Reviews on Nº 2 2013

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2012 ICOM Glass Meeting Lectures: Glass collections in Spain GLASS Interview: Javier Gómez Edit

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

Editorial and Board Members Paloma Pastor. Chair Jane Shadel Spillman. Secretary Karin Rühl. Treasurer Kaisa Koivisto Reino Liefkes Teresa Medici Susanne Netzer Anne Vanlatum

English text correction Jane Shadel Spillman

Coordinator of this journal Paloma Pastor

Cover illustration Javier Gómez, “Espacio Abierto XXIII”, 2001, Particular collection, France Back cover Illustration Meritxell Tembleque and Joaquim Falcó, “Voces de piedra”, 2007

Layout Cyan, Proyectos Editoriales, S.A.

ISSN: 2227-1317

Journal sponsored by ICOM. International Council of Museums

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

No part of this magazine may be used or reproduced Yolanda Tabanera, Installation. Cloister of Santa María without the written permission of the publisher. ICOM Glass can not accept any responsibility for la Real, in Nájera, La Rioja, 2005. errors or inaccuracies in the information. SUMMARY 6

Lectures 6 ICOM Glass Meeting in Spain 7 European Glassmaking Technology in China: Kilian Stumpf’s probable Influence ‘over liuli’ 15 Artistic Production of the Bohemian- Moravian Glassworks (CˇMS) in the 1940s 20 From the Gilded Age to the Roaring Twenties: The Mt. Washington and Pairpoint glass companies and their creations 25 Spanish Glass: Modern Period (16th – 19th Century) 30 Popular Spanish Glass found on-line: Domus and Cer.es 35 Contemporary Art with Glass in Spain Today 38 Atlas of materials pathologies 44 46

Interview Javier Gómez, News 46 Congresses & Exhibitions is certainly one of the most important glass 48 News 51 Others artists in Spain 52 54

Memories Members

FOREWORD

Dear Colleagues and Friends,

I am delighted to introduce the second edition of our Journal, which contains some of the topics covered in the annual ICOM Glass Meeting held in Spain (2011). It was an exciting meeting organized by the Museu de Arqueologia of Catalunya, thanks to Teresa Carreras, and the Real Fábrica de Cristales of La Granja, which enabled us to explore the knowledge of glass pieces in Spanish collections, both public and private.

Under the topic “Glass Collections in Spain”, several talks were given on Spanish glass production in different time periods, such as the Modern or the Contemporary period. Another issue which aroused great interest among our colleagues was the lecture about a project of the “Ministerio de Educación Cultura y Deporte” called Domus and Cer,es. In this project, an on-line platform, was created that allows anyone in the world to find out which glass pieces and documentation are kept in the various National Spanish Museums. Other subjects of great importance such as the dissemination of technological advances and stylistic influences of European Glassmaking in China; the artistic production of the Bohemian-Moravian glassworks in the 1940s; Mt. Washington and Paispoint Glass Company and their creations; and finally, the creation of an atlas of pathologies used as a tool to determine the conservation state of heritage materials were also covered. These topics are available for reading in lectures. Several important news items and announcements for this year have been selected and included in Congress and Exhibitions.

It should be remembered that, in addition to these conferences, the organizers of this meeting established an extensive program of six days of visits to glass collections usually inaccessible to the general public, and guided by the top specialists in each subject. In Barcelona we visited: the Museu d’Arqueologia of Catalunya, Pueblo Español, Sagrada Familia Basílica, Palau Reial and Monastery of Pedralbes. In Ampurias: the Greek and Roman City of Ampuries, and the Ampuries Monographic Museum. In Peralada: the Museu Castell of Peralada. In San Ildefonso (La Granja): the Real Fábrica de Cristales, Glass Museum and workshops, Royal Palace, Segovia City; and finally, in Madrid, the Glass Museum of Alcorcón (MAVA), the Decorative Art Museum and the Royal Palace.

We are convinced that this magazine is becoming an important channel of communication and a means of gathering and disseminating the activities of our glass committee, which in addition has attracted great interest among our readers. We are certain that with your help and more time, we will attract new readers.

Paloma Pastor Rey de Viñas Chair. ICOM Glass ICOM Glass Meeting in

6 LECTURES A total of 25 participants attended the 2011 ICOM Glass Annual Meeting, representing Croatia, Czech Republic, Germany, Great Britain, Italy, Norway, Spain and USA. The official opening of the meeting and papers took place in the Library of the Museu s d’Arqueologia de Catalunya. After a tour of the Museum to see the new permanent glass collection “La fragilidad en el tiempo. El Vidrio en la Antigüedad”, and the temporary exhibition about the Amatller glass collection, guided by Teresa Carreras and Paloma Pastor, we had the lectures, presented by the speakers Spain with the topic “Glass Collections in Spain”. European Glassmaking Technology in China: Kilian Stumpf’s probable Influence ‘over liuli’ Florian Knothe. University Museum and Art Gallery, Hong Kong

Attention to the history of East Asia increased, and China, certainly held by royal fleets commerce between the East and Taiwan, and Japan’s attempting to colonize and gain West grew during the latter part manufacturing strength and commercial contacts around the of the twentieth century when global trading changed the shores of the Atlantic and Indian the exchange of commodities world1. Interestingly, while the Oceans, there was a fraction of between Western Europe and monopoly in world trade was newly begun trade along with

1. See among other texts, Derek Massarella, Chinese, Tartars and “Thea” or a Tale of Two Companies: The English East India Company and Taiwan in the late Seventeenth Century, in Journal of the Royal Asiatic Society, third series, vol. 3, no. 3 (Nov. 1993), pp. 393-426; Dennis O. Flynn and Arturo Giraldez, ‘Arbitrage, China, and World Trade in the Early Modern Period’, in Journal of the Economic and Social History of the Orient, vol. 38, no. 4, 1995, pp. 429-448; and John Lee, ‘Trade and Economy in Preindustrial East Asia, c. 1500–c. 1800: East Asia in the Age of Global Integration’, in The Journal of Asian Studies, vol. 58, no. 1 (Feb. 1999), pp. 2-26.

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with regards to developments in mid eighteenth centuries – was eighteenth-century Japan, ‘the highly admired and finally importation of Western successfully imitated (first in A new impetus commodities was encouraged Dresden in 1708) in the West, with the intention to disseminate the creative design and in China arrived practical knowledge’3. manufacture of both luxury and with European more common domestic goods in In the past years a new research glass were far more advanced in “scientists” interest of mine—work that Europe5. A new impetus in China ultimately lead to the East Meets arrived with European ‘scientists’ sent to the East West exhibition at the Corning sent to the East as missionaries as missionaries Museum of Glass in 2010—has from the early-1600s6. Glass made me focus on the produced in East Asia since then from the dissemination of practical profited from – and often directly knowledge by European depended on – Western early- 1600s missionaries, and the techniques and led local technological advances and glasshouses – most notably the stylistic influences of European liao liu, the Chinese glasshouse glassmaking in China during the within the Imperial City in early eighteenth century4. Beijing – to produce an unusual artistic and cultural exchange, Whereas porcelain presents a hybrid style, indicative which laid in the hands of medium developed and mastered throughout both of an traveling Jesuit missionaries2. in Asia for a thousand years, intellectual open-mindedness as Through all of these contacts, as which for centuries – notably well as of Oriental design and Michael North recently stated from the late fifteenth to the artisanal tradition7.

2. Jesuits involved in, for example, the silk trade in East Asia have been studies particularly in the case of Spanish clergymen who profited from the vast colonized territories held by the Spanish crown and the protection it offered during the early modern era. See C. R. Boxer, The Great Ship from Amacon, Annals of Macao and the Old Japan Trade, 1555 – 1640, Lisbon 1959, C. R. Boxer, ‘Missionaries and Merchants of Macoa, 1557–1687’, in Actas, Colóquio Internacional de Estudios Luso-Brasileiros, Lisboa 1957, vol. II, Lisbon 1960, pp. 210-224; William L. Schurz, The Manila Galleon, New York 1959; and Nicholas P. Cushner, ‘Merchants and Missionaries: A Theologian’s View of Clerical Involvement in the Galleon Trade’, in The Hispanic American Historical Review, vol. 47, no. 3 (Aug. 1967), pp. 360 – 369. 3. Michael North, ‘Introduction’, in Artistic and Cultural Exchanges between Europe and Asia, 1400 – 1900, Farnham: Ashgate, 2010, p. 7. 4. Glassmaking originated in China during the Wei Dynasty (386-557). See C.G. Seligman and H.C. Beck, ‘Far Eastern Glass: Some Western Origins’, in Far Eastern Antiquities, 1938, pp. 1-64, pp. 15-16; Yang Boda, ’An Account of Qing Dynasty Glassmaking’, in Robert H. Brill and John H. Martin (eds.), Scientific Research in Early Chinese Glass, Corning: The Corning Museum of Glass, 1991, pp. 131-132 and 144. 5. Florian Knothe, ‘East Meets West: Cross-Cultural Influences in Glassmaking in the 18th and 19th Centuries’, in Journal of Glass Studies, vol. 52, 2010, pp. 201-216. 6. See among others George Loehr, ‘Missionary-Artists at the Manchu Court’, in Transactions of Then Oriental Ceramic Society, vol. 34, 1962-63, pp. 51-67; and Emily Byrne Curtis, ‘Glass for K’ang Hsi’s Court’, in Arts of Asia, vol. 21, no. 5, September –October 1991, pp. 130-136. 7. For a comprehensive, recent study of the administration of the Zaoban chu, the Imperial Palace workshops, and its glasshouse, see Peter Y.K. Lam, “Three Studies on the Glasshouse of The Qing Imperial Household Department’, in Rong Zhang (ed.), Luster of Autumn Water: Glass of the Qing Imperial Workshop, Beijing: Forbidden City Publishing House 2005, pp. 56-83. The glasshouse itself prospered during the Yongzheng and early Qianlong reigns, and a second workshop was established at Yuanming Palace, the Old Summer Palace, 8 kilometers northwest of the Imperial City, and Jesuits were still mentioned there until 1758. Some authors question whether the original glasshouse was moved to Yuanming Yuan or whether a second workshop was established there. However, two distinguished names ‘bolichang’ (glass factory) and ‘bolizuo’ (glass workshop) and continuously dated documents for both sites

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The Jesuit missions in China Sea10. Consequently, the most China, and not only became an were international and influential Jesuits in Beijing outstanding scholar and competitive: not only did became the Italian Matteo Ricci representative of the church that individual candidates learn, train (1552-1610), the German allowed him to qualify for an and prepare to be chosen for an Johann Adam Schall von Bell assignment abroad, but – more appointment in the East, but, at (1592-1666), the Belgium to the current interests of my least from 1693 on, both a Ferdinand Verbiest (1623- essay – also gain in-depth Portuguese-initiated Nantang 1688), the Italian Claudio knowledge of glassmaking12. (southern church) and a newly- Filippo Grimaldi (1638-1712), Via the continuous transfer establish French Beitang and the German Kilian Stumpf of knowledge and further (northern Church) existed in (1655-1720), all of whom development of the subject by Beijing and fought for recognition succeeded each other as the alchemists Johann Daniel by the Imperial court8. directors of the Imperial Crafft (1624-1697), Johann Astronomic Office11. As Kunkel (1637?-1703) and Until 1685, when French Jesuit astronomers these ‘scientists’ – Christoph Diem (b.1636), missionaries – including Louis Schall von Bell built the Imperial Stumpf learned about the highly Le Comte (1655-1728), who Observatory in Beijing, Verbiest important advances in glass also expressed an interest in constructed imported formulating and coloring glassmaking – were sent to the instruments for it – were also achieved by Johann Rudolf East by King Louis XIV, the responsible for the operation and Glauber (1604-1670) in mid- Portuguese did not only obtain maintenance – along with the seventeenth-century Germany13. the sole Jesuit station in China, development of new – In Beijing, his high reputation but proved to be the most astronomical instruments, an was then partly built upon his effective facilitator for travelers occupation to which Stumpf ability to produce glass lenses for from Europe to Asia9. Macoa had came with a special set of skills. telescopes – a technical tour-de- been a Portuguese trading post force that led to bigger and since 1535, and merchant As Werner Loibl described in better things. vessels carried Jesuit more detail, Kilian Stumpf missionaries from the Iberian trained in the Society of Jesus in Qing-Dynasty China knew of Peninsula to the South China Mainz prior to his arrival in European glassmaking through seem to suggest that two workshops were operated in parallel. Compare Yang Boda, ‘A Brief Account of Qing Glass’ in Palace Museum Journal, 1983, p. 10; Boda 1991, pp. 136 and 141; Emily Byrne Curtis, ‘Qing Imperial Glass, the Workshop on Can Chi Kou’, in Chinese Snuff Bottles in the Collection of Mary and George Bloch, London: British Museum Press, 1995, p. XX; Zhang 2005, p. 24; Lam 2005, pp. 60-61, 64-66 and 68; Emily Byrne Curtis, ‘Qing Glassmaking: The Jesuit Workshop on Canchikou’, in Zhang 2005, pp. 99-100; and Hainer Schaefer, From Bavaria to Beijing, Frauenau: Glasmuseum Frauenau, 2009, pp. 83-84. 8. Schaefer 2009, pp. 10 and 43. 9. For the French involvement with East see Isabella Landry-Deron, ‘Les Mathématiciens envoyés en Chine par Louis XIV en 1685’, in Archive for History of Exact Science, no. 55, 2001, pp. 423-463. 10. Lam 2005, p. 59. 11. Lam 2005, p. 64; Schaefer 2009, pp. 38-39. 12. Claudia von Collani, ‘Der Würzburger Kilian Stumpf S.J. am chinesischen Kaiserhof’, in Würzburg Heute 36 (1983) pp. 16-23; Emily Byrne Curtis 1990, ‘The Kangxi Emperor’s Glasshouse’, in Journal of the International Chinese Snuff Bottle Society, Winter 1990, p. 8; Werner Loibl, ‘Itinerary of Glass Innovation: Johann Rudolf Glauber and His Followers’, in Dedo von Kerssenbrock- Krosigk (ed.), Glass of the Alchemists, Corning: The Corning Museum of Glass, 2008, pp. 62-73. 13. Dedo von Kerssenbrock-Krosigk, Rubinglas des ausgehenden 17. und des 18. Jahrhunderts, Mainz: Philipp von Zabern, 2001, pp. 40-41; Werner Loibl, ‘Johann Rudolph Glauber und die “gläsernen” Folgen’, in Journal of Glass Studies, vol. 49, 2007, pp. 82-85; and Anna-Elisabeth Theuerkauff-Liederwald, “Becher-Gläser, daran die Farben aus denen Metallen gezogen, von dem berühmten Kunckel verfertiget”, in Journal of Glass Studies, vol. 49, 2007, pp. 179-190.

