Reviews on Nº 8 2020

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ICOM Glass Lectures: ICOM Glass Annual Meeting GLASS in St. Petersburg (Russia), 2018 Edit

ICOM international committee GLASS for museums and collections of glass

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

Board Members Teresa Medici. Chair María Luisa Martínez. Secretary Eva-María Günther. Treasurer Anne-Laure Carré Milan Hlaves Amy McHugh Ruriko Tsuchida

English text correction Amy McHugh

Coordinator of this journal Paloma Pastor

Cover illustration Beaker with the portrait of Empress Elizabeth Petrova, 1741-1761. Russian Empire. St. Petersburg Glass Factory, © the State Hermitage Museum. Photo by Aleksey Pakhomov

Back cover Illustration George Ferdinand Wekler. Italian view circa 1830s. Photograph © The State Hermitage Museum. Photo by Andrey Terebenin, Aleksey Pakhomov, Konstantin Sinyabsky

Layout Cyan, Proyectos Editoriales, S.A.

ISSN: 2227-1317

Journal sponsored by ICOM. International Council of Museums

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.

Jug. Venice, the middle of the XVI century. Photograph © The State Hermitage Museum. Photo by Alexander Koksharov. SUMMARY 5

Lectures 5 The development of glassmaking in Russia exemplified by the works from the State Hermitage Museum collection 13 Micromosaics by George Ferdinand Wekler from the collection of the State Hermitage Museum 22 16 th century glass vessels collection from the burials of the Ascension Cathedral in the Moscow Kremlin 27 Attribution of a jug from the collection of A. Bazilevsky. To the history of collecting in the 19 th century 32 Products of the Leningrad Artistic Glassworks 36 Gold leaf/Colour combination Type’ and its Cut Gold Leaf Technique ‘Kirikane’ 42 Museum of Glass and Jewellery in Jablonec nad Nisou 44 Glass collection of the Fleet of Azogues of 1724 sunk at Samaná Bay 48 The Rogaška Glassworks and its designers 54 Contemporary Art in a Religious Museum 61 67

Interview 10 Questions to News Congresses Vladimir Makovetsky 69 74

Members Memories Glass collection Bacchos, Franci ÎH rnelÏ, 1995. Photograph©Documentation Celje Regional Museum, Slovenia. FOREWORD

Dear Glass Members and Friends,

As the new Chairperson, I am very proud to present the eighth issue of Reviews on Glass - the official publication of the ICOM Glass International Committee. This issue contains a selection of the papers presented at the 2018 ICOM Glass Annual Meeting, hosted by the State Hermitage Museum in St. Petersburg, Russia, and organized by Curator Elena Anisimova. Our meeting’s theme was ‘Glass museums and collections in Russia’. Thanks to the work of our colleagues, the articles appearing in this journal will give the reader an overview on several aspects of Russian glass and glass preserved in Russian collections, including contemporary Russian glass art. Papers devoted to updates on glass from other regions of the world provide an opportunity of stay informed about the most recent improvements in our field. Additionally, I am pleased to report on some recent activities of our Committee. In September 2019, ICOM Glass met as part of the ICOM 25 th General Conference in Kyoto, Japan. Our rich and exciting activities at the Kyoto Conference were organized by Glass member Ruriko Tsushida, former Chief Curator of the Suntory Museum of Glass, Tokyo and currently the Deputy Director of the Glass Museum in Toyama. A Glass-only session of presentations on the themes “Glass Museums as Cultural Hubs” and “Updates on Glass” hosted twelve papers on diverse topics, ranging from the forming of glass collections in museums to the representation of glass objects in painted images. The joint session with ICDAD and ICFA included seventeen papers, four by Glass members, and explored the complex and multifaceted relationship and cross-cultural influences between the arts from the East and West. We also visited the MIHO Museum and had an inspiring two-day excursion to Toyama, known as the “Glass Art City,” and Kanazawa. The outstanding programme and the opportunity to interact with our Japanese and Asian colleagues made the conference extremely successful. Forty participants attended the meeting and we were particularly pleased to see an increased number of members from Japan. During our General Assembly we elected the new board 2019-2021: Chair Teresa Medici, Secretary María Luisa Martínez, Treasurer Eva-Maria Günther, and Members Anne-Laure Carré, Milan Hlaves, Amy McHugh, and Ruriko Tsuchida. ICOM Glass is committed to keeping close relationships with other institutions and associations interested in glass. Particularly relevant in 2019 was the active involvement in the promotion of the United Nation’s International Year of Glass 2022. Also notable is the participation of several ICOM Glass members with the group planning the strategies to achieve the inclusion of Manual Glass Production into UNESCO’s list of intangible cultural heritage. All these activities are increasing the profile and reputation of ICOM Glass and the awareness of our network of many international museums. In 2020, we had to face the terrible situation of the COVID-19 pandemic. The restrictive measures implemented worldwide forced us to postpone our Annual Meeting in Southern Germany to 2021. Instead, we managed to organize the first Online Glass General Assembly on 21 July 2020. Held in the GoToMeeting platform made available courtesy of ICOM Italy, this gathering gave us a chance to meet and to exchange ideas about future activities. My special thanks go to Paloma Pastor and Amy McHugh for editing and putting together this issue, and to María Luisa Martínez for taking care of the membership list.

Teresa Medici , Chair. ICOM Glass Decanter with stopper 1870 Russian Empire, St. Petersburg, Imperial Glass Factory. Photograph ©The State Hermitage Museum. Photo by Aleksey Pakhomov. LECTURES

The ICOM Glass Annual Meeting 2018 was hosted by the State Hermitage Museum in St. Petersburg, Russia, and organized by Elena Anisimova, the curator of European Glass at the Museum. The main theme of the meeting was “Glass Museums and Collections in Russia”. Other interesting topics were: “Updating of glass, glass museums and exhibitions”. The conferences took place at the marvelous Hermitage Theatre, in the Winter Palace.

GLASS MUSEUMS AND COLLECTIONS IN RUSSIA The development of glassmaking in Russia exemplified by the works from the State Hermitage Museum collection

Tatiana Pankova . The State Hermitage Museum, St. Petersburg

The collecting of art glass in custom to present Her Majesty public museum. Permanent Russia dates back to the time of the best works of domestic exhibitions appeared within the the reign of Emperor Peter I, who manufacture for the feast of Imperial Hermitage Museum. ordered the best works of Christmas and Holy Easter. These The Russian glass-wares were domestic and European presents, which included included in the exhibition, ‘The production to be collected and glassware, were kept in the Gallery of Peter the Great’ and preserved for posterity. palace storerooms, and favorites ‘The Treasure Gallery’. Subsequent rulers continued this were used for interior decorations. tradition. In the second half of After the October Revolution of the 18 th century at the Court of In the 1860s the Emperor’s 1917, the collections of Imperial Empress Catherine II there was a collection was established as a palaces were nationalized and all

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objects were registered. At the The earliest Russian art glass in produced artistic glass for the same time, nationalized private the Hermitage’s collection, are Court and partially for sale. The collections were accessioned into samples of tableware dated to most complex works were the newly established public the times of Peter the Great. By executed by the European museum. In 1918 the Department the time Peter I acceded to the masters, resulting in products of History and Living Environment throne there were several glass that resembled thick-walled, was organized within the State manufacturers in Moscow carved Bohemian glass or Russian Museum. Cultural Region; the biggest ones were in exquisite goblets and bottles with monuments from palaces and Dukhanino village of Dmitrovsky hot-blown decoration ‘a la façon mansions were transferred to the district and in Izmailovo village. de Venice’. The assortment of museum as well. The collection of These factories made products production was variegated. The Russian glass-wares from The mostly for the royal Court. The manufactory produced tableware Hermitage also ended up as a part assortment of the wares was very with engraved or painted of this Department. extensive. The factories ornaments and fancy shaped produced tableware of white flint bottles. Pane glass and mirrors In 1934 the Department of glass and stained glass were also produced for the History and Living Environment decorated with gilt or enamel Court’s palaces. Occasionally, was closed. Over the next several painting, engraving and carving. when ordered by the Highest years the fate of the collection of Among some of their products Court, the factory made Russian cultural monuments was were inkwells, fly traps and uncertain. Thanks to the efforts various tares. Factory registers of the Hermitage director Joseph also describe decorative pieces Orbeli in April 1941, the in novel forms and sizes, which Russian collection was would have excited and transferred to a department in delighted the Tsar and his the Hermitage that was specially entourage. Most workers of these established for this collection factories were foreign masters, called the History of Russian who shared their knowledge with Culture Department. However, the local apprentices. The Great Patriotic War (22/06/1941-09/05/1945) In 1703 Peter I founded Saint interfered into the plans for Petersburg and in 1712 moved transporting, placing and the capital there. There now was calendaring of exhibits and work a need for glass production near was resumed after it ended. the new capital. Over the period Permanent and temporary from 1705 to 1712 two adjacent exhibitions were organized in the glass factories opened in the city Beaker with the emblem of the halls of the State Hermitage of Yamburg and in Zhabino Russian Empire. XVIIIth century Museum. Also, there emerged village on the territories of Ingria. (first quarter), Russian Empire, the necessity to expand the These two factories merged St. Petersburg Region, Yamburg Glass Factory; colorless glass, collection and through during the The Great Northern blown, engraved, hand-cut, acquisitions from individuals the War (1700-1721). They were Nº ǇPC-239; Photograph © The collection of Russian glassware privately owned by Alexander State Hermitage Museum. Photo gradually expanded to include Menshikov, one of the adherents by Aleksey Pakhomov. 4000 objects. of Peter I. The enterprises mostly

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outstanding exclusive items. When there was no demand for glassware, the glass manufacturers of Izmailovo and Dukhanino suspended their work.

Once Peter I passed away, Alexander Menshikov fell into disgrace and his property was confiscated, including his glass factories. They were sold to William Elmsel, an English merchant, who transferred the production to the Lava River in Nazia village of the Shlisselburg District. The engraving workshop was located in Saint Petersburg.

Beaker with the portrait of Empress Elizabeth Petrovna, double-headed eagle & EP monogram 1741-1761; Russian Empire, St. Petrburg Region; St. Petersburg Glass Factory; colorless glass, blown, engraved, hand-cut, Nº Ǉ3& -2972 ; Photograph © The State Hermitage Museum. Photo by Aleksey Pakhomov.

At this time the enterprise portraits of Empress of Anna acquired the name of St. Ioannovna of Russia and Emperor Petersburg Glass Factory. Ivan VI Antonovich of Russia.

In the second quarter of the 18 th In 1738 W. Elmsel died and the century, this factory was the main glass factory acquired public Cup with a portrait of Empress supplier of glass-wares for the status. At this time Russian Anna Ioannovna 1730s-beginning Court. Like previously, most of masters from the nearby saw mill 1740s Russian Empire, St. the employees were foreign joined the glass factory. These Petersburg Region, Yamburg masters. The production did not workers became the first of many Glass Factory; colorless glass, have a variegated range and the generations of glassmakers, blown, engraved, hand-cut, Nº Ǉ3& -29: Photograph © The masters used European products establishing dynasties. From this State Hermitage Museum. Photo as examples. For instance, time forward, the produced by Aleksey Pakhomov. Saxonian goblets were used as a wares began to have Russian sample for similar items with design characteristics. Engraved

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and painted embellishment on enterprise and transferred it into wares with gold painting. As the table-wares, were noted for the private ownership of her before, the factory’s major its calmer rhythm and larger- favorite prince Grigory Potemkin customers were the Royal family scale patterns. (1739-1791). The new owner members, supplemented by relocated it to Ozerki - situated other private orders. In the second half of the 18 th on the territory leased from the century, colored glass wares Saint Alexander Nevsky Lavra 5 The Hermitage has preserved gained more widespread km from the borders of St. pieces of art commemorating popularity. Michael Lomonosov Petersburg. The glass remarkable life events (1711-1765) is considered to be manufactory immediately reached associated with the monarchs the founder of this direction of a new level of production. and Russian history. One production. In 1753, upon his example is in 1774 the petition, a glass factory was This period marks the beginning Potemkin factory produced a founded in the village of Ust- of the Neoclassical period. As a fragrance vial with the Rudits (Russia, St. Petersburg response to the spirit of the memorable inscription: ‘Peace region). The factory produced time, the prince’s glass factory with the Turks July 10, 1774’. stained glass, smalt, beads, produced colorless thin-walled In 1784 a monumental purple glass beads and variegated tableware with engraved vase, measuring one meter in haberdashery goods made using ornaments and expanded the height, was also produced here. technological advances invented color range of colored-glass At different times this vase was by Lomonosov. As a result of numerous experiments, he invented formulas for more than 1000 shades of colored glass. M. Lomonosov was not only pursuing science, he with his apprentices were also creating mosaics and glass beads panels.

In 1752, Peter Druzhinin was sent for apprenticeship from the Petersburg Glass Factory in Nazia to Lomonosov’s laboratory. A year later he returned to the manufactory and commenced the production of colored glass. In 1765 M. Lomonosov died and his glass factory was closed. After the death of Elizabeth Petrovna, the Empress of Russia in 1761 there was a stagnation period for the Petersburg’s factory. Basket-shaped vase with Easter Eggs 1786 Russian Empire, St. Petersburg; Potemkin Glass Factory; color glass, blown, engraved, hand-cut, painted, Nº Ǉ3& -1890\1-2; Ǉ3& -2701-2706; Photograph In 1777 Empress Catherine II © The State Hermitage Museum. Photo by Aleksey Pakhomov. issued an order to revive the

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a decoration of private rooms of the imperial couple in Winter Palace. Upon the request of Empress Catherine II the glass factory produced a vase with seven Easter eggs decorated with the monograms of the Empress’ son and his family - the future Emperor Paul I. The vase was presented to the family of Paul Petrovich on the Holy Easter in 1786.

Potemkin’s success did not last long. On October 5, 1791, Grigory Potemkin died suddenly and the factory was returned to state ownership and renamed to the Imperial Glass Factory.

The private ownership of glass factories by Alexander Menshikov, Michael Lomonosov and Grigory Potemkin indicate that Russia had the ability to develop a robust glassmaking industry. In the second half of the 18 th century, bigger and smaller glass manufactures were established throughout the Russian Empire and they provided products to the general public. Only the best Ovoid vase with bronze ornament 1784 Russian Empire, St. Petersburg; manufacturers were awarded the Potemkin Glass Factory; violet-blue glass, blown, bronze, cast, Nº Ǉ3& - right to supply the Imperial 1982; Photograph © The State Hermitage Museum. Photo by Aleksey Court, and this was conferred Pakhomov. upon the factories owned by the Bakhmetev’s and the Maltsov’s families. The masters of the Bakhmetev’s products to the Court. For factory satisfied any fancy whims example, in the 1820s, the In 1764, the landowner Alexey requested by their customers and Imperial Court ordered from Ivanovich Bakhmetev (1720- soon their work attained Bakhmetev a ‘Bakhmetev’s set’ 1779) established a glass factory recognition. The factory wares made of decolorized lead crystal on land owned by him in the competed in artistic qualities for the Winter Palace. Any lost villages of Nikolskoe and with the works of the Imperial items of this set were replenished Pestrovka of the Penza Province. Glass Factory and supplied its by the Imperial Glass Factory.

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The Maltsov’s factories were were also successful in this field. vicinity by prominent architects. also strong competitors in the Among the most renowned were The architects paid attention to design of glassware. The the glass manufactures of Prince the complexes’ interior design, famous family of glassmakers, Orlov in the Milyatin District, making sure vases, lighting who founded several glass Kaluga Province, and Prince fixtures, expensive fabrics and manufactures in Vladimir, Orel Nicholas Yusupov in the Moscow furniture harmoniously and Ryazan Provinces in the Region. During the manufacturing complemented each other and second half of the 18 th century, process, the princes devoted created solid, artistic had twenty-four glassworks in much attention to the scientific compositions. Following their the second half of the 19 th and experimental work in this projects, the Imperial Glass century. The largest among area. Years later, the items they Factory produced pieces of them were the Gus-Khrustalny produced gained interest among monumental and decoration art (Vladimir Province) and collectors and were accepted into from glass and crystal: tripod Dyatkovsky (Orel Province) the State Hermitage Museum. vases, floor lamps, ovoid and glass factories. krater vases, amphoras, pieces of Starting with the second half of furniture and table In addition to family-run glass the 18 th century, grand embellishments with glass factories operated for generations, architectural complexes were built sculpture details. Following the representatives of noble families in Saint Petersburg and its Imperial Glass Factory,

Decanter with stopper 1870 Russian Empire, St. Vase painted in Oriental style 1880 Russian Empire, Petersburg, Imperial Glass Factory, crystal, blown, St. Petersburg, Imperial Glass Factory, glass, blown, painted, polished, Nº Ǉ3& -1392/1-2; Photograph painted, polished, Nº Ǉ3& -3403, Photograph © The © The State Hermitage Museum. Photo by Aleksey State Hermitage Museum. Photo by Aleksey Pakhomov. Pakhomov.

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Bakhmetev’s Gus-Khrustalny and replicating elements of Persian In 1890 the Imperial Glass Dyatkovsky factories added similar art, antique reminiscences on Factory was merged with the items to their assortments. glass, items that imitated Imperial Porcelain Factory of semiprecious gems or urushi Saint Petersburg. All equipment From the 1820 to the 1850s, the varnish; reduced copies of was transferred to the Imperial designers and manufacturers architectural structures and much Porcelain Factory. The items looked to historical designs, more. Renowned artists and produced during this period including folk art, for inspiration. architects were invited to create were close to the production of This inspired a new style named the projects of these pieces of leading European companies. ‘historicism’. There were pieces art. For example, unique in their to suit everyone’s taste: carafes; artistic qualitative items were In 1889, the works of the French traditional birch-bark boxes and created according to the projects artist E. Gallé caused a sensation jugs in the Russian style; vases by Alexander Brullov, Vivant at Paris’ Exposition Universelle and flower pots in the style of Beaucé, Ippolit Monighetti, Victor and caught the attention of the Arabian, Egyptian and Syrian Hartmann and Elizabeth Bem monarchs. Following the Court’s glass and ceramics; pieces, (Boehm). orders to create similar pieces of

Vase Azalea 1901, Russian Empire, St. Petersburg, Imperial Porcelain & Glass Factory, multi- layered glass, blown, carved, Vase Tulip 1898 Russian Empire, St. Petersburg, Imperial Porcelain engraved, polished, Nº Ǉ3& -2427, & Glass Factory, multi-layered glass, blown, carved, engraved, polished, Photograph © The State Hermitage Nº Ǉ3& -2430, Photograph © The State Hermitage Museum. Photo by Museum. Photo by Aleksey Aleksey Pakhomov. Pakhomov.

