection or a pitcher with cups business contacts and first time through the French from the collection in Olomouc, international exhibitions, Europe windows of Philippe-Joseph are more a sign of engraving gradually became acquainted with Brocard at the World Exhibition in skills, rather than of exceptional arts and crafts of the Middle and Paris in 1867. Oriental-like style, artistic expression. Far East since the mid-19th attractive for non-traditional motifs
25 LECTURES
and morphology, was adopted books of models and patterns. assortment of companies, as a fashion to production plans The most popular, along with the including S. Reich & Co. In the of almost all prominent glass Grammar of ornament by Owen same museum are examples of businesses in the country. The Jones, also was a similar their skillful workmanship, glass firm of J. & L. Lobmeyr exhibited publication by M. A. Racinet, decorated with metallurgical its first glass with oriental published in Paris from 1869 to fusions or glass fibers and floral decorations already in 1870. 1872. Samples of Reichs’ glass decors that come from the Important source of inspiration for with oriental decorations from the eighties of the 19th century. the creators represented mid 1880’s can be found in the museums’ Oriental collections and museum collection in Opava. In addition to world’s fairs, where contemporary periodicals and A set of glass, consisting of vases, the company S. Reich & Co. decanters and a sugar bowl are participated since 1862, Reichs decorated with ornament in the reaped success with diplomas and so-called Indian style. The motif got recognition at many other of silver engraved lines with tiny domestic and foreign exhibitions blue porcelain enamel accents is in which taking part was a accentuated by the use of a question of prestige, business contrasting dark background, contacts and new incentives for which corresponds with the production. The exposition at principles of building a decor which the firm S. Reich & Co. was typical for the Indian ornament. represented by a cup designed by Reichs’ concept was a lightweight Clemens Frömmel, was held on ornamental decor, whose the initiative of the Austrian representation is likely to be Ministry of Public Works on the based loosely on Lobmeyr premises of the Museum of production, as well as printed Applied Arts in Vienna in February originals. The books of patterns of 1915. It was designed to various periods were part of encourage domestic glass industry Reichs’ heat-treatment plants, affected by the consequences so we can assume that Reichs’ of World War I, and so examples painters, engravers and cutters from ceramics, glass, metal, drew inspiration from them also leather, textiles, wood and jewelry in this case. designed by J. Hoffmann, O. Prutschera, vocational schools Admiration of the 16th and 17th in Bor, Kamenicky Senov or century Central European and Teplice were on display there. Venetian glass brought the revival The design of a Frömmel tumbler, of painting colorful porcelain stored in a Provincial Archive in enamels, which shortly after the Opava, lacks the signature of the mid-19th century had become a author, but contains a stamp of normal part of contemporary the Advice Centre in Graz, which Lidded Pitcher, S. Reich & Co.; interiors. Colorful humpens, cups was created as a part of the before 1887; clear, colourless glass; and various römers from clear Institute for industry promotion in relief painting with enamels, gilded; green glass in the old German Steiermärkischer Gewerbeverein h. 33 cm. Moravian Gallery, Brno. style were made by a popular in 1911. The activity of the Centre
26 REVIEWS ON GLASS Nº 1 2012
was aimed to encourage artistic their clients. At the World which is likely to clarify the origin work by making designs or design Exhibition in Vienna in 1873, of the pattern. Designs of drawings. At the time of the cup Schreibers presented an extensive company products and models for creation, professor Frömmel was collection of quality crystal and their decors did not come only teaching at the local Art School; colored glass, delivered to North from the capital, Vienna. The vast its potential links to the Institute Bohemian refineries for further majority of them was the work of are more than likely. During World decoration, as well as common direct employees of the company, War I the Institute worked closely utility glass or lighting goods, some of which Schreibers also with the surrounding businesses, which constituted the vast obtained from the North and it may therefore be assumed majority of their production. They Bohemian glass schools – such as that the implementation of the also had a representation in the a set of drawings from Leo Chilly design was made by a nearby section of arts. There were shown glass factory in the Austrian tble services and large luxury Voitsberg that had been owned by vases designed by the Viennese the company S. Reich & Co since architect and professor at the 1876. local Kunstgewerbeschule Alois Hauser. One of them can still be Schreibers found in the collection of the Museum of Applied Arts in Glass like the Reichs luxury Vienna, where it ws aquired products weren’t at the center shortly after the exhibition. A large of Schreibers’ business interests. exhibit made of clear and ruby However, it probably played a glass with floral decoration, done significant role, considering the with cutting and gilding, was production organization and the applied as the fashionable company’s attention to its artistic decorative element especially in quality. It can be assumed that the historicizing interiors of the a substantial influence on this upper class. Alois Hauser’s development was the operation cooperation with the firm of J. & of J. Schreiber & Neffen Company Schreiber Neffen continued even in the actual political and cultural after the Vienna exhibition, as center of the monarchy, where the evidenced, for example, by Schreibers have run their business chandelier shades designs with glass since 1844. While published by Valentin Teirichem in glass cutting was implemented Blaetter für Kunstgewerbe three in refineries in the area around years later. Svetla nad Sazavou, the painting studio, as well as a shop, was set Although we don’t have evidence up in Vienna instead of more of further cooperation in traditional northern Bohemia. designing Schreibers’ products, Direct contact with the local art we do have a number of drawings scene influenced not only the in the company pattern books Decanter with Stopper, J. Schreiber character of Schreibers’ luxury with a marking of “W” in its & Neffen; before 1874; clear, products, but to some extent it product number, or with the type colourless glass; cut, engraved; h. 22 cm. Moravian Gallery, Brno. was also reflected in relation to of design (eg. Dessin Wien IV),
27 LECTURES
the Director of School in The precision of the engraving not only their ability to respond to Kamenicky Senov, purchased in can be illustrated by a carafe with the client requirements and 1887. To what extent the firm of a stopper from the collections of knowledge of current trends, but J. & Schreiber Neffen developed the Moravian Gallery in Brno, also monitoring of technological cooperation with local engraving which in its form and decor is in innovations in the field. J. masters, we do not know. Given the Neo-Renaissance style almost Schreiber & Neffen worked the level of rendition of some identical to the subject from closely with the Chemical Schreibers’ glasses, we believe Lobmeyr’s plant. Schreibers’ Technology Laboratory Wiener that engravers from Kamenicky characteristic luxury goods and Kunstgewerbeschule and have Senov participated in some way. decorative production was the cut introduced many patents or glass whose decor as well as other improvements at their plants. For refining techniques was subject to example luxury pink colored glass contemporary trends and tastes of called “Lachsrosa” has been the clients. According to J. Falke, produced by the Schreibers since they were based especially on 1892, when the selenium dye English models and were technology was patented by the produced at a high level of owner of the glassworks Franz quality. The fad of the last quarter Welz from Hrob near Teplice. of the 19th century was frosted glass also called “crackle” After 1873, Schreibers ran a together with the frequent use of glassworks in Hungarian Zay- lustres and iris. The finish with Ugrócz (Uhrovec), which initially iridescent rainbow effect was produced only green or chalk applied both individually and in glass and cylinders. During the combination with painted and eighties and nineties of the 19th gilded decoration on a number of century, the glass industry of vessels. We managed to trace the Hungary was greatly enlarged design of the vase from Brno thanks to a significant level of collection in pattern books of the government support, and so the company J. Schreiber & Neffen. millenium exhibition in Budapest It was originally designed for the in 1896, became not only a company Franz Palme König & celebration of the nation of Company. It is therefore clear that St. Stephen, but also a triumph Schreibers, like other of local glass factories and manufacturers, often used a refineries. popular form in various modifications and decors in their In conclusion own production. At the same time, mica glass appeared in the As we said, the production of market, archival sources and companies S. Reich & Co. and J. museum exhibits have registred Schreiber & Neffen was really Decanter with Stopper, J. Schreiber those at the firm of J. & L. large, in addition to lighting and & Neffen; before 1874; clear, Lobmeyr, as well as for instance ordinary utility glass for hotels, colourless glass; cut, h. 22 cm. at Schreibers. Maintaining the restaurants and households Moravian Gallery, Brno. competitiveness of firms involves includes pane glass manufacturing
28 REVIEWS ON GLASS Nº 1 2012
and packaging goods, whose sales as well as in other sectors depended mainly on the economic development of the country and for export on the European and world markets. With the transformation of the manufacturing base, which began to develop in our country during the 19th century, both businesses bet on the technical and technological development that allowed them to cost-competitive bulk production of glass. Luxury range didn’t belong to the predominant items of company budgets, and thus its composition and standard seems to reflect not only the clients demands but also the interest and cultural perspective of the owners themselves. Visual aspects of their products are largely influenced by collections of J. & L. Lobmeyr Company whose “style” oriented Central European luxury glass production evolution. An important role is played by the North Vase, S. Reich & Co.; before 1887; opal cased with red molten glass, painting with enamels, gilded; h. 16 cm. Moravian Gallery, Brno. Bohemian glass schools in Bor and Kamenicky Senov whose designs of lamp shades or design books can be tracked during the thirties above all, they did not stand out were applied for its products by of the 20th century. By J. from among the other producers. one or another company. Schreiber & Neffen had their In the contrary, thanks to their development closer to the artistic entrepreneurial skills they were As of yet these conclusions environment, and they were able gradually introducing new clearly show that luxury goods of to use it practically. However, in techniques and technologies to S. Reich & Co. in the years the reference period contacts their glass operations and to a 1850-1918 probably did not go with leading artists haven’t been major extent contributed to the beyond sophisticated consumer developed specifically and the development of this industry in goods, although were often owners were satisfied with the our country. characterized by excellent quality good quality level of their well- and processing techniques. The crafted glass. Thus, although the The exhibition in the Moravian change in Reichs’ company company S. Reich & Co. and J. Gallery in Brno was held from strategy, on the cooperation of Schreiber & Neffen clearly December 9 2010 until March the artists in the artistic designs, preferred commercial interests 13 2011.