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diplomatic gifts Italian Jesuit missionaries offered to Emperor Kangxi (1662-1722)14. These presumably Venetian glasses, and more so Stumpf’s proven ability to produce glass, led the Emperor decide to finance a local glasshouse that Stumpf erected adjacent to the French Beitang compound on Canchikou Street of which he had become a resident upon his arrival in the Imperial City in 169615. This liuli (Chinese glass/glasshouse) was able to produce glass of a quality good enough for Kangxi to present seventeen objects as gifts in as early as 1705, and it lasted up to 16 the end of the regime in 1911 . Covered bowl. Johannes Brauman II (mount), Germany, 1700. Collection of The Corning Museum of Glass, Corning, New York (2009.3.78). In Stumpf’s laboratory glasshouse, the making of the glass itself shows color formulas the furnace require closer production – as well as quality, indicative of Western study17. The Chinese ruby as we will see – increased and manufacture, and the glasses first appeared during the that more and more varied glass de-colorized ‘crystal’ glass, and Yongzheng reign (1723-1735), vessels were produced (not just deeply colored translucent ruby- and most of the eighteenth- over a longer period of time). reds, as well as, possibly the century example (and numerous The recipes for ruby glasses, broad variety of matte opaque more modern fakes) bear the both with copper and colloidal colored glasses, and their reign mark of Qianlong (1735- gold, are of Germanic origin18. application and manipulation at 1796), suggesting that Dedo von Kerssenbrock-Krosigk

14. Kerssenbrock-Krosigk 2001, p. 55; see also Emily Byrne Curtis, ‘European Contributions to the Chinese Glass of the Early Qing Period’, in Journal of Glass Studies, vol. 35, 1993, pp. 91, 96 and 99. 15. Curtis 2005, pp. 94-95; Emily Byrne Curtis, ‘Plan of the Emperor’s Glassworks’, Arts Asiatiques (Annales du Musee National des Arts Asiatiques-Guimet et du Musée Cernuschi), no. 56, 2001, pp. 82-84; Rong Zhang, ‘Glass in the Imperial Workshops of the Qing Court’, in Zhang 2005, p. 24; Lam 2005, pp. 59-60; and Schaefer 2009, pp. 44-45. 16. Yang Boda, ‘A Brief Account of Qing Dynasty Glass’, in Claudia Brown and Donald Rabiner (eds.), The Robert H. Clague Collection. Chinese Glass of the Qing Dynasty 1644–1911, exh. cat., Phoenix 1987, p. 77. For the dissemination of Chinese glass wares see Emily Byrne Curtis, ‘Foucquet’s List: Translation and Comments on the color ’Blue Sky after Rain’’, in Journal of Glass Studies, vol. 41, 1999, pp. 147-152; and Emily Byrne Curtis, ‘Chinese Glass: ‘A Present to His Czarish Majesty’, in Journal of Glass Studies, vol. 51, 2009, pp. 138-143. 17. Yang Boda eluded to the fact that glassworkers at the Imperial glasshouse also bought in and re-heated glass ingots from the glassmaking center of Boshan, stating that this method of manufacture resulted in glasses that were similar to those of Boshan. See Boda 1991, pp. 136-137 and 142. 18. Chinese glasses also consist of batch formulas containing either copper or colloidal gold. See Shi Meiguang and Zhou Fuzheng, ‘Some Chinese Glasses of the Qing Dynasty’, in Journal of Glass Studies, vol. 35, 1993, pp. 104-105; and Pamela England, James C.Y. Watt and Lambertus van Zelst, ‘Analyses of some Qing Period Chinese Glasses: An Interim Report’, in Brill and Martin 1991, p. 104.

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correctly noted that the Italian Antonio Neri (1576–1614) already mentioned the manufacturing of ruby glass in his famous Arte Vetraria, published in 1612, however, no ruby glass vessels are known to have been formed in seventeenth-century Italy, implying that translucent red was used primarily, if not exclusively, for glass beads, canes, and applied decoration Two bowls. China, possibly Beijing, 1736-1795. Collection of The rather than for entire glass Corning Museum of Glass, Corning, New York (55.6.17 AB). vessels as in Germany19. Interestingly, whereas the German production of copper stable chemical composition objects take on the translucency, and gold ruby was hugely Stumpf would have acquired in shine and three-dimensional sophisticated and famous in the Germany, the decoration of these depth of nephrite stones21. The seventeenth century – and bowls exemplifies their hybrid mastery of imitation – whether or Stumpf must have been familiar character. Blown into thick not meant to deceive the eye of with it, given his thorough blanks, both bowls have been the beholder – resulted from a training in Mainz – the Italian cut on the outside and show transfer of skills by employing ruby glass of the early eighteenth motifs known from carved stone cutters for glass22. The century, like the Chinese, nephrite stone. The long- method and style of decoration, displays difficulties with the established and ever so popular the iconography and thematic batch formulas20. craft of carving hardstones, programs, such as the including jade, caused juxtaposition of figurative The Corning Museum of Glass in glasshouses to produce blown depiction and text are New York keeps a pair of early vessels and solid figurines in predominantly Asian in Chinese ruby glass bowls that both translucent and opaque character, and suggestive of an display the deficits of an uneven glass with cut surface decoration adaptation of the lesser known glass formula which resulted in depicting figurative and floral medium of glass into a set crizzling or glass disease. forms, and incised inscriptions. culture of representation23. Whereas the defects seem to Remarkable thereby are the Furthermore, the object types indicate the poor translation of a imitative effects, as vitreous produced, such as vases, brush

19. Kerssenbrock-Krosigk 2001, pp. 30-31. 20. For early eighteenth-century Italian ruby glass see the famous and well-documented and – dated 23 (now 19 surviving) pieces Frederic IV of Denmark (1671–1730) brought with him to Rosenborg Castle from Venice in 1709. See Gudmund Boesen, Venetianske Glas på Rosenborg, Copenhagen: G.E.C. Gads Forlag, 1960, cat. entries 82-85. 21. Objects combine techniques seldom seen in the West, such as deeply cut (Hochschnitt) carving on ruby glass, and carved, rather than applied foot-rings. 22. See Lam 2005, p. 61. 23. For a comprehensive survey see Peter Hardie, ‘Glass in China: Late Ming and Early Qing’, in Transactions of Then Oriental Ceramic Society, vol. 55, 1990-91, pp. 9-28.

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with a decorated and silhouetted gold leaf sandwich between them. The Chinese bowl shows gilding applied in such an unusual fashion – the inside and outside are gilded with the exact same pattern lined up, or juxtaposed, as if the gilded decoration sandwiches the glass. This technique, so I would like to propose, may be an imitation of Germanic gold sandwich glass, which, although miss- understood, and technically almost reversed, does in fact Snuff bottle with stopper. China, offer a similar effect. Beijing, Qianlong Imperial Beaker. Bohemia, about 1730- Workshop, 1736-1795. Collection 1740. Collection of The Corning The subtleness and elegance Museum of Glass, Corning, New of The Corning Museum of Glass, archived in monochrome objects, Corning, New York, gift of Marian York, gift of Jerome Strauss was contrasted with glasses Swayze Mayer (81.6.8). (72.3.28). boasting poly-color schemes produced in over-lay technique pots, and snuff bottles to name with the same lotus-leaf facets, with bright red, yellow, blue, but few, are typically East this bowl is made of de-colorized green, and white glass in which Asian24. A late eighteenth- glass that was gilded. In Europe the lighter-colored glass typically century or early nineteenth- the highly reputed Venetian is covered with the darker to century ruby bowl displays yet ‘cristallo’ glass urged produce a primary surface which another Chinese decoration: cut manufacturers throughout the is then partially cut away and facets arranged in rows in West to produce a chemically carved into figurative and imitation of the grown, stable, colorless crystal-like – organic forms that stand proud overlapping petals of a lotus meaning rock crystal like – glass before a lighter background26. flower. This treasure shows not that could be left undecorated or Finely carved objects with only ruby glass perfected, but a offered a fine surface for cut, multiple layers and four to five cut decoration repeatedly found engraved or enameled different colors – some applied on differently colored bowls. decoration25. High-quality glass in sections only rather than in One of a pair of bowls, the in Germany and Bohemia, was successive complete wraps – following example is indicative also preferred for the assembling range among the most virtuous. of altogether different ambitions of Zwischengold glass, a glass Although, at this time, there are in European glassmaking. Cut that was made from two layers few European objects that profit

24. In the West these forms were collected as exotic curiosities. See Carl L. Crossman, The Decorative Arts of the China Trade, Woodbridge: Antique Collectors’ Club, 1991, pp. 19-20. 25. Florian Knothe, ‘Venetian Glass and its Influence in 16th- and 17th-century Europe’, in The Yearning for Venice, exh. cat., Suntory Museum of Art, Tokyo 2011, pp. . 26. This fashion seems to have been favored by the emperor for it was practiced at the glasshouse within the boundaries of the royal palace. See Curtis 2001, pp. 82-84.

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In addition to the polychrome carved objects, Chinese glasshouses excelled in the production of enameled glass that – like its European counterparts – is reminiscent of both the technical and decorative qualities of fired and painted earthenware27. Despite the long tradition of porcelain- making – practiced since the Tang dynasty – and China’s widespread dissemination of export porcelain wares, local gaffers also blew and enameled opaque white glass in imitation of porcelain for the local and foreign markets28. Scientific analysis of a few objects of this type in The Corning Museum of Glass revealed that the composition of the batch formula of some of the white glass used in the East closely relates to the porcelain-imitating glass German arcanists made in the West29. Whereas in decoration a Warrior Vase with stand. China, Ch’ing Dynasty (1644-1912), probably resemblance between the late 18th or early 19th century. Collection of the Corning Museum of Chinese and English objects is Glass, Corning, New York, gift of Benjamin D. Bernstein (57.6.10). indicative of the fashion for chinoiserie in Britain, chemically the white glasses of Germany from this technique – the endless compatible glasses and a and China – as far as one can possibilities of overlay glass were scientific knowledge and/or the tell from the limited number of exploited only the nineteenth stamina to ‘research’ by trial and objects analyzed by x-ray century – the ability to overlay error, suggestive also of the fluorescence spectrometry – show differently colored glass depends enlightened Baroque culture strong similarities. For example, on the employment of chemically from which Stumpf emerged. this pair of white and enameled

27. Curtis 1993, pp. 97-101. More than 30 colors were produced during the Yongzheng reign (1723-1735), and many more nuances during the Qianlong reign (1735-1796), see Zhang 2005, p. 25; and Lam 2005, p. 67. 28. Dedo von Kerssenbrock-Krosigk mentions a relationship between ruby glass and ‘famille rose’ enamel color on white Chinese hard-paste porcelain, suggesting that the advances in glassmaking aided this particular style of porcelain decoration. See Kerssenbrock-Krosigk 2001, p. 56. 29. I am indebted to Dr. Robert H. Brill, Research Scientist Emeritus at The Corning Museum of Glass, for leading and evaluating the scientific analysis on the objects discussed in this study.

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Stumpf’s influence. Since the exact dating of Chinese glass objects is difficult, all statements about, for example, when colors were introduced continue to be speculative. However, proof seems to exist for the fact that the liuli was unable to produce optical glass after Stumpf’s death31. An interest, however, may have reached its pinnacle at around this time, as suggested by the French Jesuit François-Xavier d'Entrecolles’ (1664–1741) comment of 1712 that’[t]hey are almost as curious in China about the glass and crystal coming from Europe, as we are over their porcelain’32. Snuff bottle. China, about 1730-1820. Collection of the Corning This modest study of a few Museum of Glass, Corning, New York, bequest of Mrs. J. Gerald Mayer select artifacts exemplifies that (82.6.46). Chinese glass, whether de-colorized, ruby red, or white, and the methods of decoration vases originating in mid- in Saxony, Germany, in the applied to enhance their eighteenth-century China, 1710s (CMoG 83.3.18)30. resemblance to carved hardstone consist of a mixed alkali-lime- A possible connection to and or porcelain could not have been silica glass with a moderate influence of the community possible without the scientific amount of arsenic (Na2O, K2O : around Stumpf seems only too knowledge of Jesuit missionaries, CaO : SiO2 + moderate As2O5) tempting to suggest as a nor do they represent an quite similar to the potash-lime- probable reason for such results. autonomous art-form, but rather silica glass with arsenic (K2O : an industry depending also upon CaO : SiO2 + some As2O5) from To date, it does remain difficult the traditional designs and which a white bottle was made to measure the depth of artisanal practices of China33.

30. The analysis of an English mid-eighteenth white and enameled vase (86.2.15) shows that this contemporary piece contained lead – as typically found in English production since the mid-seventeenth century – but no lime, and that the lead-potash-silica glass had a high content of arsenic, most probably a lead oxy-arsenate opacifier. 31. Noted by the Jesuit Jean-Baptiste Jacques in 1723, see Schaefer 2009, p. 83. Gabriel-Léonard de Broussard (1703-1758) and Pierre d’Incarville (1706-1757) were recorded in 1740 as producing aventurine and translucent blue glass – both colors that were basically of European origin but rare also in the West. See Boda 1983, p. 10; Boda 1987, p. 79; and Curtis 1993, p. 100; Curtis 2005, pp. 97-99; Zhang 2005, p. 26; Schaefer 2009, pp. 96-99. 32. Jean-Baptiste du Halde (ed.), Lettres édifiantes et curiouses: écrites des missions étrangères, 2nd edition, Paris 1781-1783. 33. Different sample glasses have been analyzed by Robert Brill in the past, and preliminary studies of Qing Period objects have once been begun at the Boston Museum of Fine Arts and the Beijing Palace Museum. See Yang Boda, ‘A Study of the Chemical Composition of Qing Glass’, in Palace Museum Journal, no. 2, 1990, pp. 20-25; Yang Boda 1991; England, Watt and van Zelst 1991, pp. 103-107; and Meiguang and Fuzheng 1993, pp. 102-105.

14 REVIEWS ON GLASS Nº 2 2013 Artistic Production of the Bohemian-Moravian Glassworks (CMS)ˇ in the 1940s Markéta Vejrostová. Moravian Gallery in Brno

At the beginning of the 20th century, the firm S. Reich & Co. was among the biggest manufacturers of glass within the Austria-Hungarian Empire. While in the first decade export was successfully growing, in the following years all sorts of glass manufacturers were suffering a recession that did not end until World War I was over. In the 1920’s at the early 3rd decade, the firm was badly hit by the economic slump, and the loss of their traditional market caused by the War. Disagreement among the owners resulted in the establishment of an associated company led by a new management (1st July 1934). The major owner of the “C ˇ eskomoravské sklárny, dˇr íve S. Reich a spol” (C ˇ MS) (Bohemia-Moravia Vase, Milena Velíšková, CMS,ˇ Krásno, 1943. Moravian Gallery, Brno. Glassworks, formerly S. Reich & (17.337). Co.) became the Moravian Bank.