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Gallé. Usually, their forms were over the years. Individual items cylinder and cone-shaped vases or whole sets, which decorated or bowls decorated with images interiors, embellished tables or of mountain or forest landscapes. private apartments and brought aesthetic pleasure to their Some of the pieces created during owners, now delight many this time ended up in the Imperial visitors of the State Hermitage Hermitage Museum and the most Museum. beloved monarchs became the decoration of the private apartments of imperial palaces References (literature): and residences. For example, the Hermitage collection retains Memories of The Russian Culture of companion vases with tulips and the 1st quarter of XVIII century calla lilies (1898). These vases in the collection of the History of Russian Culture Department decorated the Silver Drawing of The State Hermitage. USSR, Room of the private apartments of 1966 Nicholas II and Alexandra Dolgih E.V. Russian Glass XVIII Feodorovna in Winter Palace and century. The Collection of The were documented in the State ceramic museum & photographs taken right before the `homestead Kuskovo XVIII`. USSR, Moscow, 1985 Vase with landscape 1914-1917 revolution. In the photographs of Georgi Johann Gottlieb Description Russian Empire, Vladimir Province, Empress Alexandra Feodorovna’s of The Russian Imperial city St. Gus- Khrustalny, Y. Nechaev- study in the Winter Palace, the ‘A Petersburg & sights nearby. Maltsov’s Factory; multi-layered branch of the laurel’ vase (1896) Russia St. Petersburg, 1996 glass, blown, carved, engraved, is visible and the companion vase Asharina N.A. Russian Glass. Russia polished, Nº Ǉ3& -3292, ‘Iris’ (1900) is displayed in the Photograph © The State Hermitage Moscow 1998 Museum. Photo by Aleksey Boudoir. Imperial Glass Factory. 225 th Pakhomov. Foundation Day Anniversary / With the beginning of the First Catalog of the exhibition. Russia World War, art glass St. Petersburg, 2004 art, masters at the Imperial Glass manufacturers gradually reduced Malinina T.A. Imperial Glass Factory/ Factory imitated the works of their production. Many artists Russia. St. Petersburg, 2009 Gallé. Though, unlike Gallé, who and masters were called for Lines by E. Galle. European & used hydrofluoric acid in his military service and the factories Russian color multi-layered Glass of the end of the XIX – beginning method, Russian masters were were directed to produce XX centuries in the collection of carving and engraving the layered laboratory and optical glass. Russian museums. Russia, colored glass to attain similar Some of the glass works had to Moscow, 2013 artistic effects. However, after shut down, including the Glass made to be admired/ Catalog 1910 hydrofluoric acid was Imperial Glass Factory which of the exhibition. Russia St. employed to create the Russian stopped production in 1918. Petersburg, 2018 wares as well. Apart from the Despite the varieties of fortune Engraving in artist Glass/ Catalog of Imperial Glass Factory, the Gus- of the 20 th century, the the exhibition. Russia St. Khrustalny Glass Manufacture Hermitage collection of Russian Petersburg, 2019 also created items in the style of glass was preserved and enlarged

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ARTISTS WHO WORKED AT RUSSIAN GLASS FACTORIES Micromosaics by George Ferdinand Wekler from the collection of the State Hermitage Museum

Daria Lazarevskaya The State Hermitage Museum, St. Petersburg

The Department of the History of 1973 from Nikita Frolov, who works of George Ferdinand Russian Culture of the State belonged to the famous Russian Wekler. This collection was Hermitage Museum holds one of mosaicists dynasty1. In total, the published in 1986 by Evelina the largest museum collections Department of History of Russian Tarasova. 2 Her study provides of micromosaics by Russian Culture has received 33 the most complete information artist George Ferdinand Wekler mosaics, 21 of them are about the mosaicist to the date, (1800-1861). It was acquired in attributed by Frolov’s family as but only six black and white

1 First mosaicist in the family Aleksandr Nikitievich Frolov (1830-1909) worked at the Mosaic Department of the Imperial Academy of Art since 1856. His elder son Alexander Alexandrovich Frolov (1861-1897) founded in 1890 his own Frolov Mosaic Workshop after his trip to Italy, where he’d got acquainted with Salviaty mosaics method. Frolov’s Workshop received a lot of orders in the late the 19 th and early the 20 th century. One of their most acclaimed works is mosaics for the Church of the Savior on Blood in Saint Petersburg. Youngest son of Aleksandr Nikitievich – Vladimir (1874-1942) took charge after his brother early death. He led the Workshop till 1918, when it was closed after the Revoluton. In Soviet Russia he continued to work as mosaicist. His last order was mosaics for Moscow Underground, which he finished in Leningrad in 1941, when the city was already under the Siedge. He dreamed about mosaics museum and started to assemble a collection for it. Most of it was lost during the difficult soviet years, only micromosaics where preserved and sold by Vladimir’s son Nikita to the Hermitage Museum in 1973. 2 ɌɚɪɚɫɨɜɚɗȺɆɨɡɚɢɤɢȿəȼɟɤɥɟɪɚɜɫɨɛɪɚɧɢɢȽɨɫɭɞɚɪɫɬɜɟɧɧɨɝɨɗɪɦɢɬɚɠɚȾɟɤɨɪɚɬɢɜɧɨɩɪɢɤɥɚɞɧɨɟɢɫɤɭɫɫɬɜɨ ɊɨɫɫɢɢɢɁɚɩɚɞɧɨɣȿɜɪɨɩɵɤɨɧɰɚ;9,,;,;ɜɟɤɨɜɅ 1986. ɋ.58-65. P.58-65.”

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images were included in her publication. Individual mosaics were exhibited at number of temporary exhibitions in Russia and abroad through the years, but no additional publications about the collection were executed. 3 This paper presents fourteen mosaics undoubtedly attributed to Wekler, although only seven plaques are signed in tesserae . This is the first time some of the mosaics have been published.

George Ferdinand Wekler is the only widely-known Russian micromosaic artist, although he was not a sole master in the field. He revived the art of mosaic in Russia, which was George Ferdinand Wekler almost forgotten after the closure Russian dance of Mikhail Vasilievich Circa 1830s. Lomonosov´s (1711-1765) Photograph © The State Hermitage Museum. Photo by Andrey Terebenin, factory in Ust’-Ruditsa in 1769. Aleksey Pakhomov, Konstantin Sinyavsky. Wekler used imported Roman smalti in his works and executed mostly small-sized projects. by 1810 to live with relatives. His piece was received well and Wekler’s works are now part of From 1816 to 1819 Wekler took acquired by Empress Elizabeth many museums and private lessons from acclaimed Roman Alekseevna (1779-1726), the collections around the world4. micromosaic artists Domenico wife of Emperor Alexander I Moglia (1780-1862) in St. (1777-1825). Russian art George Ferdinand Wekler was Petersburg. In 1821, Wekler historian Peter Petrov discussed born on March 15, 1800 in Riga presented his first mosaic the Empress’ relationship with into a family of teachers. His modeled after Salvatore Rosa’s Wekler believing Elizabeth parents died when he was young The Prodigal Son at the Alekseevna “praised him [Wekler] and he was sent to St. Petersburg exhibition in the Academy of Art 5. to her august husband” and

3 St. Petersburg um 1800: Ein goldenes Zeitalter des russischen Zarenreichs: Meisterwerke und authentische Zeugnisse der Zeit aus der Staatlichen Ermitage, Leningrad.- Recklinghausen: Verlag Aurel Bongers Recklinghausen, 1990. Imperial Glass Factory. 1777-1917. 225 th Foundation Day Anniversary. Catalog of exhibition. Saint Petersburg. 2004. 225pp. Glass made to be admired. Masterpieces from 16 th –20th centuries from the Collection of the State Hermitage Museum. Exhibition Catalogue. Saint Petersburg. The State Hermitage Publishers. 2018. 228 pp. 4 For example: The State Hermitage Museum; The Gilbert Collection, Victoria and Albert Museum ; The State Museum Pavlovsk; Petergof State Museum Reserve ; The Russian Museum and others 5 ɉɟɬɪɨɜɉɇɄɪɚɬɤɨɟɨɛɨɡɪɟɧɢɟɦɨɡɚɢɱɧɨɝɨɞɟɥɚɈɛɡɨɪɢɫɬɨɪɢɢɦɨɡɚɢɤɢɜɨɨɛɳɟɢɨɫɨɛɟɧɧɨɜɊɨɫɫɢɢɋɉɛ ., 1864. P. 46.

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court and private commissions. Additionally, he helped establish the mosaic workshop at the Academy of Arts and was considered for the department head even though he did not receive the position 8. He is known to have worked on some orders completed by the workshop. The Academy’s Mosaics Department was created in 1845 to complete the mosaics for St. Isaac’s Cathedral, similar to how the Vatican’s workshops operated in the seventeenth century, but the department also worked on court and private George Ferdinand Wekler after Nicholas Peters Berchem orders as well. Travelling Peasants 1822 Ǎ. Photograph © The State Hermitage Museum. Although George Ferdinand Wekler Photo by Andrey Terebenin, Aleksey Pakhomov, Konstantin Sinyavsky. worked for the Imperial Court and he was the only person ever to be Alexander I commissioned “views which was highly praised by the named Court Mosaic Artist, of palaces on the islands Elagin press and presented to the Pope, historians still know little about and Kamenny “(1822) and who awarded Wekler a silver his works. Apparently, many of “views of suburban medal for this work. Russia them were sold or lost during the palaces” (1824) 6. In 1822 awarded him the Academician 20 th century. The works in the Wekler was admitted to the title in October 1835 for this Hermitage collection come from Imperial Academy of Arts as a work and acquired the mosaic for the private collection of the Frolov mosaic artist for executing a the Hermitage and placed it in family and mainly consist of works plaque with the view of the Gallery of Rare Things (its that were available on the market Kamennoostrovsky Palace. From current location unknown). In from the late 19 th to the first part 1834 to 1837 he studied at the 1838 after returning from Italy, of the 20 th centuries. For this Vatican Workshops under the Wekler was assigned to the study the collection is divided into direction of Migelangelo Barberi. Cabinet of His Imperial Majesty several groups based on the work’s During this time he lived in Rome with the title of Mosaicist of His subject and inspiration. on an academy commission. In Imperial Majesty and was given a Italy, Wekler executed a mosaic salary of 3,000 rubles per year. 7 The first works include copy of Raphael’s Transfiguration , He worked on the orders from the micromosaic plaques with

6 Ibid. 7 Russian State Historical Archives. Fond 789. Register 20. 1838. File 5. P.l9. 8 ɉɟɬɪɨɜɉɇɄɪɚɬɤɨɟɨɛɨɡɪɟɧɢɟɦɨɡɚɢɱɧɨɝɨɞɟɥɚɈɛɡɨɪɢɫɬɨɪɢɢɦɨɡɚɢɤɢɜɨɨɛɳɟɢɨɫɨɛɟɧɧɨɜɊɨɫɫɢɢɋɉɛ ., 1864. P. 47.

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George Ferdinand Wekler George Ferdinand Wekler after print by K. Beggrov Landscape with Bathers 1827 View of the Elagin Palace 1840 Photograph © The State Hermitage Museum. Photograph © The State Hermitage Museum. Photo by Andrey Terebenin, Aleksey Pakhomov, Photo by Andrey Terebenin, Aleksey Pakhomov, Konstantin Sinyavsky. Konstantin Sinyavsky.

George Ferdinand Wekler after print by K. Beggrov George Ferdinand Wekler View of the Elagin Palace 1822 (?). Photograph © The View of the Gatchina Palace State Hermitage Museum. Photo by Andrey Terebenin, Circa 1820s. Aleksey Pakhomov, Konstantin Sinyavsky.

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George Ferdinand Wekler Bulldog Circa 1840s Photograph © The State Hermitage Museum. Photo by Andrey Terebenin, Aleksey Pakhomov, Konstantin Sinyavsky.

vedute. View of the Elagin commissioned by Emperor figures than in the original print. Palace 9 was made after a Alexander I that were discussed Nevertheless, the mosaic is lithograph by Karl Beggrow of a earlier and dates to 1822. executed with excruciating detail drawing by Adolf Franciszek Elagin Palace was one of the - one can see how the wind Shuh. Its dimensions are favorite summer residences of moves the leaves on the trees 20.1 x 13.5 x 0.7 cm. This the Emperor’s family. The around the Palace. There is one piece was probably part of the plaque’s composition was more plaque with the same first series of works simplified; there are fewer image in the collection, which is

9 Inventory number ERKm-1048

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George Ferdinand Wekler George Ferdinand Wekler after Paulus Potter Poodle on bank of the Gulf of Finland 1847 Ǎ. Dog on a chain (Wolfhound) 1825-1850 Photograph © The State Hermitage Museum. Photo by Photograph © The State Hermitage Museum. Andrey Terebenin, Aleksey Pakhomov, Konstantin Photo by Andrey Terebenin, Aleksey Pakhomov, Sinyavsky. Konstantin Sinyavsky.

believed to be executed later, until 1858 so the author used view. It is most likely Wekler around 1840 10 . It is smaller, design drawings to depict the portrayed himself. The second measuring 3.7 x 5.1 cm. This completed cathedral. plaque was made after the mosaic is not as elaborate, the painting Villa in Italy by Michael image was greatly simplified. Like other artists visiting Rome, Lebedev (now in Tretiakov’s gallery View of the Gatchina Palace 11 , Wekler embraced the views of the in Moscow). 14 This mosaic is c.1820s, and Views of the eternal city and Italy’s great signed WEKLER in tesserae. As St. Isaac Cathedral and St Isaac’s landscapes. Two plaques in the Wekler often did when executing Bridge 12 , c. 1830, belong to this collection were made during his smaller works, he simplified group as well. Both plaques are visit to Italy. The first one, View of details of the original painting. made after prints. The View of the St. Peter Cathedral in Rome 13 the St Isaac Cathedral is based (1837), depicts the dome of St. The second group of micro on a print from the album Views Peter Cathedral illuminated by the mosaics is inspired by paintings. of St. Petersburg , published in setting sun. An artist is pictured Travelling Peasants 15 is based on 1826 by Alexander Pluchart. St. in the foreground, sitting behind a work by Nicolaes Pieterszoon Isaac’s Cathedral was not finished an easel drawing the magnificent Berchemc. It is signed “ Wekler

10 Inventory number ERKm-1046 11 Inventory number ERKm-1047, dimensions: 7.9 x 5.3 cm 12 Inventory number ERKm-1055, dimensions: 10.8 x 7 cm 13 Inventory number ERKm-1056, dimensions: 15.3 x 11.8 cm 14 Inventory number ERKm-1059, dimensions: 7.1 x 5 cm. Hermitage has another, bigger (21x24 cm) and more elaborate mosaic of the same painting made by Wekler in 1839 that came from the different collection. (Epr-5726) 15 Inventory number ERKm-1044, dimensions: 14.4 x 9,6 cm

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George Ferdinand Wekler George Ferdinand Wekler View of the St. Peter Cathedral in Rome Views of the St Isaac Cathedral and Isaac’s bridge circa 1837. Photograph © The State Hermitage 1830s. Photograph © The State Hermitage Museum. Museum. Photo by Andrey Terebenin, Photo by Andrey Terebenin, Aleksey Pakhomov, Konstantin Sinyavsky. Aleksey Pakhomov, Konstantin Sinyavsky.

1822 ” in tesserae at the bottom published by Jeanette Haisee 1827” at the bottom, and left. This is one of the earliest Gabriel. 17 Apparently, the plaque Landscape with cows 19 , known plaques by Wekler. A from Frolov’s collection is a (c.1820s), signed “W” in tesserae. second work, Wolfhound ( Dog on a smaller version of one A paperweight with a similar chain) , is based on a painting by commissioned by Nicholas I, that plaque signed “G. Wekler” was Paulus Potter now in the was sold after the Revolution of sold at Sotheby’s in 2004 20 . Hermitage collection and was 1917. There are two more plaques completed between 1825 and in the Hermitage collection after The third group includes two 1850. 16 Recently a similar plaque unidentified originals: Landscape micro mosaics based on images from a private collection was with Bathers, 18 signed “Wekler. from the album Les peuples de la

16 Inventory number ERKm-1051, dimensions: 8.2 x 5.7 cm 17 Gabriel, Jeanette Haisee. Micromosaics Private Collection. Movement Publishing. 2016. P.53. This plaque is bigger size 18 x 25 cm, signed in tesserae in the bottom: “G:Wekler” and came with a case with a label of Imperial Hermitage which indicates that it originated from Imperial collection in St. Petersburg. 18 Inventory number ERKm-1045, dimensions: 9.8 x 7.2 cm 19 Inventory number ERKm-1057, dimensions: 10,4 x 6,5 cm 20 https://www.sothebys.com/en/auctions/ecatalogue/2019/style-european-silver-ceramics-objects-vertu-l19301/lot.483.html

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of dogs. Wekler used an original drawing of the animal for the two examples in the Hermitage collection. 24 Poodle on bank of the Gulf of Finland , the title recorded in the Hermitage inventory books, is signed “G: WEKLER 1847 ” at bottom left in tesserae. 25 A dog is placed in a landscape with St. Isaac’s Cathedral clearly visible in the background. Another mosaic after a similar drawing is mounted in a malachite paperweight exhibited in the Treasury Room of the Petergof George Ferdinand Wekler. Landscape. Circa 1820-1830 s. Palace. It is believed that Photograph © The State Hermitage Museum. Photo by Andrey Terebenin, Aleksey Pakhomov, Konstantin Sinyavsky. Petergof’s mosaic is a portrait of Emperor Nicholas I’s poodle Hussar 26 . The second mosaic Russie 21 printed in Paris in 1812. to a calm green meadow, Wekler Bulldog 27 (circa 1840-1855) is Drawings for it were made by brightened the composition by signed at bottom left Emelyan Korneev. The two including vivid, clear colors and “G. WEKLER .” These mosaics plaques Russian dance 22 and adding bright accents to the girls’ amaze the viewer with the careful Game of jumping on a board 23 sarafans . The plaque Game of elaboration in picturing the are dated c. 1830s. For both jumping on a board is the only animals. This gives us a reason to pieces the mosaicist simplified oval-shaped piece in the believe that Wekler completed the complex, multi-figure Hermitage collection. Russian several works featuring dogs that composition of the original Dance is set into a black marble most likely belong to the drawings, removing spectators and paperweight. Emperor’s family. leaving the main folk characters. Also, by transferring the scene The last group of Wekler’s work is George Ferdinand Wekler from the print’s dusty village street composed of plaques with images specialized in producing

21 Les Peuples de la Russie, ou Description des moeurs, usages et costumes des diverses nations de l’empire de Russie, accompagnée de figures coloriées. Paris. 1812-1813. 22 Inventory number ERKm-1043, dimensions: 4.5 x 7 cm, paperweight 1.8 x 13.3 x 9.1 cm. Only one is not acquired from Frolov’s collection 23 Inventory number ERKm-1063, dimensions: 8.3 x 5.4 cm 24 There are at least 6 different mosaics by Welker depicting dogs in various collection (The State Hermitage has two more plaque, probably by Wekler), one is in Gilbert collection, one in Petergof 25 Inventory number ERKm-1050, dimensions: 20.1x16.4 cm 26 ɉɚɲɤɨɜɚɌɅɂɦɩɟɪɚɬɨɪɇɢɤɨɥɚɣ,ɢɟɝɨɫɟɦɶɹɜɁɢɦɧɟɦɞɜɨɪɰɟɑɚɫɬɶɋɉɛɂɡɞɚɬɟɥɶɫɬɜɨ Ƚɨɫɭɞɚɪɫɬɜɟɧɧɨɝɨɗɪɦɢɬɚɠɚ . 2014. P.303. 27 Inventory number ERKm-1049, dimensions: 13.2 x 9.5 cm

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micromosaics. His mosaics were exclusive because he worked his entire life for the Imperial Court and the highest nobility. Wekler’s work became a link between the mosaic workshop of Mikhail Vasilyevich Lomonosov and the mosaic institution opened at the Imperial Academy of Arts in 1845, created specifically to execute the mosaic paintings for the decoration of St. Isaac’s Cathedral. Being the mosaicist for His Imperial Majesty and working along with the famous Roman masters such as Michelangelo Barberi, Wekler propelled the quality and level of George Ferdinand Wekler Russian mosaicists to the highest Italian view circa 1830s level of mosaics art. One of the Photograph © The State Hermitage Museum. Photo by Andrey Terebenin, last mosaics completed by the Aleksey Pakhomov, Konstantin Sinyavsky. Russian master, Venus, looking in the mirror, decorates the fireplace in the large double light hall of the Old Hermitage. It was executed as a part of a larger order of 10 mosaics to decorate the fireplaces of the grand hall of the Old Hermitage. The work entered the Mosaic Department in 1859 and was completed in 1861, the year the master died.

