Spring/Summer 2007 the The Harvard Blossom at the Corning Museum “Curiosities of Glassmaking” Highlights Unusual Objects Museum’s Conservator Maintains Gather World’s Largest Glass Collection C o r n i n g M u s e u m o f G l a s s DIRECTOR’S LETTER

Museum News The Morgan Cup, probably Roman Empire, Italy, 1st century A.D. Gift Although the team that created last year’s major exhibition, “Glass of the Maha- of Arthur A. Houghton Jr. rajahs,” has scarcely caught its breath, plans are already moving forward for the Contributing Members’ Benefit Broadened New Glassmaking Video the processes used in their next three major exhibitions. This is not unusual. Exhibitions require a great deal Joins Studio Collection creation. Other topics include of planning and preparation, especially when they feature objects from lenders Contributing Museum Members now enjoy an even greater the composition of glass, not only in the United States, but also overseas. Like many other museums, we benefit through the North American Reciprocal Museum (NARM) The Studio of The Corning glass coloring, and annealing. program. With 13 new participating museums, this benefit allows Museum of Glass welcomes a are usually looking two to three years ahead. For example, a segment Contributing Members free admission and discounts on purchases new addition to its offering of about the making of cameo at more than 210 museums across North America. New glassmaking technique videos. The first of these exhibitions, “Botanical Wonders,” will focus on the Glass glass begins with an image participating museums include: The newest, Glassworking: Photo by Robert Barker. of the Morgan Cup (shown Flowers from the Botanical Museum at Harvard. These flowers—and flowerless A Visual Guide to Processes above), and then illustrates El Museo del Barrio (New York, NY) and Properties, is the eighth plants—were made as teaching aids by outstanding flameworkers, Leopold Blaschka (1822– the process of how a cameo Loyola University Museum of Art (Chicago, IL) instructional video produced 1895) and his son Rudolf (1857–1939). In their 46 years working exclusively for Harvard, the blank is completed. Mildred Lane Kemper Art Museum (Kansas City, MO) by the Museum. Blaschkas made more than 850 full-size, scientifically accurate, botanical models and more The instructional video is Royal Ontario Museum (Toronto, ON) This 120-minute color video than 4,300 enlarged details, which attract amazed visitors from all over the world. offered as a DVD for $34.95 and Virginia Museum of Fine Arts (Richmond, VA) presents more than 40 short is free to classroom teachers. segments on the various The Botanical Museum will be lending us a generous selection of models chosen for their For a complete listing of NARM participants, please visit As always, Museum Members techniques employed in glass- artistry and historical significance. The show will be co-curated with me by Susan Rossi- www.cmog.org/members. receive a 15-percent discount working: blowing, flamework- both in-store and online. You Wilcox, administrator for the Glass Flowers Collection for the Harvard Museum of Natural ing, cold working, and cast- also may visit www.cmog.org ing. Objects are introduced, History. It will be presented in our Changing Exhibitions Gallery, May 18–November 25, 2007. to view and download the followed by a description of individual segments. For our second major exhibition, the J. Paul Getty Museum joins us in 2008 in exploring one aspect of Historismus in the 19th century: Europe’s fascination with ancient Roman glass. Corning Museum Voted We believe that “Reflecting Antiquity” will be the first major exhibition to focus on the One of America’s Favorite influence of Roman glass on the glassmakers of the 19th century, displaying 19th-century Buildings creations side-by-side with the inspirational Roman originals. Sometimes the originals According to a February 7, inspired relatively faithful copies and variations on the theme. At other times, the originals 2007, poll conducted by Harris were points of departure, resulting in a long line of experiments that ultimately bore little Interactive and The American resemblance to the glass of ancient Rome. Institute of Architects, The Corning Museum of Glass is The exhibition will be co-curated by Dr. Karol Wight of the Getty and me, and shown at the one of America’s favorite build- ings. Ranked 136 out of 150 Getty Villa, October 18, 2007–January 14, 2008, and in Corning, February 15–May 27, 2008. on the list of America’s Favorite Architecture, the Corning Lastly, in the summer of 2008, we plan to present “Lead Crystal, Gold Ruby: Glass of the Museum was one of approxi- Alchemists, 1650–1750.” This groundbreaking exhibition, assembled by Dedo von Kerssen- mately 20 museums on the list brock-Krosigk, our curator of European glass, will explore the scientific experiments that led and one of the few buildings to the development of glass of outstanding quality, such as gold ruby and lead crystal. The located in a non-metropolitan location. The full list is available show will feature stunning examples of these innovative 17th- and early 18th-century tech- at www.aia150.org. niques, drawn from collections in the United States and Europe, and will be accompanied by Photo taken in 1980 of the addition designed by architect Gunnar a scholarly catalog. Birkerts, shortly after the building opened. In 2006, Birkerts received the Michigan AIA’s “25 Year Award” in recognition of the enduring significance of this innovative design. Photo by Timothy Hursley. We are thrilled to offer three exhibitions with three very different subjects and we look forward to sharing our excitement with you over the next two years.

1 The Gather | Spring/Summer 2007 2 Botanical Wonders The Story of the Harvard Glass Flowers

By David Whitehouse, Executive Director Photo by Hillel Burger.