15 LECTURES

At the beginning of World War II, winning the firm’s fame and While the the company’s enterprises made the craft mastery of the (Krásno nad Beˇcvou, Vsetín, local glass makers possible. This technological Jablunka,° Karolinina hut’, drift was reflected on the name “foam glass” Úsobrno and Haida, Bor) were collections “Atel” and “Antik” declared war-important,which is executed in Krásno in the derives from how why fire-resistant glass, 1940s. chemical-technical glass or glass the articles were preserving jars and the like were It was vases, bowls, plates or produced, produced in addition to the table lamp stands, all called traditional lighting. Despite the “antique glass” that became the “antiques glass” fact that the production of the typical products. While the glass works corresponded to the technological name “foam glass” comes from an new demands, the management’s derives from how the articles ongoing effort to sustain the were produced, the other archaic impression manufacture of the sorts of designation comes from an that they evoke hollow glass remained; since it archaic impression that they was the hollow glass that was evoke. The antique glass in the connection with the C ˇ eskomoravské závody (Bohemia-Moravia Enterprises) is mentioned in the contemporary literature sporadically, and its manufacture is linked with the glass works of Emanuel Beránek in the town of Škrdlovice. However, Dana Menoušková’s research grounded on the archival collections in Ždár nad Sázavou and in Havlíˇck˚uv Brod indicates that Beránek first began to manufacture glass later called “antique” in the Krásno glass works, where he worked as a technical officer in autumn 19381. The appearance of the Krásno collection “Antik” has been partly documented in the glassworks preserved sample book, thanks to which we are familiar with a few dozens of designs from the years 1940 to ˇ Vase ATEL 154, CMS, Krásno, 1942. Moravian Gallery, Brno. (17.347). 1943. In addition to the sample

1. Dana Menoušková, Rodinná hut’ Škrdlovice-ars vitraria 20. století. Diplomová práce FFMU, 1997, I. a II. díl, s. 23

16 REVIEWS ON GLASS Nº 2 2013

book, the Museum of the Valašsko Region in Valašské Meziˇríˇcí also has the firm’s catalogue, which contains the antique glass and colour overlaid vases decorated with deep etching or cutting. A few examples of the contemporary production may be seen in the glass negatives, which are deposited in the Provincial Archives in Opava2.

The oldest Krásno products from the collection “Antik” that have been known so far come from 1940. We do not know who the designer was, but an industrial artist, Jaroslav Antonín Junek, who had worked with the glassworks since 1936, is supposed to have participated to a certain extent. His years of experience gained in the manufacture of lighting in England or in the North countries influenced, to a certain extent, his designs for the glassworks. The moment Junek began to work in the C ˇ eskomoravské sklárny (Bohemia-Moravia Glassworks), new designs and forms, which did not include just functional aspects of the product but were aimed towards impressive aesthetic perception, began being applied to the manufacture. Because the enterprise was among important works in terms of war, it did not Vase, CMS,ˇ Krásno, 1941. Moravian Gallery, Brno. (17.350). suffer from lack of the raw

2. Zemský archiv v Opavˇe, fond Ceskomoravskéˇ sklárny, a.s. Valašské Meziˇríˇcí.

17 LECTURES

materials like other glassworks, who cooperated with the firm designs come from 1914 and but the fashion of the period had Venini at the time3. record the patterns of Atel 100 a role to play too. This is why to Atel 176. However, in the these glass items were produced Parallel to the collection “Antik” sample books from 1933 to along with other production. being manufactured in the 1939 they are not documented. While these glass items, Bohemia-Moravia Glassworks was untypical of the Czech glass also the collection “Atel” In addition to the collections tradition of the past centuries, featuring in colour overlaid vases “Antik” and “Atel”, massive hot- had been appearing there since decorated with deep etching or shaped decorated vases and the 1940s, outside of the cutting. Sober in forms, barrel- bowls after the designs of country they were known two shaped or conical vessels were František Zemek, Milena decades earlier. It was because decorated with geometric or Velíšková or Ludvika Smrˇcková of their plasticity and structure floral motives or stylised human were created in the 1940s too. that a French designer, Maurice figures. In terms of style, it was Simple compositions of colour Marinot, who presented his no newcomer but a proven inlays in the form of stems with pieces at the Exhibition of classic that ensured the petals, finely overlaid with Decorative Art, Paris, 1925, glassworks sales. As well as the crystal molten glass, made the used them too. Almost decorative products from the foam glass hearts unique. The “sculpturally” interpreted forms foam glass, the designs of the cooperation between František using the foam molten glass are collection “Atel” were integral Zemek (1913-1960) and the also obvious in the pieces of part of the design book of Bohemia-Moravia Glassworks work of an Italian, Martinuzzi, lighting. The first preserved began with his scholarship practice in 1942. From 1943 to 1946 Zemek worked either in Krásno or Karolinina hut’, where he was occupied especially with drinking glass4.

Besides decorative vessels, a range of crystal figurines made at the furnace in the shape of a fish, bird, woodpecker, stag or swan was created in 1942 and 1943. The author is not stated in the design book, however, Miloš Bohuslav Volf (an outstanding glass technologist, and later also scientist in the field of technical glass who worked in the Bohemia-Moravia Glassworks in 1940-1946) Table lamp base, CMS,ˇ Krásno, 1941. Moravian Gallery, Brno. (17.362). attributes them to Karel Zemek,

3. Finns at Venini, The Finnish Glass Museum 2007, s. 10, 13. 4. Karel Hetteš, Skláˇrské dílo Františka Zemka, Tvar, 7, XI, 1960, s. 12.

18 REVIEWS ON GLASS Nº 2 2013

items in the Krásno glassworks to the brothers Zemek, since there were technical and personal conditions to their realisation6.

After the nationalisation, the manufacture of utilitarian and decorative glass items in Krásno closed down. The national enterprise Lighting Glass (with works in Krásno, Vsetín, Rapotín, Janštejn and Košt’any) which specialised in the production of lighting was established in 1958.

Vases, CMS,ˇ Krásno, 1 st half of the 1940s. Moravian Gallery, Brno. A representative selection (20.151). of the decorative glass from the C ˇ eskomoravské sklárny manufactured in the 1940s a Krásno glass maker, and inlaid between two glass layers. is today, in the Moravian Gallery František Zemek’s brother. According to Jitka Lnˇeniˇcková, in Brno. There the collection of During a study break due to the its manufacture was patented in more than forty articles was in War, Milena Velíšková also did 1915, and Enrich Hantich 1962 transferred from the work in the Bohemia-Moravia broadened them in the 20s with Museum of Decorative Art in Glassworks. Initially she worked inlaid metal foils or air bubbles5. Prague, where they were there as a draftswoman, and in Similar articles appeared that donated by Skloexport, a 1943 she cooperated mostly time also in the production of monopoly exporter of all glass, with a glass master, Karel some German glassworks like glass and jewellery (Jablonec’s) Zemek, on many decorative glass Württembergische goods from Czechoslovakia. The items. Some of them, such as a Mettalwarenfabrik in Geislingen samples of this collection are leaf-shaped ashtray or a vase and its production series now on display, which is focused decorated with irregular points, “Ikora”. Developed by the firm on art production of the she used later on in the Hantich & Co the experiments C ˇ eskomoravské sklárny from the assortment of the glassworks in on new hot decor were 1940s, in the Moravian Gallery Škrdlovice in 1945 and 1950. performed due to the in Brno; in this institution’s consequences of the economic depositary of glass, which is as Among technologically slump, and the so-called the only one in this branch sophisticated hot techniques “Johnolyth” appeared in 1931. permanently open to both used in Krásno glassworks in the Miloš Bohuslav Volf attributes professionals and general 1940s was a painted decor the authorship of these glass public.

5. Jitka Lnˇeniˇcková, W. Hantich & Co. – remesloˇ a umˇení. 30. léta: Ve znamení experiment˚u, Glassrevue, 18, 2005. 6. M.B. Volf, Sklo, Praha 1947, s. 349.

19 LECTURES From the Gilded Age to the Roaring Twenties: The Mt. Washington and Pairpoint glass companies and their creations An exhibition at The Corning Museum of Glass, May 19-December 31, 2011

Jane Shadel Spillman. The Corning Museum of Glass, USA

The Mt. Washington Glass tableware. The Pairpoint made at other American Company was originally started company was owned by most glasshouses specializing in table in South Boston, Massachusetts, of the same businessmen who ware and other glass for the in 1837, and moved to New owned the glass company, and home. This included both blown Bedford, Massachusetts, in the two worked together very and pressed tableware. However, 1870. It was in business well. In 1894, the Pairpoint Mt. Washington was one of the under several different names, Manufacturing Company few American companies which locations, and ownerships absorbed Mt. Washington, and made chandeliers, and a variety until 1957, when it closed for the company was renamed the of forms of lighting. Frederick the last time and the factory Pairpoint Corporation in 1900. Shirley, an Englishman who was torn down. The name The Corning Museum of Glass had worked for an English “Mt. Washington” comes exhibition concentrated on chandelier company, was hired from the original location in the types of ware which were in 1872 to run the chandelier South Boston, where there produced in the company’s department, and two years later was a Mount Washington, most successful years, between he was put in charge of the although it was more of a hill 1880 and 1930. The Museum company. Chandeliers continued than a mountain by modern also published Mt. Washington to be an important product, and standards. In 1880, the & Pairpoint Glass, Vol. 2, by chimneys for kerosene lamps company’s investors hired Kenneth M. Wilson and Jane were also extensively produced. Thomas J. Pairpoint, an English Shadel Spillman in 2011. This However, Shirley was both silversmith, to come to New volume covers most of the glass entrepreneurial and litigious, Bedford and run the Pairpoint made by the fi rm after 1888, quick to adopt new designs Manufacturing Company, which and until it closed. and equally quick to complain was intended to produce silver In its fi rst years, Mt. Washington if he thought any other fi rm mounts for Mt. Washington made a variety of wares which was copying his wares. He ran glass, as well as silver-plated were similar to those being the fi rm until 1891, when he

20 REVIEWS ON GLASS Nº 2 2013

resigned, and during those years in the press. The other exhibition glassware patented by the ﬁ rm. he had a total of 27 patents was a large crystal fountain, 16 This glass (called by today’s and 5 design patents for various feet in diameter, on view in the collectors lava glass) supposedly types of glass, most of which center of the Main Building. included volcanic lava from were quite successful. Existing views of the exhibit Mt. Aetna in Sicily among its show primarily the chandeliers ingredients. Most of the objects In 1876, the Mt. Washington as well as cut glass on the tables made were vases meant to be Glass Company had a large below them. However several ornamental, rather than useful, display at the Centennial in trade cards from 1876 show the and no tableware seems to have Philadelphia. The company had company as “MANUFACTURERS been made in Sicilian glass. two spaces in the Main Building. OF BLOWN PRESSED & CUT Since it was opaque black, One, in the center, held “a large GLASS WARE.” perhaps that isn’t surprising. collection of glass table-wares, However, it was made for only a dessert-pieces, chandeliers, etc.” In 1878, Shirley introduced year or two, so it must not have which received a lot of attention Sicilian glass, the ﬁ rst artistic appealed to the public.

In June of 1883, Joseph Locke, designer for the New England Glass Works, in Cambridge, Massachusetts, patented Amberina glassware, a transparent glass which shaded from red to amber. The coloring was produced by using gold and reheating part of the glass as it was being blown. Thus, only the reheated part turned red. In August of that year, Frederick Shirley ﬁ led a patent for Rose Amber glass, which was essentially the same thing. For the next several years, Shirley and the former superintendent of the Mt. Washington company, William Libbey, who was now running the New England Glass Works, were involved in controversy over who had the right to make this glass, but eventually both ﬁ rms produced it. This marked the beginning of the 15 years or so Vase in Sicilian glass, Mt. Washington Glass Company, New Bedford, when elaborately colored and Massachusetts, 1878-1880. The Corning Museum of Glass (76.4.17). decorated “art glasses” were all the rage to decorate upper

21 LECTURES

different types of decoration on Burmese, and Mt. Washington had a large decorating shop to do the enamel work and other types of cold decoration. As the company introduced a variety of other decorated glasses, mostly with exotic names like Royal Flemish, Crown Milano, Colonial, and Pearl Satin Ware, the same decorators worked on all of them. The company also produced Coralene ware which had applied glass decoction which imitated coral, and cameo glass, which was a cased glass which was acid-etched in imitation of the elaborate hand-carved English cameo glasses made in the Stourbridge area. Mt. Washington was the only American company making the acid-etched cameo Bowls on stand in Burmese glass, Mt. Washington Glass Company and pieces. In all, they developed Pairpoint Manufacturing Company, New Bedford, Massachusetts, 1885- a total of 15 art glass wares, in 1894. The Corning Museum of Glass, (63.4.119), Gift of Fletcher Ford and Mrs. Sally Recker in memory of Lola Kincaid Ford. a variety of colors, mostly with elaborate decoration. By 1890, they were advertising themselves middle class homes and as “Headquarters in America for In 1885, Shirley Mt. Washington was the leading Art Glass Wares”. The Pairpoint glass company making these Manufacturing Company, located introduced products. next door to the glass company made silver-plated mounts for Burmese glass, In 1885, Shirley introduced much of the art glass, as well a translucent glass Burmese glass, a translucent as table silver. The various art glass that shades from yellow glasses were often marked, not that shades from to pink, and it became an with the company name but with immediate success on the the name of the type of glass, A yellow to pink, art glass market. Shirley was crown over “CM” was the mark and it became an a good businessman, and he of Crown Milano glass and “RF” advertised the glass extensively with the F backwards was the immediate success and presented sets to both mark for Royal Flemish. The President and Mrs. Cleveland Pairpoint mounts always had P on the art glass for the White House, and Queen within a diamond so that they Victoria for use at Buckingham could be identiﬁ ed. However, all market Palace. There were a variety of of these elaborate glasses were

22 REVIEWS ON GLASS Nº 2 2013

phased out in the late 1890s as they fell from favor and the company shifted its attention to other products.

In addition to the decorated art glass, the Mt. Washington Company also produced elaborate cut glass which was then quite fashionable in the United States. The cutting department was in operation from the 1870’s, until the Depression. Because their cut and engraved patterns were similar to those made by a number of other companies at the same time, the company is not as well-known today for this glass, even though that was a major product for a number of years, especially around the turn of the century. Mt. Washington Cracker Jar in Crown Milano Glass. Mt. Washington Glass Company, New did not use a trademark on Bedford, Massachusetts, 1891-1895. The Corning Museum of Glass, its cut glass as some other (63.4.161) Gift of Fletcher Ford and Mrs. Sally Recker in memory of companies did, so the pieces Lola Kincaid Ford. are not always easy to identify. Fortunately, the company patented several designs for cut country, and had more than less fashionable and the cut glass in the early 1880’s and 200 workers involved in this glass patterns became simpler. several catalogs of their cut glass part of the business. The two It continued to be produced production survive which show a surviving cut glass catalogs until the company closed, variety of patterns. One of these, from the 1890’s as well as however. which dates from 1879-1883 a number of advertisements shows very simple patterns document the patterns of this Lighting was also an important (Fig. 5) but some rather elaborate decade well. One of the simpler product, ranging from the gas shapes including hanging vases patterns is called “Mirror Block” chandeliers which Shirley was and oddly-shaped baskets. and was patented in 1889. originally hired to produce, to A number of cut glass pieces decorated art glass and cut Around 1890, Mt. Washington’s were made to go in Pairpoint glass kerosene lamps which cut glass patterns, like those silver-plated mounts as well were important in the 1880s of other companies, became Cut glass continued to be an and 1890s. The Burmese, much more elaborate. The important part of the company’s Crown Milano and Royal Flemish company was one of the largest production until about 1910. lamps often had metal mounts producers of cut glass in the After that, heavily cut glass was and elaborately decorated

23 LECTURES

a variety of other designs. Cut and/or engraved glass electric lamps were also popular both as table lamps and ceiling and wall ﬁ xtures. The designs on these were much simpler than the earlier ones, however.