29 LECTURES Applications for the Master of Glass Art and Science 2012/2013 in Lisbon are currently open Teresa Medici. VICARTE, FCT-UNL, Lisbon / DHAA, FL-UC, Coimbra
The Master of Glass Art and Science is a post-graduate degree conferred in Lisbon, Portugal, by the Faculty of Sciences and Technology (Universidade Nova de Lisboa) and the Faculty of Fine Arts (Universidade de Lisboa).
It intends to be of interest to students of art and students of science who want to approach glass from a perspective broader than usual.
Come to study glass as a student of Art and become part of one of the newest and most innovative concepts in glass education which exist.
The program will pioneer the curricular and intellectual integration of artistic approach with sound scientific practices, and a thorough art and glass historical perspective. Graduates of the program will be
30 REVIEWS ON GLASS Nº 1 2012
recognized as having received a Taylor, Fernando Pina, Carlos Industry located in Marinha superior education, supporting Queiroz, Fernando António Grande. their emergence as outstanding Baptista Pereira, Márcia artists who have chosen the Ventura, Jorge Vidal, Pedro The students will have access material glass as a medium for Fortuna, Teresa Almeida, to hot and cold shops with artistic expression. You will António Pires de Matos, Maria conventional equipment for learn from and with people Margarida Lima, Andreia Ruivo, glass blowing, lamp work, sand whose approach to glass is a and others. The support of the blast, grinding and polishing, very different one, but many of Calouste Gulbenkian and kiln casting. They may also whose concerns are similar to, Foundation gives the master have access to special more or the same as yours. Your basis the benefit of the collaboration technologically complex will therefore be much broader of a great number of processes and equipment such than usual in glass education. internationally prominent as those involved in screen experts and industry specialists printing, 3D printing Come to study glass as a student (see the visitors teaching and/ processes, thin layer film of Science. You will be part of or giving workshops during the deposition, laser engraving, the same program described academic year 2010-2011 etc. above. You will learn from and at http://www.vicarte.org/cont/ with people working with glass news5.html). Application from several disciplines and perspectives. This will bring with Location and facilities Pre-registration can be made it knowledge of their motivations, now by sending a short CV to concerns, ways of thinking, and The 38 acres on which this [email protected]. A student ideals. You will be at the forefront faculty is housed is located high of art must submit a CD or of new developments in materials on the Tagus River bank directly DVD of 10 images art work, and techniques and applications opposite Lisbon and only 2 including written descriptions, in glass: industrial, architectural, miles from the beautiful seaside a c.v. and a brief artist’s artistic and scientific. beaches of Costa da Caparica. statement. Once we receive There is a residential building your information, you will be Program of Study on the campus, but rooms must notified concerning a formal be reserved quite far in application for admission as The course is a two year advance. For those who prefer soon as possible. experience marrying Glass to live in Lisbon the train Science and Technology, and metro are easily accessible Costs Studio Glass Art Practices, (a metro station enables History of Art, Chemistry, and students to reach central The tuition fee is 4,500 euros History of Glass. This two year Lisbon in 25 minutes). per year, paid in three program will culminate in a installments. Professional Master’s The students will work mainly Exhibition and thesis. in the Research Unit VICARTE - “Glass and Ceramics for the For more information: Faculty Arts”. Some workshops will be given by and conducted at Visit our website: www.vicarte.org Robert Wiley, Márcia Vilarigues, CRISFORM, the Professional and find us at Facebook. Richard Meitner, Michael Training Center for the Glass
31 ICOM General Conference in Shanghai
32 REVIEWS ON GLASS Nº 1 2012
The ICOM General Conference and Joint Meeting were held in ICOM General Conference Shanghai, 2010. On Thursday, 9 November, was held the Joint Meeting and Symposium DEMHIST/ GLASS/ICDAD/ICFA, with the topic: From Silk Road in Shanghai to Container Ship: artefacts, environment and cultural transfer. Shanghai Museum of Glass: A Story of Cultural Exchange between China and the West Zhuang Xiaowei. Director of Shanghai Museum of Glass
It is 327 years since the first every 200,000 people in Multi-culture museum in the world, developed countries. Given the Ashmolean Museum of Art and population of 20 million in Multi-culture refers to a Archaeology, was inaugurated in Shanghai, in 2005, Shanghai phenomenon that diverse the University of Oxford in Municipal Government came up cultures make contributions to 1683. The museum, whose with an idea of establishing 100 social development, leading to a concept has remained unaltered, museums, including Shanghai cultural exchange beneficial to refers to an institution that Museum of Glass. While all parties. As a matter of fact, exhibits the evolution of human respecting authentic history and it is a cross-boundary and civilization and that collects and memory, we are committed to cross-cultural process. showcases natural and historical building a museum of glass up heritage for purposes of to international par and making A team, composed of German, protection and research. a study on the glass civilization. French and Chinese professionals in the charge of As museums are an important Therefore, the following factors Germany designer Tilman carrier of human civilization and should be taken into Thürmer and Director Zhuang cultural heritage, there is one for consideration: Xiaowei, are striving to address
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the common concerns by Therefore, cross-subject research glory of the building beneath designing and evaluating from finds its full expression here. its frosty interior. diverse cultural perspectives. On the basis of mutual respect, Context Knowledge Exploration tolerance and appreciation, we work cordially together, sharing The word “context”, meaning the Our visitor-oriented and the creativity unleashed by relationship of paragraphs in expertise-based means of cross-cultural differences in terms of linguistics, sums up our exhibition will be witnesses to terms of illustrations, exhibits thoughts for architecture. civilization and development of and experience. It is indeed glass materials people have ever a fantastic journey of As for its architectural created. Such means will not cross-cultural competence. transformation, the original only epitomize the history of industrial building, a glass glass art but also strike an Cross-Disciplinary Creativity furnace workshop with a exquisite balance between unique space, has been history interpretation and Cross-disciplinary study refers to elaborately linked up into communication effect; thus, creative scientific activities a museum. The so-called visitors can extract information breaking the bounds among defamiliarization effect in an active way. Much room will different disciplines and (Verfremdung) serves to infuse be reserved for curiosity, involving various domains. It is novel concepts into visitors, fascination and self-discovery, one of the important means for who can visualize the former thus allowing visitors to make solving complicated technical and ethical problems so as to fulfill the infiltration of all disciplines.