13 of the 14 mosaics presented in this article came from the collection of mosaicist Vlamir Frolov (1874-1942), who was the last mosaicist of the Frolov dynasty. His collection is the George Ferdinand Wekler largest mosaic collection Game of jumping on a board assembled in Russian before the Circa 1830s Second World War that stayed in Photograph © The State Hermitage Museum. Photo by Andrey Terebenin, Russia. It was sold to the Aleksey Pakhomov, Konstantin Sinyavsky. Hermitage Museum by his son Nikita Frolov.

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COLLECTORS AND COLLECTIONS IN RUSSIA 16th century glass vessels collection from the burials of the Ascension Cathedral in the Moscow Kremlin Ekaterina Stolyarova. Institute of Archaeology, Russian Academy of Science, Moscow

In 1929, in preparation for the impending demolition of the Kremlin Ascension Convent, the Moscow Kremlin Museums opened the tombs from the cemetery of the Russian grand duchesses and tsaritsas located in the main temple of the Convent. The workers recovered five glass vessels from the 16 th century sarcophagi.

This small collection is highly unique and valuable to Russian, as well as European, decorative art historians. Knowledge Vessel from the burial of the Tsarevna Eudoxia (†1558) (after: Stolyarova, Ekaterina K., ‘Issledovanie sosuda [Predpolagaemoe zakhoronenie tsarevny regarding the type of glassware Evdokii Ivanovny. 1558 god]’, Panova, Tatyana D.(ed.), Nekropol’ russkikh used around this time in Russia is velikikh knyagin’ i tsarits v Voznesenskom monastyre Moskovskogo extremely scarce. There were Kremlya, t. 3, Pogrebeniya 16 - nachala 17 veka, ch. 1, Moscow, 2018, some glass vessels found in p. 223, fig. 108, 109). H: 13.7 cm. © The Moscow Kremlin Museums. excavations of the 16 th century Photo by Sergey Nikitin. Drawing by Anna Dementieva. layers. In general, they are fragments which are so they are very specific parts or decoration). Museums in Russia featureless that their vessel type have some recognizable décor lack examples of 16 th century is impossible to define unless (e.g. paintings or applied glass vessels.

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The Convent’s collection is unique because the vessels can be precisely dated because they were found in dated burials. In most other cases, the dating of vessels in most European museum collection or archaeological sites is only an approximate value based on art reviews or archeological data.

The earliest vessels discovered at the Convent date to the late 1550s. They were found in the sarcophagus of the Tsarevna Eudoxia (†1558) and her mother, Tsaritsa Anastasia Romanovna Zakhar’ina (†1560), Vessel from the burial of the Tsaritsa Anastasia Romanovna Zakhar’ina (†1560) (after: Stolyarova, Ekaterina K., ‘Issledovanie sosuda [Zakhoronenie the first wife of Ivan the Terrible. tsaritsy Anastasii Romanovny. 1560 god]’, Panova, Tatyana D. (ed.), Another vessel dated to 1571 Nekropol’ russkikh velikikh knyagin’ i tsarits v Voznesenskom monastyre and was found in the burial of Moskovskogo Kremlya, t. 3, Pogrebeniya 16 - nachala 17 veka, ch. 1, Tsaritsa Martha Sobakina, the Moscow, 2018, p. 269, fig. 131, 132). H: 23 cm. © The Moscow Kremlin third wife of Ivan the Terrible. Museums. Photo by Sergey Nikitin. Drawing by Anna Dementieva. The most recent vessels date to the late 16 th and early 17 th of dinnerware common in Europe The beaker from the burial of century were found in the burials from the 16 and 17 th centuries. Anastasia Romanovna is a club of the Tsarevna Feodosia The form’s popularity is beaker ( Keulenglas ). It is (†1594) and her mother, Tsaritsa illustrated by numerous decorated with four applied Irina Godunova (†1603), the European finds, such as the threads with wheel-pressed wife of Tsar Feodor Ivanovich. ones from Switzerland (Biel), decoration. Thusly were adorned, Czechia (Prague and Brno), among other things, Passglas, The goblet from the burial of the Slovakia (Bratislava and manufactured in Germany and Tsarevna Eudoxia is among the elsewhere), and Slovenia the Netherlands in the 16-17 th simplest and most ordinary types (Ljubljana).1 centuries. 2 According to historian

1 Glatz, Regula, Hohlglasfunde der Region Biel. Zur Glasproduktion im Jura, Bern, 1991, kat. 182; Kos, Mateja and Žvanut, Maja, Glass Factories in Ljubljana in the 16 th century and their Products, Ljubljana, 1994, t. 3: 23, sl. 4; Sedlá Ïková, Hedvika, Renaissance Glass and other Archaeological Finds from Nymburk. With contributions by Helena Brožková and Dagmar Stará , Libice nad Cidlinou, [1997], pp. 17, 24, Nos. 37–39, 42; SedláÏková, Hedvika, ‘From the Gothic period to the Renaissance. Glass in Moravia 1450 – circa 1560’, Studies in Post-Medieval Archaeology, 2007, 2, p. 209, fig. 31: D12–010; Drenko, Zoltán, ‘Glass from Deserted Church Fort in Svodin’, Študijné Zvesti Archeologického ústavu SAV , 2009, 46, p. 36, obr. 1: 6; Lesák, Branislav, ‘Collection of Renaissance Glass from 3 Ventúrska Street in Bratislava’, Študijné Zvesti Archeologického ústavu SAV , 2009, 46, p. 26, obr. 2: 17, 18, 20, 21; Veselá-Žegklitzová, Jana, ‘Renaissance Style Glass from Archaeological Finds at the Prague Castle’, Študijné Zvesti Archeologického ústavu SAV , 2009, 46, p. 61, obr. 2: 5, 7. 2 Sedlá Ïková, [1997], p. 26; RatkoviÉ-BukovÏan, Lada, Some Forms of Early German Glass from the Mimara Museum, Studije Muzeja Mimara, 12, Zagreb, 1999, pp. 8–9, Nos. 3, 4.

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inside decorated with an enameled depiction of three birds lurking in a grass thicket. From the middle of the 16 th and throughout the 17 th century goblets with thistle-shaped bowls were common in Venice and in the a la façon de Venise workshops. In the middle and the second half of the 16 th century these vessels were classified as reliquaries. 5 At the end of the 16 th and the first quarter of the 17 th century, such vessels were commonly used for drinking wine.6 Apart from the Vessel from the burial of Tsaritsa Martha Sobakina (†1571) (after: Stolyarova, Kremlin’s vessel, only three other Ekaterina K., ‘Issledovanie sosuda [Zakhoronenie tsaritsy Marfy Vasil’evny 16 th century goblets with similar Sobakinoi. 1571 god], Panova, Tatyana D. (ed.), Nekropol’ russkikh velikikh decoration are known. They can knyagin’ i tsarits v Voznesenskom monastyre Moskovskogo Kremlya , t. 3, be found in the British Museum, Pogrebeniya 16 - nachala 17 veka , ch. 2, Moscow, 2018, p. 172, fig. 92, 93). H: 30 cm. © The Moscow Kremlin Museums. Photo by Sergey Nikitin. in the Museum of the History of Drawing by Anna Dementieva. Art in Vienna as part of the collection of Rudolf von Strasser, and in the Ambras Castle H. Sedlá Ïková, club beakers were Czechia (Brno, Olomouc, Opava), 4 Museum (Innsbruck, Austria) as manufactured in Northern and these findings are indicative part of the collection of the Germany during the late 15 th into of their great popularity. Archduke Ferdinand II.7 the 16 th century. 3 A large number of these vessels have been The goblet from the burial of Besides glass vessels, we know of recovered in other European Martha Sobakina has a thistle- another similarly shaped goblet – countries, particularly in the shaped bowl and a glass bulb a vessel made of rock crystal

3 Sedlachkova, Hedvika, ‘Glass Vessels from the Moscow Residence of Ivan the Terrible and Goblet from the Tomb of the Tsaritsa Anastasia Romanova’, Archaeology of the Romanov court: background and history of the Moscow center in 12 th -19 th centuries, Data of salvage archaeological excavations, 12, Moscow, 2009, p. 143, (in Russian). 4 Sedlá Ïková, 2007, pp. 192–194, fig. 10. 5 Balboni Brizza, Maria Teresa (ed.), Verti. Le guide del Museo Poldi Pezzoli, Milano, 1991, No. 13; Dorigato, Attilia, The Glass Museum, Venice, 2006, il. 19. 6 Theuerkauff-Liederwald, Anna-Elisabeth, Venezianisches Glas der Kunstsammlungen der Veste Coburg. Die Sammlung Herzog Alfreds von Sachsen-Coburg und Gotha (1844–1900), Lingen, 1994, fig. 38, 41; Page, Jutta-Annette, Beyond Venice. Glass in Venetian Style, 1500–1750, Corning, 2004, p. 47; Barovier Mentasti, Rosa (ed.), Trasparenze e riflessi. Il vetro italiano nella pittura, Verona, 2006, p. 175, il. 5. 7 Egg, Erich, Die Glashütten zu Hall und Innsbruck im 16. Jahrhundert, Innsbruck, 1962, pl. XIV, ill. 29; Tait, Hugh, The Golden Age of Venetian Glass, London, 1979, cat. 34; Auer, Alfred at al., Ambras Castle, Milan, 2000, pp. 50, 52; Strasser von, Rudolf and Baumgärtner, Sabine, Licht und Farbe. Dekoriertes Glas – Renaissance, Barock, Biedermeier. Die Sammlung Rudolf von Strasser, Schriften des Kunsthistorischen Museums, 7, Wien, 2002, kat. 39.

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mounted with a gold-plated silver. 8 Apart from the shape, the similarity between the glass and crystal vessels is further emphasized by a gold medal located inside. The vessel bears the stamp of Albrecht Jamnitzer from Nuremberg (1550-1555), who worked in the workshop of his brother, the renowned Wenzel Jamnitzer. 9 The date suggests that the Nuremberg crystal goblet with a gold medal inside could have been used as a model which glassmaker followed to reproduce in their own way, creating a work of art with the bulb inside. Vessel from the burial of the Tsarevna Feodosia (†1594) (after: Stolyarova, Ekaterina K., ‘Issledovanie sosuda [Zakhoronenie tsarevny Feodosii Fedorovny. The goblet found in the burial of 1594 god]’, Panova, Tatyana D. (ed.), Nekropol’ russkikh velikikh knyagin’ i Tsarevna Feodosia is covered tsarits v Voznesenskom monastyre Moskovskogo Kremlya , t. 3, Pogrebeniya 16 - nachala 17 veka , ch. 2, Moscow, 2018, pp. 250, 251, fig. 131, 134). with enamel paintings imitating © The Moscow Kremlin Museums. Photo by Sergey Nikitin. Drawing filigree. The upper part of the by Anna Dementieva. vessel is now lost, however, a photograph of the vessel taken in 1929 immediately after it was to the late 16 th or early 17 th The beaker from the burial of recovered shows that the upper century and is believed to be Irina Godunova is stackable. 12 part was adorned with a gold locally manufactured.11 The Similar shaped vessels were band flanked on both sides by upper part of the vessel is found during excavations of the enamel dots. Vessels with decorated with a gold band with Prague Castle (Czechia). 13 They imitation filigree were known in enamel dot accents, similar to have also been found in Olomouc Europe at the turn of the 16 th the design found on the vessel (Czechia) in the 17 th century and 17 th century. 10 One such from the burial of the Tsarevna layers and are considered local vessel, found in Olomouc, dates Feodosia. products. 14 However, Czech

8 Goncharenko, V.S. and Narozhnaya, V.I., The State Historical and Cultural Museum-Reserve “The Moscow Kremlin”. Armory. A Guide, 6 th edition, Moscow, 2012, p. 181, (in Russian). 9 Markova, Galina Ⱥ., German Artistic Silver from 16–17 centuries in the State Armory, Moscow, 1975, No. 5, (in Russian). 10 Tait, Hugh (ed.), Five Thousand Years of Glass, Revised edition, Philadelphia, 2004, p. 176, ill. 226. 11 Sedlá Ïková, Hedvika (ed.), Renaissance Olomouc in Archaeological Finds. Glass, Festive Ceramics and Tiles. Archaeological Research of the Institute of Landmark Conservation in Olomouc 1973–1996, Olomouc, 1998, pp. 13, 86, Nos. 16. 1–4. 12 Vavra, Jaroslav, Das Glas und die Jahrtausende, Prag, 1954, S. 56–60, Abb. 141, 143, 145–150; Czechoslovakian Glass 1350–1980. A Special Exhibition, New York, 1981, pp. 51–52, Nos. 4–7; Dragotova, Olga, ‘New views on the tradition of Czech glass evolution’, Glass review , 1984, 12, pp. 6–7, fig. 1, 4, 8, (in Russian); Charleston, Robert, Masterpieces of Glass. A World History from the Corning Museum of Glass, New York, 1990, pp. 106, 109, 110, 117. 13 Vesela-Žegklitzova, 2009, p. 60, obr. 1: 6. 14 Sedlá Ïková, 1998, p. 49, Nos. 05.1–1, 72, 13.2–11, 12.

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of the Ascension Convent were excavated in Moscow layers of the second half of 16 th and early 17 th century. 17

The first glass lachrymatories were found in the cemetery of the Ascension Convent in female burials pertaining to the family of Ivan the Terrible. Under Ivan, relations were established with European countries. As a result, glassware, hitherto unknown in Vessel from the burial of the Tsaritsa Irina Godunova (†1603) (after: Russia and therefore valuable, Stolyarova, Ekaterina K., ‘Issledovanie sosuda [Zakhoronenie tsaritsy Iriny Fedorovny Godunovoi. 1603 god]’, Panova, Tatyana D. (ed.), Nekropol’ was brought to Muscovy as russkikh velikikh knyagin’ i tsarits v Voznesenskom monastyre diplomatic gifts. We know nothing Moskovskogo Kremlya, t. 3, Pogrebeniya 16 . nachala 17 veka , ch. 2, about its daily use. Perhaps it Moscow, 2018, p. 327, fig. 170, 171). H: 8 cm. © The Moscow Kremlin was used as in Europe, where Museums. Photo by Sergey Nikitin. Drawing by Anna Dementieva. goblets and beakers, similar to vessels from the burials of vessels are made of opaque red- The glass vessels recovered from Tsaritsas Anastasia Romanovna, brown and blue glass. Vessels the burials of the Ascension Martha Sobakina and Irina made of transparent glass during Convent fulfilled a ritualistic Godunova, Tsarevnas Eudoxia and the 16 th and the first half of the function. They were connected Feodosia, were intended for 17 th century, according to the with the ritual of extreme drinking wine, beer, and other researchers, come from the unction whereby the sick would beverages. And vessels similar to Southern Netherlands or northern obtain God’s grace through the goblet from the burial of the France. 15 D. Caluwé believes that priests’ prayer. It is worth noting Tsaritsa Martha Sobakina were these vessels appeared during the that glass vessels were not used used as reliquaries. We can’t earlier period and were initially as lachrymatories until the mid- ignore the representative function used for wine tasting by 16 th century. Prior to this time, of the Kremlin vessels, especially professionals. The cup’s shallow from the 14 th to the first half of the goblet from the burial of form assisted the drinker in the 16 th century, glazed ceramic Martha Sobakina. It is evident, experiencing wine’s bouquet, the bowls were used. They were however, that they were highly color, and the taste. Later on, found exclusively in burials and rated. Probably it accounts for such shapes developed into never in the cultural deposit. As their being used in the rite of luxurious drinking glasses used at opposed to them, vessels akin to extreme unction and then placed the table. 16 those recovered from the burials in burials.

15 Henkes, Harold E., Glaz zonder glans, Rotterdam Papers, 9, 1994, p. 106, Nos. 24.16, 24.18. 16 Caluwé, Danielle, ‘The Use of Drinking Vessels in the Context of Dining and Communal Meals. Some Preliminary Thoughts Drawn on Archaeological Evidence from Medieval and Post-medieval Periods in Flanders and the Duchy of Brabant (Belgium)’, pp. 12–13, [online] available at: https://www.academia.edu/4533804/FH7_full_text (10th March 2014). 17 Panova, Tatyana D. and Koval’, Vladimir Yu., Report on salvage archaeological excavations in the Tainitskii garden of the Moscow Kremlin in 2007 , vol. 1, Moscow, 2008, Archive of the Institute of Archaeology, Russian Academy of Sciences, F-1, R-1, No. 29009, p. 57, (in Russian); Sedlachkova, 2009, p. 143. 2626 REVIEWS ON GLASS Nº 8 2020

COLLECTORS AND COLLECTIONS IN RUSSIA Attribution of a jug from the collection of A. Bazilevsky To the history of collecting in the 19th century Elena Anisimova and Sergei Khavrin The State Hermitage Museum, St. Petersburg

One of the masterpieces of the Russian diplomat Alexander Unfortunately, the Hermitage Hermitage’s collection of Bazilevsky permanently resided does not know how and when European glass was traditionally in Paris. He collected Oriental Bazilevsky purchased the jug. considered a jug, attributed to a and European applied art from It can be speculated that it was workshop in Venice produced the Middle Ages and the bought as part of another big mid-16th century. 1 It entered the Renaissance. The Bazilevsky- collection or purchased Imperial Hermitage in 1885 as owned collection was well known independently from an European part of the collection of to connoisseurs and art lovers of antique dealer. In the Bazilevsky’s Alexander Bazilevsky (1829- its time. It was deservedly collection records, there is no 1899). This collection was considered one of the best in information on the jug’s origin. acquired for the museum in its France, and its owner even won entirety by personal order of the the honorary title of “King of Historians know that the jug was Russian Emperor Alexander III. Collectors”.2 not presented at the Paris

1 Jug. Venice. Glass: the middle of the XVI century, painting - the third quarter of the 19 th century. Colorless and white glass; free blowing, vetro a retortoli, gold painting. Height with handle 28.0 cm.; diameter 12.5 cm. Inv. No. F-480. 2 Simpmetta Castronovo e Cristina Maritano. Alexander Basilewsky, « Le Roi des collectionneurs »// Il collezionista di Meraviglie. L’Ermitage di Basilewsky. Catalogue de l’exposition. Torino, 2013, p.21-22. 2727 LECTURES

exhibition of 1865, the first fair The jug’s current state is where Bazilevsky exhibited some consistent with its 1874 works from his collection in the photograph. The vessel’s Museum’s retrospective section. decoration in the “vetro a It also was not among the retortoli ” technique on its body objects exhibited by private and foot is visible, as well as the collectors at Paris’ Exposition painting on the vessel’s neck of Universelle in 1867. garlands and other patterns.