In the teens and through the 1930s, Pairpoint concentrated on table wares and lighting with a variety of decorations. Most of the glass was transparent, either colorless or colored, and often with engraved and/or cut decoration. There were also a variety of wares with applied colored decoration including silver deposit, colored threading and colored swirls in the glass. The latter was made with Bowl cut in “Mirror Block” pattern. Mt. Washington Glass Company, New either red or blue swirls and Bedford, Massachusetts, 1889-1900. The Corning Museum of Glass was marketed as Twist glass. (2007.4.60). It was the last decorated glass which Pairpoint developed. All of these decorations were colored glass shades which reverse-painted shades and successful in the 1920s, but are opaque. While they must these were immediately popular. the Depression of the 1930’s have glowed, it is hard to see They continued in production eventually destroyed the market, how much light was generated. until the 1930s, and although as it did for many companies They were very expensive and other companies made similar making decorative table wares. apparently quite popular. It was lamps, Pairpoint was one of the At its height, around the turn of fashionable to have an elaborate largest producers. They were the century, the company had lamp on the parlor table and especially noted for the mold- over a thousand workers, but Mt. Washington’s lamps fi t blown sculptural glass shades by 1938, only 20 employees that description. However, the which were molded and then were left and work had stopped. heavily decorated art glass and painted to look like clusters Thus, in 1938, the Pairpoint cut glass kerosene lamps went of fl owers, and were striking Corporation was closed. It out of production in the fi rst when they were lit. Another reopened under new ownership decade of the twentieth century. unforgettable shade was in the the following year, and managed form of an owl’s head and the to stay in business until 1957, Shortly after 1900, however, stem of that lamp was in the when it closed permanently the company introduced form of an owl. Other shades and glassmaking in New “Electroliers” which had were reverse-painted with Bedford came to a close after elaborate metal bases and landscapes and seascapes, and 120 years.

24 REVIEWS ON GLASS Nº 2 2013 Spanish Glass: Modern Period (16th – 19th Century) Paloma Pastor. Museo Tecnológico del Vidrio. Real Fábrica de Cristales, Segovia

Since we have another colleague Catalonia (Eastern Spain), influence was exclusive to the talking about Antique and Andalucia (Southern Spain) and Royal Glass Factory of La Granja. Contemporary Spanish Glass, Castilla (Central Spain). Each I would like to focus on another has a local culture, mixed with Cataluña Region Spanish Period: The Modern foreign cultural traditions, both Period. Really, this is a very Eastern and Western, depending According to the decorative short introduction to the study on the regional location of each techniques, Catalan glasses can of Spanish Glass, from the of these places. If the Cataluña be divided into two sections; sixteenth to the nineteenth Region had a Venetian influence, enameled glasses (XV-XVIII century. the Andalusia Region had century) and the façon de instead a more Eastern trend. Venise glasses with applied According to the traditional However, in the Castellana decoration, and filigree… bibliography we classify three region both traditions were (XVI-XVIII century). different regions in Spain with present, Eastern and Western. different glass production: The Bohemian and English Enamelled glasses (XV-XVIII century)

Very few pieces have been preserved today (approx. 50 pieces). They were unique pieces.

The glasses have a faint grey and yellow tinge, and are thick-walled. Their forms and decoration reveal Islamic elements, as well as the influence of the Venetian Renaissance:

1. Islamic elements:

Green leafy floral decoration is the predominant colour, and Barrilete. IAAH, 1006. Cataluña Region, beginning of sixteenth century. covers the surfaces of the glasses Amatller collection. (horror vacui).

25 LECTURES

The enamel is made without On certain pieces moulded th During the 18 perspective or depth. It was designs were gilded and applied very thickly and densely combined with opaque white century, the to the exterior of the glasses, stripes, lozenges, ribs, and trails; which appear opaque, in relief, or were combined with applied Catalan and with incised lines to suggest decoration, such as raspberry glassmakers lost the contours or details. White prunts or lion mask knots. birds, animals, humans, flame the prominence like rays, etc. are other motifs The canes were in fairly simple seen on these glasses. patterns resembling twisted they had enjoyed braids, vertical ribs of milk glass, as leading 2. Venetian Influence: diagonal stripes of lattimo and also twisted stripes. manufacturers of Shells, beads, gold decoration, lion mask knots… typologies of Mould-decorated. Another form of luxury glass during the same pieces. decoration was bas-relief th th patterns, obtained by using the 16 and 17 A la façon de Venise moulds decorated with a frieze of centuries (XVI-XVIII century) dancers, pine-cones or bunches of grapes. Glasses have an amber tinge and are thin-walled. Popularization of Glassware (18th Century) Very light pieces. Their forms and decoration reveal the During the 18th century, the influence of the Venetian Catalan glassmakers lost the Renaissance. prominence they had enjoyed as leading manufacturers of luxury Multiplicity of techniques can be glass during the 16th and 17th seen such as: Applied decoration, centuries. Now the glassware was Ice glass, Diamond- point made with simple, repetitive engraved, Latticinio and Mould- motifs and additional decorated: ornamentation with a clearly popular appeal. Nevertheless, Ice Glass. Like the Venetians, the most of the earlier techniques glass-blowers of Cataluña continued to be employed. produced ice-glass during the sixteenth century. Andalucía Region (17th to 18th Century) Diamond-point engraved. Flowers, birds and foliage were the most Murcia, Jaen, Almería (María, common themes. Castrill de la Peña) Granada… Wineglass. IAAH, 1182. Cataluña, second half of the sixteenth Latticinio. White canes standing The glass, accidentally tinted century. Amatller collection. out in relief from the glass. green by impurities in the silica,

26 REVIEWS ON GLASS Nº 2 2013

ranged in shade from pale leaf- Catalan glass-blowers, as well as green to dark olive, brownish- Eastern elements. black, cobalt-blue, or amber- yellow colours. All the glass, During the 16th to 17th century whatever its colour, is filled with there was a tendency to purify tiny air bubbles. glass batches and a preference for Venetian decorative Most of the vases are thick-walled techniques, such as ice glass and and heavily decorated with trailed the application of blue trails, and threading, chains, crested with lattimo decoration. pincered ribbons, stamped clamshells applied, trails, Recuenco: (Guadalajara) guilloches. Glasses with cloudy tones Decorated pieces with containing bubbles, with small enamelling, engraving or impurities and tinged amber, or decorated with lattimo trails were greenish-pink. The quality of the not found. glass indicates that these objects emerged at a time of In their forms and decorative experimentation elements, they displayed a clear Vase with handles. IAAH, 0288. Castilla Region, possibly El Islamic influence, and many Glasses without brilliancy or Recuenco, eighteenth century of their features were the transparency. Amatller. Prats-Sedó collection. result of close ties to ceramic factories. In this glass the Venetian style is recognizable, a free blown Mould-blown decoration, with technique, extremely thin walls, technological, and designed to inscriptions such as “MARYA” with pinched and threaded endow Spain with experts in all made in the 18th-19th centuries. decorations. these industries, since the period comprising the end of the Castilla Region The Royal Glass Factory seventeenth century and the (Segovia) beginning of the eighteenth had Cadalso de los Vidrios (near been a time of serious Madrid), Recuenco (Cuenca) The Royal Glass Factory at La technological recession, difficult Granja was created in the middle to overcome without outside help. The clear glass meant that the of the eighteenth century under Thanks to negotiations by the glass is lightly tinged with green the protection of the Bourbon Spanish State Secretariat and or smoky yellow, and minute monarchy, primarily to efficient espionage led by bubbles and unfused impurities accomplish two objectives. The Spanish ambassadors in diverse give it a cloudy look. first objective was protectionist in European countries, many nature and focused on spurring glassmaking experts acquainted The workers in Castilla knew the national industry to compete with with the most innovative formulas Venetian method for making the foreign glass commerce that and techniques of the era were latticinio glass, a process held sway throughout the persuaded to come to Spain from learned through Venetian and Peninsula. The second was Italy (Urbino), France (Paris and

27 LECTURES

frequent decorative subjects were large number of lenticular facets mainly floral, such as daisies, arranged radially around four poppies, sunflowers, or tulips. central facets, arranged in a These floral branches are usually romboidal form that usually located centrally on the most extended over the surface of the strategic areas of the vessels vessels. Since this was very deep and generally in a curved cut, it was applied to vessels arrangement. As you can see, this thick-walled, that is to say, on decoration, engraved and gilded, “entrefino glass”. The origin of gave better results on colorless this floral motif cutting was glass than on white or milk glass, Bohemia, and it was widely used and for this reason, these pieces in the Royal Glass Factory, from are much rare than the former. the mid-eighteenth century If the origin of the engraved and onwards. gilded technique comes from Bohemia, the curved floral Classical Period (1787 – 1810) arrangement originates in England (Jacobite English rose). Poppies Enameled decoration and sunflowers appear regularly The Royal Glass Factory. Baroque on Hispanic ceramics, such as During the reign of Charles IV Period (1747-1787). Fundación Talavera (“Alcora” series) and other decorative methods more Centro Nacional del Vidrio collection. Alcora (“pintura del ramito” in line with the fashions of the series). time became more prominent: enameled decoration, fired Nevers), Germany (Hamburg), Mixed decoration, wheel- gilded and cutting. The most Bohemia, Denmark, Norway and, engraved, gilded and painted frequent enamel designs in La England or Ireland. Granja during this period were Sometimes, short brush strokes mainly floral, loose branches or We have divided the production of cold-painted in reds and naturalistic garlands, as well as of this factory in four different greens appear on the wheel- landscapes with floral scenes periods: engraved and on the cold-gilded and inscriptions. Golden threads decoration. This decoration may were usually used to sharpen Baroque Period (1747-1787) be accompanied by lenticular edges, such as in porcelain. The facets and geometrical cutting preferred glass decorated with Wheel-engraved and gilded glass of vegetal decoration. Decorative enamel was milk glass, in an which is not fired motifs contribute to the glass attempt to imitate expensive pieces in a wide range of tones Chinese porcelain. German These mixed techniques, wheel- in keeping with the Rococo style glassmakers made milk glass by engraved and gilded but not fired, of the period. adding burnt animal bones to were most often used during this the batches, as this substance period. Gilded decoration stayed Geometrical and floral motifs in seemed to give this glass more better on the engraved surface if cut decoration consistency and hardness to hot it was not fired. Although, over tea and coffee. The branches time, the gilded decoration has The most frequents motifs were and naturalistic garlands of La been gradually lost. The most geometric daisies, composed of a Granja were inspired by

28 REVIEWS ON GLASS Nº 2 2013

pastoral scenes. If the enameled decoration was preferred for milk glass, the gold decoration gave an excellent result over any clear translucent or opaque glass, although translucent green and caramel colour glass were the most used. Gilders usually enameled the glass pieces, because both decorations (enamel and fired gilding) have similar appearances.

Empire Period (1815-1833)

Enameled decoration

The floral enameled decoration The Royal Glass Factory. Historical Decanter. The Royal Glass Factory. became, from the Ferdinand IV Period (1883- end of XIX century). Classical Period (1787-1810). period, more schematic. Floral Lute collection. Fundación Centro Nacional motifs in wide friezes del Vidrio collection. predominated. The most common have bunches of grapes one), etc. This enameled Bohemian designs which were intertwined with leaves and decoration was inspired by themselves inspired by the floral twisted branches. These designs Bohemian designs. designs of the Meissen porcelain were also influenced by factory in Saxony. During the Bohemian manufacture. Wheel engraved and cut first three decades of the XIX decoration century, the floral garlands were Historical Period (1883 – At the complicated as they intertwined. end of XIX century) Souvenir vessels and cups were The enameled landscapes show very common during the people dressed in the fashion of Enamelled decoration Historicist period. These vessels the period and are accompanied show, on the principal surface, by architecture, bushes and The decoration of this period wheel-engraved decorations of rocks. Country scenes tried to revive old designs from the gates and various fountains predominate. the time of Charles IV even of the Royal Palace of San Ferdinand VII. Enamel, with Ildefonso, etc. The bottoms were Gilded and fired decoration floral designs, was the most decorated with cut facets. On common decoration. Wide friezes the opposite side, these vessels A new method of fired gilding were used, garlands, loose were decorated with diamond- with gold leaf, this decoration branches or branches surrounded engraved initials, became fashionable during the by golden inscriptions, such as commemorating an event, or Charles IV period, with floral “Cariño eterno” (eternal love), simply a motif to remember the bouquet and inscriptions, or “Para mi adorada” (for my loved visit to the Royal Site.