Our team members, proficient in such disciplines as design art, museology, glass art, materials science, architecture and science of law, are engaged in studies on the relationship between glass and painting, sculpture, architecture, music, history, sociology, cultural anthropology, linguistics, religion and natural science.
Each of our members is encouraged to put his own idea into practice on the basis of his own domain and absorb others’ creative ideas through discussions so as to expand the designs of the Museum.
34 REVIEWS ON GLASS Nº 1 2012
their own responses and viewers can acquire knowledge in and materials. As a matter of judgment after processing a relaxing manner. The exhibition fact, accurate verification stays information. With ever-growing section, which features a abreast of bold imagination, exhibitions of creative process profound space and fascinating which refers to the relationship and technical procedure, the story, will make it possible for between collections and history, Museum will enable people to people to obtain an authentic audience and works, designers make in-depth explorations. experience. We have made and materials as well as skills. breakthroughs in regard to display Demonstration Experiments in the hope of attracting more Instead of pursuing the classical people from the perspective of “complete history”, in fact, we The experimental demonstration museology by way of glass. select a fragment of the glass of the Museum, in essence, history relating something involves the space concepts When it comes to demonstration, challenging and fascinating: concerning the exhibition we tend to regard it as an from Egyptian glass beads like structure and system as well as aesthetic experience integrating eyes of dragonfly to the medieval top-grade designs including knowledge and practice because glass-embedded windows; from related knowledge on museology, dreams can turn into realities. ancient Chinese glass to modern cultural expression, functions of Therefore, in designing the glass sculpture. education and memory and Museum, we have adopted an aesthetic perception. It is more of active, curious, experimental Public Education a stage exhibition, through which and bold attitude towards culture We will set aside room for lectures, training and discussions. In addition, there is also a small but elegant library. Materials in the Museum will serve for extracurricular education by high schools and colleges. It is planned that 2,000 people will participate in special academic activities each year.
We need to infuse as many advanced thoughts and cultural concepts as possible into the public. The more we convey, the more opportunities we may create.
What will Museum of Glass provide for visitors?
Museums are usually presumed to showcase cultural relics. Nevertheless, we are devoted to
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a hallmark of democracy, people status and stance. It is a stand ready to undertake culturally developed city, where discussions on either a scientific people participate in fascinating Museums issue or artistic viewpoint. In activities and enlightening Shanghai, academic discussions discussions. enable people reflect well on people’s ability to gain new and quality. Exertions should be made to kickstart the development of insights over What’s more, museums enable museums. In this sense, we people to gain new insights over should conduct open and history and history and culture, material and diversified cultural exchange and culture, application as well as art and cooperation with International technology by contemplating Committee for Museums and material and in a novel manner. Collections of Glass of International Council of Museums, application as As a modern city, Shanghai is Corning Museum of US, Murano permeated with western flavor. Museum of Glass of Italy, Museum well as art and In this sense, a special passion of Modern Glass of Germany, technology by is a must for maintaining a Frauenau Museum of Glass, museum here. What’s your Alexander Tutsek-Stiftung contemplating opinion? Foundation of Germany, University of Wolverhampton of UK in a novel Shanghai is a cosmopolitan city and all other leading museums, manner featuring both extensive universities and enterprises. international connections and local characteristics. Without Since it is affiliated to evading such contradiction in International Council of terms of exhibition, our Museum Museums, Shanghai Museum of studies on the era and the current will instill in people knowledge Glass can participate in activities society based on our cultural on glass so that they can savor a and exhibitions concerned all interpretation of glass art. unique feeling. The glass-related over the world. We must expertise will be passed on to cooperate with other museums Glass can be used to address visitors through audio-visual across the globe, consider how daily issues. Professional channels, thus providing them to devote our passion and expertise will make it possible with a unique opportunity to energies into cooperation and for us to eliminate the confusion unveil the mysteries of the glass gain an insight into our society. over some issues in all fields world. Openness will bring benefits and get to the bottom of them to us in the form of creativity by convincing means to set A luxurious and exquisite city, springing from multi-culture. people thinking. Shanghai is more dramatic than other cities. Just as actors What is the secret for the It is such kind of learning- perform on the stage with an success of museums? oriented insight that enables aim of leaving a deep impression experts in all fields to work with on their audience, people in An imaginative team and ample us. In fact, as our society bears Shanghai strive for their own funds.
36 REVIEWS ON GLASS Nº 1 2012 A preliminary approach to the study of chinoiserie glass in Europe in the 16th and 19th centuries Paloma Pastor Rey de Viñas. Director. Museo Tecnológico del Vidrio. Real Fábrica de Cristales
Introduction
Since the Middle Ages many a traveller from Europe has been drawn to the Far East, fascinated by exotic, far-off Oriental cultures. Missionaries spreading the Gospel and the tales of famous travellers to these lands like Marco Polo and Ruy Gómez de Clavijo described the Eastern world as a land full of strange wonders, exotic items made of silk, fabrics, lacquer, and porcelain unknown to the West. These items were very expensive luxury goods in high demand in European trade and indeed were sources of inspiration for Western manufacturing.