The pitcher probably had not However, the description given in entered Bazilevsky’s collection the catalog varies from what is by 1870. This year, he moved to depicted in the image. The a mansion on Blanche Street in catalog card states: “Panse Paris, house 49. In a separate ovoide, allongée vers le fond hall of his new house, a inséré par un anneau sur un collection belonging to the owner pied bas en scotie, terminé par was presented. There are two un ourlet; aplatie dans le haut watercolors of 1870 representing chargé de deux filets au-dessous Jug. Venice. Glass: the middle of the the Bazilevsky collection, but du col qui s’élargit en bec XVI century., painting - the third this jug is missing from the trilobé. Anse en S, terminée quarter of the 19 th century. Colorless images. inférieurement par un mascaron. and white glass; free blowing, vetro a retortoli, gold painting. Height Thus, we can confidently Sur la panse et sur le pied sont with handle 28.0 cm.; diameter speculate the jug entered the appliqué des baguettes 12.5 cm. Inv.No. F-480. Photograph © The State Hermitage Museum. collection no earlier than the end filigranées de blanc, en spirale, Photo by Alexander Koksharov. of 1870 and no later than 1874, faisant une légère saillie. Leur when the first catalog of Alexander intervalle est décoré de fleurons Bazilevsky was published 3. The d’or qui dessinent des guirlandes decoration was applied on top of catalog was prepared by the owner sous l’ouverture, et des torsades a restoration gluing to hide the himself, together with his friend sur les filets et sur l’ourlet.”4 seam. The gold trim on the sides Alfred Darcel (1818-1893), one of the high handle was applied of the greatest experts on The description does not at the same time to create a medieval art of his time. mention the gold painting in the unified look. form of three garlands on the Among the 54 glass objects outside and inside of the throat Bazilevsky probably ordered this presented in the catalog, only and clearly visible in the image alteration. It should be two items were reproduced in in the album. emphasized that such additions photographs that accompanied did not reduce the object’s the publication. The photographs The absent reference to this value, otherwise the authors reinforce their volubility to decoration is not an oversight of would not have included the Bazilevsky; the jug was included the authors. This can be object in the album attached to in the album. explained - the garland the catalog.

3 Darcel A., Basilewsky A. Collection Basilewsky. Catalogue raisonne. Paris, 1874, Nº 497, Pl.L 4 Darcel A., Basilewsky A. Collection Basilewsky. Catalogue raisonne. Paris, 1874, Nº 497, Pl.L 2828 REVIEWS ON GLASS Nº 8 2020

The absent references to later This explanation seems the most decorative additions suggests that likely, as Kube paid special Studies have at the time of the acquisition by attention to the condition of the Bazilevsky the jug’s appearance object, noting “... the glass of convincingly show was consistent with the catalog’s the vessel’s body and neck was description and its attribution to significantly clouded.” that all gold- the Venetian production of the painted ornaments th 16 century was not The crack on the jug’s throat th questionable. Until recently, was not noticed by Kube and is date from the 19 attribution was not questioned by not listed in future the followers of Alexander descriptions 7. Perhaps that is century, but they Bazilevsky and Alfred Darcel. why the dating of the jug by the were not executed 16 th century has never raised After entering the Hermitage doubts, and gold painting simultaneously collection, the jug was seemed to be a distinguishing repeatedly published.5 In the feature that gives the subject 1923 book, Venetian Glass , by special artistic value. In 2017, Dr. Dora Thornton, the Hermitage’s curator Alfred during her visit to the Hermitage, Kube (1886-1942), the jug is For a long time, the jug was on verbally suggested that the jug presented as one of the best permanent display at the was of late origin and considers examples of old Venetian Hermitage. In connection with it to be a fake and produced production in Hermitage the preparation of the exhibition during the second half of the collection6. The author provides in Japan in 2011, the jug was 19 th century. a detailed description of the removed from display and subject. Unlike Alfred Darcel, examined. It was during this time The object was transferred for Kube describes in detail the that conservators determined the research to the Department of painting on the throat of the jug, painting on the throat was made Scientific and Technical “on the upper and lower surfaces on top of the crack existing on Expertise of the State Hermitage ...” of which “... are written in the handle side. Museum to determine the time thick gold paint with garlands of of the creation of the jug and its flowers connected in six places It was also noted that the decor8. The results of a study by edges ... ribbons in the form pattern is duplicated on the seemed extremely interesting. of narrow stripes.” He does not bottom surface - a technology mention that the two-sided not typical for the 16 th century. Studies have convincingly shown painting masks a crack. For the first time it was that all gold-painted ornaments suggested that the throat’s date from the 19 th century, but This can be explained because painting is evidence of a 19 th they were not executed of it’s high quality restoration. century restoration. simultaneously.

5 Kondakov N. The Imperial Hermitage. Index of the Department of Middle Ages and Renaissance. St. Petersburg, 1891, p. 173, No. 105 (in Russian language) 6 A. Kube. Venetian glass. St. Petersburg, 1923, tab. VI, p. 86-87 (in Russian language) 7 B. Shelkovnikov. Glass. Leningrad, 1962, p. 38, Fig. 23 (in Russian language) 8 The study was conducted on January 2019 by Sergey Khavrin in the Department of Scientific and Technical Expertise of the State Hermitage museum 2929 LECTURES

The mirrored garland painting on required a substrate to keep the considered authentic, was also the throat is made of thin gold. paints adhered to the surface. executed in the 19 th century, but The paint was not laid evenly, Barium white was used; this was several years earlier. After which is perfectly visible in commonly used since the late analysis, it was concluded that macro photography. 1830s. gold was laid on a brown substrate of white lead, calcium The painting was done without The decor on the body and leg, carbonate, ocher, kaolin and subsequent fixing firing and which A. Darcel and A. Bazilevsky chromium-containing paint. This mixture was used in the late 1810s and 1830s. Since the painting was not fixed by fire, the paint was unstable. As a result, a restoration was conducted and traces of its residue are clearly visible in macro photography.

The presence of traces of the subsequent restoration is consistent with the results of modern research, which proved that a similar painting technology using a substrate, but without the use of high temperatures, gives a weak adhesion of the paint to the surface of the vessel9.

Jug throat fragment with mirrored painting. Photograph © The State In 1923, Alfred Kube noted the Hermitage Museum. Photo by Alexander Koksharov. gilding was probably applied to

Macro photography of the jug’s Traces of the painting restoration Fragment of painting from throat featuring a fragment of the completed on the body of the jug. the body of the jug. Photograph painted garland. Photograph Photograph © The State © The State Hermitage Museum. © The State Hermitage Museum. Hermitage Museum. Photo by Photo by Alexander Koksharov. Photo by Alexander Koksharov. Alexander Koksharov.

9 Inês Coutinho,Teresa Medici, Rui J.C. Silva Bernard Gratuze, Helena Catarino, Augusta Lima. Gilding on glass: New evidence from a 17 th century flask found in Portugal/ Journal of Archaeological Science: Reports 6 (2016), p.294

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2.0 In view of the foregoing, a jug from the Hermitage collection can be attributed of the production of Venice or Façon 1.5 de Venise and it can be dated of second half of the 16 th and early 17 th centuries. It’s dating

1.0 is also confirmed by data

Ca collected by a X-ray fluorescence study ArtTAX spectrometer and a Scanning 0.5 Fe Sr Electron Microscopy coupled Mn K Pb with Energy Dispersive X-ray Pb (SEM / EDX) showed that the Si Ca Fe main components of the jug’s 0.0 0 10Energy/koeV 20 30 glass are calcium and silicon oxides. 12 SEM-EDX - light particle spectrum on the jug’s transparent glass surface. This study made it possible to assert that this jug was the body of the jug to mask the was created long before this created by masters in the clouding of “... the glass of the decoration. Renaissance, with decoration body and neck ...”This added in the 19 th century. A adjustment is noticeable in the The jug’s form - an egg-shaped passion for collecting in the photograph in the 1874 body, a narrow neck, a three- first half of this century album10 . bladed throat, and a high handle prompted an unknown antique - is typical of Venetian glass or dealer to give the product with The clouding of the glass is Façon de Venise produced in the the help of gold painting a the result of a surface second half of the 16 th and early more luxurious and, interaction with an aggressive 17 th centuries. It’s decor, the use accordingly, expensive look. environment: most likely, the of external canes known as a The jug’s new owner, Alexander jug was actively used for some retortoli, also confirm the Bazilevsky, also ordered time to store and serve drinks. proposed attribution. Similar improvements to the jug. The The need to “improve” the decoration can be found on other being of this jug is a vivid surface with gold painting glass products dating to this episode in the history of indicates that the item itself period.11 collecting 19 th century.

10 A.Kube. Venetian glass. St. Petersburg, 1923, tab. VI, p. 87; Darcel A., Basilewsky A. Collection Basilewsky. Catalogue raisonne. Paris, 1874, Vol. 2, Pl.L 11 Cup from the collection of the Rijksmuseum, Amsterdam (Pieter C. Ritsema van Eck, Henrica M. Zijlstra-Zweens. Glass in the Rijksmuseum. Amsterdam, V.I., Zwolle, 1993, No. 74, p. 59); a tazza and a vessel in the form of a boot from the collection of the Metropolitan Museum of Art, New York (Dwight P. Lanmon, David B. Whithouse. The Robert Lehman Collection. Glass. The Metropolitan Museun of Art. B. XI, New York, 1993, No. 52, 54, p. 143,147-149) 12 The study was conducted on 10.01.2018 by Sergei Khavrin in the Department of Scientific and Technical Expertise of the State Hermitage museum

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GLASS SCIENCE ON RUSSIAN COLLECTIONS Products of the Leningrad Artistic Glassworks and research of their chemical composition by means of x-ray fluorescence spectral analysis

Olga Startseva, Sergey Sirro. The State Russian Museum, St.Petersburg

In this article we will explore the the study. Then we will proceed forgotten technologies. The first possibilities for employing the to the description of the study’s artworks were made here in x-ray fluorescence spectral results and, finally, draw some 1940-1941. The work was then analysis to research the chemical conclusions relating to the suspended during the Great composition of the objects importance of the findings for Patriotic War and resumed in manufactured at the Leningrad the museum work. 1948. In 1948, the Leningrad Artistic Glassworks (hereinafter Mirror Factory was reorganized referred to as LZHS) within the Leningrad Artistic Glassworks into artistic glassworks, which period from the late 1940s to traces its lineage to the small became an all-Union the 1980s. The review of the experimental workshop at the experimental base for the archival material and integration Deminskaya Mirror Factory (later production of unique, stock, and of the analysis’ results allowed the Leningrad Mirror Factory) mass-produced crystal and us to establish the scale of the located on Deminskaya Street, glassware. In 1996, the chemical composition of the now Professora Kachalova Street, Leningrad Artistic Glassworks glasswork’s glass. The findings 9. The founders of the ceased production, due to obtained from this study can be establishment were sculptor bankruptcy. used in attributing and clarifying V.I. Mukhina and chemical dates assigned to artistic glass engineer N.N.Kachalov. They As it is known, Leningrad Artistic made at LZHS. were tasked with creating Glassworks developed a formula industrial designs for Soviet for glass and crystal, which was To begin with, it seems glassware, establishing modern used to manufacture artistic ware reasonable to characterize the techniques for glass melting and and mass-produced designs. materials that laid the basis of decoration, and restoring the Special requirements were

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imposed on the crystal at the the second half of the 1950s. was used only for solid (not factory, since the company started Artists such as B.A. Smirnov, flashed) products, and in the producing crystal-ware in 1950, E.V. Yanovskaya, L.O. Jurgen, late 1950s this type of glass was and since the mid-1960s and H.M. Pyld worked with discontinued. Pink, also known switched entirely to the stock- and sulfide glass. For example, as “golden ruby”, contained the mass-production. The main B.A. Smirnov and H.M. Pyld small gold particles. Lilac- requirements for crystal glass were created a series of sulfide vases colored glasses, painted with the the following: I do not understand and sets with different color rare, earth element neodymium minimum amount of defects of shades and decor, imitating the oxide, were rarely used at the stone, striae 1 and air bubbles; “Venetian thread”. Due to the factory; produced, only in the whiteness and transparency of the narrower specialization of LZHS early 1960s. The main reasons glass, high refractive index. and the increase in the were “insufficiently studied as a production of stained and raw material for glassmaking” In 1950, engineer V.A. Dauvalter unstained crystalware, the and “the high cost of developed one of the main melting of zinc sulfide glass was neodymium trioxide, due to the compositions of the lead crystal stopped in the mid-1960s. difficulties of obtaining and glass that contained the cleaning it”. following components and The palette of stained glass at indicators: SiO2 – 58,0%, PbO – the factory was diverse and rich Stained glass was used to 25,0%, K2O – 14,0%, Na 2O – and overtime, was improved produce original designs and in 3,0%, As 2O3 – 1,0. Refractive upon and production costs stock- and mass-production from index: 1,55 Expansion factor: up decreased. The colors of blue, the 1940s to the 1990s: in to 400°:113,3.10 -7 and up to red, purple, yellow, green, and 1940-1941 and in the early 450: 129,9. 10 -7 . It was white were the most popular to 1960s - in its pure form, in the characterized by maximum produce. All of them were late 1940s-1950s it was used as transparency, whiteness, melted multiple times and kept a flashed glass, in the “sonority”, as well as a high at the factory for a long time, 1970s-1980s it was used as a index of refraction and until the 1990s. The glass was decorative bright spot or dispersion. characterized by purity of color, inclusion, only occasionally in a intensity, saturation, and variety solid form. The color used was With regard to the stained glass, of shades from warm to cold. the factory was also looking for new compositions and ways to Less popular colors to produce The color used obtain them. For example, in were lilac, pink, smoky, yellow- 1952, engineers Ivanova and green, and brown. The reason for was associated Kiryenen first invented a new this was that the composition of with the form´s type of glass - zinc sulfide. It these glasses included either was characterized by its easy expensive components, or shape, decor, color ability and, most components containing importantly, its opacity in a wide substances harmful to purpose and range of degreesolors. The production. For example, the production of zinc sulfide composition of yellow-green method of use glassware was mastered during glass included uranium oxide, it

1 Stria is a glassy inclusion that differs in its composition and properties from the “main” glass.

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associated with the form’s shape, elemental analysis of the composition of the glass was decor, purpose and method of composition of the objects carried out on the X-Art-M use, and also influenced by the containing elements from Al spectrometer,2 located in the global fashions of the applied (aluminum) to U (uranium). Its Department of Technological and decorative arts. main feature is the possibility of Research of the State Russian simultaneous analysis of the Museum. The head of the This kind of data, of course, can qualitative composition and department, Sergey Sirro, be used for attribution of glass quantitative content of elements conducted the research. and crystal-ware, but it cannot in complex multicomponent be the only source because, first, mixtures with an error of 0.01% The results of x-ray fluorescence LZHS’s glass formula was used for sufficiently small subsamples. analysis were derived in the form by other USSR glass factories, of spectra, one of which is and secondly, the artists of other The XRF method was used to presented in Table 1. glass factories also focused on study 105 items from the the changes and innovations that collection of the State Russian The analysis data showed that took place in the glass industry Museum of the 18 th , 19 th and the main composition of and culture in general. 20 th centuries. This report will products of the second half of focus only on a certain period of the 19 th century and products In light of these challenges, there time of one factory - LZHS. made at the LZHS in the late is a need for a comprehensive 1940s and 1950s included the and complex analysis of glass In addition to LZHS’s products following components: Si and crystal-ware. These finds will of the 1940s-1980s, the works (silicon), K (potassium), CA provide a base of information and made in the second half of the (calcium). In the early 1960s, to take this data, about the 19 th century to the early part of the composition changed: it chemical composition of glasses. the 20 th century are used for included Si (silicon) and K This will allow scientists and art comparison in the report. The (potassium), but the third main historians to detect differences in study of the chemical component instead of Ca the crystal and glass formulas used by USSR factories, as well as to identify specific features within each individual period, which can serve as a basis for specifying the time of manufacture of the object under study.

To collect information about glass compositions, the x-ray fluorescence spectral analysis (XRF) method is of particular importance. It relates to physical, The study of the composition of the glass was carried out on the X-Art-M non-destructive methods of spectometer.

2 X-Art-M spectrometer is a versatile x-ray fluorescence energy dispersive analyzer designed for rapid analysis of the chemical composition of various objects. 3434 REVIEWS ON GLASS Nº 8 2020

(calcium) is Zn (zinc). The shows that arsenic was products with stained flashed introduction of Zn in the introduced into the composition glass. It is known that in composition helped to increase of pre-revolutionary glass in glassmaking strontium was used the light refraction of glass. greater quantities than in LZHS to produce special optical glass, products, and there is an as well as to increase the In pre-revolutionary items, and explanation. “Arsenic on LZHS chemical and thermal stability of especially in LZHS items of the was introduced as a chemical the glass and the refractive index. 1940s and 1950s, iron (Fe) decolorizing agent for glass. The oxide is observed in small introduction of a high The work carried out allows to amounts in the composition of percentage of arsenic in draws conclusions: the glass. There is an explanation calcium and potash-lime glass for this. The iron got into the contributed to the formation of 1. The study of the chemical glass from the refractory. This abundant small air bubbles. To composition of glass and fact is confirmed by archival eliminate this defect originating crystal by the non-destructive documents and scientific and from the manufacturing process, XRF method allowed scientist technical sources. Later, there A.N. Dauvalter suggested using to not only to see the main was no iron in the glass. arsenic in a quantity of components that make up the 0.05%”. 3 Thus, the presence of glass of pre-revolutionary All glass samples, except those this element is a good dating items and LZHS products, but made in 1940-1941, contain mark that indicates a certain also to make a comparative lead (Pb) oxide. The lowest manufacturing time period. analysis, which revealed a concentration of lead is found number of significant markers mainly in items from the late Some of the glass samples that indicating the time of 1940s to the 1950s, and this are part of this study contain dyes manufacture of the item. figure increased significantly such as Co (cobalt), Mn post 1960. The evidence of this (manganese), Cu (copper), Cr 2. The study of archival fact is archival information, (chromium), and U (uranium). materials and their inclusion which documents record “on the During the analysis, it was found in the work made it possible termination of the production of that compounds of two oxides to corroborate, complete and high-quality glassware in 1965, were used to give the glass a more expand the information and and on the vacated production saturated color. For example, clarify a number of questions capacity, the factory began to compounds of Co (cobalt) and Mn raised during the study of the increase the production of (manganese) oxides were used to chemical composition of glass crystal-ware”. give the product a dark blue color and crystal. (almost black). This indicates an In objects produced during the economical use of raw materials 3. The obtained data can be late 1940s and into the 1950s in the production of mass used for attribution of glass and in items from the second products at LZHS. and crystal-ware, as well as half of the 19 th and early give an impetus to new 20 th centuries there was a There was also a presence of Sr research and discoveries in presence of arsenic in the glass (strontium) in some glass the study of glass and crystal- composition. The data obtained composition. Strontium is seen in ware.

3 Dauvalter A.N. Crystal, stained and opal glass. Gosudarstvennoye nauchno-tehnicheskoye izdatelstvo [State Publishing House for Science and Technology], 1957, p. 110. (in Russian) 3535 LECTURES

GLASS SCIENCE ON RUSSIAN COLLECTIONS A Study of the Lidded Glass Bowl in the State Hermitage Museum as an example of ‘Glass: Gold leaf/Colour combination Type’ and its Cut Gold Leaf Technique ‘Kirikane’ Hidetoshi Namiki & Yasuko Fujii. Tokyo University of the Arts, Tokyo

Introduction the western world after the late In our lecture we focused on Roman period, it must have had the two Hellenistic gilded glass The aim of our collaboration is a ‘western’ origin. objects in the Hermitage State to provide further evidence to identify the possible place of manufacture and date, through studying cut gold leaf decoration techniques on the ancient glass. In previous studies we confirmed that the cut gold leaf decoration on nineteen out of twenty-two pieces of Hellenistic gold sandwiched glass was made using the Kirikane technique.

We decided to employ this particular term, describing the Japanese traditional cut gold leaf technique dating from the 6th century AD, because, although A Schematic Explanation of the Kirikane Technique this procedure disappeared from

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Bowl: part of the Olbia vessel. Left: from above, Right: profile. Photo by H. Namiki © State Hermitage Museum

Museum, which we had the It is composed of a shallow bowl from 1 to 4mm at the rim. Both opportunity to study in 2014, and a lid which resembles parts are colourless with a and explained the characteristic another shallow bowl. The former greenish tinge, and both inner features of Kirikane on the gold has an outspread horizontal rim and outer surfaces of the glass sandwich glass bowl from about 1cm wide and a slightly show thin and concentric wheel-

Mozdok (inv. no. K 3 5323) and convex base. Its diameter is abraded marks. the lidded glass bowl with gilded 13.3cm, the height is 3.1cm, and painted decoration from and its thickness is between 2 The traces of the decoration are Olbia (inv. no. E 805). In this and 2.5mm at the rim. The lid composed of cut gold leaf, with paper, we will concentrate on the has a curved but angular rim red and blue colours. In her 1997 latter piece, one of the rare about 2.5cm wide, whose catalogue Nina Kunina mentions objects whose fragile cut gold horizontal part is about 1.5cm that the decoration remains on the leaf decoration was protected on wide so that it fits the horizontal inner surfaces of both the bowl both sides in a similar manner to rim of the bowl. Its base is flat and lid. Although the appearance gold sandwich glass, but in this rather than convex. Its diameter of the lid section is now more case, one side was covered by is 14.4cm, its height is 1cm, worn than it appeared in the the layer of red and blue colour. and its uneven thickness ranges catalogue’s photograph, the We will call this variation ‘Glass: Gold leaf/Colour combination Type’, and as E. Marianne Stern has indicated, we would like to examine this type as a prototype of the gold sandwich glass.

The Lidded Bowl from Olbia (inv. no. E805)

The lidded bowl was donated to the State Hermitage Museum from G. Kallo collection in 1900, and is said to be from Olbia, Lid: part of the Olbia vessel. Left: front side, right: underside. Photo by H. Ukraine, one of the Greek colonies Namiki © The State Hermitage Museum on the northern Black Sea coast.

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decoration is still visible. Stern rectangular pieces whose shorter are known. One example is in and Despina Ignatiadou have sides are attached to a border the Thessaloniki Archaeological described this technique as strip forming a type of crenelated Museum from Pydna, northern ‘reverse painted decoration’, since pattern on a red background. Greece, nowadays Makrygialos it was intended to be viewed from (inv.no. Py 6435, Py 6436; lid above or the front through the Where Kunina described ‘pale D. 18cm, bowl D. 15.4cm), transparent glass. trace of golden flower visible on found in an excavated bottom’, only tiny specks of gold Macedonian tomb of the early The decoration is composed of leaf with several whitish 3rd century B.C.(the bowl is three bands, each band attachments are now visible, probably older and is dated to corresponding to the three faces mainly on the lower left part of the 4th century B.C.). The other of the curved but angular rim. the inner surface. example is in the Louvre The bands are divided by a long, Museum and has unknown thin strip of gold leaf. The central Concerning the red and blue provenance. It dates to the 3rd band is applied on the colour, we cannot clearly define or 2nd century B.C. (inv. no. S approximately 1.5 cm wide what the materials are, but its 2584-2585; lid D. 12 cm, bowl horizontal section, and features a grainy surface leads us to believe D. 11.2 cm). wreath (of myrtle, olive or laurel), they are pigments. tied with a red ribbon, on a blue Both bowls feature reverse painted background. On the outer band of This type of lidded bowl is very decoration on the inner surface of the edge section runs a row of rare, and Stern noted just 11 the incurved rim. The Louvre small lozenges in gold leaf on a other examples in the appendix piece shows a close similarity with red background. The inner band of her article. Apart from the Olbia piece in the combination on the inner edge section fragmented or dispersed pieces, of gold leaf and colour (red, blue features a row of small only two other intact examples and black); three-band decoration

Left: detail of decoration. Photo by H. Namiki © The State Hermitage Museum. Right: actual state of remaining decoration, drawn by H. Namiki

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with similar patterns on the lid; hypothetical reconstruction by poor condition: most of the gold traces of the decoration on the Hidetoshi (in yellow), leaf decoration has flaked off, the inner surface of the bowl; the superimposed onto the remains smaller remaining part is covered uneven shape of the rim; and size. of the original pattern (in by the coloured layer, the whitish However, there are also black). It is possible that the weathering of the glass layer differences when we consider the wreath running along the makes it difficult to observe the more angular contours of the lid, central band may have had leaf, nor can the coloured layer and lack of black colour on the additional elements, such as a be checked for overlapping or Olbia piece. According to Despina knot or tops to the wreaths. bending gold leaf parts by Ignatiadou, who first reported the However, Hidetoshi tentatively applying light from below. Pydna vessel, the Olbia and interpreted the design as a Nevertheless, close examination Louvre examples were made by continuous and repeated enabled us to discover evidence slumping. The bowl part may pattern. With the help of for the use of the Kirikane possibly be explained by this Hidetoshi’s reconstruction, we technique on the lidded bowl technique, but it is more difficult can see that each wreath is from Olbia: we noted that two to explain exactly how the curved, composed of a ribbon, five long strips which bordered the wide and angular rim of the lid leaves, two berries and three bands are not smooth but wavy part of the Olbia piece was more leaves. This unit, without and jagged. If the decoration had formed. Mark Taylor and David the latter three leaves, is been made by the ‘scratching’ Hill have suggested that the lid similar to the laurel wreath technique, these strips would was probably made by slumping pattern on the rim of the more likely be straight. over a form which included the Mozdok bowl. Furthermore, one of the small shape of the rim as a channel, rectangles attached to the strip and the slumped glass was coaxed Unlike Hellenistic gold sandwich shows a different ‘fabric’ grain to into this channel around the main glass, it is not easy to show the the gold leaf, which indicates body of the form. evidence of Kirikane on the that it was not scratched, but ‘Glass: Gold leaf/Colour made by applying different pre- Kunina dated the Olbia vessel to combination Type’ because of its cut pieces. Therefore, Hidetoshi, the 1st century B.C., but, more recently, Ignatiadou dated it to the 3rd century B.C., whereas Stern has dated it from the late 4th to the early 3 rd century B.C. As Kunina’s dating was made before the discovery of the Pydna example, we will follow the earliest dating, around the 3rd century B.C.

Cut Gold Leaf Decoration of the Lid: Kirikane with Minimal application method Left: The surviving cut gold leaf decoration (in black) together with a hypothetical reconstruction by H. Namiki (in yellow). Right: possible I will describe the cut gold geometric pieces and strips of cut gold leaf prepared to create the decoration. leaf decoration: shows a

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as a Kirikane master, suggests less durable than the glass itself. on the Olbia vessel. Although it that there were seven types of In fact, whilst most of the original will be necessary to examine geometric or strip pieces required cut gold leaf decoration on the the other known lidded bowls, for the Olbia lid decoration: Mozdok bowl remains, that of the we may now state that Kirikane longer and thinner strips, Olbia lid has almost disappeared. was used on both ‘Glass: Gold diamonds, parallelograms and This leads us to assume that leaf/Colour combination’ type, rectangles. All of the patterns on another lidded bowl without and the gold sandwich glass. the three bands are made by decoration might once have been This suggests that the traces of applying the pre-cut gold leaf decorated in a similar way: to the wave patterns on the Pydna pieces minimally, without using existing list of ‘Glass: Gold leaf/ piece, which Ignatiadou any overlapping, bending or Colour combination’, we would proposed was possibly made outlining techniques. The use of like to add the fragmentary, using a thick gold foil this ‘minimal’ method may also colourless, flat fragment (3.71cm decoration, might also have be seen on the laurel wreath x 3.2cm, 0.2cm thick) from Tanis been the product of a thinner pattern of the Mozdok bowl: the (house 25), Egypt, excavated by cut gold leaf decoration style. application method will always W. M. F. Petrie in 1884, and now As we have already presented depend upon the nature of the in the British Museum (BM EA in our previous studies, the decoration pattern. 22462). Its reverse painted wave patterns on Hellenistic decoration is composed of a wave gold sandwich glass were ‘Glass: Gold leaf/Colour pattern and parallel lines in gold common, and were made using combination Type’ leaf, red and blue colours. It was Kirikane (the bending and filling originally dated as Ptolemaic by method), and where this was The tiny, thin-cut gold leaf Petrie, and as Roman (2nd A.D.) not used, might have been decorations are very delicate and by J. D. Cooney. coloured in blue, like the wave fragile, requiring some manner of patterns on the Tanis piece. protection from abrasion. In this Conclusion According to Hidetoshi, the case, after the cut gold leaf manufacture of gold leaf decoration was applied onto the In this paper we confirmed the requires a higher level of inner surface of the glass lid, the use of the Kirikane technique craftsmanship than gold sheet. outer surface was covered by a layer of pigment. Therefore, unlike the gold sandwich glass, which usually employs transparent glass layers, enabling its decoration to be seen from both sides, this variety can only be viewed properly from its front. Using this technique, cut gold leaf decoration becomes a more sophisticated decoration, with its contrasting blue or red background which acts as a protective layer. Unfortunately, Hypothetical 3D reconstruction by H. Namiki of the front and back of the the passage of time has shown Olbia lid. that the coloured layer proved

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We would like to thank the State Hermitage Museum for their kind collaboration.

We would also like to thank Mark Taylor and David Hill for their comments and suggestions.

References

N. Kunina, Ancient Glass in the Hermitage Collection. St. Petersburg, 1997, pp.13, 289- 281, no.181. Hypothetical 3D reconstruction by H. Namiki of the Olbia lidded bowl. M. Stern, Ancient Glass in Athenian Temple Treasurs, JGS 41 (1999), pp.19-50. Gold sheet requires only continued and featured gold V. Arveiller-Dulong, M-D. Nenna, Les verres antiques du musée du ‘striking and stretching’, but in sandwich glass, suggesting that Louvre: Tome 1, Contenants à order to create the much the lidded bowl might have been parfum en verre moulé sur noyau thinner gold leaf, such as may its prototype. Here also, the et vaisselle moulée, VIIe siècle be torn easily by finger common features of cut gold leaf avant J.-C.-Ier siècle après J.-C., pressure, the medium decoration by Kirikane are Paris, 2000, pp. 168-170, sandwiched between the gold confirmed. nos.197-199. sheets needed to have been of ȿɏɨɞɡɚɘɄɚɥɚɲɧɢɤɇ the highest quality. Furthermore, according to ɀɢɠɢɧɚɋɬɟɤɥɹɧɧɚɹɮɟɟɪɢɹ Ⱥɧɬɢɱɧɨɟɫɬɟɤɥɨɜɗɪɦɢɬɚɠɟ Stern, the findspots of the (Glass extravaganza. Antique There is another reason why we lidded bowl suggest that the glass in the Hermitage), Ɋɭɫɫɤɢɣ became interested in the Olbia type may have originated in 2010, pp.160-161, no.142. bowl: it is related to the Macedonia, northern Greece, H. Namiki, Y. Fujii, A Study of the Tresilico-Valepodio bowl, which and the other sites mentioned Cut Gold Leaf Decoration we studied intensively in 2010. are known to have been in Techniques on Ancient Gold This shallow bowl, now in the contact with Greece. This leads Sandwich Glass, with Emphasis on the Hellenistic ‘Kirikane’ Reggio Calabria National us to consider the likelihood Technique, AIHV Annales du 20e Archaeological Museum, is an that the origins of the Kirikane Congrès 2015, Romont 2017, unusual example: a shallow bowl technique may have been pp.68-72. shape with a pictorial scene, around the same location. D. Ignatiadou, A Lidded Glass Phiale similar to the Pushkin Museum with Reverse-Painted Decoration, of Fine Art’s fragmentary piece. Acknowledgement Les Arts de la Couleur en Grèce The shape of the bowl, with its ancienne...et ailleurs (Ph. Jockey, ed), BCH Supplément rim opening outward, further This work was supported by 56, 2018, 229-240. increased speculation that the JSPS KAKENHI Grant Number lid of the bowl may have 18K00228.

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UPDATING ON GLASS, GLASS MUSEUMS AND EXHIBITIONS Museum of Glass and Jewellery in Jablonec nad Nisou

Petr Îížek The Museum of Glass and Jewellery in Jablonec nad Nisou

The Czech lands have been known as an area of glassmaking for many centuries. This is especially true about North Bohemia, where several production hubs emerged and achieved global importance. It is only natural, then, that it is here the Museum of Glass and Jewellery, in Jablonec nad Nisou, is located. This is the only national specialised museum in the Czech Republic devoted to glass and costume jewellery. The museum now operates under the auspices of the Ministry of Culture of the Czech Republic, but its history stretches back to 1904, when it was established by local industrialists. It was provided with a nationwide remit in the disciplines of costume Photo ©Museum of Glass and Jewellery. jewellery and glass in 1961 and

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1974 respectively. Since then famous Riedel glassmaking the museum has transformed dynasty was located. The last itself into a modern and dynamic remaining factory building known institution with extensive as “LišÏí bouda” (Fox Cabin) is collections of global significance, home to a new exhibition on the citing more than 15 million firm’s history. objects. The institution’s goal is not only to preserve history, but Currently, the museum is also, and mainly, to effectively rethinking the space by present this to modern-day expanding the exhibition space visitors and researchers. with a modern annexe. It will be Photo ©Museum of Glass and shaped in the rather Jewellery. The two permanent exhibitions unconventional shape of a cut at the museum offer visitors a costume-jewellery stone. With an unique insight into the spectrum opening date of 2020, visitors International Triennial of Glass of glassmaking and costume- will be able to admire a selection and Jewellery. This event was jewellery-making techniques. of Christmas ornaments from the inspired by the celebrated The glass exhibition focuses on museum’s collection, which is international costume jewellery the material’s utility, as well as among the largest in the world. fairs that were held in Jablonec aspects of artistic and studio nad Nisou in the second half of glass, It is regularly updated The activities of the Museum of the 20 th century. Catalogues with innovations in the field. Glass and Jewellery are far- are published for all exhibitions reaching indeed. A programme of and are available from the There is also an exhibition short-term exhibitions, museum’s e-shop. A total of dedicated to mining and medal- workshops, talks and other ninety-eight brands from twelve making in Jablonec and cultural events is prepared every countries attended in 2017. examples of fasteners and year, often in cooperation with The next event will be held in buttons from a unique collection significant glass artists and 2020. gathered a hundred years ago by companies, such as Moser, Prague industrialist Jinděich Preciosa, Lasvit and many others. The Museum of Glass and Waldes. The permanent Support from the Ministry of Jewellery is also registered as a exhibitions are both highly Foreign Affairs, Czech Centres science institution. The professional and can be easily and other Czech and foreign museum’s research activities interpreted by the general institutions has helped a number rely upon the cooperation of public. Additionally, printed and of exhibition projects to be staged other museums and draws upon audio guides, available in several in 17 countries of the world, its own library, which contains languages, complement the including France, Spain, Greece, around 20,000 bound volumes exhibition program. Japan, Azerbaijan and Russia: No and an extensive archive. The Limits, Hot & Cold and Brilliant Museum of Glass and Jewellery The Museum of Glass and by Design, or the very latest - in Jablonec nad Nisou is always Jewellery also hosts a summer Handmade Dreams – to name but open to collaboration. Entering exhibition program in Kristiánov, a few. into cooperation with ICOM a former glassmaking settlement Glass is seen as an that dates back the 18 th century. The climax of the museum’s exceptionally important step in This is where the successful and exhibition activities is the this regard.

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UPDATING ON GLASS, GLASS MUSEUMS AND EXHIBITIONS Glass collection of the Fleet of Azogues of 1724 sunk at Samaná Bay

Carlos León, underwater archaeologist, Teresa Palomar, Instituto de Cerámica y Vidrio, CSIC, Paloma Pastor Rey de Viñas, Museo Tecnológico del Vidrio

The ship Nuestra Señora de Guadalupe y San Antonio , commanded by Gabriel de Mendinueta, set sail from Cádiz as leader of the Azogues fleet, the 13 th of July of 1724. The ship San José , also known as “Conde de Tolosa” accompanied the fleet commanded by Captain Sebastián Villaseñor. The load was 370 tons of mercury for Nueva España with a huge amount of iron nails, exemptions,state official paperwork, and private load of the andalusians harvesters, mainly olive oil, wine and spirits. The destination was the Veracruz harbor. The commander of the entire fleet was the General Lieutenant Baltasar de Guevara y Vinuesa, on board the Guadalupe . Detail of a hunting scene engraved. The Ship Guadalupe. © Galeones de After a stopover at the port of Azogue Project. Photo: Carlos León, 2017. Aguada in Puerto Rico the night

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Glasses found on the Guadalupe Ship exhibited in the Museum Location of the glasses found in Atarazanas Reales, in Santo Domingo, República Dominicana. the stern of the ship Guadalupe, © Galeones de Azogue Project. Photo: Carlos León, 2017. by Tracy Bowden in 1976. © Dirección Nacional de Patrimonio Cultural Subacuático Archive. of the 24 th of August, a tropical remains of the ship Bowden found Photo: Jonathan Blair, 1976. storm with a strong north wind was a group of 364 glasses. They surprised them when they were hidden in a very recondite Project, documenting the remains attempted to sail across the area of the ship at the stern of the of The Guadalupe that still northeast of the Dominican coast. boat and they ranged in different remained at sea. They studied the Both ships crashed against the truncated cone shaped sizes and items recovered by Bowden and reefs in the area. The Guadalupe with a variation of decoration. They found many documents about the was stranded close to the coast were packed with grass with the double shipwreck at the Archivo but the Tolosa dramatically sank in smallest ones inside the bigger General de Indias in Sevilla. the middle of the bay. ones, not into cages. Five of the magnificent glass jars were also Unlike the rest of the goods that In 1976 the Guadalupe was found decorated. One year later Bowden appear on the registries of both by fishermen of the close location found the remains of the Tolosa ships, there were no official of Miches. They recovered some with another important load of records regarding the glasses. This items and they sold them until the more than 250 glasses found at lack of documentation and the Dominican government signed a the Guadalupe . location where they were found, contract with the treasure hunter hidden in the ship, suggests the Tracy Bowden who organized a In 1994, a Spanish and idea that the glasses were being recovery operation that took a year Dominican team managed by smuggled. almost. The company recovered Pedro J. Borrell, Cruz Apestegui, almost 20.000 pieces in excellent Manu Izaguirre, and Carlos León Chemical analysis of some of the states of preservation. Among the started up the Galeones de Azogue glasses certified that the pieces

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Table 1. Chemical analyses of different fragments founded on the shipwreck

Na 2O MgO Al 2O3 SiO2 P2O5 SO 3 K2O CaO Fe 2O3 As 2O3 M1 0.5 0.88 0.3 75.1 0.06 0.19 14.5 7.6 0.14 0.67 M2 0.33 <0.10 0.36 69.5 0.07 0.33 17.8 10.4 <0.10 1.15 M2A 0.66 <0.10 0.1 73.6 <0.04 0.3 14.8 9.11 <0.10 1.32 M3 0.3 0.55 0.32 71.1 0.05 0.26 16.8 8.9 <0.10 1.68 were potash-lime silicate glasses and final destination of the cone shaped drinking glasses in with a content of SiO2 around the imported glasses manufactured in different sizes and rectangular 70 wt. % (Table 1). This Bohemia and central Europe. Only jars. Sometimes they featured composition is typical of Bohemian in Spain do we know that were wheel engraved or glazed glasses. The high content of CaO commercial desks of Bohemia in decoration with popular figures and SiO2 in the glasses increased the main harbors or Cádiz, Sevilla, that were easy and fast to create their chemical stability. For this La Coruña, Alicante, San with ornaments specific to the end reason, the glasses present a good Sebastián or Bilbao. consumer’s culture. state of conservation after being two centuries on the seabed. The exported glass from central The glasses found at Guadalupe Europe was made by potash-lime, and Tolosa remind us that glasses It is important to note that with thick sides, simple shapes made for export from central customs and Spanish harbors at and small sizes in general, Europe, sometimes featured wheel the first half of the 18 th century therefore easy to transport. The engraved decorations of flowers or recorded the competitive prices most common were the truncated bouquets, rendered very simply with a Chinese style. Only one of the glasses, found on the Guadalupe , show a wheel engraved hunting scene.