Scientifi c marvels; drop-dead beautiful Botanical drawings by Rudolf Blaschka, Natural History, puts it, “Peacocks can to observe under natural conditions. Above left: Dichanthelium xanthophysum (Gray) Freckmann works of art; a genus unto themselves: robustly rendered and notated in be stuffed and minerals meticulously On view in “Botanical Wonders” are Slender Rosette Grass (also called Panic Grass) these are just a few of the explanations preparation for glassworking, also polished, but plants and invertebrates stunningly beautiful illustrations that Model 774 (1923) Rudolf Blaschka given to describe the allure of a will be exhibited for the fi rst time in were more problematic. The Blaschkas’ Rudolf Blaschka made in 1892 of Herbaria of legendary, century-old bevy of “Botanical Wonders.” Purchased by glass models provided curators with specimens collected in Jamaica. The Harvard Museum of Natural History exquisite glass blossoms and fruits. The Corning Museum of Glass as displays where the form and color Above middle: Succisa pratensis Moench part of a trove of family materials, were realistic.” Rotten Fruit Devil’s Bit (with butterfl y) Glass Flowers, Drawings and More and executed mostly in pencil and Harvard’s glass garden was not to be Model 764 (1913) From May 18 to November 25, 2007, watercolor, these sketches have an Rudolf Blaschka In the mid-1800s, at a time when well- an idealized one however. In the late Harvard University Herbaria of The Corning Museum of Glass immediacy and unpolished quality to-do Victorians on both sides of the 19th century, there was mounting The Harvard Museum of Natural History brings to bear its unique curatorial, that is extraordinarily appealing today. Atlantic were enamored with the new interest in a new fi eld called economic Above right: conservation, and glassmaking A selection of period photographs, science of natural history, Harvard saw botany, the study of how plants can Prunus armeniaca L. Apricot (in fl ower) capabilities to illuminate more fully personal papers, and business records comprehensive and accurate teaching be utilized commercially to benefi t Model 847 (1936) than ever before the story of the will be drawn as well from the archive collections as a core element in a society. Thus, over time, Harvard com- Rudolf Blaschka Harvard University Herbaria of delicate glass models of botanical for this presentation. world-class research center. missioned roughly 65 models of exact The Harvard Museum of Natural History specimens known as the Glass Flowers replicas of diseased fruits to help of Harvard. Why Glass Flowers? It was in the context of this social students better understand the In the late 19th century, naturalists change that George Lincoln Goodale, diseases that threaten plants. Books, Lectures and Tours This year’s major exhibition, “Botanical and educators faced a quandary: the fi rst director of the Botanical Wonders: The Story of the Harvard how to demonstrate exactly what Museum of Harvard, traveled to The exhibition features six models Glass Flowers,” will celebrate the invertebrates looked like without a live Dresden in 1886 to commission illustrating the fungal diseases that artistry of glassmaker Leopold specimen, since spines collapse and the Blaschkas to create a teaching attack fruits of the Rosaceae family Blaschka (1822–1895) and his son color leaches out of ones preserved collection of glass models. Neither (peaches, strawberries, apples, and Rudolf (1857–1939) and provide insight in alcohol. As Susan Rossi-Wilcox, of the glassmakers was eager to pears), including a glistening “Pine- into the intellectual appetite of the late administrator for the Glass Flowers embark on a new venture of glass apple Pippin” apple branchlet, its fruit Victorians, through the lens of botany Collection of the Harvard Museum of fl owers, however, having built a mottled, black, and knobbed. as an academic discipline. profi table global mail-order business of glass models of invertebrates, which The Blaschkas’ Studio The Harvard Museum of Natural was known to educational institutions The Blaschkas employed standard History lends 17 of its rarely loaned, Drawing upon Nature: and museums around the world. lampworking techniques, in which an Studies for the Blaschkas’ fragile Glass Flowers for the occasion. artisan bends over a small fl ame to Glass Models Almost all the Glass Flowers displayed Thousands of Models work glass rods, tubes, and minute in “Botanical Wonders” have been The Blaschkas eventually agreed pieces of glass. Heated until soft, the newly restored for the exhibition by to create plant models for Harvard glass was then shaped by simple tools, Sixty exceptional drawings from the more The Corning Museum of Glass in its and ended up forging a 46-year and assembled by fusing or the use of than 900 examples in the archive have been glass conservation laboratories. They relationship during which nearly 850 adhesives. To help visitors understand selected for a companion book, Drawing Upon Nature: Studies for the Blaschkas’ will be joined by examples of other sets of models, and more than 4,300 the process, the Museum will display Glass Models. The fi rst 30 color plates depict Blaschka specimens, all sea creatures, enlarged details, were commissioned Rudolf Blaschka’s well-worn wooden sea creatures, while the latter half features drawn from holdings owned by Cornell from the Blaschkas. The Blaschkas lampworking table, which the Museum fl owers. The book is available through the University and stored and safeguarded even devised a mode of shipping so purchased directly from the family, GlassMarket. by the Corning Museum under a long- fail-proof that Dr. Goodale was quoted along with his alcohol lamp, pincers, This year’s Seminar on Glass, October 11–13, term agreement. as saying that the packing of the shears, tweezers, and a whisk-like inspired by the exhibition, features lectures about Nature in Glass. Presenters will discuss fl owers was “almost as wonderful as device used for clasping hot glass. the work of the Blaschkas, naturalism and anything about them.” Art Nouveau, and refl ections of nature in The Museum also will offer live contemporary glass. Contact Louise Maio at At fi rst, the Blaschkas made models lampworking demonstrations several 607.974.4084 to register or to receive more information. of plants that they were able to grow times a day using a mid-19th-century Salvia patens Cav. Malus pumila P. Mill. in their garden or in a greenhouse. Bohemian-style wooden workbench, Each Wednesay at 11:00 a.m., beginning May 30, David Whitehouse, the exhibition’s Blue Sage Emperor Alexander Apple But as the Harvard project developed, with an alcohol lamp, and a foot- Model 118 (1889) (affected by apple scab disease) curator and the Museum’s executive director, Leopold and Rudolf Blaschka Model 812 (1932) they were asked to create models of operated leather and wooden bellows will provide a guided public tour of Harvard University Herbaria of Rudolf Blaschka tropical plants, which they needed tucked underneath (see page 5). “Botanical Wonders.” The Harvard Museum of Natural History Harvard University Herbaria of Photo by Hillel Burger The Harvard Museum of Natural History

3 The Gather | Spring/Summer 2007 The Gather | Spring/Summer 2007 4 This string of eye beads A Trip Up a Goat Path Unearths Curiosities of Glassmaking was worn in 10th-century Blaschka-Era Lampworking Table Iran to avert the evil eye.