29 LECTURES Popular Spanish Glass found on-line: Domus and Cer.es Mª Cristina Giménez Raurell. Museo Cerralbo, Madrid

Glass curators and people who are spread and it consists of a lot of have subscribed agreements interested in it are welcome to information dropped by mostly of (Aragón, Andalucía…) that http://ceres.mcu.es. In fact, the Spanish State Museums reach information from anyone who wants to find on-line linked to the Ministry of museums and collections works or documents kept in Education, Culture and Sports. of provinces, municipalities, museums all over the word can There are some other museums churches, and public access this interesting website that depend of Autonomous foundations. These databases where Domus information is Regions and city councils that are also linked to international dropped. We would like to explain portals, such as “Europeana” in this article how we can find, and Spanish cultural heritage keep and share information on-line repositories like “Hispana”. regarding popular Spanish glass. Nowadays, more than 70 Domus and Cer.es museums link their information cataloguing cultural assets and First of all we need to understand working with administrative items what “Domus” is and how many that can be reached by Cer.es. Spanish museums are using it to We would like to thank a lot of improve museums’ management professionals and a specialized and how museum’s cultural team of experts from Spanish assets can be catalogued. Museums (Registrar Curators mainly) that have dedicated a The registration system of great effort to give information Spanish museums for more than about Domus in the first steps ten years, has used Domus. It is joined to the Subdirección an Integrated Documentation Normalización documental General de Museos Estatales. de museos: elementos para una and Museum Management Spanish Ministry of Education, aplicación informática de gestión System created by the Ministry museográfica. Madrid, Ministry Culture and Sports: among of Education, Culture and of Culture, 1996. others: María Dolores Adellac, Sports. It is a powerful http://www.calameo.com/ Isabel Pesquera, Marina application that makes Spanish read/0000753358fc66ce4e363 Chinchilla, Eva Alquézar, Andrés Museum’s Digital Network Carretero, Pilar Barraca and

30 REVIEWS ON GLASS Nº 2 2013

Reyes Carrasco. Most of them database to complete When you finally get the search developed the Documentation thesauruses, lists of terms or you look for, it is possible to Standardisation Committee since terminological control, attend navigate through the different 1994 and published loans, acquisitions, to provide collections by hypertext and image services or generate and from that identify the Domus was introduced to the keep conservation information. characteristics (types of object, ICOM community in the General Anyone can take advantage of it author, iconography, place of ICOM Conference of 2001 and users all over the world, origin, cultural context, etc.). (Barcelona, Spain) and has been through an easy accessibility The gradual incorporation of new explained in all the most found by Cer.es and museum’s contents and new museums that important meetings about sites, can access this information enrich this space is expected to Register: V ARMICE Meeting in Spanish. We are planning to share cultural assets and (Madrid, 2006), Europe´s Cultural make it a multilingual web site knowledge. and Scientific Heritage in a and always working towards Digital World (Berlin, February, improvement and creation of new As we can see in the up-right 2007)… The application has fields in Domus. side of the main screen of the been complemented with the application Domus, which publication (which can be read The Digital Net of Collections museum professionals use to on-line as well) of the following of Museums of Spain gathers feed Cer.es information, there dictionaries and thesaurus: museums of different specialties, are two possibilities to catalogue Ceramics (2002), Furniture geographic areas, and different a cultural asset in the museum. (2006), Materials and Techniques ownerships (public and private), Documental pieces (FD – Fondos (I: Materials) (2008), with the goal of making digital Documentales–) versus Numismatics (2009) Rituals and content available on-line. All museographic pieces Religions (2010) and Objects these museums use Domus. (FM – Fondos Museográficos–). linked to Artistic expression (2012). The next publications will be about: General Cultural Assets, Materials and Techniques (II: Techniques), Cultural Contexts, Iconography, Geographic locations (place name)… These dictionaries are the result of a great effort to standardize information when cataloguing and filling Domus files and most of them will be accessible by internet for the museum’s community and for everyone.

Daily, museum’s curators and other museum`s professionals, software engineers and a technical following-up http://ceres.mcu.es © Ministerio de Educación, Cultura y Deporte. Committee, work with this

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The Application

The main steps we can follow when we fill up a Domus input are as follows:

Step 1: identification of the work or piece to be catalogued.

In this first part of the database we will fill, when necessary, the blanks regarding the Institution, department, inventory or registrar number, generic classification, name of the object or document, specific name and scientific Water Jug. Museo Sorolla. http://ceres.mcu.es classification, set, title, author / workshop, material, support and techniques, measures... and we will check if we want to make it (glass, ceramics, paintings, be visible by internet, so that sculptures, furniture...). anyone can access the web site of the museum by Cer.es In the other items shown in this screen on the right side around a As we can see in the first half circular line, we can choose example, the information you among different features of the find in the first field is the application: movements, graphic register number of the work. In database, looking for... If you have Domus information it consists of © Ministerio de Educación, a lot of works inside the some words and some numbers. Cultura y Deporte. application, you can make very If we are taking about interesting searches and find a lot museographic works, you will of information with the required find the letters CE, DE, DO Documental works refers precision you need in every case. before the serial numbers. CE to the kind of documents that means that the piece is assigned complete in the collection There is something very to the stable collection of the of pieces of the museum. There important that we don’t want to Museum (Colección Estable). DE can be included: photographs, forget because it is really useful. means that the work has been letters... and other objects that Domus information can be kept deposited in the Museum by cannot be considered as by any user of the database another Museum or institution museum pieces in the generating a PDF where the most of Spanish State Administration collection. On the other hand, important information about the (Depósito Estatal) and DO means museographic ítems are those selected work can be seen, kept, that the work showed belongs that conform the collection print or shared. to another Public Administration

32 REVIEWS ON GLASS Nº 2 2013

institution but State (autonomy, Museo Sorolla appear profusely decorated with court...) or to different owner Inventario 50008 loses, glass beads, chains, (foundations, particulars...) Clasificación Genérica Glass appendices, rosettes, etc. Is very (Depósito de Otros) that have Objeto/Documento Water Jug typical of this period a cock deposited the work in that Reasoned Classification “may be this appendix located at the top of the museum. Each one of the three Càntir was acquired by Sorolla at the handles (Guidol Ricart: The Catalans kinds has different treatment Dalmau Gallery in Barcelona. glasses 1941). According to the when administrative duties have In a letter (March 25th, 1912 1996 publication, Glass blowing in to be carried out. -CS1547-), sent by Francisco López Mallorca, by María Cristina Giménez of the Dalmau Gallery of Raurell, scalloping, which consists The second field refers to a Contemporary Art, tells him to refer on applying a bead of hot glass general classification of the work. the check, the glass jar and a basket curled around the edge with As we can see, it depends on the by order of Mr. Dalmau. tweezers or flat pliers scratch is a nature of each collection; we can In another letter dated April 24th, hallmark of Mallorcan glass. The find different concepts in this 1912 (CS1548), Dalmau asks festoons often decorate the profile area. Sorolla if he liked the pieces of of deposits vertically handles, spikes glass he sent. In a letter to Carlos and other appendages of the pieces. Step 2: we will fill here the Vazquez of May 24th, 1912 Like the scallops, the crest and the information about the specific items (CS6188), he says he knows that birds used in the top of handles of of the work and the detailed Dalmau sent Sorolla the càntir and the botijos worked by pins, are also description of it. the basket. For the type, could be a the most characteristic decorative piece of Catalonia or Mallorca. Keep elements that can let us recognize a There are fields about in mind that the Catalan and glass made in Mallorca. That’s why Iconography, inscriptions, Mallorcan glass have much in the origin of the production site can signatures, marks, cultural common and there are no clear be discussed. context, dating, production place, guidelines to distinguish from each object history, origin / discovery, other. The càntir or botijo – water Step 3: The third part or the use / function, classification jug – was widely used in traditional information to be filled in Domus reasoned and bibliography. The Catalan festivals, especially at is the administrative one. cataloguing arguments holds all baptisms and weddings, and they the information we are giving used to serve as gift items. The jugs Cer.es shows only the subjects about that object and the “males”, it means, with circular that are not of private domain bibliographical references explain mouth and spherical body, were of the museum (value, name of where we can find this specific offered to men, while those of oval donator…). We can find piece mentioned or published mouth and piriforms deposit, were collection type, record number, with or without image. We will presents given to “female”, The date of admission, how the also pay attention if there are botijo usually was used to contain object come to the museum, who copies or reproductions and to and drink wine, although in these brought it, place of purchase, the conservation conditions cases it was more a decorative administrative authorization, of the work. object (Pastor Rey de Viñas: Spanish market value, other comments, Glass Museum of Decorative Arts in name of the cataloguer and who The following example helps Prague. 2002). Eighteenth century filled the file. us to understand how this Catalan glassmakers overflowed information is shown in different decoration in production of botijos. In other words, we can have in fields: The endless variations of deposits the same database all the

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information that, years ago, was written (Navascués files in Spanish museums during more than 50 years).

Looking for by Cer.es

You can find all this information by Cer.es: Digital Collections Network.

http://Cer.es.mcu.es/pages/ http://www.mcu.es/museos/MC/CERES/MuseosResto.html SimpleSearch?index=true

Spanish collections using Domus of 78 museums (more than • Museo Histórico Nacional 184.000 cultural assets and de Chile. You can choose a general or an more than 303.000 images) • Museo Nacional del Banco advance searching way (selecting using Domus and more than 100 Central de Ecuador. different fields following closed museums all over the world with • Museo Nacional del Virreinato, lists of thesaurus) or look for links that let you go directly and those from other world geographical, typology or public inside databases of each museum areas, for instances, the or private institutions, some following these few steps: United Kingdom. groups of different types of museums or, finally, going inside http://www.mcu.es/museos/MC/ In The Victoria and Albert the web of an specific museum. CERES/CatalogoOtros.html Museum, we have found a Spanish jug: For instance: if you want to look There are 16 links to museums for “glass blowing” pieces, you get cataloguing from Latin America, http://www.mcu.es/museos/MC/ the statistics results for museum: and 23 countries in the USA, CERES/MuseosResto.html 731 pieces in this case. Europe, Oceania and Asia that can be linked from Cer.es and We hope that ICOM-GLASS When we try to find on-line any nearly 100 museums databases colleagues will go on using this pieces belonging to a museum to be consulted. useful tool to work daily and that shares Domus or if we want contribute to the Technical to look for works that are on-line The main Latin American Following-Up Committee of by the databases of other museums we can find depends Domus and Cer.es to improve it, museums all over the world, you on: making suggestions and sharing can use the web site Cer.es as good ideas to make it better day well. • Bienes culturales (RUBC) de los by day. Museos de la ciudad de Buenos All over the world Museums Aires (Argentina). searching • Red Nacional de Museos © Ministerio de Educación, Cultura y Deporte. Sistema integrado de Documentación y de Colombia. Gestión Museográfica DOMUS y página web Cer.es gives you the opportunity • Archivos, Bibliotecas y Museos http://ceres.mcu.es of searching inside the collection de Chile. © Victoria and Albert Museum, London

34 REVIEWS ON GLASS Nº 2 2013 Contemporary Art with Glass in Spain Today María Luisa Martínez. Museo de Arte en Vidrio de Alcorcón

The glass sculpture in Spain is a great unknown for the rest of world. I assume that some responsibility for this to happen lies with us, museum directors and curators, as among our responsibilities is the obligation to disseminate the work being done by artists in our respective areas of influence.

Even though the beginning of Contemporary Glass in Spain were delayed and reduced to a small number of artists, during the last 30 years, the use of glass has grown over time to reach today, a very high quality, comparable to that of any other country around us.

We first introduce the largest group, which comprises only the artists who use glass in their works, who know very well the techniques of glass and who perform the work with their own hands.

The first generation of artists in Spain who use glass as a material in their work, developed their work in the early 80’s. Led Anna Talens. Gota azul hielo, 2007. by Joaquin Torres Esteban, this

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Javier Pérez, Tempus fugit. 2002. Palacio de Cristal del Retiro. Museo Nacional Centro de Arte Reina Sofía.

group of “fathers of Spanish art formal language, he works on Javier Gómez glass” also includes Pedro technically impeccable large size García, Antonio L. Sainz pieces. The last ten years have is the artist “Keshava”, José Fernandez been particularly productive for Castrillo, Pere Ignasi Bisquerra him in quantity and quality. who is more and Javier Gómez, among the committed to most distinguished. In 1982 two key foundations for the development and his work and Among all of them, Javier Gómez dissemination of glass between is the artist who is more artists were born in Spain: The who progressed committed to his work and who National Glass Centre Foundation- progressed the most in FCNV in La Granja and Fundació the most in developing his own technique: Centre del Vidre de Barcelona. developing laminated glass, with a unique Although very different in nature, and very personal style, with both represented a major boost to his own which, throughout his career, has the artistic glass, having among achieved huge international their objectives the education and technique presence. From the late ‘90’s he training of glass techniques laminated glass incorporated color, while working applied to art. in closed volumes, achieving a notable leap in his production. Thus, the next generation of Now, as an artist with a mature artists must be sought among

36 REVIEWS ON GLASS Nº 2 2013

Javier Perez took his installation Tempus fugit to the Palacio de Cristal del Parque del Retiro de Madrid, a space that belongs to the Museo Nacional Centro de Arte Reina Sofía. The glass pieces were produced by CIRVA of Marseille, with which he has been working assiduously to carry out much of his glass production. Carroña is one of his latest works; it took part in Glasstress in Venice, during the event organized within the Biennale of the city. In this case, the pieces Jaume Plenss, Grown Fountain in the Millennium Park, Chicago, 2004. have been produced by Berengo Art Project. those who were trained in either millennium whose most of these two centers, or both, notable feature is that they On a different note, Jaume and who today have more than have a more international Plensa is a very well recognized twenty years worth of artistic training, and look out of Spain artist who makes sculptures, career. Among the most in search of learning and installations and large-scale prominent in Catalonian area: inspiration, helped mainly by works for public spaces. One of Pilar Aldana-Méndez, Anna study grants. his most popular intervention is Marco, Mónika Úz, Maribel the Crown Fountain in the Navarro, as well as some foreign In addition to this there is Millennium Park in Chicago, and artists active in Spain such as another kind of artists who only his newest monumental sculpture the British Philippa Beveridge or use glass when they deem it is titled Breathing, placed at the the Japanese YukiKo Murata. On necessary to give meaning to top of the BBC building in the other hand, in Segovias’s their works and installations, London. area the most interesting young and usually do not manipulate it artist are: Natalia Garrido, directly. Most of them were An interesting detail that Fernando Torres, Alba Martín, formed in College, so that their reinforces the idea that glass in Concha Juárez and Genoveva tools of expression are not Spain is living a positive period is García López. limited to glass. Among the that today many contemporary art most interesting are: Miguel museums, some of which have Younger, but formed as well at Soler (Sevilla, 1972), Anna opened their doors in the last the Fundació Centre del Vidre de Talens (Valencia, 1973), Javier decade following the Barcelona, we find Joaquim Velasco (Cádiz, 1963), Ricardo “Guggenheim effect”, are Falco and Meritxell Tembleque, Calero (Zaragoza), Xavi Muñoz incorporating glass into their to which the MAVA will dedicate (Barcelona) and Yolanda permanent collection. This is the a solo exhibition this Autumn. Tabanera (Madrid, 1964), Javier case of the Guggenheim Bilbao Pérez (Bilbao, 1963) and Museum itself, Artium in the city The latest generation of artists Jaume Plensa (Barcelona, of Vitoria, Museo Patio Herreriano are young people trained in this 1955). in Valladolid and others.