China was likewise drawn to the world of the West. The evangelizing work of European missionaries gave China the opportunity to assimilate cultural Glass painted in Schwarzlot. Bohemia. Museum of Decorative Arts in Praha, photo archive. inputs from abroad while at the
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same time holding on to those Mirroring what happened at aspects inherent to its own European courts in France, national identity. This presentation Portugal, and Spain in the will deal with how the relations seventeenth and eighteenth between these two cultural centuries, where the monarchies regions, East and West, provided founded royal factories funded both sources of inspiration and a by the State, in 1680 the Kangxi means for exchanging technology Emperor decided to set up an and know-how in glassworking. It Imperial glassworks in the is not a comprehensive study but Forbidden City (the Glasshouse rather a modest approximation to of the Qing Imperial Household the study of chinoiseries in Department), which was also European glassmaking and a brief intended to curb the number introduction to European of imported luxury items from contributions to Chinese Cut and wheel engraving glass. abroad and foment and protect glassmaking. The Royal Glass Factory, La Granja. the Empire’s own domestic Patrimonio Nacional, photo archive, industry. As in the European detail. Unlike porcelains, fabrics, and nations, this meant bringing lacquer ware, Chinese glass did in skilled foreign workers not much catch the fancy of e.g., pieces were easily broken in experienced in the latest Western society, because the transport; development took place glassmaking methods who had quality of glass items and the concomitantly with the rise of knowledge of the newest glassmaking technology employed another, competing type of compositions used in making were noticeably inferior to those of glassware, Bohemia glass; and glass. In contrast to European glassware manufactured in Europe lastly, glassware, unlike porcelain, nations, however, the expert until well into the seventeenth was a well-known commodity in European glassmakers who came century. During the Renaissance, Europe. to China were Jesuit missionaries, the Venetians invented a new type mainly from Germany and France. of exceptionally high-quality glass, European contribution to Chinese cristallo, which dominated the glass The founder-director and key European glass trade and was figure behind the Kangxi greatly prized by the uppermost As previously mentioned, glasshouse was Fr. Kilian Stumpf, classes of European society. This European art, science and religion a native of Bavaria (Germany). was one reason why Chinese glass were brought to China by the Stumpf’s life is typical of his was not exported to Europe. European explorers and contemporary Jesuit brethren. missionaries who arrived there Stumpf was assisted by Chinese Glassmaking activity underwent a during the sixteenth and glassmakers, mainly from the period of unprecedented growth seventeenth centuries. glass factories in Guangdong and starting at the end of the Boshan. seventeenth century and in These missionaries were the true particular during the Qing dynasty bringers of Western culture to the Contrasting with traditional in the eighteenth century. Even East, and vice versa. They made Chinese glass, the Jesuits were so, Chinese glassware failed to significant contributions to able to introduce new techniques break into the European market, technology, including glassmaking developed by Venetian and for a variety of possible reasons, technology. Bohemian glassmakers that were
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then in vogue in Europe, such as The influence of chinoiserie highly prized porcelain. As was to diamond point engraving, wheel on European glass be expected, Venice was the first engraving, glass cutting, European city to achieve this. Its enamelling, and even aventurine A fascination with the opulence, privileged geographic location in and ruby glass. The Qing dynasty inscrutability, exoticness, and the centre of the Mediterranean was a period of innovation in the nature of the Eastern world came Sea, its great fleet, and its manufacture of Chinese glass. into fashion and supplied subjects merchant capacity made this One of the Emperor’s main goals that were a source of inspiration city-state into one of Europe’s was to meet the Empire’s for the output of European main powers in trade between demand for luxury goods, and glassmaking. This influence came the Eastern and Western achieving this goal required from direct sources, e.g., imported Mediterranean. As a result, it endless testing and experiment. Chinese porcelain, as well as from came into direct contact with the Indeed, the Empire’s very second-hand interpretations, such prized enamelled glassware made prestige was at stake in this as local European faience, in Damascus and Aleppo in Syria endeavour. Documents from the engravings, and prints. and with exquisite and period relate how the Kangxi sophisticated Chinese porcelain. Emperor was in the habit of Oriental inspiration revealed itself periodically examining the not only in painted or gilded As early as the late fifteenth glassware made by his factories decorative themes and motifs but century Murano glassmakers and carefully comparing it to also in the shapes of the items succeeded in manufacturing a European glassware. Thanks and particularly in the colour of type of opaque white glass that to the Emperor’s determination the glass itself, which sought to they called lattimo by adding tin and perseverance, in time this imitate the hues of the costly and oxide to the mix. Lattimo was glassware attained exceptional similar to porcelain and was levels of quality. known at the time as vetro porcellano. Apparently it had the Without going into detail – which same attributes as porcelain: would be outside the scope of this whiteness, resonance, brief presentation – the European impermeability, and lightness, contribution to Chinese though it was less translucent glassmaking can be said to have and much less expensive. been not so much a source of inspiration per se as an exchange Like porcelain, lattimo glass could of technology and know-how. be decorated by enamelling, Chinese glassmaking always yielding excellent ornamental retained its own national identity, results. While this type of glass drawing inspiration directly from was openly used to imitate its own stock of motifs, designs, imported Chinese porcelain, and shapes used in porcelain- Western motifs, such as allegories making and even in working with and portraits, were preferred such other materials as as painted decoration. Chinese semiprecious stones like jade, designs and imagery were usually gemstones, agate, and so on. (The Bohemian glass engraving. Museum relegated to a supporting role following pieces are good of Decorative Arts in Praha, photo in ancillary spaces as an archive. examples of this…) accompaniment to the primary
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decoration. The main decorative tulips, or sunflowers. This imagery Coburg Glass Museum having a themes were plant-based in the would go on to inspire other goldfinch as its central motif. form of lotus petal panels and Western wares, as will be seen overlapping leaves, taken from later. In England, opaque white glass the contemporary blue and white did not start to become popular Ming dynasty porcelain of the Enamelled lattimo glass did not until the second half of the fifteenth and sixteenth centuries. come back into fashion until well eighteenth century. English A certain amount of artistic into the eighteenth century, opaque white glass was generally licence was acceptable when probably boosted by Europe’s a potash‑lead mix rendered interpreting these plant motifs, discovery of the secret to opaque by adding lead arsenate. for instance, in the coiling foliage porcelain-making and its rapid It was quite opaque and did not and foliage scrolls, which never spread throughout the West. Far opalesce in transmitted light. included the lotus flower, ever from falling off, opaque white Vessel shapes and ornamental present in Ming porcelain. It is glass production increased, motifs were based either directly highly likely that Venetian because it offered similar effects on imported porcelain or on local glassmakers were familiar not only at more affordable prices. English porcelain. Indeed, the with Chinese porcelain but also very same decorators who painted with contemporary Italian From the mid-eighteenth century, porcelain ware often did the maiolica, which exemplified this some painted – and even some painting on glass items of this type of artistic licence. Indeed, engraved – designs produced by kind, for instance, Michael the shapes used for lattimo glass the famous glassworks in Venice, Edkins, a decorator who worked in vessels were closely connected to Bohemia, England, and Spain, to Bristol. Very likely, most of these Italian maiolica. mention just a few, imitated the chinoiserie designs were done by prized imported Chinese independent painters in London As the Venetians perfected the porcelain, over time becoming one and southern Staffordshire purity and transparency of their of porcelain’s main competitors. between 1760 and 1770. clear cristallo glass, they gradually stopped using lattimo glass and Venice lost its primacy over Very few examples of chinoiserie enamel painting, which concealed European glassmaking during the glass from Spain are known, the glass’ exceptional transparent course of the eighteenth century possibly because, with few qualities. but still had old Murano families, exceptions, inspiration was drawn like the Miotti family, ready and mainly from the West and the Bohemian engravers began to take willing to take up opaque white Middle East, as, for instance, at inspiration from chinoiserie styles lattimo glass production. Glass the Real Fábrica de Cristales de la in the final third of the pieces were painted more and Granja (La Granja Royal Glass seventeenth century and more with rich floral decorations Factory), where only very isolated continued through the first half of drawing inspiration from chinoiserie pieces are on record. the eighteenth century. This chinoiserie imagery, like this dish For instance, a group of wheel ornamentation was wheel at the Victoria and Albert Museum engraved pieces from the mid- engraved on clear glass. It was in London, signed on the back eighteenth century decorated in highly simple, superficial, and with the name of the Miotti the style of Bohemian chinoiserie schematic, taking the form of factory “Al Giesu Murano”, patterns, with floral themes, chinoiserie pagodas or buildings adorned with a border of coiled Chinese‑like buildings or pagodas, on medallions in combination with flowers and a parrot in the centre, and even birds. The cutting to other Oriental motifs like birds, very similar to a plate at the produce the engraving work was
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performed very quickly and at times even rather coarsely.
These wheel engraved glasses from circa 1825 in the collection of the Royal Palace in Madrid, also from the Real Fábrica de Cristales de la Granja, are another isolated instance. They display more delicate cutting work and bear designs that clearly draw their inspiration from chinoiserie patterns.
Chinoiserie ornamentation was also a source of inspiration for eighteenth century Bohemian painters.
One type of glassware was decorated with painted motifs representing popular subjects like floral themes, traditional folk scenes, or animals, quickly done. These pieces were usually for Opaque white glass “lattimo”, decorated with polychrome enamels. Venice, export to other European 1730-1735. The Corning Museum of Glass, Corning, NY (51.3.316; 51.3.315). countries.