Recreating the Lamp each of the tapered heads converge to Ancient amulets to ward away evil, of string and other things meant to (glass made when lightning strikes Meanwhile, back in Corning, create a combined flame hot enough to trick drinking glasses, an optical confuse and repel witches. sand) and tektites (glass from meteor- Bob Carson, one of the Museum’s melt glass. The flame then hits a cast- model of the human eye, and variously ite impacts). Scientific glasses include a flameworkers, was developing a iron tool called “the brick,” which holds tinted tortoiseshell-rimmed lenses “This kind of mixing of objects from barometer with enclosed flameworked metal alcohol lamp in the style of glass rods. The tips of the rods sit in the carried by Victorian tourists to frame different contexts and time periods is figures illustrating symbols of the Pas- 19th-century glassworking, to attach lick of the flame, preheated for use. suitably artistic views of nature: these interesting and fun,” says Oldknow, sion, and the enigmatic Klein Bottle. to the wooden table. are among the wonderfully odd and “but most importantly it allows us to Prince Rupert Drops—teardrop-shaped On top of the brick sits a steel can mysterious objects in “Curiosities of appreciate the objects in new ways.” bits of glass with long tails—illustrate Carson used the extensive resources that is sometimes filled with dry sand. Glassmaking,” currently on view on the the instability of stress-filled glass that at the Rakow Research Library to Throughout the course of lampworking, Museum’s West Bridge. The exhibition Past Curiosities of Glassmaking has not been properly cooled.

Photos by Maria Strinni Gill. design the original model based on the can and sand also are heated by the opened April 1 and will run through The exhibition title refers to a popu- historical data, as well as information flame and hold the finished objects for October 21, 2007. lar 19th-century manual, Curiosities Odd Uses of Glass provided by Susan Rossi-Wilcox, annealing, or slow cooling. A second of Glass Making, published in 1849 In about 1908, the New York Sun Who’d have thought that a trip up a Henri Reiling, and Philip Bisaga in steel can is placed as a lid to cover the Displaying Peculiar Glass in London by the well-known glass- reported on the unusual uses to which goat path would lead to the Museum’s the 2003 Journal of Glass Studies. He finished work at the end of a session. The result of months of digging into maker Apsley Pellatt, which revealed glass was being put by inventors of acquisition of a 19th-century lampwork- then invited renowned flameworkers the Museum’s vast collection, “Curiosi- many secrets of ancient and modern the day. The article, titled “Odd Uses ing table that will entrance visitors to Paul Stankard, Shane Fero, and Alex Historical Comparison ties of Glassmaking” presents more glassmaking to an enthusiastic public. of Glass,” highlighted a number of the “Botanical Wonders” exhibition? Hamilton to work with the lamp and to Though called flameworking today, than 100 pieces dating from antiquity Although glass has been employed for curiosities, from the fabrication of glass help him test its functionality. the process used at this table is better to the present day. The exhibition common, everyday things throughout pavements to the fashioning of dresses On a Mission defined as lampworking, as the “torch” invites visitors to consider how glass most of its history, it also has always of glass “cloth.” The news report In October 2006, Steve Gibbs, How it Works is really just a trained alcohol lamp. can effectively mimic nature, how it has been recognized as possessing arcane ended with: “In all the world, there is the Museum’s manager of events Mech tables were used in the cottage been explored for mystical and scien- and unusual properties. but one collection of glass flowers, and marketing, embarked on a mission industry for flameworking glass beads, As compared to modern torches, this tific purposes, and how industry has only two men who can make them, to find a lampworking table similar to buttons and figurines in Northern process is “a lot more complicated and employed glass to produce an array Medieval and Renaissance encyclo- it is said. The collection belongs to the ones Rudolf and Leopold Blaschka Bohemia (now Czech Republic) since labor intensive,” says Carson. “It’s kind of everyday items, some quite peculiar pedias—such as the 13th-century De Harvard University…” used to make their incredibly lifelike the early 19th century. The Museum’s of like driving an old 1920s car instead and others inspired. Proprietatibus Rerum (On the prop- botanical and invertebrate models. wooden table is equipped with a foot- of a modern Corvette. But, it certainly is erties of things) by Bartholomaeus All the better, then, that “Curiosities in operated bellows that acts as an air exciting. We’re getting to show people “The notion of collecting and display- Anglicus or Giambattista della Porta’s Glass” runs concurrently with the major With glassblower and consultant compressor, pushing air through two what this era in glassmaking history ing glass curiosities in this exhibition Magiae Naturalis (Natural magic), first summer exhibition, “Botanical Won- Charley Parriott at his side, Gibbs hollowed out wooden pipes built into entailed; how hard the people worked. is inspired by the large, Victorian-era published in 1558—recorded a range ders: The Story of the Harvard Glass traversed the Czech countryside, the table. The crossed pipes have air It’s been a great experience.” museum displays of odd, exotic, of special uses for glass, from clear- Flowers” (page 3). following a variety of tips that outlets on all four sides of the table and unusual objects, often including ing eyes and kidneys, smoothing skin, ultimately led them up a rugged to allow up to four people to work archeological artifacts, geological counterfeiting gemstones, creating goat path to a small rural museum around the bench. The air outlets are specimens, and assorted trophy artificial fire, and effecting the sponta- in Kokonin, owned by Libos Stryncl. corked in each spot until needed. animals,” says Tina Oldknow, the neous generation of animals. Museum’s curator of modern glass. Here, they found just what they A slot cut in the side of the table Medical, Household and were looking for: a functional, now holds Carson’s metal lamp. A “Curiosities of Glassmaking” features Natural Products preserved 19th-century wooden specialized air manifold, or distributor, various themed groupings that mix Unusual household and medical lampworking table, called a mech that holds five metal tubes, is plugged vintage and contemporary objects in products show the innovative uses of (m-yeck), complete with a leather into the air outlet. All five are focused unusual ways. One of these groupings, glass over time, as well as the attempts bellows. After some haggling and on a wick. The lamp is filled with for example, is apotropaic glass, or made by industry to use glass in the some interesting transcontinental alcohol and the wick is lit. glass used to deflect evil. This subject place of other materials. One example conference calls, the bellows and is illustrated by Japanese magatama of this is the Silver Streak electric iron table officially became the property Created by the foot-operated bellows, amulets (a symbol of the human spirit with a molded borosilicate glass hous- of The Corning Museum of Glass. fine streams of air passing through which, when worn, is believed to offer ing, designed by Corning Glass Works protection by the gods), a Witch Pot during World War II, when metal was in Optical model of the eye, by Laura Donefer (1999), ancient eye short supply. probably France, 19th century. beads worn to avert the evil eye, and witch balls. Popular in 18th- and 19th- Among other items, visitors also will century English and American homes, see glass bullets, glass eyes, and glass witch balls were often filled with bits that occurs in nature, such as fulgurites