37 LECTURES Atlas of materials

Images are a tool that pathologies may help us to shape a common language less Montserrat Pugès. Conservation and Restoration bound to cause Department. Archaeology Service-ICUB interpretation errors than Laia Fernández. Restorer, freelance the written language. María Molinas. Restorer Taking this statement and María José Alcayde. BS Chemistry- Chemical the shape of the graphic engineering IQS – Cetec-patrimoni atlases already used in 1. Introduction But images do not suffice. Often, other disciplines into they need to be accompanied by account, the creation Determining the conservation words. In our case this becomes of a pathologies atlas is state of a piece with the naked essential, since we are talking eye or with the help of a binocular about alteration forms. This is a proposed which can be magnifier, the latter sometimes different issue; possibly an even used as a tool to considered extravagant, is the more complex one: transforming determine the most readily available, immediate images into words. This includes conservation state of and frequently used method searching for a name for a thing, by the conserver-restorer of ‘christening’ an image, what heritage materials. This archaeological materials and, linguists call ‘term’ and is project intends to make in general, by any expert in this accompanied by its definition. this Atlas accessible via discipline. Justifications are not Many papers on this matter have needed as they may be as simple been published. The oldest we the Internet, making the as low budgets, or as special as know about are terminological most of the interaction, the location of the site where they collections for stone alterations, great diffusion and easy appear or the place where they but others for metals, paintings, usage it provides us with. are. The truth is that, in time, glass, graphic recordings, etc., we compile an album of mental have been made. Even though The creation of the ‘Atlas images which constitute the papers especially devoted to of Materials pathologies’ personal comparative guide to stone alterations have been is open to professionals carry out fast diagnoses of the recently published, with visual objects we have to work with. In correspondences, most do not of conservation- other words, experience in the include the described images and restoration and is born form of images becomes a major may cause confusions or with the intention to be intangible work document. mistakes. Altogether they involve permanently under Fortunately, taking photographic a huge effort to correct the images helps us to alleviate the problem here exposed; this effort construction. load. is even greater if we consider the

38 REVIEWS ON GLASS Nº 2 2013

enormous variety of materials that forward thanks, to a great extent, terminological dictionary about are heritage objects and we to new technologies. Thanks to stone pathologies was made. multiply them by the large them, nowadays we can choose It was never published because amount of existing languages. to work together in order to of the low diffusion expected. establish knowledge sharing Nevertheless, it can be stated nets. The different stained glass that, except for a short list of windows and archaeological defining terms for some This paper does not constitute a glass restoration works done pathologies, which are more or piece of work in itself, but just have generated a vast collection less agreed on and accepted, the an invitation to partake in a of glass alterations which have truth is that, nowadays, no project which, even though it allowed us to create an terminological dictionary can has already started to be shaped, important graphic and solve the problem here exposed. must grow with the contribution descriptive data base, frequently Obviously, this implies a of all the professionals who, in accompanied by the communication problem. An one way or the other, are related corresponding analysis report. internal problem, because of the to heritage conservation- Collaboration in scientific lack of a terminological restoration. studies with several Catalan collection agreed on by the universities has made it possible different agents participating in 2. Presentation to collect a wide amount of such a broad discipline as ours, affectations suffered by metal but also an external problem The work herein presented is the pieces. These works are the because we need expression result of the acquired experience basis for the project presented tools for everyone. Such tools within the field of glass in this paper. would help diffuse and conservation-restoration and also understand the problems in a wide variety of materials 3. From terminological preserving heritage goods. offered by archaeology. It also dictionaries to illustrated results from a preoccupation to glossaries Heritage conservation is a young carry out a proper and worthy discipline which moves quickly piece of work, often without the Other branches of knowledge desirable means. And we must have long needed to put words also mention it derives from our and images together. We are will to share the knowledge we talking about Natural Science – have acquired, aware as we are particularly Botany, Zoology – or that this is a minority discipline, Health Science – such as uneconomic and full of Medicine. With reference to the responsibility for those of us in it earlier, we find loads of volumes involved. which have the format of a visual guide with a purely identifying It is not the first time we objective where an element is undertake this kind of job. In shown as an image and 1989, as a result of a grant described in detail Regarding given by a linguistic organization Medicine, as well as illustrating (CIRIT), dependent on the and describing the affectation, Fig. 1. Home page of the Atlas of Catalonian autonomous they make a diagnosis possible. Materials Pathology. government, a Catalan This is the difference between a

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books with illustrated lexicons, and contains, among others, a some of which can be visited on folder with files referring to the the Internet. Their focus are pathologies of the different descriptions of altered materials materials it embraces. It will be – with many precedents which freeware, will include all kinds of are not going to be exposed traditional and modern materials, herein in the case of stone – or will be participatory and open for other structures or everybody to consult. Regarding manufactured elements, such as languages, we believe people mosaic. Even though we must be able to consult it in consider these contributions different languages – this will very useful and interesting, we always depend on participation – want to remark on the need to with a minimum of one and a deepen the descriptions and maximum of three obligatory Figure 2. The form for new entries. broaden the assortment of ones, but not excluding the materials. possibility to extend it to other languages. The materials Other aspects to be considered are the interaction and 4. Our proposal: the Materials pathologies collaboration offered by the last Pathologies Atlas advances related to the Internet, atlas must be after several projects with Summarizing the criteria and basically visual different materials such as objectives previously exposed stone, metals and glass, we are and with the will to make them and with a web going to make the most of the real, from now on we are going forum provided by these acts, in to try and explain how we have format. It will order to put forward this new conceived and designed the web be participatory project hoping it will be called Atlas of Materials welcome. Our aim is to gather as Pathologies (Fig. 1). and open for much information on materials pathologies as possible, in 4.1. The participation space everybody to digital format. Taking advantage of computing and the Internet, Participation in the project consult we believe the Materials revolves around the generation of pathologies atlas must be the Atlas, whether by means of visual guide and a medical atlas: basically visual. The reason for contributing with a new the ability to diagnose. Currently this is that so far we have found pathology or by taking part in this kind of work, originally no term for many of the the discussion that could arise books, has a digital format, alterations suffered by the wide in order to validate it. From the a wide range and very diverse range of heritage materials and, restorers or the experts forums outlooks. contrary to a dictionary organized we intend to collect the relevant according to words; here we opinions, comments and And as for conservation, what need one that is organized improvements. The experts do we have exactly? For all that according to images. The Atlas is forum – which by no means we know, we have examples of conceived with a Web format excludes restorers – will gather

40 REVIEWS ON GLASS Nº 2 2013

groups of experts in each of the materials considered in the Atlas. In order to propose the inclusion of a new pathology, the web has a form (Fig. 2), especially designed, where the requirements for such a contribution are defined as a file. A quarantine area will also be open to consult the proposals for new entries and see which have been incorporated and which are under construction (Fig. 3).

Figure 3. On the private area you can create a new file and there are the 4.2. The pathology file quarantine files to

The file has been devised with different fields which, in the With reference to the images, 4.3. The search. Classification form of drop-down menus, they are intended to obligatory system provide different information supply: about the sample illustrating the Another important detail is the described alteration. The fields • Photos with a naked eye. One search, which can be done are: is planned, but there could be directly by typing the name or more, if it is considered keyword, but also visually thanks • Name of the pathology. necessary. to a system we have introduced. • Images of the sample- • Magnified photo, approximately It is conceived from comparing pathology. 30 magnifications, since these images which must be searched • Origin of the sample are the images restorers according to the nature of the mentioning what it is and its usually have, with their substrate material and some origin, historical data, etc., corresponding description. physical characteristics of the which could be relevant. • Author/s name/s and alteration. Factors such as • Analyses supplied (with the characteristics of the colour, texture, form, among possibility of establishing a photograph. others, will lead us when link) and their comments searching for the desired image. • Published papers on the Optionally, the file can also show For example, we may imagine we described pathology (with a microscope or other want to identify a whitish coating link to PDF) which are complementary techniques on our lead piece. First we will normally meant to have been photographs with their go to metals, from this point to written by the same author corresponding Interpretation. lead and, in order to approach contributing to the new entry. Captions or other habitual details the search we have divided the • Authorship of the file with the in each web must not be possible alterations in a author’s personal data. missing: how to get out or to the stratified manners depending on • Known Bibliography on the previous page, possible whether it is a deposit, a surface topic. amplifications, etc. alteration, a substrate alteration

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this case the sample is accompanied by a microscope photograph, mentioning the number of magnifications and characteristics of the photograph, even though this does not change the previously done description. Due to the type of alteration no more information is thought to be needed. This can be a simple case of rather a habitual pathology Figure 4. How a complete file is which, however, could help to shown. establish the desired terms dictionary. Figure 5. A more complex file, On causes in we showing complementary images. In another example (Fig. 5), also can see the about glass, we can see a file talking about another alteration, in explanation on would see an assortment of this case more complex than the photographs which we could one previously described and what caused this consult and, if desired, the which needs other means, both to corresponding files. illustrate it and to describe it. It is alteration and on an instance of an alteration called related 4.4. Some illustrative examples Mesopitting which, apart from the previously described fields, is pathologies, we In the reproduced image (Fig. 4) accompanied by images. Now a glass pathology file is shown. there are electron microscope can find a link We have called this pathology images amplifying and determining leading us, Loss of grisaille, with an image the information.In the field we can magnify if we want to. bibliography we could go to papers optionally, to On the right what we see is attached as PDF documents. described and, on the left, there other entries that is an explanation of the sample 5. As conclusions which mentions its may be interesting morphological characteristics With this proposal for a graphic and its origin. The information atlas of pathologies we only or rather a manufacturing must be clear and brief, useful intend to show the broad indicator (such as mould marks). for the desired objective. assortment of possibilities we may obtain, as we all know, We would immediately see we On causes in we can see the when applying the new already have a lead plus a deposit; explanation on what caused this technologies within the materials we would need to decide whether alteration and on related conservation-restoration field. We it looks whitish, for instance, and pathologies, we can find a link have not tried to create an according to the entries with these leading us, optionally, to other impressive demonstration of characteristics it is expected we entries that may be interesting. In what we understand could be an

42 REVIEWS ON GLASS Nº 2 2013

unpleasant and inconvenient Thanks to the help of Unnim We want to thank the organizers product. Our aim has been to Banc community services the of this conference for the chance make a simple and useful web launching of the web page has to show this work in such a which is an example of what we become possible. Access to the specialized forum. We know for a can come to build together. Materials pathologies Atlas can fact that we will count on you be done at http://www. and your contributions to enlarge This work, as we have materialspathology.com. and improve the Atlas... mentioned, has just started its way. The Atlas is conceived with a spirit of cooperation, it is References “open” and for everyone. The Arnold, A; Jeannette, D; Zehnder, K (1980), Proposal for a terminology of participation of experts wanting weathering phenomena on building stone. ICOMOS GP 80. to share experience and Garcia-Vallès, M., Gimeno-Torrente, D., Martínez-Manent, S., Fernández-Turiel, knowledge is absolutely linked to J.L. (2003), “Medieval stained glass in a Mediterranean climate: Typology, the success of this project. Our weathering and glass decay, and associated biomineralization processes and desire is to encourage all of you products”, American Mineralogist, Volume 88, p. 1996–2006. Leoni, M. (1984), “Elemento di metallurgia applicata al restauro delle opere who care for heritage to become d’arte”. Opus Libri (ed.) Firenze. an active part of this new Mourey, W. (1987), “La conservation des antiquités métalliques“. L. C. R. R. project. The intention is for it to A. (ed.) Draguignan. be a permanently constructed Netter, F. (2003), Interactive Atlas of Human Anatomy v3.0 (CD-rom), Icon atlas. Learning System, Philadelphia, Netter Basic Science. Normal C79/26. (1981), “Lessico per la descrizione macroscopica delle 6. Collaborators in the project alterazioni sui manufatti in pietra”. En Sulla conservazione della pietra. Quaderni 2. Ministero per i beni culturali e ambientali ufficio studi. and future perspectives Normal 1/88, 1990. “Alterazioni macroscopiche dei materiali lapidei: lessico” “Macroscopic alteration of stone materials: glossary” Comas Graphica, At the moment this project Roma, 36p. enjoys the support of several RILEM Commission 25-PEM, 1980: S.I.: Essais recommandés pour mesurer Catalan universities and l’alteration des pierres et évaluer l’efficacité des méthodes de traitement / Recommandation provisoires. Matériaux et constructions, Bordas-Dunod, organizations, especially the ISSN 0025-5432, vol. 13, Nº 75, p. 175-253. Universitat Autònoma de Coordination: Vergès-Belmin, V. (2008), “Illustrated glossary on stone Barcelona (UAB); the Universitat deterioration patterns“. ICOMOS-International Scientific Committee for Ramon Llull (URL) with the Stone, France. involvement of the Institut Several authors (1989), “Nomenclatura i atlas de formes d’alteració en Químic de Sarrià (IQS) and the construccions monumentals i urbanes”. Beca Ajuts a la recerca terminològica. Convocatoria 1988, Non published work. Centre Tecnològic per la Several authors (1997), “Manual de diagnosis y tratamientos de materiales Conservació del Patrimoni (Cetec pétreos y cerámicos”. Col·legi d’Aparelladors i Arquitectes Tècnics de - patrimoni) which have provided Barcelona (ed.) Barcelona. us with the server which will Several authors (2006), “Piel de cera. Olavide, San Juan de Dios y el Museo”. contain the information. This Luzán 5, S. A. (ed.) Madrid. project would never have started www.anejo.eu www.biodigitalhuman.com without their assistance and www.rogermushrooms.com/gallery/visualkey.asp enthusiasm1.

1. We also want to take the chance to thank the people who have collaborated and taken part in this project in a disinterested way and who we still hope to count on, particularly the computer experts Òscar Fonts and Vítor Cabral.

43 Javier Gómez is certainly one of the most important glass artist in Spain Interviewed by María Luisa Martínez, Museo de Arte en Vidrio de Alcorcón

(Pedro Bernardo, Ávila, Soon he started to exhibit in 1954) is certainly one of Spain and abroad, to participate the most important glass in international meetings and symposia, to travel and meet artists in Spain. He other colleagues, and to see and began his artistic career be seen worldwide. in a self-taught way using the closest The strong faith in his own dreams and his entrepreneurial material he had in his spirit led him to get direct hands, the laminated flat donations from selected artists glass, since he worked to join the ambitious project of founding a glass museum in at a family glassware Alcorcon. Thanks to these business. Without actions, the Glass Art Museum thinking much, as he in Alcorcon was born 15 years admits, he was launched ago; it’s a municipal museum, the only one for contemporary with passion to this new glass in Spain. activity, the artistic glass production. When Javier Gómez has his workshop in his hometown Pedro Javier Gómez, “Espacio Abierto VI”, he started he knew Bernardo. The great and 2005, particular collection, France. nothing about it. beautiful surroundings from

44 INTERVIEW MLM: Tell us about the best show you’ve done, the one you keep the best memories.

JG: It was my first retrospective exhibition at the Finnish Glass Museum in 2003. This exhibition showed a selected group of fifty pieces from different periods from sixteen years of my artwork. It was a great recognition for my work and a great personal encouragement to continue working with glass.

MLM: You’re an artist with a long track, more than thirty- year career with a great production of works. From which creative period do you feel most proud? Javier Gómez, “Espacio Abierto, XXVI”, 2001, particular collection, Mexico. JG: The most creative period was the beginning, the works Sierra de Gredos full of rocks, important person who has arose very naturally, and I gave streams, forests and especially left a strong trace in your them form without thinking raptor birds, inspire him for his career? much on the results. At this glass work. time the works were figurative JG: Takako Sano was the person and abstract as well. Among MLM: Do you remember the who influenced me personally them were the sculptures called moment you decided to become and encouraged me to grow as The third dimension and Moon’s an artist working glass? an artist. I owe much to her. face. This period left a strong She included my glass works mark in my creativity and set JG: To become an artist was not during seven years in the Glass the path to develop all my next a decision, it was rather the Now traveling exhibition that works. mixture of my professional work runs every year over seven cities in the family glassware in Japan: Tokyo, Nagoya, Osaka However, even if the first workshop along with my Hammatsu, Fukuokam, period was exciting and very personal concern to develop Hirosima and Kyoto. Later on, stimulating, I think the current artwork with glass what led me when I started with the project period is stronger and more to develop an artistic career. of the MAVA Glass Art personal. I have now a deeper Museum of Alcorcon, she donated relation with my work, we MLM: Who has been the artist, more than 60 glass pieces to meet to speak the same curator, gallery or the most start the museum’s collection. language.