Another type of glassware was In closing, I should just mention Finally, Chinese and Japanese decorated with more refined the Bohemian workshop ornaments was also a source of painted motifs, like the pieces established by Jan Nepomuk inspiration for the French Glass. decorated by the Preissler Family, Buquoy in Jiríkovo Údolí Galle’s most important innovation, Ignaz and Daniel, from Bohemia, (Georgenthal), which began though, came with the who painted porcelain and clear manufacturing black red, and introduction of his technique of or opaque white glass using the agatine hyalite glass in the first cameo decoration. The influence Schwarzlot technique, half of the nineteenth century. for this was again oriental: the monochrome black lead enamel This type of glass imitated idea was derived directly from paints in black or brown tones semiprecious stones such as Chinese cased-glasses vases of combined with gilding. agate, jade, or marble, closely the Qianlong period. Chinoiseries made up the reminiscent of Oriental porcelain repertoire of images most often in appearance. They were To conclude, then, China’s used in the first half of the decorated with exotic motifs that contribution to European glass eighteenth century, along with drew their inspiration from the Far could be said to have involved mythological scenes, landscapes, East, including chinoiserie scenes more formal and aesthetic inputs and other floral motifs. or animal and plant based images. than technical exchange.
41 Markku Salo
42 INTERVIEW Markku Salo (born 1954) graduated as an industrial designer from the University of Art and Design, Helsinki Markku Salo in 1979. After designing electronic devices like tells about his TV-sets and record players, he started with glass design in Nuutajärvi glassworks in relationship to glass, 1983. He was the last designer in Finland that got Spain and museums an opportunity to make a career as an in-house Interviewed by Kaisa Koivisto, the Finnish Glass designer for the glass Museum, Riihimäki, Finland on the 30th industry. For the first four of November, 2011 years, he created only product designs. In 1987, KK: Which events do you see as the brand is important, and he was finally able to have turning points in your career? production takes place in a his first glass art exhibition. variety of locations. Iittala is Since 1990, he has been MS: Since 1983, the Finnish design oriented but free lance glass industry has changed designers also come from working as a freelance completely. These changes have different parts of the world. It is designer and artist. applied to other industries as a positive sign that Iittala has well. Globalisation has changed now again (starting from the the world. In 1988 Iittala and beginning of 2012) got an Nuutajärvi were joined together, artistic director, and that he is a and this centralisation has been Finn, Harri Koskinen. I hope that completed by the fact that now in the future some designers will we have only one glass company, have a longer term engagement Iittala, even though there is still with Iittala. That would mean an some glass production also in opportunity to get into glass, and Nuutajärvi under the Iittala trade learn about the material. After mark. The trade mark or the all, glass is still a highly brand is separate from the appreciated part of Finnish production. In previous years, design. the communities around the factories were an important part In the beginning of the 1990s, of the Iittala and Nuutajärvi the cutting workshops in glassworks’ public image. Now Nuutajärvi glassworks were
43 INTERVIEW
Nuutajärvi is becoming smaller and smaller, and there are more and more small companies and craftsmen working in Nuutajärvi.
In 2004, the Nuutajärvi Glass Company was founded. Now we have 16 members; all of whom need melted glass but for 16 different purposes. Having a studio together allows us to have better equipment. And in this way, the glass furnace is used more economically. I have my own trade mark (for my design company Muotohuone), and I have designed actively for it since 2004. I still occasionally have some of my art pieces made in Nuutajärvi glassworks, since it offers a variety of different colours. Gone with the Wind. Since 1993 there has been a moved to the main glass factory, glass school in Nuutajärvi. That and the old factory was left permits close cooperation as well mostly vacant. I immediately as an opportunity to get assisting rented some working space blowers from the school The Museum there. At the same time, big whenever they are needed. Matti staff is very parts of the Humppila glassworks Räsänen, the retired factory building by the highway were foreman and master glass blower professional. turned into a shopping outlet. in Nuutajärvi glassworks has More or less the same concept blown a lot for me. One of the People was applied in Nuutajärvi, even best blowers from the factory, understand if Nuutajärvi is more a working Timo Niekka, is about to retire, space than an outlet. Since the but for example, Matti Vilppula the value of art, owners of Nuutajärvi glassworks is a very good blower. Alma did not realize this, there have Jantunen and Johannes and they have been quite a lot of expensive Rantasalo from Lasisirkus have changes made afterwards to blown for me both series and a good feeling allow its’ use as a proper working unique pieces. Some members for the material space. Most of the products of Nuutajärvi Glass Company made by craftsmen in Nuutajärvi have also founded a cooperative are sold elsewhere.The Iittala gallery, NUGO, to handle the company’s involvement with selling, since none of us have
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time for this. Now there is a new of the kind, but still were able committee to plan the future of to work them perfectly. The glass the Nuutajärvi glass village, with center was not completely built Urjala parish, Fiskars (Owner yet; there were just the museum of Iittala since 2007) and wing and the school wing. The craftsmen working in Nuutajärvi hot shop was not ready yet. It as members. At the moment was there that I got interested in I am the representative of those joining stone and glass together. of us who work here. This new They made a small exhibition committee will hopefully give of the pieces I made during the us an opportunity to better plan workshop week. ahead, and to join our forces for the future of Nuutajärvi glass The Pärssinens, who are working village. Also, it seems promising in the Finnish Institute in that we will get the Nuutajärvi Madrid, invited me to have an glass museum back after some exhibition there in 2009. Heli necessary renovations in the Pärssinen had worked for Galleri building (the museum was Uusitalo in Helsinki, so she emptied in September 2011 by knew my work from there. That Designmuseum, the owner of exhibition was extended in MAVA Nuutajärvi Glass Museum). The (The Alcorcón city Glass Art design of the museum exhibition Museum) near Madrid in 2010. by Kaj Franck in 1976 is still And from MAVA the exhibition Crown Jewels working well and of course continued first to La Granja, culturally important as such. then to Lugo in February 2011 There is no use in comparing the and Cadiz in May 2011. This museums with galleries, since KK: How about Spain, and why touring exhibition brought museums and galleries have Spain? together both older and new art different tasks. But it is a pieces, many old pieces from the pleasure to work with museum MS: In 1991, there was an collections of the Finnish Glass professionals. You don’t have to exhibition of Finnish glass in La Museum and La Granja. Spain check on everything, you don’t Granja (Fundasion Centro has been a very positive have to take care of everything National del Vidrio). They invited experience. People there know yourself. I have had similar good some Finnish artists for a visit, culture, they are interested experiences with for example, for example. Kerttu Nurminen, in culture. Also the Finnish the Museum of Decorative Arts Vesa Varrela and I. I had never Embassy was most helpful, and Design in Oslo, Norway, the been to Spain, and I didn’t particularly with the National Museum in Stockholm, realize the size of La Granja or transportation arrangements. Sweden and of course the Glass know anything about its history. Museum in Ebeltoft, Denmark. It In the workshop, there were two KK: And the museums? also feels good to see what good very skilful blowers working. The care museums take of the pieces other one is still working there. MS: The Museum staff is very in their collections. And art in I had with me some ‘moulds’ professional. People understand museums is also ecological. So made of metal mesh. The the value of art, and they have a many people can enjoy art in blowers had never seen anything good feeling for the material. museums.
45 NEWS Projects becoming reality
Two new glass museums opened in 2011, both of them having received an early visit by the ICOM Glass Committee before the official opening.