205 TheThe GatherGather | | Spring/SummerFall 2006 2007 TheThe Gather Gather | Fall| Spring/Summer 2006 2007 2164 Restoring Beauty

How do you clean for the Glass Flowers Collection at fragments actually formed only two a piece of glass so the Botanical Museum of Harvard; vessels and set about reconstructing The Book on fragile that even the and Scott Fulton, conservator at the them into their original forms. Glass Conservation slightest movement Peabody Museum of Archaeology and compromises its Ethnology at Harvard, to restore the He marvels at the intricacy of the structural integrity? fl owers safely and conserve them for process. “This is the sort of project Very, very carefully. the next generation. you can really sink into. It is by far one Just ask Corning of the most interesting projects I have Museum of Glass “These fl owers are so unique in their worked on, as well as one of the most conservator, Stephen delicate construction,” says Koob “we rewarding.”

Photo by Robert Barker. Koob. still argue about how it was possible to make them. I have an unbelievable Sharing Experience Conserving the Harvard Flowers respect for the Blaschkas and their He has shared this experience, One of only about fi ve full-time level of amazing expertise and detail.” and many others, with glass glass conservators in the United conservators and students around States, Koob is responsible for the To see extraordinary footage of the world. Supporting the Museum’s preservation and conservation of the conservation work done on the fl owers, mission to educate the world about Museum’s 45,000 glass objects—some visit the “Botanical Wonders” section glass, and fulfi lling his own personal as old as 3,500 years, and each with of the Museum’s website. desire to share his knowledge and its own unique conservation needs. ideas with others, Koob teaches glass One of his current projects is providing Maintaining the Glass Collection conservation internationally. The fragments for this 10th-century pitcher were originally acquired in 1959. In 1993, the Staatliche Museen zu Berlin-Preussischer Kulturbesitz Museum für Islamiche Kunst acquired this triangular Koob shares his expertise in caring for care for the extraordinarily fragile When he is not working on pieces for fragment and generously loaned it to the Corning Museum. Here, conservator Steve Koob glass objects in a new book, Conservation glass fl owers and plant models to be the Museum’s changing exhibitions, With the encouragement of the is reuniting it with the other fragments. and Care of Glass Objects, published in included in the Museum’s summer Koob works closely with the Museum’s Museum, Koob teaches an annual November 2006 by Archetype Publications, London, in association with The Corning exhibition, “Botanical Wonders.” registrar and curatorial team to workshop for mid-career conservators Museum of Glass. ensure that each piece of glass in and workshops, classes and internship Koob’s Tubes adhesive, making the recipe available Designed to aid conservators in Created by fl ameworkers Leopold the Museum’s vast collection is kept programs for new conservators. Koob also shares with the glass to anyone interested in repairing glass. understanding the materials used in the and Rudolf Blaschka in the late as clean, safe and preserved as is community an adhesive he developed conservation and restoration of glass objects, 19th century, many of these models physically possible. that is designed specifi cally for glass. His devotion to contribute to this book places particular emphasis on the are comprised not only of glass, but The adhesive is an acrylic-based the fi eld is one of the things that correct and safest methods of handling, cleaning, displaying, mounting, lighting, of a variety of additional materials. He does everything from hand compound that is dispensed from makes Koob such a highly regarded transporting, and storing glass objects. Some are made of miniscule pieces cleaning pieces for display to small metal tubes, dubbed “Koob’s professional in the glass world. That, The book is available for $29.95 of glass and metal, glued together to ensuring safe travel conditions for Tubes” by some of his students. It and his years of valuable experience ($25.46 for Museum Members) through create a whole model. These unusual the many pieces the Museum lends is considered to be one of the most and undisputed successes in the fi eld the Museum’s GlassMarket. constructions make for an interesting to other institutions each year. He stable and effective glass adhesives of conservation. Before joining the conservation process. “The fl owers are also works on, at any given time, available today. Not only does it Museum staff in 1998, he worked for phenomenal pieces of construction,” a number of long-term restoration effectively repair glass, but it can be 11 years as a conservator, specializing says Koob, “but they are, by nature, projects involving the collection, removed easily by future conservators in ceramics and glass, at the Freer so extremely fragile that any handling, including the “blue beakers” that if needed. Gallery of Art and Arthur M. Sackler including restoration, can result he and Whitehouse have consulted Gallery, . in damage.” on together. “Our mission, as glass conservators, is to leave the piece in better condition Koob also has produced more The 17 fl ower models that will be The story of these beakers has a than we found it,” says Koob. “It is than 35 publications and presented displayed in the exhibition are on lengthy and complex history. In 1964 extremely important that anything numerous papers. He recently loan from the permanent collection and 1967, the Museum acquired we do can be easily undone, so as to replaced Dr. Robert Brill as Chairman of The Harvard Museum of Natural fragments of blue glass that were, at maintain the integrity of the piece and of Technical Committee 17, which History. Koob has been working with the time, reassembled and cataloged its further conservation.” studies the Archaeometry and the curators of the exhibition, David as four beakers. Conservation of Glass, as part of the Whitehouse, executive director of In his effort to contribute to glass International Congress on Glass. The Corning Museum of Glass, and More than 30 years later, Koob and Beakers, Eastern Mediterranean, late 12th – conservation as completely as he can, Susan Rossi-Wilcox, administrator Whitehouse determined that the early 13th century. Gift of Wilhelm Henrich. Koob has refrained from patenting the