45 NEWS Congresses & Exhibitions

GLASS CONGRESSES Prague, Czech Republic, General Conference and Joint 1-5 July 2013 Meeting DEMHIST, GLASS, ICDAD AHG – Association for the This triennia event brings and ICFA. “Places for Reflection: History of Glass together glass science, museums as connectors of Study-day workshop: “The technology and production. cultures, times, people and Evidence for British Crystal Glass www.icg2013prague.cz social groups”. 1660-1700” Registration for the 23rd ICOM To be held with “Georgian AFAV – Association Française General Conference: Glassmakers” Mark Taylor and pour l’Archéologie du Verre https://www.icomrio2013.org.br/en/ David Hill at Project Workshops, 28èmes Rencontres registration Quarley, Hampshire (UK), 16 Internationales de l’AFAV About the General Conference: March 2013. Narbonne, France, 4-6 October http://www.icomrio2013.org.br/en/ www.georgianglassmakers.co.uk 2013. about-icom www.historyofglass.org.uk [email protected] Call for papers, Joint Meeting http://www.afaverre.fr/afaverre.php DEMHIST, GLASS, ICDAD and Theoretical Roman Archaeology ICFA Conference (TRAC) 2013 Rio de Janeiro/Brazil. 12-17 http://network.icom.museum/glass/ Session 11: “New Reflections August 2013, The 23nd ICOM annual-meetings/coming-conference/ on Roman Glass” London, UK, 4-6 April 2013, King’s College Organizer: Ian Freestone (UCL) [email protected] http://www.trac2013.org/

Comitato Nazionale Italiano Association Internationale pour l’Histoire du Verre (AIHV) XVII Giornate Nazionali di Studio sul Vetro: “Il vetro in Italia Centrale dall’antichità al contemporaneo /Glass in Central Italy, from Antiquity to Contemporary” Massa Martana (PG, Italy), 11-12 May 2013 www.storiadelvetro.it

International Commission on Glass (ICG) 23rd International Congress on Glass

46 REVIEWS ON GLASS Nº 2 2013

by Teresa Medici. VICARTE

Bratislava – Lednické Rovné, is explored, but so is its hidden, part of a collections donated to Slovakia, October, 2013. ICOM secretive, and dark side. On the museum in 2007. Glass Meeting show are 30 objects created by museudaceramica-en.blogspot.pt Program and registration: 26 artists from around the world http://network.icom.museum/glass/ who work mainly with glass and Museum of Decorative Arts annual-meetings/coming-conference/ mixed media. (UPM), Prague, Czech Republic, http://www.atutsek-stiftung.de/en/ All the Best! Czech Art Glass, until ausstellungen.html 31 March, 2013. GLASS EXHIBITIONS The exhibition has been Corning Museum of Glass, organized in cooperation with Musée Maillol, Paris, France Corning, New York, U.S.A.: Galerie Pokorná. FRAGILE. Murano. Chefs–d’œuvre The Flood of ’72: Community, http://www.upm.cz/ de verre de la Renaissance au Collections, and Conservation, www.galeriepokorna.cz XXIe siècle / Glass masterpieces until 3 January 2014 from the Renaissance to the 21st Masters of Studio Glass: Richard National Archaeological century, from 27 March to 28 Marquis, from 16 February 2013 Museum, Athens, Greece: July 2013. until 2 February 2014 The Antikythera shipwreck - The For the first time in France, an Life on a String: 35 Centuries of ship, the treasures, the exhibition traces the the Glass Bead, from 18 May mechanism, until 28 April, 2013 extraordinary adventure of 2013 until 5 January 2014 All the antiquities recovered from Murano glass from the 15th c. www.cmog.org the legendary shipwreck off the to present day. More than 200 islet of Antikythera, south of the pieces, coming from public and Mad Museum, The Museum of Peloponnese, are presented for private collections and most of Arts & Design, New York, NY the first time. The recovery of the them unpublished or exhibited (USA): shipwreck, the first major only in exceptional Playing with Fire. 50 Years of underwater archaeological circumstances, will be Contemporary Glass, until 7 April, expedition, was undertaken by presented. Curated by Rosa 2013 sponge divers, with the assistance Barovier Mentasti and Cristina www.madmuseum.org of the Greek Royal Navy (1900- Tonini. 1901). The second underwater http://www.museemaillol.com/ Museu da Cerâmica, Caldas da research was carried out in 1976 prochaines-expositions/ Rainha, Portugal: by the Greek Archaeological Núcleo de Vidro Escandinavo: service and J.-Y. Cousteau’s Alexander Tutsek-Stiftung Colecção Francisco Coutinho oceanographic “Calypso”. Foundation, Munich, Germany: Carreira / Scandinavian Glass from The wreck is dated In the Name of Love, until 30 the Francisco Coutinho Carreira approximately at 60-50 BC, April 2013 collection, until 23 March, though its cargo from the 4th to The exhibition deals with the 2013. the 1st century BC. The study of many facets of love from a very The exhibition shows 108 the cargo, including bronze and special perspective: not only the objects of contemporary marble statues, glassware, bright, the welcome part of love Scandinavian glass, which are bronze vessels, golden jewelry,

47 NEWS

and the famed “Antikythera vessels in the 1st half of the 1st The theme of the year 2013 is Mechanism”, an astronomical c. BC, while simultaneously “Réflexions - Reflections”. calculator, greatly contributes to offering the first reliable www.biennaleduverre.eu our understanding of the evidence concerning glass trade maritime trade and the between East and West. Museum of Glass and Jewelry, circulation of works of Greek art (from Ch. Avronidaki, The Jablonec nad Nisou, at the end of the Hellenistic Glassware, in: N. Kaltsas (ed.), From Neuwelt to the whole world. period and the Roman Republic, The Shipwreck off Antikythera, 300 years of Harrachov Glass, in the light of the commercial catalogue of the Exhibition, until 26 May, 2013. exchanges and the taste of the National Archaeological http://www.msb-jablonec.cz/ rising Roman aristocracy. Museum, Athens 2012). Exceptionally rare glass vessels http://www.namuseum.gr/wellcome- were recovered; they were luxury en.html Finnish Glass Museum in wares which, like the other Riihimäki works of art the ship was Frauenau Glass Museum, Mysteries of Life – Glass Sculpture transporting, were probably Frauenau, Germany: by Yan Zoritchak, until 28 April destined for the markets of Theodor G. Sellner, from 21 2013. Rome. The best-known and most December 2012 to 5 May 2013. Old Finnish Glass from the 18th impressive glassworking http://www.glasmuseum-frauenau.de and 19th Centuries, until 31 techniques of the Hellenistic December 2013. age are represented. The finds ESGAA Biennale du Verre 2013 Tapio Wirkkala – Art Glass and provide a secure dating in the ESGAA is currently organizing Silver from the Kyösti Kakkonen 2nd quarter of the 1st c. BC, but the 2013 International Biennale Collection, from 17 May to 31 also a complete sampler of Syro- which will take place from 17 December 2013. Palestinian, and perhaps also October to 30 November, 2013 www.finnishglassmuseum.fi, Egyptian, production of glass in Alsace. [email protected]

News

LIFEFORM made in the spirit of the famous jury during the exhibition. 19th and 20th century models of http://www.glasslifeform.org The Rudolph and Leopold invertebrates and plants made Blaschka Biological Model by the father and son team, Rediscovering the splendor: the Competition and Exhibition will be Rudolf and Leopold Blaschka, restoring of the glass mosaics of held at the annual conference of for the Harvard University’s the São João Baptista chapel in the Glass Art Society in Boston, Botanical Museum. Artists the S. Roque church, Lisbon MA, 12 - 15 June, 2013. working in any glass technique (Portugal) Deadline for pre-registration and (flameworking, glassblowing, The São João Baptista chapel is image submissions: May 15, pâte de verre, etc.) are invited one of the most precious and 2013. to submit an entry. There will important works of art in the This will be an exhibition of the be $6,000 in cash awards: Roman 18th century. best biological glass models winners will be selected by a Commissioned by D. João V,

48 REVIEWS ON GLASS Nº 2 2013

King of Portugal, to Luigi but also to attempt the commemorate Aldo Bellini, a Vanvitelli e Nicola Salvi, it was understanding of the weathering distinguished Italian glass built entirely in Rome between mechanism, and to prepare a collector deceased in 2006. 1742 and 1747, and sent by restoration and conservation plan. A sum of € 7.500,00 is awarded ship from Civitavecchia to Lisbon The results of these joined efforts every year to a graduate student via the Mediterranean Sea. are now visible to the public. of any Italian academy, Faculty of For the pictorial decoration, the http://www.museudesaoroque.com Architecture, or School of Design, precious and expensive aged between 18 and 29, technique of mosaics was The first “Aldo Bellini” grant has interested in gaining knowledge chosen. The models for the three been awarded. and skill in glass making altarpieces, representing the The grant, aiming to stimulate techniques from direct ‘‘Baptism of Christ’’, the the knowledge of blown glass, experience, to be acquired in ‘‘Annunciation’’, and the exploring the possibilities of Murano. ‘‘Whitsunday’’, were made by using it as an artistic medium, is The 2012-13 edition’s winner is Agostino Masucci. The mosaicist promoted by Sandro Pezzoli, in Vittoria Parrinello, a young artist who obtained the assignment to collaboration with the Italian (b. 1988) who received her degree transpose the painting into National Committee of the AIHV in Sculpture in 2011 at the mosaics was Mattia Moretti. – Association Internationale pour Accademia di Belle Arti di Brera, From November 2010 until l’Histoire du Verre, to Milan (Italy). Thanks to the grant, March 2012, the entire chapel was object of a complete restoring program, promoted by the Santa Casa da Misericórdia de Lisboa, the owning institution. The intervention on the glass mosaics, affected by chromatic change mainly concerning the red colours and the flesh tones, has been coordinated by Carlo Stefano Salerno, of the Instituto Centrale per il Restauro, Roma (Italy) in collaboration with the Departamento de Conservação e Restauro of the Faculdade de Ciências e Tecnologia, Universidade Nova de Lisboa (Portugal). Several months of works, including chemical analyses on the glass and the weathering products, made it possible not only to restore the pristine Vittoria Parrienello, Respiro, blown borosilicate glass (2011). brilliance of the masterpieces,

49 NEWS

she will have the opportunity of of Art History. The principal aim is designs, correspondences and taking part of a customized to provide the international photographic reproductions will be learning program on glass art and scholarly community with an made available to the scholarly practice, including no less than important reference resource about community, with the purpose of 600 hours of stage in a group of glass. In operation since April developing and reviving the art of selected Muranese furnaces. 2012, the Study Centre for Glass glassmaking. The first historic More information and the CV of is currently committed to building archive acquired by Pentagram Vittoria Parrinello are available at: a specialized library and to Stiftung for the Fondazione Giorgio www.storiadelvetro.it creating a general archive of Cini Study Centre is the Venetian glass, intended to extraordinary Seguso Archive, Le Stanze del Vetro and The gradually bring together the retelling the story of the Fondazione Giorgio Cini Study historical archives of the Muranese production of the Murano Centre for Glass: new space for glassmaking companies. Drawings, glassmakers Seguso Vetri D’Arte. glass in Venice The new permanent exhibition space Le Stanze del Vetro / Rooms for Glass, a project by the Fondazione Giorgio Cini onlus and Pentagram Stiftung, opened in 2012 on the Island of San Giorgio Maggiore, Venice, Italy, with the inaugural exhibition “Carlo Scarpa. Venini 1932- 1947”, and it will continue hosting events during the 2013. Two exhibitions will be staged: Fragile?, curated by Mario Codognato, focusing on the use of glass in the visual arts in the 20th and 21st century by showing works by leading artists as Michelangelo Pistoletto, Mario Merz, Gerhard Richter, Robert Smithson, Rachel Whiteread, and Yayoi Kusama (from 8 April 2013), and a solo show of Napoleone Martinuzzi’s creations for the Venini glassworks in the 1930s (September 2013). In addition to the exhibition space, the Fondazione Giorgio Cini has created a dedicated Study Centre for Glass, as a part of its Institute

50 REVIEWS ON GLASS Nº 2 2013

Currently still under construction, www.lestanzedelvetro.it del Vetro e dell’Arte Vetraria, based the Study Centre for Glass library [email protected] at Altare (Italy), is restarting its and archive will be open soon for [email protected] pubblication as a digital journal. It consultation in the Nuova Manica is possible to download it for free Lunga library facility. Alte Vitrie at the site of the Museo dell’Arte For information and contacts: The glass magazine founded 1988 Vetraria Altarese: www.cini.it by ISVAV - Istituto per lo Studio http://www.museodelvetro.org

Others

Bibliography of Glass: From the Club, Woodbridge, Suffolk, The catalogue, over 30 pages of Earliest Times to the Present England, ©2001). 450 museums worldwide, that [Willy Van den Bossche] [Publ. by have to do with glass alone will Antique Collectors’ Club, UK.] And now he has made a new keep you busy for quite a while. book that is in more than one Reviewed by Johan A. Soetens. way an astonishing achievement. I know of no other book that can Formerly director of Vereenigde It is a book without illustrations compare with this bibliography, Glasfabrieken (United and without a story but with an neither will there be one Glassworks). The Netherlands. overwhelming amount of published in the next decades for information that will be of value I cannot think of anyone What causes a fascination with for generations to come. His dedicated enough to spend ten glass? After ‘sixty years in glass’ ‘Bibliography of Glass’ is a years of his life compiling it. of which 42 years in the bottle- compilation of 3,500 books and making industry, I still do not a few important articles on glass It is a must for museums, know the answer to that question. and glassmaking; user friendly, universities, libraries and thanks to the many cross- everyone seriously interested in I have known Willy Van den references that makes it easy to the history and evolution of that Bossche for more than twenty find book titles and authors. In wonderful material that is created years and never found him order to place the books in their by fusing dull and common lacking of interest in the beauty time-frame, the years of the composites such as sand, lime and history of antique glass, as authors births and deaths have and soda ash. It has always well as in the technical evolution been recorded. It contains fascinated me that out of such of its means of production. worldwide information on books simple materials something so that cannot easily be found on beautiful can emerge, yielding to From time to time, I have been internet, such as those published the hand of the artist or the wish able to call upon his knowledge between 1600 and 1950, as of the consumer. Once it was the of the subject while writing my well as those published in a favourite material of the own publications although those limited edition or in uncommon mediaeval alchemists in their never reached the level of languages. Of course, this is not quest for the Stone of Wisdom international appreciation as his a book to be read as a story but and behold: it still produces beautifully illustrated ‘Antique nevertheless one soon becomes wonders and is able to inspire Glass Bottles’ (Antique Collectors’ fascinated with the content of it. some of us for a lifetime!