The Musée Lalique in Wingen- institutions, and loaning a large sur-Moder: from paper to facts part of its collections of jewellery, works in glass and The ICOM Glass Meeting held in drawings, in addition to the Nancy (France) in 2008 donation of pieces in crystal. presented the participants with information about the museum The documentation centre is that the Région Alsace, the open for anyone who wants to General Council of Bas-Rhin, the conduct research on Lalique Community of Municipalities of through biographies, exhibition the Pays de La Petite Pierre and catalogues, auction catalogues, the Municipality of Wingen-sur- archive documents, while the Moder had just started to plan in museum shop offers products the place where René-Jules from current Lalique collections. Lalique decided to set up business building his glassworks Musée Lalique, Rue du Hochberg, “Verrerie d’Alsace”. 67290 Wingen-sur-Moder (France) http://www.musee-lalique.com/en Intending to evoke the work and the personality of the exceptional artist and talented industrialist, and of his heirs, the museum features the Lalique’s entire creative output, putting the accent mainly on what is produced in Wingen-sur-Moder: glass and crystal. It has been built on the very site of the former Hochberg glassworks, which operated in the 18th and 19th centuries.
The Lalique Company, which has supported and accompanied the project since the outset, has signed an agreement with the Musée Lalique, creating important ties between the two
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by Teresa Medici. VICARTE
SHMOG, the Shanghai Museum factory’s original structure adding Pavilion was actually made with of Glass, is now open modern functionality and sophisticated, curving glass symbolism. According to its panels imported from China. Glass is one of the few missions, the Shanghai Museum inventions from ancient times of Glass seeks to create a new The museum also shows art, that didn’t originate in China, kind of experience in museums, including contemporary glass but a newly opened Shanghai reducing the distance between sculpture surrounding a chapel-like museum aims to exhibit the fact China and the Western glass art, pavilion, and a hot glass studio. that the Middle Kingdom is now and offering open communication the world’s No. 1 glass producer. spaces and community-based Shanghai Museum of Glass channels of promotion. is a private non-profit museum, The new Shanghai Museum of approved by the Shanghai Civil Glass, that ICOM Glass members The glass-floored building tells Affairs Bureau. participating in the DEMHIST / the story of glass, hosting objects GLASS / ICDAD / ICFA 2010 from all around the world from Shanghai Museum of Glass - SMOG, Joint Committee Meeting had the the origins up through its arrival No. 685 Changjiang Xi Road, Shanghai opportunity to visit in advance, in China. Shanghai’s role in the 200231 (P.R. China) opened to the public in 2011. industry has evolved from bottle http://en.shmog.org/index.php maker in the 1930s to producer (sources: http://en.shmog.org/; Initiated and funded by the of float-glass for car windows and http://blogs.wsj.com/chinarealtime/ Shanghai Glass Co. Ltd, this space-age glass materials. The 2011/05/23/museum-reflects- shiny museum improves the glass Toledo Museum of Art’s Glass shanghais-history-with-glass/)
47 NEWS
A new glass museum opened From the second half of giving preference to glass and in Italy in 2010 the 18th century, the strong lead crystal of more conventional connection with regional design, influenced by Venetian MUVE - Museo del Vetro di winemakers encouraged and Centre European models. Empoli (Tuscany, Italy) is a Empolese furnaces to museum devoted to the local concentrate their production The museum pleasantly displays green glass production. Opened on the green glass used to blow both objects and historical in 2010, it occupies the Salt bottles and other containers, and images, exploring the different Storehouse, an impressive 14th wine connected tools. Between stages of the manufacturing century brick building located 1925 and 1930, the same green process and connecting the glass in the centre of the old city glass became fashioned for production with the social and lately restored. tableware and decorative pieces background. as well. During the 1970’s, As far as it is known, glass following the evolution of MUVE - Museo del Vetro di Empoli, began to be manufactured in customer’s tastes, this distinctive Via Ridolfi, 70-74, Empoli (Italy) Empoli during the 15th c. production declined to the end, www.museodelvetrodiempoli.it
48 REVIEWS ON GLASS Nº 1 2012
Glass Studio activated at complete glass studio. Thought the Museum of Ancient Glass as a complement of the in Zadar (Croatia) museum experience for the visitors, the studio allows the The Museum of Ancient Glass master blower to produce in Zadar (Croatia) displays a replicas of Roman glass to be large amount of Roman glass sold at the museum bookshop. originated by archaeological A commented glass show can excavations in the town and its be seen every morning, cemeteries, and in the Roman excluding on Saturday; from settlements of Nina (Aenona), 15th of June to 15th of October Starigrad (Argyruntum), an additional evening show is Podgrade (Asseria). Among organized. its facilities, that include restoration and conservation Museum of Ancient Glass, Poljana laboratories and a specialized Zemaljskog odbora 1, 23000 Zadar library, this new institution (Croatia) (opened in 2009) hosts a www.mas-zadar.hr
49 NEWS Congresses & Exhibitions