7 The Gather | Spring/Summer 2007 The Gather | Spring/Summer 2007 84 All Artists-in-Residence provide 2007 Lunchtime Lectures: public Lunchtime Lectures Moshe Bursuker about their work. The lectures April 25 are held at 12:00 p.m. in Jocelyne Prince May 30 The Studio Lecture Room. Alex Brand September 26 Beth Lipman Still Life in Glass 2007 Artists-in-Residence No reservations are required; Jamie Harris admission is free. October 24 Heike Brachlow Photo provided by the artist. Photo provided Explore New Horizons in Glass November 28

Like Dutch still-life painters of the One of her most ambitious works is focused on food for much of her work Five artists have been chosen for the 2007 Artist-in-Residence program at 16th and 17th centuries, American art- Bancketje, a banquet table 20 feet in glass, she says because food is such The Studio. Selected by The Studio from applications sent in from around the ist Beth Lipman sees images of food as long, with more than 400 individual a universally understood symbol. world, these artists spend an all-expense-paid month immersed in their art, a metaphor for desire, consumption, blown or flameworked pieces. The utilizing The Studio’s state-of-the-art glassmaking facility and the inspiration Lipman sees many parallels between decadence and consequence. Museum owns an earlier, smaller still of the best collection of glass and glass-related materials in the world. her work and that of the European life, Untitled (After A. Martini). In this Glass Tableaus painters whose compositions have piece, Lipman re-creates a generic still But unlike the European painters— inspired her. “Both are times of abun- life by an Italian painter that she found Moshe Bursuker explores the relation- a vivid color palette to create these who were primarily male, she points dance. The late 1500s and early 1600s on a vintage enamel decal. Lipman re- ship between glass and photography, unique vessels. out—Lipman works with colorless was the first time that food became a produced the painting on the decal in working to integrate the two media in glass, creating large, complicated commodity. The still-life painting was glass, and she then applied the decal a way that “enhances both forms of Jamie Harris is interested in exploring three-dimensional sculptures that a symbol of what someone could to her glass sculpture. artistic expression.” He believes that new horizons in glassmaking. Harris retain the exact composition of a par- afford, but it also told the story of the “glass has the ability to take photogra- will take this opportunity to further ticular still-life painting, yet reinterpret Early Influences vices of excess.” phy into the three-dimensional realm, explore solid glassworking, by making it with the luminosity, full-bodiness, “I grew up surrounded by still-life im- There are other parallels, too. “Still-life and that photography can highlight murrine in a “broad palette of muted Photo provided by Moshe Bursuker. and texturing that is possible with ages,” Lipman states. Her mother is a painting was once considered banal, the more lucid qualities of glass.” He colors” and using it to create “fused blown, flameworked, kiln-formed and self-taught folk painter, who amassed disdained as an art form. The same will use his residency to further expand glass compositions, trying to develop sculpted glass. many books on tole (decorative lac- has been true of glass through history. his body of work, experimenting with a soft, hushed style.” He also will be quer and enamel painting on metal) Plump grapes that we can almost Glassmaking has been considered a blowing, sculpting, casting and fusing experimenting with incalmo and solid- and other types of folk painting. “Un- taste spill over a tablecloth. Blown- decorative art, not fine art. I find these to increase its complexity and scale worked wall installations. consciously, I absorbed the imagery.” glass pitchers and plates are arranged parallels fascinating.” and creating architectural and site- New Joint Artist-in-Residence just as the painter placed them. But She was introduced to glass as an specific artwork. Heike Brachlow is currently engaged Program with Kohler Arts Assembling Large Works there also is a sense of temporality artist’s medium at age 16, when she in an M.Phil./Ph.D. degree program Originally Lipman worked solo, but in her work. Insects approach a ripe attended art camp at Horizon’s New Jocelyne Prince is fascinated by the at the Royal College of Art in London, Supporting artists interested in during the making of Bancketje, she pear; a wine glass is tipped over; a England Craft Program. But it was only artistic possibilities of fractured glass. experimenting with “volume color.” working in a variety of media began working with teams of up to stem is broken. Within the tableau of later, at Tyler School of Art at Temple She will be using her residency as an This focuses on solid glass sculpture including glass, The Studio of The 15 artists and assistants. “I wanted to abundance are hints of abuse, decay, University, where she earned her BFA, opportunity to further her experimen- and its color density, light absorbance Corning Museum of Glass will partner push people to stretch, capturing their and mortality. that “I finally understood the mate- tation with manipulating and control- and shift in color dependant on with the John Michael Kohler Arts hand in the moment,” she explains. rial and why I am doing it.” She has ling thermal-heat-related fractures in light and form. She will be using her Center for a joint Artist-in-Residence “I have found that letting someone hot glass and studying what she calls residency as an opportunity to create program, beginning in 2009. Artists else’s hands come in broadens the the “cracking phenomenon.” “sculptural objects, which glow from will spend one month at The Studio vocabulary.” Bancketje was exhibited within without the need for extensive in Corning and two to six months in for the first time in 2003 at the Alex Brand will focus on a series of lighting.” These objects will change Kohler Co.’s foundry (casting iron or John Michael Kohler Arts Center in work he calls “pagoda” vessels. To color and force depending on the brass) or pottery (slip casting clay) in Sheboygan, Wisconsin, where Lipman create these vessels, he uses a varia- condition of the light at particular Sheboygan, Wisconsin. now directs the Arts/Industry tion on the incalmo technique, and is times of day. She will make “sculptural Residency Program. interested in experimenting with the objects that show the characteristics of Artists will need to have experience During a residency at The Studio in Graal technique for the bodies of the volume color: A series of glass forms working with glass, but they will not 2006, Lipman explored yet another pieces. He also is “interested in hot of the same shape, incrementally need experience working with clay theme for her work, making pieces for sculpting architectural-like feet for increasing in size, using glass of the or metal. Proposals must incorporate Large Bouquet in the tradition of floral the bases of the pieces.” Brand uses same color and color density.” a unified project using the resources still lifes. “I had been thinking about available from both institutions. doing this for a while and finally figured Travel, accommodations, supplies, out how to assemble it. I’ve not ever equipment, technical assistance, and made something like this.” a food stipend are all provided. Beth Lipman will discuss her work at a The deadline for applications will be Meet the Artist lecture on June 11. A April 1, 2008, for 2009 residencies. reception will be held at 5:30 p.m. and Application details will be available the lecture will begin at 6:00 p.m. Both August 1, 2007, on both organizations’ are free and open to the public. websites.