According to the bibliography, the origins of these glasses is not clear. Some authors confirm that they came from the Real Fábrica de Cristales de La Granja as they found some similar aspects of this glass pieces with the ones created there, but this type of creations are much newer than the date of the shipwreck.

Some other authors, confirm the glasses came from Catalonia, what we cannot be agree with Location of the shipwreck of the ship El Guadalupe on the coast of Miches (República Dominicana). due to the difference with the models. The last possible theory

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Ideal reconstruction of the longitudinal section of the ship El Guadalupe, according to the location of the glass fount in the stern of the ship. © Galeones de Azogue project. Dibujo: Cruz Apestegui, 1995. is that they came from the glass glasses found on Guadalupe and factory of Nuevo Baztán, close to Tolosa in order to do a more in It is a collection Madrid, owned by Juan de depth study of this material in Goyeneche. This is based on near future. of glasses came information from documents regarding this factory, which The first impression is that it is a from Central shows that some glassmakers collection of glasses came from Europe made for from Germany and Bohemia central Europe made for export to worked there and their products America, and in this case, they export to America, were exported to Nueva España. were probably smuggled as it was Unfortunately, there is no proof not registered in any way. and they were that can confirm that the glasses probably smuggled came from this factory. It is important to note the glasses excellent state of preservation And also, in a sporadic form, when compared to other glasses several bottles were found on both found in excavations. Due to this Until now, it was not possible to ships. Are typical British glass good shape and to be founded on date with accuracy this type of bottles, olive green, with plain a perfectly documented fleet, as glasses from central Europe bottom and truncated cone shape. we know the exact date of the (Bohemian glasses), many times sunk, the commodities on board, found at land excavations in Conclusions the itinerary and the rest of the Europe. Therefore this is material relevant information, this give to with an extraordinary historical The purpose of this presentation is this pieces and extraordinary value and deserves to be studied to share examples of some of the value. in depth.

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UPDATING ON GLASS, GLASS MUSEUMS AND EXHIBITIONS The Rogaška Glassworks and its designers

Jože Rataj Celje Regional Museum, Slovenia

The glassworks that we know today as Steklarna Rogaška was built on a marshy site in Tržiš Ïe near Rogaška Slatina. The reason this location is not entirely clear, but it is known that production began in the former brickworks building next to the coal mine, in which removed up to 2,900 tons of coal each year.

The Abel Company acquired the brickworks in 1923, while Wilhelm Abel’s Sjedinjene tvornicestakla n.d. [United Glassworks] had already purchased the Sveti Križ coal mine from the Alpine Montangesellschaft a year earlier. The glassworks was connected to the mine by a cableway that transported coal to the furnaces. It became the direct successor of the Glass collection Bacchos, Franci ÎH rnelÏ, 1995. Photograph©Documentation Celje glassworks in Zagorje ob Savi, Regional Museum, Slovenia. which had operated, with

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Rogaška Glass factory, 2017. Photograph©Documentation Celje Regional Museum, Slovenia. interruptions, since 1809. The owners of the glassworks envisaged the brickworks site. Having readied owner of the Zagorje glassworks as that these visitors could become the first production premises, the it then existed was the Trbovlje important customers for their glass owners lit the first melting furnace Coal Mining Company, which in products. Similar combinations on January 10, 1927. The honor 1912 had leased the glassworks to had proved successful elsewhere, fell to the brothers Wilhelm and Wilhem Abel’s Erben [Heirs of for example the Moser factory in Richard Abel and their brother-in- Wilhelm Abel], a company based the spa town of Karlovy Vary in law, the engineer Adolf Körbitz. in Hrastnik, which a year later western Bohemia. There were also Seventeen days later full-time established the company coal deposits in the area around production began. The first “Glasfabrik Sagor Wilhelm Abels Rogaška, which were used in workers to start work at the Sveti Erben in Sagor”. Tržiš Ïe to fire the brick kilns. The Križ glassworks came from Zagorje mine continued to operate until ob Savi. They were the master In 1924 the Abel family began 1943, after which it was glassmakers Jakob Ernejc, Franc preparations to build a glassworks abandoned. At that time it was Jugovar, Anton Pok, Franc Pok, in Tržiš Ïe, prompted by the fact still providing around 15 tons of Avgust Siter, Benedikt Weber, that glassmaking represented a coal a day, which was just about Vinko Weber, and Engelbert profitable economic sector. enough for glass production. Weinberger. The following assistant Rogaška Slatina was also well Sufficient workforce was also glassmakers also came from known as a prominent spa and available, so the company began Zagorje: Jože Ašman, Karl Ilk, health resort, visited by the building a factory complex Norbert Ilk, Beno Jugovar, Ivan wealthy for many centuries. The consisting of seven buildings on Laneger, Franc Lipovšek, Ivan

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items. These had a capacity of 3 m³. There was also a furnace for pre-heating the melting pots and five drum heaters for making bottles and jugs. The furnace had a melting capacity of 2,500 kg per day. The remaining equipment corresponded to this capacity and consisted of two machines for cutting and splitting glass products with two diamond cutting tools, twelve grinding machines (two vertical and ten horizontal) in the rough grindery, fourteen grinding spindles for fine grinding, seven spindles for brush polishing, two pantographs for painting on glass and other equipment. A separate building housed a carpentry workshop and wood turning shop where packing crates and wooden moulds for blown glass were made. In the initial period the new glassworks employed around 225 workers. Besides the glassmakers Studie of the horn shape, Janja Lap, 1998. Photograph©Documentation from Zagorje ob Savi there were Celje Regional Museum, Slovenia. many locals among the workforce, for whom work in the factory was a way to earn a living in their own Matko, and Jože Siter. Master the last months of its operation. environment. At this point this glassmaker Vencelj Šaly came He was represented in Rogaška category still included between 30 from Hrastnik, while Karl Denk, Slatina by his son Vojko as the and 40 workers in the mine. From Iztolc, and Linke came from first plant manager. the very beginning, the glassworks abroad. The first glass cutters were focused production on more the Drimel brothers, Jakob, Vinko The glassworks occupied an area technically demanding hand-blown and Jože Karat, Ignac Otmar, and of approximately 700 m² and glassware. By the mid-1930s the Franc Slatinšek. The first mould consisted of six interconnected sales catalogue included around makers were Franc Lipovšek and buildings. The main building was 5,000 different products, notable Franc Perši Ï from Zagorje ob Savi, the melting shop, in the center of among which were bottles, jugs, while the first glass founder was which stood the main melting vases, and glasses in smooth, cut one Brajer from Hrastnik. furnace, with ten melting pots. or painted glass. In this period Engelbert Mecilovšek became the The furnace ran on gas produced most products were sold on the first manager of the glassworks. by a gas generator. Next to the domestic market. Exports to He also acted as the manager of main furnace were ten annealing foreign markets began to increase the Zagorje ob Savi glassworks in furnaces for cooling finished glass after 1936. At the outbreak of the

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Rogaška Glassworks, arround 1930. Photograph©Documentation Celje Regional Museum, Slovenia. Sketches for glass collection, Raoul Goldoni, 6. 6. 1975. Photograph©Documentation Celje Regional Museum, Slovenia.

at the Rogaška glassworks. In the early 1930s the factory only operated for six months a year. During the Second World War work at the glassworks continued in irregular fashion. Some workers joined the partisans, while others were interned or deported to Serbia, all of which represented a major blow for the factory. Production during this period mainly focused on supplying the Glass cutter at work, around 1950. Photograph©Documentation Celje needs of the occupying forces, so Regional Museum, Slovenia. the partisans attacked the glassworks to show their dismay. The attack came on the night of Second World War the glassworks Switzerland, France, England, September 16 th and 17 th in 1944, employed 280 workers and 40 Austria, Greece, Turkey, Syria, when the fighters of the Šercer miners and had an annual Morocco, and America. Potassium Brigade broke through the main production of around 200 tons of glass and lead crystal were the entrance and set fire to the factory luxury products, more than 50% predominant types of glass. The buildings. The fire did not destroy of which were sold to foreign global economic crisis that shook the melting furnace but it was markets, particularly Italy, the world also affected production nevertheless extinguished, and this

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meant the end of glass melting. known as the “Steklarna For some time only the glass BorisaKidri Ïa Rogaška Slatina” cutters remained in the factory. [Boris Kidri Ï Glassworks, Rogaška The coal mine had already been Slatina]. closed – in 1943 – and coal was being imported from Klenovac in At that time the Yugoslav Croatia. Quartz sand was likewise glassmaking industry was unable imported, soda was purchased in to supply sufficient quantities of Lukovac, lime was supplied by hollow glass, so the socialist lime burners from Bo Ï, and potash authorities decided to increase was purchased from a merchant production in existing glassworks called Tesli É in Sisak. In 1935 the and build new ones. Construction glassworks used 10 tons of potash, of a new melting furnace began in 100 tons of soda and 3.6 tons of 1948, at which time the furnace Glauber’s salt. The moulds were hall containing the first melting made from pear wood purchased furnace was enlarged. The from local farmers. After the end production hall was completed in of the war around 180 workers 1950, together with a new furnace Glassblowers at work, around gathered in Rogaška Slatina and with 12 melting pots. The 1960. Photograph formed a “shock work” brigade in glassworks now had a total of 20 ©Documentation Celje Regional order to rebuild the glassworks. melting pots, which meant a Museum, Slovenia. They were assisted by the 120% increase in production. In glassworks in Hrastnik and Straža addition to the new furnace hall, pri Rogatcu, which sent them the the rough and fine grinding cut crystal ware in the unique material they needed for the departments and other areas were designs of the new Design Studio rebuilding work. A further problem also renovated. The number of GRY. By the end of the 1970s, the was the lack of coal, given that the grinding spindles increased to glassworks was operating seven factory’s own mine was no longer thirty-five. The number of melting furnaces and 46 melting operating. The Ministry of Industry employees increased from 250 in pots. The previous fuel – generator approved the supply of the 1947 to more than 600. A third gas – was replaced by fuel oil. The necessary quantities of coal, and furnace was constructed in 1959, number of employees continued to this enabled the glassworks to followed five years later by a increase –from 1,178 in 1977 to start operating again on September fourth. The 1970s saw the 2,093 in 1986. The glassworks 9, 1945. Following the liberation construction of a new grinding mainly produced colorless crystal it merged with the Hrastnik shop for 70 workers with an acid glass, which had been a top seller glassworks as an autonomous polishing plant, silos for the since the interwar period. operation. It became independent storage of raw materials, and an on July 1, 1947, when it was automatic batch plant. In 1974 The volume of production given the name “Slovenska tovarna the Boris Kidri Ï Glassworks increased in the 1980s and new stekla v Rogaški Slatini” [Slovene opened the Dekor plant in Kozje. tank furnaces and automation Glass Factory in Rogaška Slatina]. This glass grindery, which had fifty were introduced. In 1985 a 15-ton It was renamed again in 1953 grinding stations, later switched its tank furnace with two automated following the death of [liberation focus to glass engraving. The lines for crystal glass was installed. front leader and politician] Boris product range began to be A new automatic acid polishing Kidri Ï. It would henceforth be increasingly dominated by modern plant and new lines with automatic

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Among the designers who helped give the Boris Kidri Ï Glassworks a recognizable identity was Raoul Goldoni (1919–1983). Goldoni began working with the glassworks in 1956, originally with the intention of making one- off pieces and decorating them using cutting and engraving techniques. He later focused on mass production, which opened up the area of industrial design. Goldoni, who had previously worked with the world-famous glassmaking workshops on the Venetian island of Murano, Rogaška Glassworks employees, 1932. Photograph©Documentation Celje brought his knowledge and Regional Museum, Slovenia. experience to Rogaška Slatina. Beginning in 1967 he became a full-time collaborator with the grinding and polishing machines the product range and bring it Boris Kidri Ï Glassworks and even were installed at the same time. into line with the demands of took over as head of the design Natural gas was introduced as modern markets while taking department. He trained a number process fuel and electricity took advantage of the possibilities of designers over the years, the place of heating oil. In the offered by new technologies. The although none of particular note. period leading up to Slovenia’s management wanted the Irish independence all the traditional company Waterford as a strategic Two other designers with a furnaces were replaced with tank partner and sold them a 30% decades-long connection with the furnaces, with the exception of share of production. This was glassworks are Igor Polik and one, which continued to be used followed by a series of poor Tihomir Tomi Ï. The Rogaška for melting colored glass. decisions and ill-considered glassworks was open to Business ventures with the glass investments in the bankrupt collaborations with designers and cutting and grinding works Mestinje timber processing architects who wished to try and Tehnokristal Kardeljevo and plant, the Samobor glassworks realize their ideas in glass, as Dalmacijakristal Vrgorac proved and the hotel industry. These evidenced by the numerous to be a poor decision and the decisions proved to be the presentations and design awards attempt to enlarge the Kozje downfall of the glassworks, best at the Biennial of Industrial grindery also ended in failure. reflected in the declining Design in Ljubljana, the Zagreb The period following number of employees, of whom Fair, and exhibitions at the independence, characterized by fewer than 900 remained after Design Centre in Belgrade. Worth numerous poor management 2002. In 2012 the glassworks mentioning among the many decisions and difficult conditions was taken over by Metropolitana external collaborators of the in global markets, was the most and KPS Capital Partners and, glassworks are designers Ljubica critical period for the glassworks. after 2015, the Finnish company Ratkajec Ko Ïica, Janja Lap and Efforts were made to modernize Fiskars. Peter Arli Ï.

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UPDATING ON GLASS, GLASS MUSEUMS AND EXHIBITIONS Contemporary Art in a Religious Museum

Teresa Almeida, Graciela Machado Research unit Vicarte “Glass and Ceramic for the arts”, FCT/UNL Unidade de Investigação i2ads, Instituto de Investigação em Arte, Design e Sociedade. Faculdade de Belas Artes Universidade do Porto.

Introduction Throughout the years, and based presentation, we propose, such on the two workshops, efforts practices are located outside a Specularis, looking through was were gathered to overcome the specific studio practice, and an exhibition held in Alberto resistance to innovative confirm experimental and Sampaio Museum, Guimarães, academic approaches. And the innovative artistic exploration of Portugal in Summer 2018. This search for what is still unknown image transfer and printed exhibition is the outcome of an and undone was based on image, as a basis for broadening interdisciplinary set of projects setting up old and new creative thinking. conducted between glass and technological challenges. printmaking studios. It included Intertwining: glass and Print research studies applied in Seeing and speculating, in practice-based artworks several materials, posing Stefan Sonvilla-Weiis says “we produced between printmaking problems, understanding their have to know what we want to and glass, thus demonstrating nature according to the most know before we can start looking existing collaborations between basic forms of inscription and for it” (Sonvilla-Weiis, 2008, different people and their areas invention, lead to the emergence 103). of technological interest, at the of techniques and the circulation Faculty of Fine Arts, University of ideas between the two The cooperation between of Porto. workshops. Along this different areas and

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Entrance of the museum after 6.00 pm. Piece of Daniela Pinheiro. Cruzamentos Cromáticos: uma The main entrance of The Alberto Sampaio Museum. opacidade que reflete, glass painting, 6 x (10,8 x © Teresa Almeida. 19,2 cm), 2018. © Teresa Almeida. technologies, such as glass and Two multidisciplinary research institutional support of the i2ads printmaking, was initiated by projects by the University of - Research Institute of Art, the Faculty of Fine Arts, Porto had already initiated Design and Society of Faculty of University of Porto (FBAUP) research on alternative surfaces Fine Arts, University of Porto with a collaboration between and substrates for the and they were also awarded a workshops, in the context of application of the printed image. research scholarship resulting Pure Print - International The first project, finished in from the collaboration with printmaking meeting (pureprint. 2014, was dedicated precisely Vicarte–Glass and ceramics for fba.up.pt). Artists and to the relationship between glass the arts, based at the Campus of academics working and and the printed image IJUP Faculty of Science New conducting research in various 2011, no. 262 “Vidro e University of Lisbon (Almeida, universities were invited to Impressão: criação de matrizes e Machado 2019). participate and in 2013 we substratos de impressão organized four workshops in the alternativos” and the last one The Museum and exhibition area of printmaking glass and “Vidro e Impressão: ceramics (Almeida, Machado monocozeduras sobresuperfícies The Alberto Sampaio Museum 2016). vítreas”. The projects had the was founded in 1928 to house

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the collections of local religious institutions that had previously closed, such as the former Collegiate of Our Lady of Oliveira, and other convents and churches in the Guimarães region. It is situated in the city center because in the tenth century Countess Mumadona founded a monastery around which the village of Guimarães was born. The cloister is from the 13 th century, the building had several renovations over the centuries, and in 1910 it was classified as a national monument (Santos, 2010), and the city became a world heritage center in 2001. The museum has a well-preserved sacred art booty. The Director, Isabel Maria Fernandes, established various activities and besides the permanent exhibition she Daniela Ribeiro, void (urban structure), kilncasting piece with engraving, 160x50x40 cm 2018. © Teresa Almeida. organizes several temporary exhibitions. In the summer (middle July- beginning of September) the museum holds an event titled “Night Museum”. During this period the museum is open until 11:00 pm allowing visitors to experience the museum at night.

The exhibition Specularis, looking through was on display from July 13 th to September 16 th 2018 and was part of the “Night Museum” programming.

23 participants include students from BA, Master and PhD, alumni, and researchers joined Nathalie João, Regarde à travers. Tout est opaque et puis, soudain, le the exhibition by purposely transparent, casting cement and decals, 70x18x15 cm, 2018. © Teresa Almeida. conceiving site specific works.

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Front: Daniela Lino, Imagem sobressaltada (Startledimag), kilncasting, Marta Rebelo, untile, drawing on 27x53x4 cm, 2018. Back: Inês Vedes, La Boite, painting on glass, glass – vídeo, 2018. © Teresa 20x20x20 cm, 2018; Cristina Ferro, Procariontes, blowing and copper Almeida wire, 2014. © Teresa Almeida.