51 MEMORIES ICOM Glass Meeting in Spain, 2012

52 53 MEMBERS INSTITUTIONAL MEMBERS Ms. Carola Marie SCHMIDT Ms. Kaisa Marjatta KOIVISTO Hallein, AUSTRIA SUOMEN LASIMUSEO (FINNISH KNAUF GIPS KG KNAUF-MUSEUM IPHOFEN GLASS MUSEUM) Dr. Phil. Ulrike SCHOLDA Riihimäki, FINLAND Mr. Markus MERGENTHALER/Mr. Lothar Knauf Baden, AUSTRIA Iphofen, GERMANY www.suomenlasimuseo.fi http://www.knauf-museum.iphofen.de BELGIUM Ms. Marjut KUMELA MSC FORSYTH CENTER GALLERIES Mr. Henri FETTWEIS ARABIA APPLIED ART MUSEUM Ms. Arcak CORY Etterbeek, BELGIUM Helsinki, FINLAND Texas, U.S. Mr. Luc ENGEN FRANCE MUSÉE DE L’ECOLE DE NANCY Liège, BELGIUM Mme. Valérie THOMAS Mlle. Verónique AYROLES Mlle. Janette LEFRANCQ Paris, FRANCE Nancy, FRANCE MUSÉES ROYAUX D’ART ET D’HISTOIRE www.ecole-de-nancy.com Bruxelles, BELGIUM Mr. Jean-Claude BRUMM MUSÉE DU VERRE www.kmkg-mrah.be ASSOCIATION DES MUSÉES LOCAUX D’ALSACE Mme. Rina MARGOS Wingen Sur Moder, FRANCE Mme. Rina MARGOS www.musees-alsace.org Marcinelle, BELGIUM MUSÉE DU VERRE http://www.charleroi-museum.org Charleroi, BELGIUM Mme. Anne-Laure CARRÉ MUSÉE LALIQUE http://www.charleroi-museum.org MUSÉE DES ARTS ET MÉTIERS, CONSERVATOIRE Mme. Veronique BRUMM NATIONAL DES ARTS ET MÉTIERS Mr. Willy VAN DEN BOSSCHE Paris, FRANCE Wingen-Sur-Moder, FRANCE BELGIUM www.musee-lalique.com http://www.arts-et-metiers.net CHINA MUSÉE-ATELIER DÉPARTEMENTAL DU VERRE Mme. Annie Claire DUCREUX Mme. Anne VANLATUM Mr. Xiaowei ZHUANG Paris, FRANCE Sars Poteries, FRANCE SHANGHAI MUSEUM OF GLASS Mme. Juliette DUPIN www.cg59.fr/frontoffice/AfficheArticle. Shanghai, CHINA Paris, FRANCE aspx?idArticle=1112... http://www.shmog.org Mme. Isabelle DUTTER-GEORGES MUSÉES BACCARAT CROATIA Dunkerque, FRANCE Mme. MICHAELA LERCH-MOULIN Ms. Vesna DELIC GOZZE Mr. Jean-Luc OLIVIÉ Paris, FRANCE Dubrovnik, CROATIA http://www.baccarat.fr/fr/univers-baccarat/ LES ARTS DÉCORATIFS patrimoine/musees.htm CZECH REPUBLIC Paris, FRANCE http://www.lesartsdecoratifs.fr REGIONE LOMBARDIA - DIREZIONE GENERALE CULTURE, Dr. Jan MERGL IDENTITÀ E AUTONOMIE DELLA LOMBARDIA Karlovy Vary, CZECH REPUBLIC Mme. Liliana SCOTEE Paris, FRANCE Dott. Alberto GARLANDINI and Dr. Maria Grazia Diani Dr. Milan HLAVES Milano, ITALY UMELECKOPRUMYSLOVÉ MUSEUM V PRAZE Mme. Emilie RAMBAUD http://www.lombardiacultura.it (MUSEUM OF DECORATIVE ARTS PRAGUE) Paris, FRANCE RÖHSSKA MUSEET (RÖHSSKA MUSEET FÖR MODE, PRAHA, CZECH REPUBLIC Mme. Françoise REGINSTER DESIGN OCH KONSTSLÖJD) http://www.upm.cz MUSÉE DE LA FAÏENCE FRÉDÉRIC BLANDIN Mr. Ted HESSELBOM Dr. Jitka LNENICKOVÁ Nevers, FRANCE Goteborg, SUEDE Praha, CZECH REPUBLIC www.cg58.fr/...au.../musees.../musee-frederic- http://www.rohska.se [email protected] blandinnevers.html SHANGHAI MUSEUM OF GLASS Mrs. Markéta VEJROSTOVA Mme. Caroline ROELENS-DUCHAMP Mr. Xiaowei ZHUANG MORAVIAN GALLERY MUSEE DU PAYS DE SARREBOURG ET DU Shanghai, CHINA Brno, CZECH REPUBLIC PARCOURS CHAGALL http://www.shmog.org Sarrebourg, FRANCE DENMARK STATE CENTRAL MUSEUM OF THE MODERN HISTORY www.ville-sarrebourg.fr/Musee OF RUSSIA (CENTRALNYI MUZEI SOVREMENNOJ ISTORII Mr. Michael BLOCH. Mme. Anne VANLATUM ROSSII) København K, DENMARK MUSÉE-ATELIER DÉPARTEMENTAL DU VERRE Mrs. Tamara G. SHUMNAYA Mrs. Dagmar DRENDSTRUP Sars Poteries, FRANCE Moskva, RUSSIAN FEDERATION GLASMUSEET. www.cg59.fr/frontoffice/AfficheArticle. THE CORNING MUSEUM OF GLASS Ebeltoft, DENMARK aspx?idArticle=1112 Julia CORRICE and Mrs. Marie MCKEE [email protected] Mme. Catherine VAUDOUR Corning, USA Mr. Jørgen HEIN Mantes la Jolie France, FRANCE www.cmog.org THE ROYAL DANISH COLLECTIONS GERMANY THE VICTORIA AND ALBERT MUSEUM København K, DENMARK Mr. Jones MARK http://dkks.dk/English Dr. Susanne EVERS London, UNITED KINGDOM STIFTUNG PREUßISCHE SCHLÖSSER UND Mag. Jan KOCK www.nal.vam.ac.uk GÄRTEN BERLIN-BRANDENBURG Højbjerg, DENMARK Potsdam, GERMANY UMELECKOPRUMYSLOVÉ MUSEUM V PRAZE (MUSEUM Mrs. Birte POULSEN http://www.spsg.de OF DECORATIVE ARTS PRAGUE) Odense C, DENMARK Mrs. Ruth FABRITIUS Dr. Helena KOENIGSMARKOVÁ Bonn, GERMANY Praha, CZECH REPUBLIC Mrs. Berit RASK http://www.upm.cz Holte, DENMARK Dr. Anna-Barbara FOLLMANN-SCHULZ Mr. Jørgen SCHOU-CHRISTENSEN Bonn, GERMANY Vanløse, DENMARK INDIVIDUAL MEMBERS Dr. Sven HAUSCHKE Mr. Torben SODE Europäisches Museum für Modernes Glas AUSTRALIA Brønshøj, DENMARK Cobur, GERMANY Ms. Maxine HOLDEN FINLAND Dr. Katrin HOLTHAUS Yarragon, AUSTRALIA Petershagen, GERMANY Mr. Heikki Olavi MATISKAINEN AUSTRIA SUOMEN LASIMUSEO (FINNISH GLASS Dr. Margret HONROTH Bonn, GERMANY Dr. Gerhard NAUER MUSEUM) INSTITUT FÜR PHYSIKALISCHE CHEMIE Riihimäki, FINLAND Ms. Helena HORN Wien, AUSTRIA www.suomenlasimuseo.fi Frechen, GERMANY http://pchem.univie.ac.at

54 Dr. Rüdiger JOPPIEN NETHERLANDS Mlle. Sylvia FÜNFSCHILLING MUSEUM FÜR KUNST UND GEWERBE Dr. Clasina ISINGS Augst, SWITZERLAND HAMBURG Soest, NETHERLANDS http://www.augusta-raurica.ch Hamburg, GERMANY www.mkg-hamburg.de Dr. Pieter Cornelis RITSEMA VAN ECK Dr. Christine KELLER LÜTHI ’s-Gravenhage, NETHERLANDS SCHWEIZERISCHES LANDESMUSEUM (MUSÉE Dr. Hannelore E. MARSCHNER NATIONAL DE LA SUISSE) Manchen, GERMANY NORWAY Zürich, SWITZERLAND http://www.musee-suisse.ch Dr. Frank MARTIN Mrs. Randi GAUSTAD Berlin, GERMANY NASJONALMUSEET FOR KUNST/ Mr. Otto-Jolias STEINER KUNSTINDUSTRIMUSEET STEINER SARNEN AG FÜR KOMMUNIKATION Dr. Susanne NETZER Oslo, NORWAY Sarnen, SWITZERLAND KUNSTGEWERBEMUSEUM BERLIN http://www.nasjonalmuseet.no Berlin, GERMANY Mme. Bettina TSCHUMI www.smb.museum/smb/standorte/index. PORTUGAL MUDAC - MUSÉE DE DESIGN ET D’ARTS php?objID=37&p=2 Prof. Dr. António PIRES DE MATOS APPLIQUÉS CONTEMPORAINS Lisbon, PORTUGAL Lausanne, SWITZERLAND Dr. Dedo von KERSSENBROCK-KROSIGK http://www.mudac.ch Barntrup, GERMANY Ms. Maria Joao VIEIRA DE CARVALHO Lisbon, PORTUGAL Dr. Käthe KLAPPENBACH TAIWAN Potsdam, GERMANY Sra. Teresa Medici Ms. Chun Christina HSU Dr. Jens KRÖGER VICARTE Taipei, TAIWAN Berlin, GERMANY Lisboa, PORTUGAL UNITED KINGDOM Dr. Ingeborg KRUEGER ROMANIA Bonn, GERMANY Mrs. Simona Violeta GHEORGHE Ms. Janet Hume NOTMAN Edinburgh, UNITED KINGDOM Dr. Helmut RICKE Craiova, ROMANIA STIFTUNG MUSEUM KUNSTPALAST SLOVENIA Mrs. Jennifer OPIE Dusseldorf, GERMANY Teddington, UNITED KINGDOM www.smkp.de Mr. Joze RATAJ POKRAJINSKI MUZEJ CELJE (REGIONAL Mr. Peter HARDIE Mrs. Karin RÜHL MUSEUM CELJE) Bristol, UNITED KINGDOM GLASMUSEUM Celje, SLOVENIA Ms. Wendy EVANS Frauenau, GERMANY www.pokmuz-ce.si www.glasmuseum-frauenau.de London, UNITED KINGDOM SPAIN Dr.-Ing. Manfred TORGE Mr. Reino LIEFKES Hoppegarten, GERMANY Sra. Teresa CARRERAS ROSSELL VICTORIAN AND ANBERT MUSEUM MUSEU D’ARQUEOLOGÍA DE CATALUNYA London, UNITED KINGDOM Prof. Dr. Axel VON SALDERN Barcelona, SPAIN USA Starnberg, GERMANY http://www.mac.cat Dr. Amy GOLAHNY Mrs. Siegmut SEEGER Sra. María Cristina GIMÉNEZ RAURELL STATE COLLEGE (U.S.) Hoppegarten, GERMANY MUSEO CERRALBO Madrid, SPAIN Mr. Sidney M. GOLDSTEIN Saint Louis, U.S. GUATEMALA Sra. María Luisa MARTÍNEZ GARCÍA MUSEO DE ARTE EN VIDRIO DE ALCORCÓN Sra. Susana CAMPINS Ms. Susanne FRANTZ (MAVA) MUSEO VICAL DE ARTE PRECOLOMBINO Paradise Valley (U.S.) Alcorcón (Madrid), SPAIN Y VIDRIO MODERNO www.mava.es Ms. Tina OLDKNOW La Antigua, GUATEMALA THE CORNING MUSEUM OF GLASS http://[email protected] Dra. Cristina MUR DE VIU Corning, USA PATRIMONIO NACIONAL, PALACIO REAL http://www.cmog.org ISRAEL DE MADRID Dr. Jutta-Annette PAGE Mrs. Yael ISRAELI Madrid, SPAIN TOLEDO MUSEUM OF ART THE ISRAEL MUSEUM, JERUSALEM www.patrimonionacional.es Toledo, USA Jerusalem, ISRAEL Dr. Paloma PASTOR REY DE VIÑAS http://www.toledomuseum.org www.english.imjnet.org.il/htmls/home.aspx MUSEO TECNOLÓGICO DEL VIDRIO Prof. William E. RAY Mrs. Ayala LESTER San Ildefonso, Segovia, SPAIN REED COLLEGE, FRENCH DEPARTMENT Jerusalem, ISRAEL www.fcnv.es Pórtland, U.S. ITALY SUEDE Ms. Jane Shadel SPILLMAN Dr. Chiara SQUARCINA Mrs. Gunnel HOLMÉR THE CORNING MUSEUM OF GLASS PALAZZO MONCENIGO, CETRO STUDI DI STORIA SMÅLANDS MUSEUM (THE SWEDISH GLASS Corning, U.S. DEL TESSUTO E DEL COSTUME MUSEUM) http://www.cmog.org www.museiciviveneziani.it Växjö, SUEDE www.kulturparkensmaland.se Dr. Karol B. WIGHT JAPAN THE J. PAUL GETTY MUSEUM Dr. Karl Johan KRANTZ Los Angeles, U.S. Ms. Ruriko TSUCHIDA SMÅLANDS MUSEUM (THE SWEDISH GLASS http://www.getty.edu/museum SUNTORY MUSEUM OF ART MUSEUM) Tokyo, JAPAN Växjö, SUEDE Ms. Adrienne GENNETT www.suntory.com/culture-sports/sma www.kulturparkensmaland.se Corning, USA Dr. Florian KNOTHE Dr. Karen L. KETTERING Mr. Anders REIHNÉR HILLWOOD ESTATE, MUSEUM AND GARDENS UNIVERSITY MUSEUM AND ART GALLERY Hägersten, SUEDE THE UNIVERSITY OF HONG KONG www.hillwoodmuseum.org www.hkumag.hku.hk SWITZERLAND Washington, USA Hong Kong, JAPAN Dr. Heidi AMREIN Ms. Julie L. SLOAN LATVIA SCHWEITZ. LANDESMUSEUM ABT. Nord Adams, USA ARCHÄOLOGIE. Ms. Kelly Ann CONWAY Ms. Ilze MARTINSONE Zürich, SWITZERLAND MUSEUM OF ARCHITECTURE THE CRHRYSLER MUSEUM OF ART www.nationalmuseum.ch www.chrysler.org Riga, LATVIA www.landesmuseum.ch www.archmuseum.lv Norfolk, USA Mrs. Susanne BRENNER KIPFER Ms. Amy MCHUGH Gümligen, SWITZERLAND Parsippany, USA