Untitled (after A. Martini), Photo provided by Alex Brand. Photo provided by Jamie Harris. Beth Lipman, 2001.

9 The Gather | Spring/Summer 2007 The Gather | Spring/Summer 2007 1010 New Acquisitions

European Glass Modern Glass

Set of 25 Thimbles in a Box Pair of Enameled Vases to the public at the Paris 2006 Rakow Commission might have function but Rondelantern by Michael Among the more than 45,000 This pair of red marbled and World Fair of 1867, together Drift, by Tim Edwards, was which has been elevated to and Frances Higgins objects of glass currently enameled vases from Russia with a new kind of decora- the Rakow Commission for functionlessness. It is not Rondelantern, by Michael owned by the Museum, there is decorated with a fantastic tion: enameling in an oriental 2006. Edwards is best known designed for physical use but and Frances Higgins, was was, until last year, only a mixture of Chinese motifs, style. H. 23.5 cm. for his pairs of simple rect- for contemplation. The labor- made between 1957 and single, rather inconspicuous which possibly derived from angular forms, separated by intensive process of making 1964. It represents 1950s thimble. In 2006, the Museum lacquerware, and ornaments a visually charged gap of air, objects such as Drift invests American studio design, acquired 25 highly decorated that resemble Islamic tiles. with abstract, asymmetrical them with an uncanny energy, a handmade response glass thimbles from France One of the vases is signed decoration covering the front a personality that leaches to industrial design by and/or Bohemia of the with the mark of the Imperial and back surfaces. from the maker into the ob- individuals who identified Belle Epoque around 1900. Glass Factory in St. Peters- ject. H. 45.8 cm, W. 61.3 cm, themselves as designer- They were sold as part of burg during the reign of Czar Like many Australian art- Diam. 8 cm assembled. craftsmen. In addition to the collection of Don Pietro Alexander II (1855–1881). The ists, Edwards’ work is deeply their line of functional and Bruno di Belmonte (born bright red opaque base ma- connected to the landscape. decorative tableware, the 1923), an Italian aristocrat terial follows the Bohemian In developing ideas for his couple used their distinctive of Sicilian descent. Don example, and seems to have designs, he looks at forms in fused glass rondelays to Pietro collected traditionally been a development of Leo- nature, as well as in industry. make lamps, room dividers, feminine articles, such as fans, pold Bonafédé, chief chem- Drift is a hybrid, well-known screens, and mobiles. diadems, nécessaires—and ist at the Imperial Factory, in studio craft, of sculpture H. 104.5 cm, W. 31 cm, thimbles. 1857–1878. It was introduced and vessel, of an object that Diam. 30.8 cm.

American Glass Rakow Research Library Archives Tiffany Cypriote Plaque with applied decoration. Tiffany Vase the red color of the Tiffany

In 1893, Louis Comfort With such a large diameter, it The Museum’s second glass. The vase was shown in The Rakow Research Library The archive of the Cummings the studio made many of its Tiffany expanded his studio’s would have made a stunning recent Tiffany acquisition 1899 in an exhibit Bing showed working in glass. Individual recently has acquired several Stained Glass Studio (1928– pieces for buildings located production to include blown wall decoration. Tiffany’s is a vase of iridescent red at London’s Grafton Galleries. artist information includes significant archival collections 2006) was the single largest in the western United States. vessels, which were displayed Cypriote glass was among glass with peacock feather H. 14.1 cm. Heller show cards, resumes, for the first time that year the earliest iridescent glass decoration and a silver-gilt from new donors. donation to the Library in press releases, photographs, at the World’s Columbian made in the United States, mount with plique-à-jour 2006. Harold Wilbur (Bill) and Ben and Natalie Heineman slides, correspondence, Exposition in Chicago. This although production of enamel decoration and Judy Cummings, who most donated several boxes of ar- announcements, exhibition new acquisition is a Cypriote iridescent glass had begun rubies. It was among the first recently owned and man- chival material that accompa- catalogs and notes, and art- plaque of iridescent glass in Europe a decade earlier. objects commissioned by the aged the studio, provided nied their recent $9.5 million ists’ statements, along with As the name implies, Tiffany famous art dealer and critic, the archive, which measures gift of contemporary glass other significant papers. intended his Cypriote pieces Siegfried Bing. The piece 1000 cubic feet. While the to the Museum. Correspon- to resemble objects from was enameled by Eugène archive stands out for its dence relating to galleries, Artist Josh Simpson donated antiquity. Diam. 44.7 cm. Feuillatre, who had sheer physical presence, this artists, and museums offer 10 boxes of documents from previously worked for René comprehensive collection invaluable insights, while his studio, Josh Simpson Lalique, and the mount is also is an important artifact files detailing the acquisition Contemporary Glass, Inc., the only one of several made of 20th-century stained glass process provide a record of of Shelburne Falls, Massa- for Tiffany vases by Edouard history. It contains thousands provenance for individual chusetts. The boxes consist Colonna that is known to of visual items, from original pieces by artists such as Dale primarily of press notices have survived. The enamel drawings and cartoons to Chihuly and Lino Tagliapietra, and interviews that have and rubies harmonize with photographs and slides, as among many others. appeared in newspapers, well as vendor and client files magazines, brochures, and that provide details on the The Heller Gallery, the other publications around the processes involved in making premier contemporary glass world, from Boston to Brunei, stained glass, from commis- gallery in , do- Stained glass window design, documenting more than 20 Cummings Stained Glass Studios, sion to installation. Based nated archives documenting years of Simpson’s remark- Hilda Sachs. Gift of Bill and for much if its existence in Heller’s association with some able career. Judy Cummings. the San Francisco Bay Area, of the most acclaimed artists