It is becoming more common to Also, to get acquainted to works and the ruins the subject see “artists making use of mounting restrictions applied to of study. The matrix was used certain aspects of curatorial and the monument. constantly to produce multiple organizational work in their pieces until it became a ruin practice by assuming the role of The spatiotemporal structure of itself. She presented void curator” (Vidokle, 225). This the exhibition was utterly (urban structure) a kilncasted statement can also be applied to thoughtful as some students piece with engraving. Nathalie professors and academics that choose a specific place to applied the results obtained in sometimes have a curatorial role, present their work, such as a the research project “Vidro e organizing exhibitions of suspended pixel glass on the Impressão: monocozeduras students’ works and their chapel from Mariana sobresuperfícies vítreas” to process is common at Moranduzzo, the garden had a create decals that were placed universities. kilncasting piece of Daniela inside the casting pieces. The Ribeiro, Nathalie João displayed light filtering into the building The exhibition occupied the her piece in the cloister and a was studied, so it passed building’s cloister, garden, and a video in the corridor from Marta through the glass piece at smaller room used for temporary Rebelo. Daniela Ribeiro specific times during the day, exhibitions. In order to organize, combined the research from her projecting a show of shadow in several trips were made with the Master, working with sand and the interior space. students to the museum so they high temperatures where the could choose the place where silica and plaster molds were Marta Rebelo work, based on the their work would be displayed. the matrix to produce glass use of grained glass as a drawing

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surface, allowed an animation film of a single frame couple laid down in grass to project on a solid granite wall of the cloister, making stone and nature merge.

For the interior of the cloister the museum provided plinths.

In the temporary exhibitions room, light can be controlled. Marta Belkot placed on the floor a piece with an enameled printed image. From the beach, she collected glass bits created by the sea, which she later used as drawings devices into a negative ground coated into glass, applying the first results of reconstructing historical photo enamel techniques on glass dated from nineteenth century. By referring to the past of sand, bids, and personal references, she plays with interior and exterior, light and darkness, as metaphor for spirituality versus materiality. However, another room has available were the works from specific investigation were displayed – light. The room had three pieces, two with luminescent proprieties, Ana View of the interior room. Works from: (floor) Marta Belkot, Rezar(Pray), Margarida and Teresa Almeida, image on glass, and video, 124x100cm, 2018; right to left David Lopes, and Graciela Machado, referred Frist Light, installation, 2018; João Gomes Gago, untitled, 2018; Lídia to light projected into two rooms: Ramos, Momento #4 Momento #5 (Moment #4, moment #5), engraving a laboratory and a bedroom. and painting, 2(150x40cm, 2017. © Teresa Almeida. Luminescent glasses were used in Pequenos receptáculos work from Teresa Almeida, and this introduced in the glass, featuring appropriate texture for glass material is colorless in natural different colors (Laia and Ruivo painting. Luminescent enamels light, but in the presence of 2019). Ana Margarida piece are being developed under ultraviolet light, they gain the used luminescent pigments that several projects being luminescence of the oxide fired at low temperatures with an “Glasslumiart” one example.

5858 REVIEWS ON GLASS Nº 8 2020

One of the research lines of Ana References Margarida study is the application of luminescent Almeida, Teresa (2016) Printing and Specularis-looking through, 2018 (Ed/ enamels in printing techniques. engraving in alternative surfaces: coord: Teresa Almeida e Graciela In the work Interstellar dust in glass and ceramic. in Machado, Machado) FBAUP/i2ads, Porto. the Milky Way, composed with Graciela (ed.). Pure Print ISBN 978-989-54111-4-6 234 glass slides screen-printing Publication, Editor: Universidade (impresso) 978-989-54111-5-3 technique was used to preformed do Porto. Reitoria I2ads /FBAUP. (eletrónico) what she calls the cosmic dust ISBN 978-989-746-100-2. Santos, Manuela de Alncântar (2010) Um museu com história: de present in the galaxy (Rocha in Laia, César A. T., and Andreia Ruivo “Tesouro” a Museu in Fernandes, Specularis-looking through, (2019) “Photoluminescent Glasses and Their Applications” in Isabel Maria (org) Museu Alberto 2018). Fluorescence in Industry, 365–88. Sampaio Roteiro. Instituto dos Springer, Berlin, Heidelberg. https:// Museus e conservação. 2ª Conclusions doi.org/10.1007/4243_2019_12. impressão. ISBN 9789727762101 Sonvilla-Weiis, Stefan (2008) Art/ Vidokle, Anton (2012) Art Without The exhibition Specularis with Science &Education in Alexnberg, Artists? in Bismarek, Beatrice, the subtitle looking through, Mell (ed) Educating Artists for the Schafaff, Jörn, Weki, Thomas (eds) Cultures of the Curatorial. Sterberg aimed to convey a new future. Learning at the Intersections of Art, Science, Press ISBN:978-1-934105-97-9 perspective on the recent Technology and Culture. Intellect questioning between printmaking ISBN:978-1-84150-191-8 and glass.

60 INTERVIEW

10 Questions to Vladimir Makovetsky

by Karin Rühl M.A. Glasmuseum Frauenau, Germany

1. Vladimir, tell me where you At school I dreamed of becoming have grown up and how you got in a forester or a hunter and always contact with the material of glass felt uncomfortable in a closed home space. I was born in Leningrad (today the historical name of St. But due to my physical Petersburg has returned). Grew disabilities, my life path up in the center of a big city, developed quite differently - I next to the Botanical Garden. graduated from the institute and After walking, my mother became a glass-making chemist, checked the contents of my though not for long. My friends pockets so that I would not bring defined my path differently. home a frog, lizard, or any other creature from the street. But I Hiking in nature - fishing in managed to drag the snails winter and summer fascinated behind the cheek or in the fist. me so much that I completely

61 INTERVIEW

left my work problems, working 2. When did you realize that students, looked for at the institute at the engraving glass is your preferred cooperation, and tried to be in department of glass for a week I technique by working with glass? demand, to show our level. drew in my imagination the next From the mid-90s to 2003, our and next trip, prepared The glass swallowed me up. At creative workshop presented inventory, sewed tents and the factory, I learned both blown Russian engraved glass in made fishing tackle. Friends glass and diamond cut and many Frankfurt at the Ambiente and were a huge support for me, other manufacturing and Tendence exhibitions. And since because I did not walk well, but processing techniques. But 1999, they have repeatedly with them I forgot about my engraving immediately taken part in symposiums in shortcomings and dragged my captivated me - this is the Kamenetskiy Shenov (Czech backpacks along with them and highest level, where I could most Republic) and Frauenau walked far on the ice, in frost accurately express or reflect my (Germany). and bad weather. plan. 3. Do you always have a certain My comrades brought me to the When the plant closed due to vision before you start a new Leningrad Glass Factory changes in the country, my project? (LZHS). Huge workshops, a friends and I organized an great museum, a lot of people, independent art workshop for Yes, always. But in the process lively discussions of factory engraving „McGrave“, and of thinking, what was conceived problems. together we tried to survive and is constantly changing. Then, in keep engraving at a high enough the process of sketching, it I was very attracted by the work level to develop this direction changes again. Working in the of engravers, especially the art and not let die in such difficult material also gives rise to new team, because since childhood I years of perestroika, when much interpretations. So from idea to was fond of drawing, lost its meaning. We trained implementation is a thorny path. woodcarving and was not afraid of independent artistic solutions. The hand was accustomed to delicate work.

I studied pretty quickly - it was at the art glass factory that the traditions of engraving and teachers who knew these traditions were preserved. I was so carried away, creating images on glass that had been living in my head for a long time that gradually the fascination with travel was more and more replaced by travels in my inner worlds and the desire to display these Trips to Frauenau and Kamenetsky Shenov. Photograph©Vladimir Makovetsky. ghostly fantasies on glass.

62 REVIEWS ON GLASS Nº 8 2020

4. Are you influenced by Russian art in general or do you consider international artistique tendencies?

In our work with Lena, there is no division into Russian and non-Russian. Of course, traditions live in us, but they are rather global. In each individual work, you can feel the echoes of one culture or another. „Reinicke Elena draws, sculpts the form. Photograph©Vladimir Makovetsky. Fox“ is a collective image of a book beloved in childhood, illustrated by the artist Wilhelm von Kaulbach - German art. “Kazan Mother of God” - traditions of Russian icon painting.

5. How is your wife Elena involved in the creation of your works?

Ideas come from both of us. We discuss them for a long time. Lena, a glass artist by training, Elena draws, sculpts the form. Photograph©Vladimir Makovetsky. makes sketches of the images that we want to create, changes them, varies them, looks for a shape, sculpts. And in glass I am embodying the final version, born in the process of joint discussions, disputes, which has passed many probes.

6. Your motifs are so various, traditional as well as in many ways modern and abstract.

What do you prefer?

Both. The main thing is that this Reinike Fox. 290 x 180 mm. 2000 Optical glass, engraving. work should capture and Photograph©Vladimir Makovetsky. captivate - then there is

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strength, perseverance, passion. rearrange the large glass as Almost all of our work is very If the work is not fun, it simply needed, no problem. Last year, busy, but in most cases, does not work, i.e. turns out to they engraved on glass with a presenting a plan for future be unsuccessful work, which we size of 2600 x 1400 x 12 mm, work, we correctly calculate the do not like to show and do not weighing 82 kg (“Dragons”). time needed for it. So the work show. on the window to the office, as Of course, such self-confidence planned, took 1 year. But 7. How do you approach private did not appear immediately. sometimes - continuous trials, orders, where big dimensions are Since 2009, there has been a mistakes, new finds. It was asked? gradual creation and planned to finish this large modernization of the workplace, panel „Landscape“ in 5 Can you also calculate good with which made it possible to months. But the original work time? boldly take on previously plan was completely changed. It impossible tasks. At the same was assumed that according to Today we are not afraid of orders time, a fundamentally new set the drawing previously made in for large glasses. The main thing of tools was created. And since the sandblasting technique, the is that the size allows you to 2015 we have been working in refinement would follow in the bring it into the workshop and a workshop in the suburbs of engraving technique. However, put it in the workplace - the rest St. Petersburg, where we already the first samples did not is a matter of technology. We continue our search in glass satisfy us at all. As a result, the have many assistants - they turn, engraving. entire panel was made by hand

64 REVIEWS ON GLASS Nº 7 2019

Our workshop outside the city. Photograph©Vladimir Makovetsky. with diamond wheels, abrasive slowly flares up, the illuminated by the sun - the rubbers, and punched out with neodymium glass, which is punch - the end illumination scalpels. And of course we used here, changes color. That lights them up, so at sunset miscalculated the time - it took blue-gray - sunset, night. That the tops of the trees burn. only 1.5 years. Thank God that pink - dawn - the Fish-ship the customer turned out to be a wanders the ocean from dusk The “Mysterious Worlds” have real connoisseur, fully supported to dawn. acquired versatility and color us in all searches and patiently saturation due to edge waited for the end of the work. The illumination in illumination. Glass with a high These are rare! “Landscape” made it possible content of iron oxide gains color to enhance the feeling of due to the rays of light hitting 8. How is your relation to evening illumination: the sun the glass end. The longer the lightening questions for your disk is engraved with a punch way through the green glass, the work? and the light pierces the trunk brighter the color of the of a spruce, the bushes engraved glass. Very seriously. Engraving without backlighting is difficult to read. We have been working with light for a long time as an important tool for creating an image.

“Awakening” - edge illumination of ice floes sharpens the sense of plans, creates the effect of space. In the foreground, ice chips-incisions, and in the second - Mermaid, far from the illumination it floats out of the depths - wakes up.

“Wanderings” - the illumination Panel “Landscape”. 1600 x 1400 mm. 2018 Optiwhite glass, engraved. from below fades out, then Photograph©Vladimir Makovetsky.

65 INTERVIEW

“Griffins” (fireplace screen) - sides. This is how sculptures scalpels (chisels), as well as engraving on colorless glass. The appeared in glass - “The Thirsty engraving with a diamond saw. task was to achieve the Dragon”, “Scylla and (“White Silence”). “flaming” color of the image. Charybdis”, “Plea”, “Angel”. Backlit RGB LEDs allowed to Developing this direction is a 10. Did Corona (Covid 19) create the color of the fire. very exciting way! change a lot of things for you and Elena? 9. What is your plan for the next I‘d like to find a more significant years? effect of light on the reading of The coronavirus has not changed an object by playing a light our lives in any way. Everything Our work began with reliefs on beam on more complex shapes is the same, except that the flat glass and on volumes and on different textures of the masks and gloves have been (“Balena”), then the volumes glass surface. added. began to acquire sculptural significance, become more In general, experiments with We are mostly “recluses”. The complicated and engraving here textures are of great interest to Internet and television still open is no longer just a relief on the us - so after the sparkling a window to the world and we volume, but becomes a part of textures from a rough diamond are in the know. it, sculpts the edge, passes wheel with a diamond grain of from plane to plane. To read the 315 microns, a “punch” And there is no time to be work, go around it from all appeared with sharpened bored, we work!

66 REVIEWS ON GLASS Nº 8 2020 Congresses & News

European Glass Context, 2021 logistical planning to do – headquarters. The congress Two large curated exhibitions buses/transport, meals etc. year, 2021, will be a great at the Bornholm Art Museum 14-17 April 2021. Palácio time to visit Parma as it will be and Grønbechs Gård will Ajuda, Lisbon in April 2021 the Italian Capital of Culture showcase the best of European https://www.lightandglass.eu/ and full of numerous special glass. The exhibitions are attractions. curated with personal XXXIV ATIV Conference. Where From 12 to 14 May, 2021. invitations, as well as an open Glass Science, Art and Parma, Italy. call, where individual artists, Technology meet together www.ativ2021.it artists associations, individual The conference aims to bring curators, artists, designers and together experts, academicians, 22 AIHV Join Meeting with ICOM crafts makers working with scientists, industry executives Glass, Lisbon, Portugal, 2021 glass can apply for and project leaders involved in This congress will be organized participation. Glass field to present, share by VICARTE Research Unit and The new deadline for the Open and discuss the results of their Department of Conservation Call is February 1 st 2021. research, new products and and Restoration from the Applications will be accepted new technologies. It could be Faculty of Sciences and from January 1 st - February 1st the right place to keep in Technology, NOVA University of 2021. contact with technicians Lisbon. http://www.europeanglasscontext. coming from the most The scope of the AIHV 22 nd com/EGC2021-Exhibition-Open- important World Glass and Congress embraces all strands Call Machinery Companies. of glass knowledge and invites The conference will feature a authors to submit their Yearly Meeting Light and Glass wide range of topics relevant to contributions to a wide range in Lisbon, 2021 diverse perspectives including of fields of interest around Our special point of interest Glass Science, Sol-Gel, Art and glass. Submissions related to this year will be the History of Glass, Hollow Glass all aspects of glass history will importance of Lisbon/Portugal Technology, Environment, be welcome but special as a gateway for the export of Regulations and Laws. attention will be given to glass and chandeliers to wide- June is a perfect time to visit consumption and diffusion of reaching points in the world Parma, a lively and cultural glass “on the two sides of the such as the Americas and the city, located in Northern Italy, Atlantic” from antiquity to important role that the that is surrounded by parks, modern times. Portuguese offices (Kontors) vineyards, lakes and medieval The congress will be organized played in this process. castles. Most importantly, in order to combine an exciting We will be visiting the Palacio Parma is a “food city”. It has program of lectures in parallel Ajuda in the city of Lisbon, been recognised as UNESCO sessions and posters, museum and also making a day-trip to Creative City of Gastronomy visits and the opening of a the nearby Palaces of Sintra. and hosts the European Food special exhibition organized We have therefore some Safety Authority (EFSA) within the congress. A post-

67 NEWS

conference tour will be Deindustrialization and museums Community of Glass organized. in glass production areas. Associations (CGA) and ICOM- From 13 th – 17 th September, From 2-to 9 May, 2021. Glass are promoting a United 2021 Southern Germany: Coburg, Nations International Year of https://eventos.fct.unl.pt/22aihv/ Kleintettau, Lauscha, Glass for 2022. It will home Waldsassen, Passau, Frauenau, underline the technological, Munich. scientific and economic AFAV International Conference, Provisional program: importance of glass — that Romont and Nantes, 2021 http://glass.mini.icom.museum/ transparent and enabling L’AFAV : 34 ans d’activités wp-content/uploads/ material underpinning so many pour l’étude du verre sites/12/2020/01/Schedule-ICOM- of our technologies and which archéologique Glass-Meeting-2021- can facilitate the development L’AFAV, Association Française pour Status-20200720.pdf of more just and sustainable l’Archéologie du Verre, depuis sa societies to meet the création en 1985, a pour vocation Toward a United Nations challenges of globalization. It la promotion et l’étude du verre Declaration: The International is also an important medium ancien (de l’Antiquité à l’époque Year of Glass 2022 for art and its history is shared Moderne) et la diffusion de cette The International Commission with that of humankind. recherche. L’histoire du verre et on Glass (ICG), along with the http://www.iyog2022.org/ de ses techniques, abordée à partir des sources archéologiques, historiques, iconographiques et archéométriques, et la conservation et la restauration des verres sont nos domaines de prédilection. 5-6 November 2021, Vitromusée Romont 29 May-2 June 2021, Nantes https://www.afaverre.fr/

Glass Annual Meeting in Southern Germany, 2021 The End of Glass Production – The Beginning of Museums?.