Glass Congresses Glass EXHIBITIONS were broken, more than half the Library materials were saturated, 19th Congress of AIHV - Association Corning Museum of Glass, and the facility was covered with Internationale pour l’Histoire Corning, New York, U.S.A.: a thick layer of slime. This du Verre Founders of American Studio exhibit chronicles the Special attention will be given Glass: Harvey K. Littleton, until 6 determination of Museum staff to the glass from the prehistory January 2013. and the community to rebuild, till today on the area of SE Founders of American Studio and sheds light on unique Europe and the Balkans. Glass: Dominick Labino, until 6 conservation techniques used Piran (Slovenia) 17-21 January 2013. to restore Library materials. September 2012 Masters of Studio Glass: Erwin From 24 May 2012 until 3 http://www.zrs.upr.si/en/Activities/ Eisch, from 15 March 2012 until January 2014. Scientific+Meetings/ 3 February 2013. http://www.cmog.org/dynamic. AIHV+Congress+19%2C+2012 Making Ideas: Experiments in aspx?id=1432 Design at GlassLab, from 19 May Comitato Italiano AIHV, XVI 2012 until 6 January 2013. Le Grand Curtius, Liège, Belgium: Giornate Nazionali di Studio: The Flood of ’72: Community, Frénésie vénitienne / Venetian “Il vetro in età protostorica in Italia / Collections, and Conservation Frenzy – Venetian-style Spanish Protohistoric glass in Italy” On June 23, 1972, Corning and glass, from 18 November 2011 Adria (Italy), 12-13 May 2012. surrounding communities were until 20 May 2012. http://www.storiadelvetro.it/in_ devastated by a major flood. At http://www.lesmuseesdeliege.be/ evidenza/inevidenza.html the Museum, hundreds of objects verre.htm
The Association for the History of Glass - Proposed study day on Stained Glass Gloucester Cathedral, Gloucester (UK), 31st March 2012. http://www.historyofglass.org.uk/ propstudydays.html
27èmes Rencontres de l’AFAV - Association Française pour l’Archéologie du Verre Bordeaux (France), 9-10 November 2012 http://www.afaverre.fr/afaverre.php
ICOM Glass Meeting U.S.A., New York, Corning and Toledo, 4-13 June 2012
50 REVIEWS ON GLASS Nº 1 2012
by Teresa Medici. VICARTE
Glasmuseum Frauenau, performed by the Department of exhibitions will take place in Frauenau, Germany Conservation and Restoration museums, galleries, art centers, Heinz Hof und Franz Kufner, from of the Faculty of Science and universities and other venues 14 October 2011 until 7 Technology of the Universidade across the country throughout October 2012. Nova de Lisboa (DCR-UNL). 2012. Zeitgenössisches slowakisches It includes the most ancient The AACG Art Alliance for Glas / Contemporary Slovakian stained glass known in Portugal. Contemporary Glass web portal: glass, from 19 December 2011 http://www.parquesdesintra.pt/index. http://contempglass.org/ until 6 May 2012. aspx?p=agendaIndex&day=08-11- http://contempglass.org/grants/list- http://www.glasmuseum-frauenau. 2011 of-past-grantees de/home.html http://www.vicarte.org/cont/news1. html Palácio Nacional da Pena, Sintra, Portugal: 2012 CELEBRATION OF THE Vitrais e vidros: um gosto de 50TH ANNIVERSARY OF STUDIO D. Fernando II / Glass and Stained GLASS IN AMERICA Glass: Ferdinand II’s Passion, from 21 September 2011 until late The year 2012 marks the 50th 2012. anniversary of the development The most eclectic collection of of studio glass in the United stained glass in Portugal shown States. To celebrate this for the first time to the public, milestone and recognize talented following ten months of artists more than 140 glass conservation and restoration demonstrations, lectures and
Others
Emerge 2012, Portland (USA) award-winning works will travel The British Glass Biennale is Bullseye’s seventh international to the New Mexico Museum of the major selling exhibition kiln-glass exhibition for Art in Santa Fe and to Bullseye’s of British contemporary glass emerging artists, Emerge 2012, new facility in the San Francisco that takes place once every is now accepting online Bay Area, after the Portland show two years. It is a highlight of applications. closes. the International Festival Students and intermediate-level http://www.bullseyeglass.com/ of Glass which includes the artists and makers who are not welcome-to-emerge.html British Glass Biennale, Glass represented by major galleries are Masterclasses and a Public encouraged to apply. Artworks British Glass Biennale 2012 at Festival and runs from 20 will be installed at Bullseye Stourbridge, West Midlands (UK) August - 15 September Gallery in Portland. This year, The call for entries 2012 is 2012. for the first time ever, selected open until 20th February 2012. http://www.biennale.org.uk/
51 MEMORIES ICOM Glass Meeting in Lisbon, 2009
ICOM Glass Meeting in Finland, 2010
52 General Conference in Shanghai, 2010
ICOM Glass Meeting in Spain, 2011
53 MEMBERS INSTITUTIONAL MEMBERS Ms. Carola Marie SCHMIDT FRANCE Hallein, AUSTRIA KNAUF GIPS KG KNAUF-MUSEUM IPHOFEN Mlle. Verónique AYROLES Mr. Markus MERGENTHALER/Mr. Lothar Knauf Dr. Phil. Ulrike SCHOLDA Paris, FRANCE Baden, AUSTRIA Iphofen, GERMANY Mr. Jean-Claude BRUMM http://www.knauf-museum.iphofen.de BELGIUM ASSOCIATION DES MUSÉES LOCAUX D’ALSACE MSC FORSYTH CENTER GALLERIES Wingen Sur Moder, FRANCE Mr. Luc ENGEN www.musees-alsace.org Ms. Arcak CORY Liège, BELGIUM Texas, U.S. Mme. Anne-Laure CARRÉ Mlle. Janette LEFRANCQ MUSÉE DES ARTS ET MÉTIERS, CONSERVATOIRE MUSÉE DE L’ECOLE DE NANCY MUSÉES ROYAUX D’ART ET D’HISTOIRE Mme. Valérie THOMAS NATIONAL DES ARTS ET MÉTIERS Bruxelles, BELGIUM Paris, FRANCE Nancy, FRANCE www.kmkg-mrah.be www.ecole-de-nancy.com http://www.arts-et-metiers.net Mme. Rina MARGOS MUSÉE DU VERRE Mme. Annie Claire DUCREUX MUSÉE DU VERRE Paris, FRANCE Mme. Rina MARGOS Charleroi, BELGIUM Marcinelle, BELGIUM http://www.charleroi-museum.org Mme. Juliette DUPIN http://www.charleroi-museum.org Paris, FRANCE Mr. Willy Van den Bossche MUSÉE LALIQUE BELGIUM Mme. Isabelle DUTTER-GEORGES Mme. Veronique BRUMM Dunkerque, FRANCE Wingen-Sur-Moder, FRANCE CHINA www.musee-lalique.com Mr. Jean-Luc OLIVIÉ Mr. Xiaowei ZHUANG LES ARTS DÉCORATIFS MUSÉE-ATELIER DÉPARTEMENTAL DU VERRE SHANGHAI MUSEUM OF GLASS Paris, FRANCE Mme. Anne VANLATUM Shanghai, CHINA http://www.lesartsdecoratifs.fr Sars Poteries, FRANCE http://www.shmog.org www.cg59.fr/frontoffice/AfficheArticle. Mme. Liliana SCOTEE aspx?idArticle=1112... CZECH REPUBLIC Paris, FRANCE MUSÉES BACCARAT Dr. Milan HLAVES Mme. Emilie RAMBAUD Mme. MICHAELA LERCH-MOULIN UMELECKOPRUMYSLOVÉ MUSEUM V PRAZE Paris, FRANCE Paris, FRANCE (MUSEUM OF DECORATIVE ARTS PRAGUE) http://www.baccarat.fr/fr/univers-baccarat/ PRAHA, CZECH REPUBLIC Mme. Françoise REGINSTER patrimoine/musees.htm http://www.upm.cz MUSÉE DE LA FAÏENCE FRÉDÉRIC BLANDIN Nevers, FRANCE MUSEO DEL VIDRIO Dr. Jitka LNENICKOVÁ www.cg58.fr/...au.../musees.../musee-frederic- Sra. ELISA MARTINEZ TELLEZ Praha, CZECH REPUBLIC blandinnevers.html Monterrey, MEXICO [email protected] http://museovidrio.vto.com Mme. Caroline ROELENS-DUCHAMP Mrs. Markéta Vejrostova MUSEE DU PAYS DE SARREBOURG ET DU REGIONE LOMBARDIA - DIREZIONE GENERALE CULTURE, Moravian Gallery PARCOURS CHAGALL IDENTITÀ E AUTONOMIE DELLA LOMBARDIA Brno, CZECH REPUBLIC Sarrebourg, FRANCE Dott. Alberto GARLANDINI and Dr. Maria Grazia Diani DENMARK www.ville-sarrebourg.fr/Musee Milano, ITALY http://www.lombardiacultura.it Mr. Michael BLOCH. Mme. Anne VANLATUM København K, DENMARK MUSÉE-ATELIER DÉPARTEMENTAL DU VERRE RÖHSSKA MUSEET (RÖHSSKA MUSEET FÖR MODE, Sars Poteries, FRANCE DESIGN OCH KONSTSLÖJD) Mrs. Dagmar DRENDSTRUP www.cg59.fr/frontoffice/AfficheArticle. Mr. Ted HESSELBOM GLASMUSEET. aspx?idArticle=1112 Goteborg, SUEDE Ebeltoft, DENMARK http://www.rohska.se [email protected] Mme. Catherine VAUDOUR Mantes la Jolie France, FRANCE SHANGHAI MUSEUM OF GLASS Mr. Jørgen HEIN Mr. Xiaowei ZHUANG THE ROYAL DANISH COLLECTIONS GERMANY Shanghai, CHINA København K, DENMARK Dr. Susanne EVERS http://www.shmog.org http://dkks.dk/English STIFTUNG PREUßISCHE SCHLÖSSER UND STATE CENTRAL MUSEUM OF THE MODERN HISTORY Mag. Jan KOCK GÄRTEN BERLIN-BRANDENBURG OF RUSSIA (CENTRALNYI MUZEI SOVREMENNOJ ISTORII Højbjerg, DENMARK Potsdam, GERMANY ROSSII) http://www.spsg.de Mrs. Birte POULSEN Mrs. Tamara G. SHUMNAYA Odense C, DENMARK Mrs. Ruth FABRITIUS Moskva, RUSSIAN FEDERATION Bonn, GERMANY Mrs. Berit RASK UMELECKOPRUMYSLOVÉ MUSEUM V PRAZE (MUSEUM Holte, DENMARK Dr. Anna-Barbara FOLLMANN-SCHULZ OF DECORATIVE ARTS PRAGUE) Bonn, GERMANY Dr. Helena KOENIGSMARKOVÁ Mr. Jørgen SCHOU-CHRISTENSEN Praha, CZECH REPUBLIC Vanløse, DENMARK Dr. Sven HAUSCHKE http://www.upm.cz Europäisches Museum für Modernes Glas Mr. Torben SODE Cobur, GERMANY Brønshøj, DENMARK INDIVIDUAL MEMBERS Dr. Katrin HOLTHAUS FINLAND AUSTRALIA Petershagen, GERMANY Ms. Kaisa Marjatta KOIVISTO Ms. Maxine HOLDEN Dr. Margret HONROTH SUOMEN LASIMUSEO (FINNISH Yarragon, AUSTRALIA Bonn, GERMANY GLASS MUSEUM) Riihimäki, FINLAND Ms. Helena HORN AUSTRIA www.suomenlasimuseo.fi Frechen, GERMANY Dr. Gerhard NAUER Dr. Rüdiger JOPPIEN INSTITUT FÜR PHYSIKALISCHE CHEMIE MUSEUM FÜR KUNST UND GEWERBE HAMBURG Wien, AUSTRIA Hamburg, GERMANY http://pchem.univie.ac.at www.mkg-hamburg.de
54 Dr. Hannelore E. MARSCHNER NETHERLANDS SWITZERLAND Manchen, GERMANY Dr. Clasina ISINGS Dr. Heidi AMREIN Dr. Frank MARTIN Soest, NETHERLANDS SCHWEITZ. LANDESMUSEUM ABT. Berlin, GERMANY ARCHÄOLOGIE. Dr. Pieter Cornelis RITSEMA VAN ECK Zürich, SWITZERLAND Dr. Susanne NETZER ’s-Gravenhage, NETHERLANDS www.nationalmuseum.ch KUNSTGEWERBEMUSEUM BERLIN www.landesmuseum.ch Berlin, GERMANY NORWAY www.smb.museum/smb/standorte/index. Mrs. Randi GAUSTAD Mrs. Susanne BRENNER KIPFER php?objID=37&p=2 NASJONALMUSEET FOR KUNST/ Gümligen, SWITZERLAND KUNSTINDUSTRIMUSEET Dr. Dedo von KERSSENBROCK-KROSIGK Mlle. Sylvia FÜNFSCHILLING Barntrup, GERMANY Oslo, NORWAY http://www.nasjonalmuseet.no Augst, SWITZERLAND Dr. Käthe KLAPPENBACH http://www.augusta-raurica.ch PORTUGAL Potsdam, GERMANY Dr. Christine KELLER LÜTHI Dr. Jens KRÖGER Sra. Teresa Medici SCHWEIZERISCHES LANDESMUSEUM (MUSÉE Berlin, GERMANY VICARTE NATIONAL DE LA SUISSE) Lisboa, Portugal Zürich, SWITZERLAND Dr. Ingeborg KRUEGER http://www.musee-suisse.ch Bonn, GERMANY QATAR Mr. Otto-Jolias STEINER Ms. Michelle WALTON Dr. Helmut RICKE STEINER SARNEN AG FÜR KOMMUNIKATION Doha, QATAR STIFTUNG MUSEUM KUNSTPALAST Sarnen, SWITZERLAND Dusseldorf, GERMANY ROMANIA www.smkp.de Mme. Bettina TSCHUMI Mrs. Simona Violeta GHEORGHE MUDAC - MUSÉE DE DESIGN ET D’ARTS Mrs. Karin RÜHL Craiova, ROMANIA APPLIQUÉS CONTEMPORAINS GLASMUSEUM Lausanne, SWITZERLAND Frauenau, GERMANY SLOVENIA http://www.mudac.ch www.glasmuseum-frauenau.de Mr. Joze RATAJ UNITED KINGDOM Ms. Bettina K. SCHNEIDER POKRAJINSKI MUZEJ CELJE (REGIONAL Berlin, GERMANY MUSEUM CELJE) Ms. Kirsty NORMAN Celje, SLOVENIA London, UNITED KINGDOM Ms. Andrea SCHWARZ www.pokmuz-ce.si Berlin, GERMANY Mr. Reino LIEFKES SPAIN VICTORIAN AND ANBERT MUSEUM Mrs. Siegmut SEEGER London, UNITED KINGDOM Bonn, GERMANY Sra. Teresa CARRERAS ROSSELL MUSEU D’ARQUEOLOGÍA DE CATALUNYA USA Dr.-Ing. Manfred TORGE Barcelona, SPAIN Dr. Amy GOLAHNY Hoppegarten, GERMANY http://www.mac.cat STATE COLLEGE (U.S.) Prof. Dr. Axel VON SALDERN Sra. María Cristina GIMÉNEZ RAURELL Mr. Sidney M. GOLDSTEIN Starnberg, GERMANY Toledo, SPAIN Saint Louis, U.S. GUATEMALA Sra. María Luisa MARTÍNEZ GARCÍA Ms. Susanne FRANTZ MUSEO DE ARTE EN VIDRIO DE ALCORCÓN Sra. Susana CAMPINS Paradise Valley (U.S.) MUSEO VICAL DE ARTE PRECOLOMBINO (MAVA) Y VIDRIO MODERNO Alcorcón (Madrid), SPAIN Mr. Florian KNOTHE La Antigua, GUATEMALA www.mava.es THE CORNING MUSEUM OF GLASS Corning, U.S. http://[email protected] Sra. Cristina MUR DE VIU http://www.cmog.org ISRAEL PATRIMONIO NACIONAL, PALACIO REAL DE MADRID Ms. Tina OLDKNOW Mrs. Yael ISRAELI Madrid, SPAIN THE CORNING MUSEUM OF GLASS THE ISRAEL MUSEUM, JERUSALEM www.patrimonionacional.es Corning, USA Jerusalem, ISRAEL http://www.cmog.org www.english.imjnet.org.il/htmls/home.aspx Dr. Paloma PASTOR REY DE VIÑAS MUSEO TECNOLÓGICO DEL VIDRIO Dr. Jutta-Annette PAGE Mrs. Ayala LESTER San Ildefonso, Segovia, SPAIN TOLEDO MUSEUM OF ART Jerusalem, ISRAEL www.fcnv.es Toledo, USA http://www.toledomuseum.org ITALY SUEDE Prof. William E. RAY Dr. Chiara SQUARCINA Mrs. Gunnel HOLMÉR REED COLLEGE, FRENCH DEPARTMENT Palazzo Moncenigo, Cetro Studi di Storia SMÅLANDS MUSEUM (THE SWEDISH GLASS Pórtland, U.S. del Tessuto e del Costume MUSEUM) www.museiciviveneziani.it Växjö, SUEDE Ms. Jane Shadel SPILLMAN www.kulturparkensmaland.se THE CORNING MUSEUM OF GLASS JAPAN Corning, U.S. Ms. Ruriko TSUCHIDA Dr. Karl Johan KRANTZ http://www.cmog.org SUNTORY MUSEUM OF ART SMÅLANDS MUSEUM (THE SWEDISH GLASS Dr. Karol B. WIGHT Tokyo, JAPAN MUSEUM) THE J. PAUL GETTY MUSEUM www.suntory.com/culture-sports/sma Växjö, SUEDE www.kulturparkensmaland.se Los Angeles, U.S. LATVIA http://www.getty.edu/museum Mr. Anders REIHNÉR Ms. Ilze MARTINSONE Hägersten, SUEDE MUSEUM OF ARCHITECTURE Riga, LATVIA www.archmuseum.lv
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