1126 TheThe GatherGather || Spring/SummerWinter 2006 2007 The Gather The| Spring/Summer Gather | Fall 20062007 12427 New and Renewing Members A complete list of donors to the Donor Activities + Events Donor Profile Supporting Creativity of the Ennion Society Museum during calendar year (August 1, 2006, through 2006 will be published in the 2006 in Glass Annual Report. Photo provided by Susan Schwartz. Photo provided February 28, 2007) Dinner Transports Ennion Society to Venice

Members of the Museum’s major donor group, the Ennion of retirement to lead the turnaround of the company, Flaws Susan Schwartz of State College, , and her Lifetime Members Sharon Karmazin Society, gathered at the Museum on November 8 for their an- said, “Both are truly in their prime.” Endeavor was purchased late husband Tom shared interests in education and ties to Mr./Mrs. Ben W. Heineman Sr. John Kohut nual dinner, themed this year as “Venice in Myth and Legend.” with private gifts and had been the Ennion Society’s 2005 Jon and Judith Liebman Corning, where they and their two children lived on several Directors Circle Jean-Pierre and Laurette Mazeau* The evening’s guest of honor was Muranese artist Lino Tagliapi- choice for the allocation of unrestricted funds raised that year. occasions during Tom’s long career with Corning Incorporated. Mr./Mrs. James R. Houghton Drs. Thomas and Mila Meier etra, whose installation, Endeavor, was dedicated that evening. During the evening, Tina Oldknow, curator of modern glass, Sue, who has an undergraduate degree in music and a Ph.D. Curators Circle David and Susan Morse* Corinne Oats The Museum’s Auditorium was decorated with rich fabrics and announced that Ennion Society members at the Collectors, in historical architecture, also has collected the work of young James B. Flaws and fiber optic lights to resemble the piano nobile (main floor) of a artists. Fran and Mary Helen Olmstead Sustainers, Curators, and Directors Circles had voted to use Marcia D. Weber Barbara H. Olsen palazzo overlooking the Grand Canal of Venice on a starry Polly and John Guth 2006 gifts for the purchase of Glass Sticks by the Japanese- Over the years she has assembled what she calls an “eclectic” Prof. John V. B. Perry night. The sale of one-of-a-kind glass objects raised $22,975 for Mr./Mrs. Carl H. Pforzheimer III Dr. L. David Pye American artist . collection of works in glass that she hopes will someday help the scholarships and residencies fund of the Museum’s glass- Sustainers Circle Richard and Joan Randles artists understand technique. She was inspired, she says, by making school, The Studio. Another announcement during the event came from Museum James K. Asselstine and Joseph J. Rothermel president E. Marie McKee, who told guests that in appreciation seeing art students copying the paintings of Old Masters. Bette J. Davis Phyllis and Nathan Shmalo John C. and Bonnie A. Sirianni James B. Flaws, vice chairman and chief financial officer of of the gift of $9.5 million of contemporary glass from Ben “I thought that perhaps the same could happen someday for Daniel Greenberg and Corning Incorporated, who co-hosted the evening with his Susan Steinhauser Jean Sosin and Natalie Heineman, announced earlier in the year, the artists who work with glass.” Among the artists whose works Dena Tarshis wife Marcia Weber, announced that Corning Incorporated’s The Honorable and Heinemans were being named as the first Lifetime Members she has collected are Josh Simpson, Jose Chardiet, Nick Mrs. Amory Houghton Jr. Mr./Mrs. G. Thomas Tranter Jr.* gift toward the acquisition of Endeavor was dedicated to of the Ennion Society. She noted that the gift represents one Mount, Nicole Chesney, and Preston Singletary. “I support Richard and Judy Sphon Deborah Truitt James R. Houghton, former chairman of the company. Robert and Elizabeth Turissini of the finest private collections of contemporary studio glass artists when they are young, banking that some will become Collectors Circle Mentioning that Tagliapietra, at 72, is blowing some of his Mr./Mrs. William C. Ughetta in the United States and is a significant enhancement to the famous,” she notes. Mr./Mrs. Roger G. Ackerman finest work and that Houghton at a similar age had come out Theresa Volpe and Museum’s collection. Before Tom died in 2000, he and Susan had endowed scholar- Kate and Ric Asbeck Robert Michaelson Bob and Brenda Brown Richard and Janet Weerts ships at several universities. But she also wanted to recognize Jeremy and Angela Burdge Tim and Paddy Welles their ties to Corning, so she established the Tom and Susan Marian and Russell E. Burke Lucille Werlinich Schwartz Creativity Fund at The Studio in 2003. The fund sup- Alan and Nancy Cameros Tony and Ann Wimpfheimer Van C. and Susan H. Campbell Marianne W. and James D. Young ports a month-long artist residency at The Studio each year. Alan M. Collautt, Ph.D. Names in bold are Founding “What I like about the residency is that the artist has use of Dr. Charles and Members The Studio’s facilities, supplies, assistants to help at critical the Rev. Virginia G. Deneka * Corporate matching gift points, a stipend, room and board, and a superb Museum Mr./Mrs. Max Erlacher* George and Sandy Garfunkel collection to study. Most important, the artists have a full Foundations, Trusts, Kirk and Penny Gregg Corporations, and month to create work that they may have been thinking about Dudley D. and Carole H. Johnson Other Organizations for some time. There is no pressure to make work to sell. Gene and Janet Kammerer* They just create.” To learn more about the Museum’s residency Tom and Peggy MacAvoy Acorn Foundation Mr./Mrs. Donald A. McCabe Jr.* Robert and Renée Belfer Family