68 MEMBERS

INSTITUTIONAL MEMBERS REGIONE LOMBARDIA - DIREZIONE GENERALE Luise SCHINTLMEISTER AUTONOMIA E CULTURA ÖSTERREICHISCHES ARCHÄOLOGISCHES ALEXANDER TUTSEK-STIFTUNG Mme. Maria Grazia Diani INSTITUT (OEAI) Eva-Maria FAHRNER-TUTSEK Milano, ITALY Wien, AUSTRIA München, GERMANY http://www.cultura.regione.lombardia.it http://www.atutsek-stiftung.de Dr. Phil. Ulrike SCHOLDA FONDAZIONE MUSEO POLDI PEZZOLI GLASMUSEUM FRAUENAU Baden, AUSTRIA Lavinia GALLI Mrs. Karin RÜHL Milano ITALY Dr. Gerhard NAUER Frauenau, GERMANY http://www.museopoldipezzoli.it www.glasmuseum-frauenau.de INSTITUT FÜR PHYSIKALISCHE CHEMIE RÖHSSKA MUSEET (RÖHSSKA MUSEET FÖR Wien, AUSTRIA SCHLOSSMUSEUM BRAUNSCHWEIG MODE,DESIGN OCH KONSTSLÖJD) Ulrike SBRESNY Mr. Ted HESSELBOM BELGIUM Braunschweig, GERMANY Love JÖNSSON Danielle CALUWE http://www.braunschweig.de/kultur_ Christa TÖRN-LINDE VRIJE UNIVERSITEIT BRUSSEL tourismus/museen_ Annika JOHANSSON (FREE UNIVERSITY BRUSSELS) gedenkstaetten/schlossmuseum/index.html Goteborg, SUEDE Ixelles, BELGIUM THE CORNING MUSEUM OF GLASS http://www.rohska.se Mr. Luc ENGEN Yvette M. STERBENK SHANGHAI MUSEUM OF GLASS Liège, BELGIUM Amy SCHWARTZ Mr. Xiaowei ZHUANG Karol B. WIGHT Shanghai, CHINA Isabelle LECOCQ Corning NY, USA http://www.shmog.org http://www.cmog.org INSTITUT ROYAL DU PATRIMOINE MUSEUMPLEIN LIMBURG ARTISTIQUE (KONINKLIJK INSTITUUT KNAUF GIPS KG KNAUF-MUSEUM IPHOFEN Kerkrade, NETHERLANDS VOOR HET KUNSTPATRIMONIUM) Mr. Markus MERGENTHALER/Mr. Lothar Mijke HARST-VAN DEN BERG Bruxelles (Brussel), BELGIUM Knauf http://www.industrion.nl Iphofen, GERMANY Catherine THOMAS http://www.knauf-museum.iphofen.de UMELECKOPRUMYSLOVÉ MUSEUM V PRAZE MUSÉE DU VERRE DE CHARLEROI (MUSEUM OF DECORATIVE ARTS PRAGUE) MUSÉE DE L’ECOLE DE NANCY Marcinelle BELGIQUE Dr. Milan HLAVEŠ http://www.charleroi-museum.org Mme. Valérie THOMAS Praha, CZECH REPUBLIC Nancy, FRANCE http://www.upm.cz www.ecole-de-nancy.com Wivine ROLAND-GOSSELIN MUZEUM SKLA A BIŽUTERIE V JABLONCI NAD Brussel, BELGIUM MUSÉE DU VERRE DE CHARLEROI NISOU (MUSEUM OF GLASS AND JEWELLERY Dr. Catherine THOMAS IN JABLONEC NAD NISOU) Mr. Willy VAN DEN BOSSCHE Marcinelle, BELGIUM Milada VALECKOVÁ Schoten, BELGIUM http://www.charleroi-museum.org Petr NOVÝ An-Valérie VANDROMME MUSÉE LALIQUE Jablonec Nad Nisou, CZECH REPUBLIC MUSEUM DHONDT-DHAENENS Mme. Veronique BRUMM http://www.msb-jablonec.cz Deurle, BELGIUM Wingen-Sur-Moder, FRANCE GLAZENHUIS - VLAAMS CENTRUM VOOR http://www.museumdd.be www.musee-lalique.com HEDENDAAGSE GLASKUNST (The Flemish MUSÉE-ATELIER DÉPARTEMENTAL DU VERRE Centre for Contemporary Glass Art) BOSNIA HERZEGOVINA Mme. Anne VANLATUM Jeroen MAES Aleksandar JASAREVIC Sars Poteries, FRANCE Lommel, BELGIUM UNIVERZITET U BEOGRADU (UNIVERSITY http://museeduverre.lenord.fr/fr/Accueil.aspx www.hetglazenhuis.be OF BELGRADE) Beograd, BOSNIA HERZEGOVINA GALERIE-MUSÉE BACCARAT THE TOLEDO MUSEUM OF ART Diane WRIGHT Mme. Michaela LERCH-MOULIN BRAZIL Paris, FRANCE Toledo OH USA http://www.baccarat.fr/fr/univers-baccarat/ http://www.toledomuseum.org/ Denisse SERRA MICHELOTTI patrimoine/ musees.htm EXPOMUS - EXPOÇIÕES, MUSEUS, THE GLASS FACTORY PROJETOS CULTURAIS MUSÉE/CENTRE D’ART DU VERRE Björn FRIBORG Sao Paulo, BRAZIL Laurent SUBRA Catrine HEDSVED Carmaux, FRANCE Boda Glasbruk SWEDEN Dra. Regina LARA SILVEIRA MELLO http://www.museeverre-tarn.com http://www.theglassfactory.se MACKENZIE PRESBITERIAN UNIVERSITY, São Paulo, Brazil MUSÉE MUNICIPAL DE CONCHES INDIVIDUAL MEMBERS VICARTE, Lisbon, Portugal Eric LOUET www.vicarte.org Conches, FRANCE AUSTRIA http://www.musees-haute-normandie.fr Ms. Carola Marie SCHMIDT Hallein, AUSTRIA

69 Elvira SCHUARTZ Susanne JOHNSEN Mlle. Verónique AYROLES ESPAÇO ZERO, INSTITUTO DO VIDRO KUNSTAKADEMIETS DESIGNSKOLE Paris, FRANCE São Paulo, BRAZIL BORNHOLM www.espacozero.com.br Bornholm, DENMARK Mme. Anne-Laure CARRÉ www.dkds.dk/Bornholm MUSÉE DES ARTS ET MÉTIERS, CHINA CONSERVATOIRE NATIONAL DES ARTS Lin ZHANG Mag. Jan KOCK ET MÉTIERS SHANGHAI MUSEUM OF GLASS Højbjerg, DENMARK Paris, FRANCE (SHANGHAI UNIVERSITY, GLASS http://www.arts-et-metiers.net STUDIO) Mrs. Birte POULSEN Shanghai, CHINA Odense C, DENMARK Mme. Nathalie DERRA http://www.shmog.org Mouans-Sartoux Mr. Torben SODE Xiaowei ZHUANG Bronshoj, DENMARK Mme. Annie Claire DUCREUX SHANGHAI MUSEUM OF GLASS Paris, FRANCE (SHMOG) EGYPT Shanghai (CHINA) Nagwa Sayed ABDEL-RAHIM MOHAMMAD Mme. Isabelle DUTTER-GEORGES FAYOUM UNIVERSITY, FACULTY OF Dunkerque, FRANCE CZECH REPUBLIC ARCHAEOLOGY, CONSERVATION Silva PETROVA DEPARTMENT Aurélien FRATACCI Praha, CZECH REPUBLIC Al-Fayoum, Egypt MUSÉE DU VERRE ET DE SES MÉTIERS http://www.fayoum.edu.eg Dordives FRANCE Dr. Milan HLAVES Dr. Jan MERGL ESTONIA Cédric HAMON-BOUCHERAT UMELECKOPRUMYSLOVÉ MUSEUM V Eve KOHA MUSÉE PROMENADE - MARLY-LE-ROI - PRAZE (MUSEUM OF DECORATIVE ARTS ESTONIAN ACADEMY OF ARTS (EESTI Louveciennes FRANCE PRAGUE) KUNSTIAKADEEMIA) Praha, CZECH REPUBLIC Tallin ESTONIA Mme Sophie LAGABRIELLE http://www.upm.cz MUSÉE DE CLUNY - MUSÉE NATIONAL FINLAND DU MOYEN-AGE Paris, FRANCE Jitka LNENICKOVÁ Ms. Kaisa Marjatta KOIVISTO Praha, CZECH REPUBLIC SUOMEN LASIMUSEO (FINNISH GLASS Julie MONIQUE MUSEUM) Paris FRANCE Raisa PAVELOVÁ Riihimäki, FINLAND MUZEUM REZNICTVÍ (BUTCHER www.suomenlasimuseo.fi MUSEUM) Natacha FRENKEL ATELIER ART’S DU FEU Valašské Mezirící CZECH REPUBLIC Ms. Marjut KUMELA Elven, FRANCE Helsinki, FINLAND Mrs. Markéta VEJROSTOVA Hamide Kubra GURKAN Brno, CZECH REPUBLIC Hanna MAMIA-WALTHER UNIVERSITÉ PARIS 3 SORBONNE- SUOMEN LASIMUSEO (FINNISH GLASS NOUVELLE, UFR ARTS ET MÉDIAS, DENMARK MUSEUM) DÉPARTEMENT MÉDIATION CULTURELLE Mette BIELEFELDT BRUUN Riihimäki, FINLAND Paris, FRANCE MUSEUM SYDØSTDANMARK www.suomenlasimuseo.fi (MUSEUM SOUTHEAST DENMARK) Mr. Jean-Luc OLIVIÉ Vordingborg DENMARK Mr. Heikki Olavi MATISKAINEN LES ARTS DÉCORATIFS http://www.museerne.dk Riihimaki, FINLAND Paris, FRANCE http://www.lesartsdecoratifs.fr Mrs. Dagmar BRENDSTRUP FRANCE GLASMUSEET. Veronique BRUMM Aurélie PADOVAN Ebeltoft, DENMARK MUSÉE LALIQUE FDD LUMA - ARLES [email protected] Wingen-Sur-Moder Arles, FRANCE FRANCE www.luma-arles.org Mr. Jørgen HEIN http://musee-lalique.com THE ROYAL DANISH COLLECTIONS Mélanie PARMENTIER København K, DENMARK Jean-Claude BRUMM Paris FRANCE http://dkks.dk/English Wingen-Sur-Moder FRANCE Agathe PETIT INSTITUT NATIONAL DU PATRIMOINE, Juliette DUPIN DÉPARTEMENT DES RESTAURATEURS Paris FRANCE La Plaine Saint-Denis, FRANCE www.inp.fr

70 Marie PETIT Dr. Helmut RICKE JAPAN Paris, FRANCE Dusseldorf, GERMANY Ms Takako FUJIKAWA SUNTORY MUSEUM OF ART Mme. Liliana SCOTEE Ms. Bettina K. SCHNEIDER Tokyo, JAPAN Paris, FRANCE Berlin, GERMANY ttp://www.suntory.com/sma/

Mme. Anne VANLATUM MUSVERRE Mrs. Siegmut SEEGER Mr Tetsuji KATSUTA MUSVERRE Bonn, GERMANY Tokyo JAPAN Sars Poteries, FRANCE http://www.musverre.lenord.fr Prof. Dr. Sebastian STROBL Hidetoshi NAMIKI FACHHOCHSCHULE ERFURT TOKYO UNIVERSITY OF THE ARTS, Mme. Catherine VAUDOUR (UNIVERSITY OF APPLIED SCIENCES FACULTY OF FINE ARTS, DEPARTMENT Mantes la Jolie, FRANCE ERFURT), Erfurt, GERMANY OF AESTHETICS AND ART HISTORY Tokyo, JAPAN GERMANY Dr.-Ing. Manfred TORGE https://www.geidai.ac.jp Mrs. Ruth FABRITIUS Hoppegarten, GERMANY GLASMUSEUM RHEINBACH Ms Yuki SASAKI Rheinbach, GERMANY Rüdiger M. JOPPIEN SUNTORY MUSEUM OF ART Hamburg GERMANY Tokyo, JAPAN Dr. Anna-Barbara FOLLMANN-SCHULZ ttp://www.suntory.com/sma/ Bonn, GERMANY Helena HORN Frechen GERMANY Ms. Ruriko TSUCHIDA Dr. Sven HAUSCHKE TOYAMA GLASS ART MUSEUM EUROPÄISCHES MUSEUM FÜR Karin RÜHL Toyama JAPAN MODERNES GLAS GLASSMUSEUM FRAUENAU https://toyama-glass-art-museum.jp/ Coburg, GERMANY Frauenau GERMANY http://glasmuseum-frauenau.de LATVIA Dr. Katrin HOLTHAUS Ms. Ilze MARTINSONE Petershagen, GERMANY GUATEMALA MUSEUM OF ARCHITECTURE Sra. Susana CAMPINS Riga, LATVIA Dr. Margret HONROTH MUSEO VICAL DE ARTE PRECOLOMBINO www.archmuseum.lv Bonn, GERMANY Y VIDRIO MODERNO La Antigua, GUATEMALA LUXEMBOURG Dr. Rüdiger JOPPIEN http://[email protected] Véronique BIVER MUSEUM FÜR KUNST UND GEWERBE CENTRE NATIONAL DE RECHERCHE HAMBURG ISRAEL ARCHEOLOGIQUE Hamburg, GERMANY Mrs. Yael ISRAELI Bertrange LUXEMBOURG www.mkg-hamburg.de Jerusalem, ISRAEL NETHERLANDS Dr. Dedo von KERSSENBROCK-KROSIGK Mrs. Ayala LESTER Maartje BRATTINGA MUSEUM KUNSTPALAST ANTIQUITIES AUTHORITY RIJKSMUSEUM Düsseldorf, GERMANY Jerusalem, ISRAEL 1070 DN Amsterdam www.smkp.de http://www.rijksmuseum.nl ITALY Dr. Käthe KLAPPENBACH Teresa MEDICI Astrid HERTOG Potsdam, GERMANY REGIONE LOMBARDIA - DIREZIONE NETHERLANDS GENERALE AUTONOMIA E CULTURA Dr. Jens KRÖGER Milan, ITALY Dr. Pieter Cornelis RITSEMA VAN ECK Berlin, GERMANY www.regione.lombardia.it ’s-Gravenhage, NETHERLANDS

Dr. Ingeborg KRUEGER Giulia MUSSO NORWAY Bonn, GERMANY Altare, SV, ITALY Mrs. Randi GAUSTAD Oslo, NORWAY Dr. Hannelore E. MARSCHNER Giuseppe PERICU München, GERMANY Genova, ITALY PERU Silvia Monica PANAIFO TEIXEIRA Dr. Susanne NETZER Chiara Squarcina CENTRO MALLQUI KUNSTGEWERBEMUSEUM BERLIN FONDAZIONE MUSEI CIVICI Lima, PERU Berlin, GERMANY Venice, ITALY http://www.smb.museum/museen-und- https://www.visitmuve.it/ einrichtungen/kunstgewerbemuseum/home. html

71 PORTUGAL SLOVAKIA Christine AZCONEGUI SUTER Teresa ALMEIDA Katarína BENOVÁ MUSÉE ARIANA (MUSÉE SUISSE UNIVERSIDADE DO PORTO, FACULDADE SLOVENSKÁ NÁRODNÁ GALÉRIA DE LA CÉRAMIQUE ET DU VERRE) DE BELAS ARTES (Slovak National Gallery) Genève, SWITZERLAND Porto, PORTUGAL Bratislava, SLOVAKIA http://www.ville-geneve.ch/ariana http://www.fba.up.pt http://www.sng.sk Erwin BAUMGARTNER Maria João BURNAY SLOVENIA Basel, SWITZERLAND PALÁCIO NACIONAL DA AJUDA Mr. Joze RATAJ Lisbon, PORTUGAL POKRAJINSKI MUZEJ CELJE (REGIONAL Mrs. Susanne BRENNER KIPFER www.palacioajuda.pt MUSEUM CELJE) Gümligen, SWITZERLAND Celje, SLOVENIA Prof. Dr. António PIRES DE MATOS www.pokmuz-ce.si Mlle. Sylvia FÜNFSCHILLING UNIVERSIDADE NOVA DE LISBOA, Augst, SWITZERLAND FACULDADE DE CIÊNCIAS E TECNOLOGIA SERBIA http://www.augusta-raurica.ch Lisbon, PORTUGAL Violeta CUETANOSKA www.vicarte.org NATIONAL MUSEUM KRALJEVO Dr. Christine KELLER LÜTHI Kraljevo, Serbia SCHWEIZERISCHES LANDESMUSEUM ROMANIA https://nmkv.rs (MUSÉE NATIONAL DE LA SUISSE) Mrs. Simona Violeta GHEORGHE Zürich, SWITZERLAND MUZEUL OLTENIEI CRAIOVA (THE SPAIN http://www.musee-suisse.ch REGIONAL MUSEUM OF OLTENIA) Sra. Teresa CARRERAS ROSSELL Sarah KELLER Craiova, ROMANIA Barcelona, SPAIN www.muzeulolteniei.ro VITROCENTRE/VITROMUSÉE Romont FR, SWITZERLAND Sra. María Cristina GIMÉNEZ RAURELL www.vitrocentre.ch Ingrid Diana POLL MUSEO CERRALBO MUZEUL DE ISTORIE SI ARTA AL Madrid, SPAIN Mr. Otto-Jolias STEINER MUNICIPIULUI BUCURESTI http://museocerralbo.mcu.es (Bucharest Municipality Museum) STEINER SARNEN AG FÜR KOMMUNIKATION Bucuresti, ROMANIA Sra. María Luisa MARTÍNEZ GARCÍA Sarnen, SWITZERLAND http://muzeulbucurestiului.ro MUSEO DE ARTE EN VIDRIO DE ALCORCÓN (MAVA) RUSSIAN FEDERATION Alcorcón (Madrid), SPAIN UNITED KINGDOM Angelina BUGROVSKAYA www.mava.es MOSCOW STATE STROGANOV ACADEMY Wendy EVANS OF INDUSTRIAL AND APPLIED ARTS Dra. Paloma PASTOR REY DE VIÑAS London, UNITED KINGDOM Moskva, RUSSIAN FEDERATION MUSEO TECNOLÓGICO DEL VIDRIO http://www.mghpu.ru San Ildefonso, Segovia, SPAIN Mr. Peter HARDIE www.realfabricadecristales.es Bristol, UNITED KINGDOM Oxana LOPATINA THE PUSHKIN STATE MUSEUM OF FINE SWEDEN Suzanne HIGGOTT THE WALLACE COLLECTION ARTS Dr. Karl Johan KRANTZ London, UNITED KINGDOM Moskva, RUSSIAN FEDERATION SMÅLANDS MUSEUM (THE SWEDISH www.wallacecollection.org www.pushkinmuseum.ru GLASS MUSEUM) Växjö, SUEDE Mr. Reino LIEFKES Olga IVLIEVA www.kulturparkensmaland.se VICTORIA AND ALBERT MUSEUM MUSEUM-ESTATE “KUSKOVO” Mr. Anders REIHNÉR London, UNITED KINGDOM Moskva, RUSSIAN FEDERATION Hägersten, SUEDE http://kuskovo.ru www.vam.ac.uk SWITZERLAND Ms. Janet Hume NOTMAN Amélie BANNWART Edinburgh, UNITED KINGDOM MUDAC - MUSÉE DE DESIGN ET D’ARTS APPLIQUÉS CONTEMPORAINS Mrs. Jennifer OPIE Lausanne SWITZERLAND Teddington, UNITED KINGDOM http://www.mudac.ch Dr. Oliver WATSON London, UNITED KINGDOM

72 Julia STEPHENSON Dr. Christopher MAXWELL Diane WRIGHT NATIONAL GLASS CENTRE THE CORNING MUSEUM OF GLASS TOLEDO MUSEUM OF ART, USA Sunderland, UK Corning, NY, USA http://www.toledomuseum.org http://uk.nationalglasscentre.com www.cmog.org Jutta-Annette PAGE USA Ms. Amy MCHUGH USA Paul DOROS Parsippany, NJ, USA THE NEUSTADT MUSEUM OF TIFFANY Karol B. WIGHT GLASS Carolyn NEEDELL THE CORNING MUSEUM OF GLASS Queens NY USA CHRYSLER MUSEUM OF ART Corning, NY, USA https://theneustadt.org/ Norfolk VA USA http://www.cmog.org http://www.chrysler.org Dr. Amy GOLAHNY Audrey WHITTY State College, PA, USA Christina ORR-CAHALL THE CORNING MUSEUM OF GLASS USA Corning, NY, USA Mr. Sidney M. GOLDSTEIN http://www.cmog.org Saint Louis, USA Katie PHELPS MUSEUM OF GLASS Katherine LARSON Tacoma USA THE CORNING MUSEUM OF GLASS https://www.museumofglass.org/ Corning, NY, USA www.cmog.org Prof. William E. RAY REED COLLEGE, FRENCH DEPARTMENT Pórtland, USA

73 MEMORIES ICOM Glass Annual Meeting in St. Petersburg (Russia)

74 75 ICOM international committee GLASS for museums and collections of glass