Photos by Maria Strinni Gill. program, see page 10. E. Marie McKee and Foundation From left to right: Ennion Society member and Steuben Glass marketing From left to right: Thomas S. Buechner, the Museum’s founding director Robert Cole Jr. Berkshire Taconic Community director Corinne Oats; Mitchell Wolfson, founder of the Wolfsonion and current Museum Trustee, with Priscilla Dewey Houghton and her Gifts and Grants Joseph A. Miller and Foundation Museum; artist Michele Oka Doner; and art dealer and Ennion Society husband, Museum board vice president Hon. Amory Houghton Jr. Rachel C. Wood Jeffrey J. and Mary E. Burdge member Russell E. Burke III. Grants received by the Museum during the period August 2006 Pamela and Glenn Schneider Charitable Trust through February 2007 included: Dr. Susan W. Schwartz The Carbetz Foundation Inc. Mrs. Mary Ann Sprague Community Foundation of the collections of English and Maharajah, hosted a small • $67,200 from the Arthur Rubloff Residuary Trust. Elmira–Corning Area Museum Members Explore Members Corning Incorporated Foundation Northern India French chandeliers and glass cocktail party for the traveling • $23,415 in general support from the New York State Larry and Susan Aiello Fidelity Charitable Gift Fund Twenty-one Museum Mem- furniture. Members. Council on the Arts. Bruce and Ann Bachmann The Greenberg Foundation Gail and Elijah Baity Johnson & Johnson bers participated in the tour, The Quila Mubarak in Patiala, The various palaces and • $16,000 from the Gladys M. and Harry A. Snyder Memorial Robert A. and Renée E. Belfer Family of Companies “Palaces and Collections of the Jai Vilas Palace in Gwalior temples visited ranged in orig- Trust for the acquisition of American lighting devices. Mr./Mrs. Mike Belkin Karma Foundation Thomas E. and Barbara Blumer the Maharajahs,” which took and the city palaces of Jaipur ination date from the 1400s • $10,000 from the Carbetz Foundation for acquisitions. New York State place October 20 through and Udaipur were special to the 1800s. All were lavishly Thomas Buckles Council on the Arts Photo by Jane Spillman. • Dan Greenberg and Susan Steinhauser, through the Thomas S. and Mary Buechner Polk Brothers Foundation November 4, 2006. This treats, since all have glass fur- decorated with colored stone, Greenberg Foundation, donated $8,000 toward the David Burger Joseph J. Rothermel was the first Members’ trip niture and lighting collections. glass inlays and stone carv- Patricia T. Dann acquisition of a photograph of a still life with glass by Charitable Trust Fund outside of Europe. The tour In both Gwalior and Jaipur, ings. When the group wasn’t Kenneth C. Depew Arthur Rubloff Residuary Trust Czech photographer Joseph Sudek. The photograph is concentrated on northern Members were allowed inside looking at glass, Members Jay and Micki Doros Schwab Fund for part of the collection of glass-related materials in the Mr./Mrs. Robert Duke Charitable Giving India, where the group visited rooms not normally open to enjoyed outings and activities, Museum’s Rakow Research Library. Mr./Mrs. Alan Eusden Gladys M. and Harry A. Snyder Jaipur, the Taj Mahal in Agra, the public, and the curator including an elephant ride, E. Kilton Fallon Memorial Trust the abandoned 16th-century of the Jai Vilas Palace turned watching passing camels on • $5,000 from the Acorn Foundation for acquisitions. James Fallon Treeco Money Management Trust city of Fatehpur Sikri, on the glass fountain for the the road, and shopping in • $3,000 from the Jeffrey J. and Mary E. Burdge Jere Gibber and J. G. Harrington United Way of Greater Rochester Members Carmen Freeman, and Robert J. and Martha E. Grassi Jim and Barbara Lessig in front of several historic sites in Delhi, group. In Udaipur, Princess both formal stores and the Charitable Trust for The Studio for the scholarships and Douglas and Katya Heller the Taj Mahal. and three palaces with large Padmaja, the daughter of the Jaipur bazaar. residencies fund. Mr./Mrs. Leo Kaplan

1328 TheThe GatherGather || Spring/SummerWinter 2006 2007 The Gather |The Spring/Summer Gather | Fall 20072006 14294 Jane Shadel Spillman Curator of American Glass

FAVORITE THINGS

One of my favorite would not have given a pet bird items in the collection much flying room, and there is no is the large domed pull-out section at the bottom for birdcage we acquired cleaning. I believe the cage’s original two years ago. I saw it inhabitant was probably an automaton— at an antique show in a mechanical bird which perched on New York City, and fell the swing in the cage and sang when in love. The birdcage wound up.

Photo by Robert Barker. originally belonged to the Doubleday publishing family, The cage’s domed top is somewhat displayed at their country estate on the Eastern looking, and the half-circles of Hudson for many years. glass on the sides are reminiscent of the Crystal Palace, a London landmark from Raising birds was a popular pastime 1851 until it burned down in 1936. While in England in the second half of the it seems likely the cage was created as 19th century and into the 20th. Birds a unique object by special order, it is and birdcages were popular ornaments impossible to tell for sure since so few for parlors. There are several designs of these cages with glass panels survived. for birdcages with glass panels at the It was probably designed and made in British Designs Registry office in London. a workshop that specialized in such Unfortunately, this particular cage is not fanciful creations. included in the Registry, so we cannot be sure of the maker. If nothing else, it is safe to say that this piece would have made a stunning Birdcage of stained glass and brass. England or U.S., about 1900–1920. Purchased with funds It is a beautiful object, but rather ornament in a high-ceilinged room from the Greater Milwaukee Foundation, impractical since the tall narrow shape of the era. Kenneth R. Treis Fund.

The Corning Museum of Glass is located An adult Day Pass to the Museum is $12.50. in the Finger Lakes region of New York Children (17 and under) are admitted free. State. The Museum is open daily from 9:00 a.m. to 5:00 p.m. and until 8:00 p.m. Museum Members always receive all summer long (Memorial Day weekend complimentary admission. through Labor Day).

Corning Museum of Glass One Museum Way Corning, NY 14830

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Cover image: Houstonia caerulea L.- Bluets (1894). Leopold and Rudolf Blaschka. Harvard University Herbaria of The Harvard Museum of Natural History. The photographs in this issue of The Gather are by The Corning Museum of Glass (Nicholas L. Williams and Andrew M. Fortune) unless otherwise noted.